The State Gallery of Art in Sopot, in collaboration with the Berengo Foundation, presents the works of twenty-six international artists who were invited to create extraordinary works from glass. And they definitely made it.
The curators are Adriano Berengo, Eulalia Domanowska, and Koen Vanmechelen. The first installment of the project took place in 2009 during the Venice Biennale of Art. This year Sopot showcases 26 artists: Ai Weiwei (China), Vanessa Beecroft (Italy), Monica Bonvicini (Italy), Hussein Chalayan (Cyprus), Judy Chicago (USA), Mat Collishaw (UK), Petah Coyne (USA), Endless (UK), Josepha Gasch-Muche (Germany), Kendell Geers (South Africa), Maurycy Gomulicki (Poland), Karen LaMonte (USA), Massimo Lunardon (Italy), Vik Muniz (Brazil), Hans Op de Beeck (Belgium), Javier Pérez (Spain), Jaume Plensa (Spain), Laure Prouvost (France) Maria Grazia Rosin (Italy), Thomas Schütte (Germany), Sean Scully (Ireland), Elmar Trenkwalder (Austria), Koen Vanmechelen (Belgium), Xawery Wolski (Poland), Fred Wilson (USA), and Erwin Wurm (Austria).
The magic under the sun of Venetian artistry
Glasstress, a cyclical showcase which this year guests in the State Gallery in Sopot, unites contemporary artists’ creations made from glass. Glasstress serves as a platform to display the artistic outputs originating from the Berengo Studio. The Glasstress project now stands as the foremost global platform celebrating the fusion of skillful artisanship and imaginative ingenuity. It helps combine the traditional art of glass with the modern-day creators which can be clearly visible in the Sopot’s Gallery, for instance, in Ai Weiwei’s displayed works. Artists participating in the Glasstress project produce outstanding mixed-media pieces by blending abstract ideas with handiwork.
But why is Murano glass so special? Murano Glass holds its uniqueness as an ancient artistry originating from the Venetian island of Murano, Italy. Its distinction lies in the meticulous handcrafting by master artisans, Gomulicki’s works, for instance, were executed in Murano at Berengo Studio by maestros Nicola Causin & Roberto Mavaracchio with help of their assistant Sara Pruiti. The Murano Glass creations and by that the Sopot ‘Glasstress Sopot, Unveiled Realities exhibition not only showcases the traditional aesthetics and craft, but also connects the viewers to an enduring Venetian heritage.
The creative glass tension is now in Sopot
‘Glasstress Sopot, Unveiled Realities’ reveals the visible and invisible worlds, reconstructing the past and present to show the viewers a world we have yet to know. ‘Unveiled Realities’ is the midwife of the future. The glass artworks created by the 26 artists symbolise the elements of water, air, fire, and earth that represent life. Glass, a delicate and breakable material, serves as a reminder of the fragility of the planet. Thanks to the cooperation with the Murano Glass Museum, the Sopot exhibition also features films presenting traditional Venetian techniques, various ways of producing beautiful glass objects as well as the famous Rezzonico chandeliers. This diversity of techniques and types of glass is reflected in the exhibited works, such as the monumental glass piece by Scully, made entirely of glass, or in Ai Weiwei’s ‘Black Chandelier’ made from the mix of cast glass, blown glass, and metal.
Glass made by women is often far more courageous, more experimental and created under very demanding conditions. Meet these 4 artists – Lada Semecká, Klára Horáčková, Eva Eisler and Vladimíra Klumpar – who disrupt the perception of Czech glass as a mostly male domain.
The Glasstress philosophy and it’s tangible reflections: Ai Weiwei, Scully, Chicago, Bonvicini, and Op de Beek’s works
The Berengo Foundation, established in 1989 and inspired by the American Glass Movement, wanted to rekindle the traditional technique in collaboration with contemporary artists. According to Koen Vanmechelen, co-curator of the exhibition, and artist, the Glasstress philosophy is ’to create a dialogue between traditional and contemporary art, weaving together two seemingly different worlds and highlighting the importance of preserving traditional techniques and craftsmanship in the face of modern technology and mass production.’
‘In a world full of uncertainty – more than ever, we need the voice of the arts.’
– K. Vanmechelen
By collaborating with Murano glassblowers, contemporary artists are allowed to experiment with the ancient practices of glassmaking, resulting in unique and innovative works of art. At the same time, the glassblowers can expand their traditional skills and techniques, introducing new ideas and approaches to their craft. Sean Scully’s and Ai Weiwei’s artworks, as well as Judy Chicago’s, Monica Bonvicini’s, or Hans Op de Beek’s, among others, are definitely worth mentioning. Sean Scully‘s ‘Venice Stack’ comprises a stack of hollow Murano glass squares, meticulously crafted in vibrant and lively hues. Through the towering arrangement and the medium of glass, these linear combinations of colour acquire fresh attributes as light interacts with and penetrates the material. Leveraging the foundation of his impactful compositions, the stack establishes its own choreography, echoing the central themes of coluor and space that define the Irish artist’s work.
Ai Weiwei’s ‘Black Chandelier and White Chandelier’ are remarkable pieces as well. In partnership with Berengo Studio, a colossal black chandelier emerged, comprising approximately 1,000 handcrafted glass pieces and boasting dimensions of roughly 9 meters in height and 6 meters in width. In Sopot, the Murano Glass ‘Black Chandelier’ is displayed, a scaled-down version of its larger counterpart, measuring 245 cm in height and 180 cm in diameter. The Chinese artist’s glass composition featuring human skulls, skeletons, animal bones, internal organs, and crabs, reimagines the traditional Venetian glass chandelier, flipping its purpose and associations. It holds a reminder of the human-induced disasters surrounding us; worsening effects of global environmental changes, and the post-pandemic world. It becomes the artist’s contemplation on the disconnect between humanity and nature, the impact of humans on animals, and the uncertain path of our future. The ‘White Chandelier’ emerges as a luminous sphere, intricately crafted from intertwining glass vines reshaping the conventional framework of the Venetian chandelier. A pair of handcuffs dangles from a branch, crabs scurry amidst blossoms and luxuriant leaves… For those acquainted with Ai Weiwei’s body of work, these elements morph into clues, symbols laden with diverse connotations, each carrying its own narrative.
It is also worth shedding light on Monica Bonvicini and Judy Chicag’s works. Bonvicini, presents ‘In My Hand,’ a carefully and meticulously handcrafted artwork that replicates the artist’s hands clutching a belt. This creation is inspired by the performance titled ‘A Choir of Five,’ choreographed by Monica Bonvicini, which debuted at Herkulesaal in Munich in 2016 as part of the context of Myth, Music, and Electricity. ‘In My Hand’ portrays the firm grasp of female hands upon a belt that is folded in half, poised as if in preparation for a forceful motion. However, this potentially violent action is captured in a state of suspension, frozen before it can fully materialise.
Chicago’s rosy, subtle ‘Mortality in Glass’ constitutes a segment within the broader collection named ’The End: Contemplation of Death and Extinction.’ Created between 2012 and 2018, this series delves into the themes of mortality, the artist’s own confrontation with life’s, and the heartrending ongoing extinction of various species. The relevant work portrays the artist in a state of tranquil repose upon her deathbed. Chicago masterfully shaped this self-portrait using a cast derived directly from her own facial features and hands. With her head resting on a pillow, eyes gently closed, and hands emerging gracefully from a shroud while clasping a bunch of lilies. Also, Hans Op de Beek, who is usually created still lifes this time presents. ‘Frozen Vanitas’ presents a tableau of objects within this frozen landscape, rendered in transparent, sand-blasted glass, assuming the visual attributes of ice. The title hints at the potential for dissolution, evanescence, and disappearance, prompting us to contemplate the profound temporality and inherent impermanence of life.
The State Gallery of Art in Sopot also showcases two Poles – Maurycy Gomulicki with his ‘Glass Vipers’ and Xawery Wolski with ‘Pulpo.’ They both worked with glass for the first time and created animalistic pieces referring to nature. Wolski’s work was inspired by the watery landscape of the lagoon.
In Sopot, the curators weave the artists’ works into a rich tapestry, using different narratives and techniques to provide a language that unveils the future that for sure can help an attentive observer more deeply understand the reality of one’s daily live. The exhibition is accompanied by an art catalog as well as an educational and promotional programme. The exhibition is on view until the 22nd of October. Save the date!
Glasstress Sopot, Unveiled Realities
International exhibition from Murano
State Gallery of Art in Sopot
8.07.2023 – 22.10.2023
Curators: Adriano Berengo, Eulalia Domanowska, Koen Vanmechelen
Cooperation: Adriano Berengo Studio, Koen Vanmechelen, Adam Mickiewicz Institute, Leto Gallery, and Civici Museum.
