Imagine walking into a new space: an airport, a museum, a cinema, or even just a waiting room. Before any words are spoken, it’s visual design that speaks first—it points the way, guides, welcomes. It helps us understand where we are, what to do, and how to move through the space. 
In each of these environments, graphic design is a silent form of communication that works to ease the experience. The contexts may change, but the principle stays the same: design simplifies and connects.

This article explores that very idea: graphic design as a practice of listening, translating, and adapting—making things clearer and more suitable for the people who use them.

Imagine walking into a new space: an airport, a museum, a cinema, or even just a waiting room. Before any words are spoken, it’s visual design that speaks first—it points the way, guides, welcomes. It helps us understand where we are, what to do, and how to move through the space. 
In each of these environments, graphic design is a silent form of communication that works to ease the experience. The contexts may change, but the principle stays the same: design simplifies and connects.
This article explores that very idea: graphic design as a practice of listening, translating, and adapting—making things clearer and more suitable for the people who use them.

“Beauty is not what is beautiful, but what people like.”

This simple, popular saying captures a powerful idea: beauty is subjective. And here lies one of the great ambiguities surrounding graphic design—especially when it is reduced to a purely aesthetic exercise. 
Graphic design is, first and foremost, a functional tool. It supports comprehension, wayfinding, and access to information. This doesn't devalue experimentation (what I like to call “design for designers”) or its more expressive, artistic side. But that's a different field. Here, we want to talk about useful design—the kind that helps us when we’re navigating unfamiliar spaces and, without needing words, clearly shows us where to go, what to do, and who we’re engaging with.

Design as a Practice of Listening 

Being a graphic designer today means listening, translating, adapting, and facilitating.
Listening is the first step in any project.
Whether it’s literal—hearing the voice of a client, a community, or a specific audience—or more intuitive, it remains a moment where the “outside world” expresses needs and seeks meaning.
The designer has both the privilege and responsibility of acting as a mediator between needs and solutions—turning raw insights into potentially universal forms. 

This is where translation comes in: a delicate act, balanced between reason and sensitivity.
Translating content into visual form requires a balance between collective knowledge (shared symbols, visual language, semiotics) and personal intuition. I see green—I think of nature. But maybe, to represent nature today, I need to tap into new imagery, cross-pollinated with other worlds. Designers observe everything, constantly. Often, the best answers come from elsewhere. 

Once the right form is found, it must be adaptable—able to function across different contexts.
An effective visual identity doesn’t live on a blank page alone. It needs to work across channels, media, and existing spaces—from an Instagram feed to a booth wall, from a website to a paper bag.

Good design doesn’t impose itself—it engages with what’s already there. This doesn’t mean innovation from scratch isn’t possible. On the contrary: today, more than ever, there’s room to rethink everything—breaking down outdated visual hierarchies and redefining formats and approaches.

And this brings us to facilitation. 
Facilitating means rethinking systems—designing based on real, inclusive, and current needs.
Sometimes it means removing, simplifying, making space.
Because when we truly begin to consider the needs of more people, we realize that design must operate on multiple levels.

Accessibility isn’t just a technical issue—it’s a political, social, and cultural act.
To facilitate is to enable independence.
Only when people are free to understand, choose, move, and participate can new ideas, actions, and opportunities emerge.

That’s how we begin designing spaces—visual and otherwise—that don’t exclude.
Spaces where everyone can feel like a part of something, not just an observer. 

“Accessibility is about removing barriers (cognitive, cultural, economic, sensory, motor, representational, etc.) in order to make participation possible for as many people as possible.”
 — Maria Chiara Ciaccheri

Designing for accessibility means starting off on the right foot.
It means anchoring your thinking in listening—from the earliest stages—and considering a wide range of needs, many of them often invisible.

If we paused to reflect on the barriers faced by those with a high level of mismatch—a misalignment between a person’s abilities and the demands of an environment—we’d realize that no one is truly exempt.

Whether someone has a permanent disability (missing an arm), a temporary one (a broken arm), or a situational one (carrying a child), the needs converge. 

— Inclusive, A Microsoft Design Toolkit

That’s why designing for accessibility isn’t just an ethical gesture—it’s a smart choice.
One person’s need can become a benefit for many, and a good project is one that makes life easier for everyone. 

In graphic design, the examples are practical and everyday:
The right contrast between text and background, or the choice of a typeface for a 300-page book.
Minor details? Perhaps. But they make the difference between comfortably finishing a text—or giving up halfway.

And everyone benefits from these choices.

Designing for Accessibility: Where to Start 

When it’s hard to imagine the full range of diversity—or we don’t have a way to directly involve people in the design process—we can still make conscious choices.
There are tools and guidelines that help us design with greater awareness, avoiding improvisation while keeping visual quality high.


Here are some useful starting points:

- Cards for Humanity: An online tool offering diverse personas (abilities, age, gender, context).
 Helpful for simulating use scenarios and identifying design barriers. 

Key Guidelines:
- For digital content:  WCAG (Web Content Accessibility Guidelines) – the global standard for web accessibility. 
- For physical and environmental graphics:  Documents like those from the Canadian Museum for Human Rights offer valuable insights for exhibition spaces and printed materials. 

Quick-Check Tools: 
- Contrast Checker: it verifies text readability against background color.
- Tipometria: it calculates the optimal ratio between font size and line spacing.

At first, these rules may seem like they limit creativity. But over time, they become a valuable toolkit—allowing you to innovate with clear intent and build solid, readable, and adaptable projects without sacrificing visual identity.

ART IS IN THE PROCESS 

A great example of a visual system designed to be clear, coherent, and versatile is the 2023 rebranding of We Exhibit. 

The identity was redesigned to more accurately represent WEEX’s evolution and values: openness, collaboration, and transparency.
The new logo retains the “We Ex” acronym inside an open frame—evoking both a picture frame and the floor plan of an exhibition space. 

We Exhibit Rebranding.mp4

Visual choices—from color palette to typography—were carefully crafted to ensure legibility, balance, and recognizability in a variety of contexts.
The system naturally adapts to new applications while staying consistent and true to its identity—such as in the sub-brand created for the Training Series.
This project shows how accessibility can serve as a guiding principle for identity—without sacrificing personality or distinctiveness. 

Because in the end, graphic design is not just what you see.
It’s what enables you to see, to understand, to navigate, and to feel included. 
In an increasingly complex world, designing with care and responsibility means building bridges between people and closing distances—making encounters possible. 
That’s the challenge for designers today. 

Francesca Martini - Graphic Designer 

Graphic Design, Accessibility, and Listening: The Responsibility of Visual Communication

To celebrate the 10th anniversary of the Venice International Performance Art Week, we presented the collective performance opera Under Scars at Palazzo Mora, the historical premises of the European Cultural Centre in Venice, on Saturday, December 17, at 7:00 pm (admission free). Under Scars was envisioned and devised by the artist duos VestAndPage (Verena Stenke & Andrea Pagnes) and Andrigo & Aliprandi in collaboration with Irina Baldini, Sabrina Bellenzier, Giorgia de Santi, daz disley, Nicola Fornoni, Marisa Garreffa, Fenia Kotsopoulou, Ash McNaughton, Aisha Pagnes, Enok Ripley, Sara Simeoni, Mauro Sambo, Joseph Morgan Schofield, Marcel Sparmann and Emily Welther.

The experience of the collective performance opera Body Matters: Anam Cara – Dwelling Bodies in 2018 made us imagine a radically different direction for the Venice International Performance Art Week. We realised that the production of collective performance operas should be nurtured by artists-in-residences that provide time and space for the needed intensive co-creation processes. Under Scars grew from this insight as a collective performance opera and work-in-progress. It developed from Body Matters: Co-Creation Residency, a shared artistic research and a co-creative path undertaken by 15 performance and sound artists organised in June 2023 at C32 performing arts workspace in Forte Marghera (Venice).

Under Scars is a gathering of experienced artists and performers who challenge their practice to attempt novel perspectives on art and society. It is a collective work that gravitates around the themes of disability, severe diseases, addiction, patriarchy, capitalism, abuse and discrimination. The wounds and stigma they cause are dealt with poetically through performance actions and art making rituals of kinship and togetherness. On this occasion, Palazzo Mora’s main hall and six adjacent rooms transform into a dwelling site of interconnected performance installations, where temporary, intensive co-creation processes aim to reveal the qualities of existence. The hosting space functions as a social-narrative incubator wherein performance methods are intertwined for coagulating inclusive and expansive life stories. The collaborative performance unfolds as it builds on sustained encounters of different artistic research combined with performative practices. As the title suggests, the artists now gather to unveil precious experiences of vulnerabilities, hesitations, fragilities, hopes, the unspoken they carry under their cicatrices, and wounds healed by performing. Memories and experiential transformation processes entwine and collide to respond poetically to present emergencies.

Young performance artist Nicola Fornoni has a core role in the performance opera, alongside artists and performers who supported the ten years of activities of the Venice International Performance Art Week to today or have previously collaborated with us. Passion, creativity and enthusiasm are the primary resources that allow us to perform and experiment. All of us participating artists are producers of ourselves. We have reconstituted a cluster of performers who offer live art to create reflection and dialogue on the present urgencies and emergencies. Over the past five months, developing a sense of community and belonging, we have been working together to assemble the performance opera, aware of its complexity and duration of almost three hours.

After six successful editions of the Venice International Performance Art Week, seven Summer Classes of its educational program, and the two-year interruption due to the pandemic, Under Scars is now an opportunity to understand today’s audience for performance art in Venice. Finally, it also signifies returning to my origins in social theatre and applied drama. That is, I envision this work as a form of collective care.

We Exhibit for The Venice International Performance Art Week 2022

Sharing what we have learned, telling behind-the-scenes stories, and the reasons behind display and design choices: welcome to our magazine. The articles we propose are a way to develop a more attentive, critical, but also curious gaze that begins  with the reflections of those who work at We Exhibit, and other professionals and experts we esteem.

Our articles are a way to develop a more attentive, critical and curious gaze that begins with the reflections of our team, and other professionals and experts we esteem. 

Magazine | Exhibit Design | We Exhibit

Anyone who has visited the Biennale di Venezia at least once knows: it's an all-encompassing experience. Stimulating, intense, at times even challenging. With so many pavilions, installations and a packed calendar of events, there are endless stimuli, making it difficult to find your way around.

In this context, the quality of the visit depends not only on what is shown, but above all on how these contents are perceived and experienced. In a setting brimming with input, balancing a visit between curiosity to learn and your own physical and mental needs becomes fundamental.

In this guide we share ten pavilions we have had the pleasure to produce for the 2025 edition of the Biennale, within the Arsenale exhibition area. 
After exploring the entire exhibition ourselves, we’re offering a path made of different languages, moods and stories to accompany you in a more mindful visit. It’s a way of reading—and experiencing—the exhibition that puts people and their perceptions and needs first, and we hope it will help you design a balanced route for your own visit.

Kosovo Pavilion – “Sensing” the Future

The visit inside the Kosovo Pavilion begins with the body. Here, you don’t just look: you walk, breathe, and smell. The sense of smell becomes your guide, leading you through a suspended installation made up of a system of pipes that diffuse scents evoking seasons, soil, and presence.

In an age where nature’s cycles are increasingly unpredictable and data is no longer enough, this project proposes an alternative archive: a sensory database made of fragrances, tactile sensations, and silences. Visitors are invited to slow down, tune in to their surroundings, and read the landscape through the senses.

Kosovo Pavilion, Biennale Architettura 2025

Morocco Pavilion – Touching Time

Another project that stimulates the senses is the Morocco Pavilion.
Here, tradition and innovation meet in a virtuous dialogue: the project explores how ancient building techniques can intertwine with contemporary digital technologies, redefining the concept of collective intelligence within the architectural process.

The Pavilion offers an individual experience. Visitors are invited, by the layout of the installation, to create their own route, winding their way among the many columns that delineate rather narrow paths—a maze of surfaces to brush against, textures to explore, and digital projections that bring ancestral gestures, tools, and rituals to life.

The narrative becomes even more engaging thanks to holograms that give voice and body to two Moroccan artisans—silent protagonists of a rich shared technical and cultural heritage.

Morocco Pavilion, Biennale Architettura 2025

Mexico Pavilion – Scents, Fragrances and Connections

In the Mexico Pavilion too, it is the body that guides the visit.
Visitors are welcomed into a landscape to be crossed slowly: one walks along the edges of small cultivated islands—the chinampas—immersed in a lively but enclosed environment.

The project tells of nature's cycles, biodiversity and resilience, but above all offers the opportunity to slow down, leaving space for a deeper and more attentive perception. It feels like being in an intimate garden, where time stretches and senses awaken: the air feels dense, greenery envelops you, as humidity and the scent of vegetation stimulate your sense of smell.

Around the installation, resting areas and shaded zones offer space for decompression, where the body can stop, breathe, and recharge, transforming the visit into a genuine moment of connection with the environment.

Mexico Pavilion, Biennale Architettura 2025

Oman Pavilion – Welcoming Spaces

The Oman Pavilion offers a visiting experience that is open and without boundaries: there are no doors, no fixed routes. The space opens in every direction, giving visitors complete freedom to come in, pause, or move as they wish.

At the centre stands an installation accessible from all sides, surrounded by benches that encourage visitors to pause and share a moment. Made from perforated aluminium echoing traditional Omani motifs, the project unites cultural roots and modernity, transforming the space into a civic arena where stopping isn’t just a break but becomes an essential part of the experience.

The inspiration comes from “sablat”, traditional Omani home areas dedicated to hospitality and family and community gatherings, offering an experience that values sociality and connection between people.

Oman Pavilion, Biennale Architettura 2025

China Pavilion – Coexisting with the Senses

The China Pavilion welcomes visitors with an expansive set-up designed to offer full freedom of exploration.
The open layout invites you to create your own path through a sequence of installations alternating visual and sound stimuli.

The entrance surprises with a sparkling, evocative structure that introduces the theme of cultural coexistence forming the Pavilion’s basis.
Walking through immersive environments and enveloping sounds, the visit becomes a sensory experience thanks to interaction with installations that speak different languages.

China Pavilion, Biennale Architettura 2025

Uzbekistan Pavilion – Traces of Memory

In the Uzbekistan Pavilion, too, the experience is open and unstructured: inside the exhibition space, visitors are free to choose where to start and how to move. Most works are visible from every angle, leaving room for personal curiosity and spontaneous interaction.

The exhibition brings together original fragments of the structure, reinterpreted architectural elements, and custom-made objects which find new meaning thanks to the arrangement and atmosphere of the place. The project pays homage to the Sun Institute of Material Science, one of the world’s largest solar furnaces, built in 1987 for military and scientific purposes.

Reinterpreted through the language of art and architecture, this symbol today becomes a message of sustainability and culture, inviting visitors to reflect on traces of the past and possible futures.


Uzbekistan Pavilion, Biennale Architettura 2025

Turkey Pavilion & Philippines Pavilion – Listening to the Earth

If you're looking for a place to slow down and immerse yourself in a space for deep listening, the Turkey Pavilion welcomes you with an intimate and enveloping atmosphere.
At its heart, a large installation invites you to pause, while listening stations create moments of silence and contemplation, far from the hectic pace of the external route.

For this edition of Biennale Architettura, Turkey is proposing a multi-layered experience exploring earth through sensory, scientific and artistic languages, inviting you to rediscover, reinterpret and imagine this essential element from many perspectives.

Turkey Pavilion, Biennale Architettura 2025

The Philippines Pavilion also invites careful listening and a deeper understanding by reading the soil. Here, the soil is recognised as a living and powerful element, capable of reshaping aspirations and architectural solutions.

Dedicated listening stations and captions accompany your visit, guiding you on a sensory journey that awakens awareness of the deep bond between land, culture and architecture.

Philippines Pavilion, Biennale Architettura 2025

Chile Pavilion – Silence in the Dark

If you arrive at the Chile Pavilion after having walked outdoors, often under the hot sun and through the pavilion crowds, you are greeted by a completely different atmosphere.
You enter a space wrapped in total darkness, immediately inviting you to recalibrate your gaze and rest your eyes. A gentle green light accompanies the path, guiding you without ever forcing.

The project stages the value of the round table—a symbol of dialogue and political debate, central to participatory environmental processes in Chile.
Through light and the organisation of space, it explores tensions between technology and territory, between State and community, and between artificial intelligence and the material bodies that sustain it, inviting visitors to listen attentively and mindfully.

Chile Pavilion, Biennale Architettura 2025

Saudi Arabia Pavilion – Light and Calm

After visiting pavilions wrapped in dark atmospheres and subdued lighting, the Saudi Arabia Pavilion greets you with a bright, light-coloured environment that gently wakes up your sight. Here, the soft, diffused light encourages a slower pace and surrender to a calming experience.

Inside, a labyrinth of embracing corridors is created by walls of stretched fabric covering a structure; the surfaces, adorned with embroidered detail, draw your eye and invite close observation. Every element of the project is an invitation to discover, transforming the route into a visually rich journey full of meaning.

The pavilion offers a deep reflection on the human impact on the spaces we inhabit and the evolution of cities, inviting visitors to imagine a future where architecture and nature interweave harmoniously. An open and inclusive dialogue that goes beyond borders and cultures, tracing new paths for a sustainable and shared urban ecosystem.

Saudi Arabia Pavilion, Biennale Architettura 2025

To further improve your visit experience, here are some practical tips:

~ Outdoor exhibition spaces: During your Biennale visit, you may find yourself walking through uncovered areas. Be prepared for sunny, hot days, as well as for rainy spells.

~ Long walks: Visiting all the exhibition spaces will take many hours. Some areas may lack seating or rest areas, so you might find yourself walking for a long time during your visit.

~ Comfort while visiting: In some exhibition areas, there are gravel paths which may not be suitable for all types of footwear. Wearing uncomfortable shoes could negatively affect your experience.

~ Charging stations: As there are no dedicated charging areas, we recommend bringing a power bank so you can enjoy your visit and take as many photos as you like.

~ Beyond Giardini and Arsenale: Many National Pavilions and other collateral events are housed in magnificent historic buildings outside the main areas. Take the time to explore them as you discover the city’s history.

~ Entering the City of Venice: To visit the historic city centre, booking and payment of the Access Contribution is required, with some exceptions.

Check online for dates and visitor information.

We hope your visit to Venice will be unforgettable.
If you visit the projects, don’t forget to tag us using the hashtag: #ArtIsInTheProcess.

10 pavilions to experience and understand
– Biennale Architettura Venezia 2025

Ten years of projects, exhibitions, collaborations, and shared adventures. A journey built with dedication, professionalism, and constant growth—both personal and professional—that we have chosen to tell through the voices of those who, every day, bring energy and value to our organization: our team.

Six voices, six different perspectives, that together convey the soul of We Exhibit. Their experiences—diverse yet complementary—intertwine like threads of a single fabric, weaving a story of challenges faced, goals achieved, and transformations that, step by step, have helped people grow and, along with them, the company itself.

Looking back, which project do you feel has most contributed to your professional growth at We Exhibit?

Diletta Tubini – Hospitality and Events Manager 

"The project ‘Querini on Board’ confronted me with a series of completely new challenges. For the first time, I followed a project through every phase, from the initial concept to the final reporting. During the development weeks, I worked closely with the Exhibit Design and Creative teams, gaining a broader and deeper understanding of the entire process. 

In this project, I also took on the role of Project Manager for content production and development—an experience that allowed me to challenge myself on many different levels.

The moment I truly realized the change was when I saw the event come to life: it was the confirmation of the journey I had taken. I am particularly proud of ‘Querini on Board’ because, although it was conceived and carried out in a very short time, it brought immense satisfaction not only on a personal level, but also for the social value it held for all the people who took part in it."

Francesca Martini – Graphic Designer

"I realized I had grown professionally with my very first project for We Exhibit: the reinstallation of the permanent collection at the Museum of Science and Archaeology in Rovereto. I worked on the visual identity of the reinstallation, which has been ongoing since 2021, and my first assignment was the setup of the Botany section. To create an immersive space, I proposed a wallpaper featuring large botanical illustrations.
I was thrilled with the designs, but the real challenge was preparing the production files for the four-meter-high walls."

"I had never worked with prints of this scale before, and making sure each illustration was perfect was quite a challenge. In the end, though, the result was approved by everyone involved (and by the visitors, too!)."

Renovated Planetarium building at Fondazione Musei Civici Rovereto © Fondazione Musei Civici Rovereto

Valentina Chiesi – Head of Exhibition Design

"A Storm is Blowing from Paradise by Oscar Murillo at the Scuola Grande della Misericordia in 2022. I joined the project relatively late. I had to support my colleague Laura, who was managing it while on vacation.
The exhibition was set to open in early September, it was already the end of July, and we had to find a way to hang about fifty enormous canvases in the vast and stunning space of the Scuola Grande della Misericordia—while facing all the challenges that only a Venetian location can bring. It seemed like an impossible task, with August just around the corner and no engineered system in place. 

I’m not entirely sure how it happened, but in the end we made it. It was a perfect team effort, both internally and with our external collaborators. My colleague and I had scheduled every single detail of the setup—the interior spaces, logistics, hour-by-hour phases. The installation was massive, and we had only six days.

Like a perfectly choreographed dance, everything moved into place and the exhibition began to take shape. When, at 10 p.m., the last boat carrying materials left the site, we were exhausted but filled with excitement. We treated ourselves to a Margarita at the Mexican restaurant to celebrate a milestone that had once seemed impossible—but that we achieved together!"

When, at 10 p.m., the last boat carrying materials left the site, we were exhausted but full of excitement.

A Storm is Blowing from Paradise, 2022 © Oscar Murillo

Tommaso Sartori – AVL Specialist 

"A Storm is Blowing from Paradise was the first truly complex (let’s say vaguely colossal) project in which I independently handled all the different AVL aspects—from designing an 8x8m cube with immersive and interactive projections inside, to coordinating the various opening and closing events that included live music, talks, a runway show, and some very well-received open bars. 

Everything was built (and later dismantled) within extremely tight deadlines, and coordination across all components of the installation was crucial—both among We Exhibit’s internal resources and with the many external suppliers involved.

I was extremely satisfied with my work, and it was a real pleasure to receive the appreciation of the artist and his team, as well as to have the chance to meet so many people—ranging from highly efficient local electricians to wonderfully fun Colombian musicians."

Maria Bagnara – Project Manager

"Working on the production of the exhibition catalog for the Saudi Arabia Pavilion at the 18th International Architecture Exhibition – La Biennale di Venezia was a particularly challenging experience. For the first time, I had the opportunity to contribute to the editorial development of a bilingual publication (Arabic and English) with international authors.

I had to quickly learn how to manage the complexity of coordinating curatorial content, graphic design, bilingual reviews, and the logistics of printing and distribution. Much of the work took place ‘on the ground,’ learning day by day how to find concrete solutions.

This project allowed me to explore the publishing sector while also drawing on my expertise as an Arabist. Collaborating with curators, designers, translators, publishers, and institutional representatives required active listening and mediation skills that, in this case, emerged with particular awareness and determination.

The greatest satisfaction was contributing to the publication of a catalog capable of reflecting the depth of the research and the curatorial concept of Irth. Following the entire production process enriched my journey with a meaningful experience that brought together many of the skills I wish to continue developing: project management, editorial sensitivity, and the ability to work in complex and international contexts."

IRTH إرث exhibition catalogue, 2023, @ Alvise Busetto

Cecilia De Gasperi – Head of Communication

"The project that contributed most to my professional and personal growth has been managing the company’s communication. At We Exhibit, communication was originally handled spontaneously by colleagues who had a natural inclination toward the visual and social media world. Thanks to the significant contribution of a former colleague, we launched, in this order, a Facebook page, a website, and an Instagram account.
My involvement in company communication began in September 2019, simply because I couldn’t say “no.”

Communication relies on medium- and long-term planning, targets a specific audience, speaks about mission and vision with an agreed tone of voice, and develops within a strategy with clear objectives. I learned all of this by taking short online courses, because I must admit that spontaneous management is not exactly my strong suit. I studied our competitors and analyzed how they communicate, and then explored benchmark companies for inspiration.

I started with no specific skills, learning by doing, but I could never have imagined that one day I would found the Communication Area—if I hadn’t genuinely and deeply believed in the content I was conveying.

I created creative and technical briefs, coordinated photographers and videographers, learning from their perspective. I managed a company rebranding, coordinating a web design studio and a web developer to translate the founders’ ideas into a tangible and shared form on the new platform. I collaborated with an advisor, supported the creation of SMART goals, developed buyer personas more aligned with our new target, and consolidated a communication strategy. I started alone; now we are three, creating, planning, and managing content together."

"Talking about We Exhibit means talking about us, about me, about shared and not-to-be-taken-for-granted values, about a team I believe in and deeply respect. [...] I could have never imagined founding, one day, the Communication Area if I hadn’t sincerely and profoundly believed in the content I was conveying."

Product photo shooting, 2024 @ Alvise Busetto

Looking ahead, in terms of your ambitions and interests, who would you like to collaborate with through We Exhibit?

Diletta: "To continue my growth within We Exhibit, I would love to work on projects that have a tangible impact on local communities, such as those related to museums. I believe in their role as guardians of stories and identities, and in their ability to create connections through permanent collections reinterpreted in a contemporary way, as well as temporary exhibitions that allow people to rediscover their cultural heritage.

At the same time, I would like to further develop my path as a Project Manager, getting closer to the Hispanic world. I feel a special connection with this culture, which resonates with me in a unique way, and I would love to work with artists or institutions representing its diverse facets. Contributing to projects that combine these two aspects would be a significant growth opportunity for me, both professionally and personally."

Valentina: "Choosing is never easy, but at the moment I’m thinking Desert X AlUla! After experiencing the Islamic Arts Biennale in Jeddah, I had the chance to immerse myself in the vibrant and dynamic art scene of Saudi Arabia. Working on an international project, in such a vast and fascinating landscape like the desert, is an exhilarating challenge." 

Francesca: "Civic museums in Florence—because they are incredible places but terribly presented." 

Maria: "I would love to work with Sadik Kwaish Alfraji, an Iraqi artist."

Tommaso: "Any project involving cutting-edge AVL technologies excites me, because it allows me to explore new hardware and software solutions. In particular, I would like to work on more 'live' situations rather than purely installation-based ones. I must admit I am often more passionate about the process—from design to fine-tuning—than the final effect itself, and I see 'live' experiences as a form of continuous creation."

Cecilia: "I would love to collaborate with the fashion world and support brands in their artistic missions. There are many brands I admire (the Prada Group, Bottega Veneta, Ann Demeulemeester, Acne Studios, and recently, with the launch of Glen Martens’ '2 – Intangible Products' line, also Maison Margiela…) that already leverage the synergy between art and their audience to create culturally and artistically significant projects."

Le Litanie della Vergine, backstage, 2025 @ Alvise Busetto

These are just some of the stories that bring our company to life, and we are ready—and excited—to share many more in our future content. 
To explore and discover all our projects, we invite you to browse our website and follow our stories on social media.

The We Exhibit Team

Ten years of We Exhibit: our team’s voice

On the occasion of our tenth anniversary, we want to share one of the most meaningful and inspiring collaborations we have had the privilege to cultivate over time: the one with the Venice International Performance Art Week, an original and visionary project created by VestAndPage, the artistic duo composed of Andrea Pagnes and Verena Stenke.


Since 2012, this event has been an international reference point for performance art, offering an independent and deeply aware space dedicated to unconventional artistic practices and reflections on the social and political urgencies of our time.

At We Exhibit, we have had – and continue to have – the opportunity to support VestAndPage in the realization of this project, actively contributing to the event's production. 
It’s a story of collaboration and mutual growth that we want to recall through the voices of those who lived it – theirs and ours – to share not only a creative experience but also the deep human bond behind the organization of a live event born as a collective act.

How did the Venice International Performance Art Week project originate? 

Andrea Pagnes – VestAndPage: 'At the beginning of 2012, thanks to mutual acquaintances, I met Rene Rietmeyer, who had recently moved to Venice with the Global Art Affairs Foundation. Knowing that we mainly operated in performance art and Live Art, he proposed using one of his locations – Palazzo Bembo – to create an event dedicated to these practices.

The only conditions? That it would have an international scope, involve the city, attract media attention, and be successful. And so it was.

In 2014, Rietmeyer offered us another of his venues, Palazzo Mora: architecturally more suitable to our vision of a performative event, combining a live performance program and a documentary exhibition hosting both established and emerging performers selected based on their ethical adherence to the concept of each edition, always focused on contemporary social and political urgencies.

How did the collaboration with We Exhibit begin? 

AP – VestAndPage: The collaboration with Davide, Giovanni, and Nicolas started in 2012. 
At that time, they were not yet We Exhibit but part of the Global Art Affairs Foundation team. 
They immediately became like blood to me: professional, capable, passionate, friendly.
I think it was mutual, even for Verena.
Thanks to them, we also established professional and personal bonds with others who later joined We Exhibit, such as Giorgi De Santi and Arianna Grosso. 

Giovanni Dantomio – We Exhibit: In 2012, We Exhibit didn’t exist yet. It was just me, Davide, and Nicolas at Palazzo Bembo. 
During the summer, we met Andrea and Verena, who introduced us to the project: Jan Fabre, Marina Abramović, Yoko Ono...
We couldn’t wait to collaborate with artists who had made – and continue to make – art history.
After the Architecture Biennale, we had technology and space available.
It felt natural to put them at the service of this project.
At the opening, the palace was literally packed. That night, we realized we were part of something extraordinary.
That evening, Andrea pulled me aside – actually, lifted me up! – and said: "Whatever I do in Venice, I want to do it with you."
And so it has been.

Cecilia De Gasperi – We Exhibit: In 2016, I participated as a volunteer for the Venice International Performance Art Week, Fragile Body – Material Body edition. 
After introductions to the curators and the space, each volunteer was assigned two artists to assist, from their arrival at the airport to supporting their performances during scheduled days. One of our duties was helping artists locally source the materials needed for their performances, with support from the We Exhibit team.

What does working behind the scenes of a live performance event mean? 
What part excites you the most?


GD – We Exhibit:
The most exciting part, especially at the Venice International Performance Art Week, is being part of a large international family that participates in performance events around the world, sharing research, workshops, and residencies.
Personally, I really enjoy attending performance rehearsals and sensing the emotions the palace transmits to the artists.
We may be used to it, but bringing these artistic practices into a Venetian baroque palace is certainly not an everyday occurrence. 

How does the We Exhibit team support the development and realization of the artistic concept in each edition? 

AP – VestAndPage:
Without We Exhibit, the Venice International Performance Art Week wouldn’t exist.
It’s the philosophy of teamwork and dedication to the cause that has allowed it to grow and endure over time, remaining an artist-run, zero-cost project.
What Verena and I imagine, what the artists require, We Exhibit brings to life.
Giovanni, Davide, Nicola, Cecilia, Tommaso, Aldo Aliprandi (himself an artist and performer), and the entire past and present team give us security and peace of mind, especially because we have very little time to set up the event each year – barely a week.
I must also mention the support of the European Cultural Centre team, who manages Palazzo Mora.
It is a horizontal collaboration on multiple fronts that makes each edition possible: teamwork is the password.

A particularly successful collaboration or a moment that remains closest to your heart?


AP – VestAndPage: Each edition has had special moments, from complex scenic installations like Martin Renteria’s, to Yoko Ono’s The Hole, and the video installations curated by Giovanni and Tommaso.
If I think about what stays most in my heart, I would mention two 'collective performance-operas': Anam Cara: Dwelling Body (2018) and UnderScars (2022).
Perhaps because Verena and I conceived and personally performed them, alongside our closest collaborator-performers, like Marianna Andrigo and Aldo Aliprandi (whose association Live Arts Cultures is also crucial to the event’s realization).

Venice International Performance Art Week 2022, VestAndPage, UnderScars, Photograph by © Alexander Harbaugh

What skills are needed to realize a live performance project? 

GD – We Exhibit: Many of the necessary skills are already present in the team.
But performance always challenges you: it asks you to work with unusual materials – ice, rolls of grass, bathtubs, broken glass...
And then there’s the live factor: nothing is perfect, everything can change.
You need nerves of steel to react instantly. THE SHOW MUST GO ON!


A performance that particularly tested you? 

GD – We Exhibit: Usually, performance requests are manageable, but perhaps the most complex was Enrique Jezik’s in 2014: we sourced a metal plate, four iron cutters, and piezo microphones.
Or the room dedicated to In Defense of Nature by Joseph Beuys, where we recreated a small park with real trees.
We designed a system to use the minimal amount of soil necessary, so as not to overload the floor.

Venice International Performance Art Week 2014, Joseph Beuys, In difesa della Natura. Photograph by © Samanta Cinquini.

CDG – We Exhibit:
One of the artists I was assisting as a volunteer, Alexandros Plomaritis, needed a black rotating circular pedestal and countless mirror fragments.
We Exhibit provided about ten sheets of 5mm-thick mirrored plexiglass.
With other volunteers, equipped with gloves, we spent days manually breaking them with pliers, attaching double-sided tape to each fragment.

Venice International Performance Art Week 2016, Alexandros Plomaritis, self-reflectio. Photograph by © Lorenza Cini

The task became so mechanical that after a while, I retreated to a corner and started singing to pass the time.
There was a surreal feeling in the contrast between my singing and what we were doing. I think somewhere there are still videos trapped in some iPhone.

What aspects do you most appreciate about the collaboration with We Exhibit? 
Is there any particular element you consider fundamental in our working approach?

AP – VestAndPage: Knowing that we can count on We Exhibit is a gift.
Our bond has strengthened over time because we share deep values.
Empathy is fundamental.

If you had to describe We Exhibit in one word, what would it be and why? 

AP – VestAndPage:
Efficient problem-solving. The We Exhibit team knows how to analyze complex contemporary art situations in real time, always finding the most effective solution.

And the Venice International Performance Art Week in one word?

GD – We Exhibit: Blood.
Because Andrea Pagnes writes his letters in blood, tracing words that are not just ink but living flesh, memory, existence.
And because I would personally give my own blood to continue organizing this event: a necessary, vital act that pulses with the rhythm of the most authentic art, electrifying the city.
The Venice International Performance Art Week is not something you observe; it is something you live – in your body, in your soul, in your blood.


CDG – We Exhibit: I would say Humanity. Because it’s the deepest value Andrea and Verena transmit. The connection and complicity among all the people involved arise only when you build something together based on shared values. 
The need to feel human again, to explore oneself as a human being.
The desire to bring the perception of one’s own experience and share it, adding a piece to the collective story of each of us.

Venice International Performance Art Week 2024, Photograph by © Alexander Harbaugh, European Cultural Centre (ECC) - Palazzo Mora, Venice, Italy

A moment from past editions of the Venice International Performance Art Week that stays in your heart, before experiencing new ones in the upcoming edition? 

AP – VestAndPage: There are so many every year, but one I will carry with me forever is when Giovanni, in 2014, at the farewell dinner in the house he shared with Davide (who was sick in bed that evening), started singing I Will Survive by Gloria Gaynor at the top of his lungs.
Meanwhile, Davide was faintly pleading from the next room.

GD – We Exhibit:

In 2016, during the third edition of the Venice International Performance Art Week – the one that concluded the "Body Trilogy" – we were joined by many volunteers.
On the last evening, to celebrate the end of the event, we organized a party with all the artists.
We played music, and the atmosphere was relaxed and full of enthusiasm.
At one point, someone asked me to connect a microphone to the stereo system: one of the volunteers wanted to sing a song.
I still remember the emotion of that moment, pure spontaneity, when the notes of At Last by Etta James spread a cappella through the rooms, leaving us all enchanted and deeply moved.

CDG – We Exhibit:
Franko B’s swing in the main hall of Palazzo Mora in 2016. To get on it, you had to strip completely.
I didn’t do it, and maybe it’s my only regret. But the energy of that gesture – exposing oneself vulnerably to the gaze of others, liberating oneself, living – was overwhelming.
In that context, you truly felt free.

Venice International Performance Art Week 2016, Franko B, I'm Thinking of You. Photography by © Edward Smith

We can’t wait to contribute once again to the next edition. 
While waiting to share all the details with you, we invite you to learn more about the Venice International Performance Art Week project and visit the dedicated website.

Producing Live Events: The Venice International Performance Art Week

This year marks a significant milestone for our company: ten years of activity, swiftly passed through numerous artistic productions, collaborations, and the constant pursuit of new ways to narrate culture through exhibition spaces.
Years of friendship, dedication, and, above all, growth.

We Exhibit was born from a shared vision, but above all, from a bold challenge: to create a space where design, research, and culture could intersect and transform into experiences that leave a lasting mark. It has been a journey of trials, insights, and evolution, built on the energy of those who believed in it from the very beginning and those who enriched its path along the way. Ten years of exhibitions, yes—but also of connections, ideas put to the test, sleepless nights before an opening, and the unparalleled satisfaction of seeing a concept come to life.

With this interview, we want to open an album of memories and visions: retracing the milestones that have brought us here, through the voices of those who gave We Exhibit its name, its identity, and its soul. Because our story is not just made of projects—it is, above all, made of people.

Our journey begins in Venice in 2011, within the evocative halls of Palazzo Bembo.
Nicolas arrives at the entrance and stops to chat with the ticket office attendant. At that very moment, Davide, who works in the exhibition space, rushes past. The attendant calls him back to ask how to handle the résumé Nicolas had just dropped off.
Giovanni also works in the space. By sheer coincidence, both he and Davide sit in on Nicolas’s interview—and the very next day, he begins his job at Palazzo Bembo.

From an intersection of ordinary moments, a solid reality was born—one that has grown with vision and determination. Today, we celebrate a path shaped by creativity, design, and innovation, looking to the future with the same energy as on that very first day.

What was your first thought, reaction, or feeling when you realized the company was officially registered?

Giovanni Dantomio: That day, the notary told us how great it was that we were so young and eager to build something together—but he also warned us that the hardest part would be getting along in the long run. At that moment, I realized that this seemingly simple idea of "getting along" actually held the key to success. I suppose we’re still working toward that long run.

Over the years, there have certainly been times when we agreed more and times when we agreed less. But in the end, every decision led us here because each of us, when it truly mattered, was able to set aside personal vision for the greater good of We Exhibit.

At that moment, I realized that this seemingly simple idea of "getting along" actually held the key to success.

We Exhibit: From a Request to an Opportunity

Once we moved past the initial panic, launching the company was not just an act of passion—it was a necessary choice. The drive to structure highly diverse processes effectively and the ambition to change the game by embracing a cross-disciplinary approach to design and production were the forces that led to the creation of We Exhibit.

What motivated you to found We Exhibit ten years ago? Was it a dream, an intuition, or a necessity?

Nicolas D’Oronzio: It all started with observation. It was during the preparation phase of the architecture exhibition at Palazzo Bembo in 2012. We were gathering information from exhibitors, navigating the complexities of working in Venice, and managing the setup at the exhibition venue. Communication and diplomacy were crucial to the success of the projects.

At the time, we had no structured operational framework—it was up to us to develop methodologies and procedures. It was a kind of controlled chaos. The phrase we heard most often from our supervisor was: I don’t care how you do it, just get it done. On one hand, it was stimulating; on the other, frustrating. That’s where the idea was born—to create an organization that could manage exhibition projects with care, empathy, and attention to process. Because the quality of the final outcome is always a direct result of the quality of the process that precedes it.

It was August 2012, and I was in the second-floor office at Palazzo Bembo. I remember randomly purchasing a few domain names for a future project. It took another three years to bring We Exhibit to life, and even now, there are still countless possibilities for growth.

I realized how essential it was for exhibitors to have reliable and well-prepared on-site production contacts, how high the expectations were for those bringing projects to Venice, and how complex the logistics could be for people managing everything from thousands of kilometers away.

Becoming an entrepreneur is never an easy path.
The responsibility toward the people who work with us and the fear of not being able to evolve present daily challenges.

What scared you the most, and what motivated you to keep going on this entrepreneurial journey?

Davide De Carlo: The time taken away from loved ones and self-care, the constant effort to achieve and maintain that elusive work-life balance—these are aspects that every entrepreneur, sooner or later, has to confront. And not without a fair share of inner turmoil.

Over time, these factors have carried significant weight in the balance of energy, both for me and my partners. What drives me to continue is seeing that, slowly but steadily, we are creating the conditions—both for ourselves and our collaborators—that allow everyone to find fulfillment, both in their work and beyond.

Pavilion of Mexico, Venice Arsenale, 2018

What drives me to continue is seeing that, slowly but steadily, we are creating the conditions—both for ourselves and our collaborators—that allow everyone to find fulfillment, both in their work and beyond.

If you think back to the early years of We Exhibit, what is the most significant memory you carry with you?

Nicolas D'Oronzio: The burnout I experienced in 2013. I consider it a pivotal moment because, for the first time, I had to confront my own limits and acknowledge a part of me that, for months, had been ignoring the signals from my mind and body urging me to slow down and work in a more sustainable way.

The day after the exhibition openings concluded, I remember feeling a complete physical and mental collapse—one that stayed with me for several months. It was a tough but valuable lesson for the years to come.

Ten years of work, ten years filled with projects that have brought our company into collaboration with countless people and personalities from around the world.
Each project, with its unique value, has represented not only a professional challenge but also a journey of personal and collective growth. Among them, some remain particularly vivid in our memories.

Is there a project you consider especially emblematic? What makes it special to you?

Nicolas D'Oronzio: Xu Bing’s Phoenix installation at the Gaggiandre in the Arsenale, in 2015. It was an incredibly complex project, and at the time, I had neither the experience nor the preparation for something of that scale. But that didn’t stop me. If anything, it showed me how much you can learn quickly when actively engaging with challenges and working alongside specialized professionals.

I vividly remember one particularly reckless decision—I drove all the way to Milan to pick up materials needed for suspending the sculptures. I spent at least 15 minutes on the phone with an engineer, trying to figure out how to distribute the load in my car so it wouldn’t literally break in half during the trip, given that the weight far exceeded its capacity.

Giovanni Dantomio: The Mexico Pavilion at the 2015 Biennale, with Tania Candiani and Felipe Ortega.

In December 2014, Tania saw us working at the Venice International Performance Art Week at Palazzo Mora. Knowing she had this project in the works, she simply said, "I need the guys in the red t-shirts!"

Davide De Carlo: The Teaching Tree by Muhannad Shono, for the Saudi Arabia Pavilion at the 2022 Biennale.

It was an intricate process of co-design and co-production to create a large-scale site-specific installation—one that brought together metal structures, pneumatic systems, electronic controls, palm leaves, paints, engineers, a warehouse that caught fire, instruction manuals, destruction manuals, air compressors, cables, sketches on paper, tiny wires, technical drawings, and assistants of every possible kind.

And yet, both the journey and the final result were nothing short of perfect and breathtaking.

Stories of Anecdotes and Unforgettable Moments

Over the years, we’ve had the pleasure of working with so many people—not just within our team, but also across a vast network of clients, suppliers, and collaborators.

Together, we’ve shared unforgettable experiences, tackling both triumphs and challenges with mutual understanding, camaraderie, and solidarity—always maintaining a strong team spirit.

Is there a funny anecdote or an unforgettable moment that perfectly captures the essence of these ten years?

Nicolas D'Oronzio: A photo of the three of us co-founders—back when we were just former students searching for our future. Without any particular technical expertise, we built a wooden wall meant to support a very heavy artwork. To test if it would hold, we decided to hang onto the structure ourselves, quickly calculating the sum of our weights. Of course—it held!

Giovanni Dantomio: A client once explained their project to us, and I said, "Oh, you're producing it in that region? Just be careful with the voltage—over there, it's 110V, while here we have 220V, so make sure the equipment you buy can function here as well." Naturally, everything arrived in 110V.

Davide De Carlo: What better anecdote to reflect the seafaring spirit of Venice and its logistical acrobatics than the sheer joy of regularly receiving requests for truck access to some palazzo or some courtyard? And then, of course, exchanging a knowing glance with the nearest colleague before breaking into shared laughter.

If you had to describe We Exhibit with just one word, what would it be and why?

Davide De Carlo: Complicity. The deep sense of connection within our team defines the spirit of the company. It’s a key motivational factor that pushes us to challenge ourselves and continuously improve, turning collaboration into shared energy.

Nicolas D'Oronzio: I’d say innovation is the word that best represents our company. But I’d call it a human-centered innovation—meaning that our focus isn’t just on improving a product, but rather on enhancing the interactions between all the people involved in our projects.

Giovanni Dantomio: Resourceful, because in Italian, you’d need a whole sentence to explain it properly.

Looking at yourself in the mirror today, what makes you most proud of what you’ve built?

Nicolas D'Oronzio: Seeing how this company has been able to generate projects and create both professional and personal connections among people. Witnessing how many emotions—both positive and negative—fuel the company, and realizing that it’s a living entity, constantly evolving, where people can truly find their place.

Giovanni Dantomio: The fact that our clients become true ambassadors of our approach and are our greatest advocates.

Davide De Carlo: For every wrinkle and every lost hair, I see a challenge overcome—but also a person to thank. A person who is part of a vast network of respected professionals who align with our company culture.

10 Years: A Milestone and a New Beginning

In 2024, we embarked on a project of great significance: obtaining Gender Equality Certification. This initiative represents not only a continuous investment in our own growth and education but also a tangible commitment to those who work with us and collaborate alongside us.

We firmly believe that teamwork, cohesion, and mutual respect are the foundation of a culture that values the human aspect of every individual. That’s why we are dedicated to fostering an inclusive environment where everyone has the opportunity to grow and expand their skills.

A special thank you to all the people who have shared—and continue to share—this journey with us. Thanks to the contributions of each and every one of you, we are celebrating ten years of success, ambition, and evolution, with the goal of reaching new milestones together.

Are you seeking a unique opportunity to immerse yourself in art while exploring the enchanting corners and alleys of Venice? We have 16 recommendations for you.

In this guide, we’ll take you through the projects we have produced and coordinated for the 2024 edition of the International Art Exhibition - La Biennale di Venezia, titled Stranieri Ovunque – Foreigners Everywhere, curated by Adriano Pedrosa, running until November 24.

Before we embark on this journey together, we want to ensure your visit is unforgettable by sharing some practical tips for making the most of your cultural experience.

Visiting the Biennale isn’t just about exploring a single exhibition space; it’s also about discovering the hidden corners of Venice. Many national pavilions and collateral events take place in magnificent historic buildings outside the main areas of the Arsenale and Gardens. We recommend taking the time to explore these fascinating locations, rich in history and culture, that are off the beaten path.

Be prepared to navigate open areas during your visit. Venice is an outdoor city with limited shelter from the elements, regardless of the season. You may encounter hot, sunny days as well as windy and rainy moments. The weather conditions contribute to Venice’s unique charm. When planning your visit, check the weather forecast to anticipate high tide, a fascinating phenomenon that can affect your itinerary.

Depending on the number and location of the exhibitions, your visit could take several hours. Some areas may lack seating or resting spots, so keep in mind that you might be walking for an extended period. We recommend wearing comfortable shoes to fully enjoy the experience without discomfort.

Some exhibition areas feature gravel paths and unpaved surfaces that may not be suitable for all types of footwear. Comfortable shoes will help you navigate between the various exhibition spaces and the city, which is known for its many bridges with steps.

Certain areas of Venice may not be easily accessible to all visitors, particularly those with physical disabilities or those traveling with wheelchairs or pushchairs. When planning your stay, we recommend checking the accessibility of the locations you intend to visit and preparing an itinerary that takes any potential access difficulties into account.

Venice’s numerous locations and exhibition spaces provide endless opportunities for photo shoots and video recordings. However, there are no specific charging points available. We recommend bringing a power bank or portable battery to ensure you can capture all your memories without worrying about your phone or camera battery life.

Now that we're ready, let's start our visit together. Take our map at your fingertips and let's go!

Pavilion of Saudi Arabia, Shifting Sands: A Battle Song, Biennale Arte 2024, Arsenale, Venice

Waterbus: Arsenale Stop

After a short walk to reach the entrance and time needed to capture panoramic shots, we can finally enter and start our tour with a visit to the Pavilion of Saudi Arabia and Shifting Sands: A Battle Song, a solo project by Manal AlDowayan, one of the most significant contemporary artists in the country. 
Entering the exhibition space, you will be fascinated by the imposing sculptures imitating desert roses, made of foam and raw silk, which evoke the delicacy and symbolism of the desert rose. Beyond its aesthetic beauty, the project involves the visitor with its content, which speaks of cultural transformations and the role of women in the country. Walking between one element and another, you will lose yourself in the discovery of silkscreened stories and texts that reflect the image of women through the media lens.

Open until 24 November 2024

Pavilion of Mexico, 'As we marched away, we were always coming back...', Biennale Arte 2024, Arsenale, Venice

Crossing the side entrance to the Saudi Arabia Pavilion, our visit continues with the presentation of the Pavilion of Mexico with 'As we marched away, we were always coming back...'. 
Inside the space, large screens narrate scenes of migratory life, framing a large table set with sparkling white porcelain. The colour of the objects lights up with the surrounding reflections, taking on different shades depending on the reflected image and the angle from which we observe them, underlining the opportunity to acquire experiences through interaction with different cultures. Erick Meyenberg, the main artist, invites us to reconsider migration as a constant in human experiences, revealing the importance and role of the migratory phenomenon as a source of contamination and enrichment.

Open until 24 November 2024

Pavilion of Turkey, 'Hollow and Broken: A State of the World', Biennale Arte 2024, Arsenale, Venice

Exiting the space, we head towards the building's stairs, where you can visit the Pavilion of Turkey with 'Hollow and Broken: A State of the World', an exhibition project that uses large-scale sculptural works to represent 'broken' and empty settings, symbolising a world hit by wars, migrations, environmental, and nuclear dangers. This project explores the country's complex contemporary socio-political issues through the personal and historical narratives of the artist, one of the most representative in the contemporary Greek panorama.

Open until 24 November 2024

Pavilion of Senegal, 'Bokk - Bounds', Biennale Arte 2024, Arsenale

We leave behind the Turkey Pavilion and continue our tour, starting again with the spaces on the ground floor with a visit to the Pavilion of Senegal and 'Bokk - Bounds', a solo project by artist Alioune Diagne. Through contemporary pointillism, the artist presents scenes of everyday life in the country, marked by constant migratory phenomena, also due to climate change. In the centre of the space, a large broken canoe catches the viewer's eye, inviting them to reflect on this theme, which is more relevant than ever in today's life.

Open until 24 November 2024

Pavilion of Malta, 'I WILL FOLLOW THE SHIP', Biennale Arte 2024, Arsenale, Venice

We continue towards the Pavilion of Malta with I WILL FOLLOW THE SHIP by artist Matthew Attard.
Once inside the space, you will be immersed in the discovery of large interactive panels that narrate a series of sea routes through distinctive signs. This exhibition explores the relationship between the sea and religion, offering a powerful metaphor of hope and survival. The project invites visitors to reflect on the need to reformulate the ways of acting and living together, in order to successfully navigate the uncharted waters of the information society.

Open until 24 November 2024

Pavilion of Lebanon, 'A Dance with her Myth', Biennale Arte 2024, Arsenale, Venice

Passing through Malta, we come across the Pavilion of Lebanon, where artist Mounira Al Solh with 'A Dance with her Myth' has created a suggestive exhibition space halfway between myth and reality.
Her multimedia installation combines painting, drawing, sculpture, embroidery, and video, revisiting mythological tales and offering visitors alternative perspectives on the country's history.

Open until 24 November 2024

Philippines Pavilion, 'Waiting Just Behind the Curtain of This Age', Biennale Arte 2024, Arsenale, Venice

Finally, along the same route, our tour continues with the discovery of the Philippines Pavilion. Here we find the solo project 'Waiting Just Behind the Curtain of This Age' by Filipino artist Mark Salvatus, which invites reflection on daily politics and national historical narrative. Everything takes place in a mystical atmosphere, enriched by sounds and wind instruments, with projections of forest flora on a screen.

Open until 24 November 2024

Pavilion of Uzbekistan, 'Don't Miss the Cue', Biennale Arte 2024, Arsenale, Venice

We exit the exhibition corridor and cross the gravelled outdoor spaces of the picturesque Arsenale to reach the Pavilion of Uzbekistan.
Once inside, we immerse ourselves in the evocative installation by Aziza Kadyri, which recreates the atmosphere of a backstage inspired by the Houses of Culture of 20th century Eurasia. In the darkened room, we begin to explore the theatrical setting, featuring sculptures created from sketches of traditional costumes integrated with audiovisual materials produced by the Qizlar Collective. The artist invites us to 'Don't Miss the Cue', reflecting on critical themes such as migration, decolonisation, language, social invisibility, and the relationship between tradition and technology.

Open until 24 November 2024

Pavilion of China, 'Atlas: Harmony in Diversity', Biennale Arte 2024, Arsenale, Venice

The last project you can discover at the Arsenale is 'Atlas: Harmony in Diversity' by the Pavilion of China. This exhibition invites you to collect and bring together diverse identities, races, beliefs, concepts, and cultures, creating opportunities for mutual communication and understanding.
The idea of harmony and symbiosis in Chinese culture is represented by the character “集”, which shows three birds on a tree. As a verb, “集” means to gather and bring together, while as a noun, it indicates a collection of art or knowledge. Both uses emphasise the importance of integration and dialogue, fundamental values that the China Pavilion aims to convey through this exhibition.

Open until 24 November 2024

Pavilion of Finland,'The Pleasure We Choose', Biennale Arte 2024, Giardini, Venice

We leave the Arsenale exhibition space and head towards Giardini for a visit to the Pavilion of Finland and'The Pleasure We Choose'. This project features the work of three artists: Pia Lindman, Vidha Saumya, and Jenni-Juulia Wallinheimo-Heimonen. Their works, inspired by personal experiences, explore the structural, environmental, and social imbalances of the world through various techniques and media, celebrating the pleasure of the personal sphere as a powerful means to inhabit, imagine, and reinvent plural worlds.

Open until 24 November 2024

A moment of rest, because our tour continues.

As mentioned, the Biennale is not limited to hosting exhibition projects only in the spaces of the Arsenale and Giardini. Numerous events, including national pavilions and collateral events, take place in splendid palaces and locations in the city that are normally not accessible to the public, offering a unique opportunity to discover alternative heritage, beyond the traditional "walls".
After a break (and some reading), we resume our journey to explore the projects we had the pleasure of contributing to with our services.

Pavilion of Chile, 'Cosmonación', Biennale Arte 2024, Warehouse No. 42, Naval Station, Arsenale of Venice, Fondamenta Case Nuove 2738/C, Venice

Not far from the entrance to the Arsenale space, we head towards the Arsenale Warehouses. Here we can visit the Pavilion of Chile with 'Cosmonación' by artist Valeria Montti Colque. The focal point of the exhibition is a majestic sculpture over five metres high, depicting a mountain, a symbol of a safe haven for exiled and refugees. Around it, a multisensory environment is created with ceramic figures, textile pieces, and video projections, inviting visitors to immerse themselves in a unique and engaging experience.

Open until 24 November 2024

Tomokazu Matsuyama: Mythologiques, Biennale Arte 2024, Warehouse No. 41, Naval Station, Arsenale, Fondamenta Case Nuove, 2738/C, Venice

Close to the Chile Pavilion, it is also possible to visit the exhibition 'Mythologiques' by the artist Tomokazu Matsuyama. This exhibition is a journey through vibrant images and colours that explore the complexity of globalised society. The works present fantastic scenes of contemporary life, combining the iconography of ancient Japan with Western canons in an original form of American pop art.

Open until 24 November 2024

Pavilion of the Sultanate of Oman, 'Malath-Haven', Biennale Arte 2024, Palazzo Navagero Gallery, Castello 4147, Venice

Returning to the National Pavilions, it should be noted that for its second participation in the Venice Biennale, the Sultanate of Oman has chosen to collaborate with us for the production of 'Malath-Haven', a collective project involving five artists: Alia Al Farsi, Ali Al Jabri, Essa Al Mufarji, Sarah Al Olaqi and Adham Al Farsi. Inspired by the concept of “malath” (port in Arabic), the exhibition invites visitors to embark on a metaphorical and artistic journey, exploring themes of multicultural heritage, identity, belonging, and diaspora. Through different art forms, the works reflect on Oman’s profound history of welcome and refuge, celebrating the richness of cultural exchanges and the strength of human connections.

Open until 24 November 2024

'About Us', Tracey Snelling for the The Human Safety Net, Biennale Arte 2024, Procuratie Vecchie, San Marco

If you are in Venice, you absolutely cannot miss Piazza San Marco and the magnificent bell tower. Turn your gaze towards the Clock Tower and under the arcades of this enchanting square, you will find the entrance to the Procuratie Vecchie exhibition space, which houses The Human Safety Net and the exhibition 'About Us' by the artist Tracey Snelling.
Upon entering the space, your gaze will be captivated by towers of small houses glued together to represent large modern cities. These somewhat alienated structures, designed by the artist, enclose a myriad of worlds and narratives in which each of us can find interpretations or identify with.

Open until 24 March 2024

'Jim Dine: Dog on the forge', Biennale Arte 2024, Palazzo Rocca Contarini Corfu

We head towards the Ponte dell'Accademia to admire one of the most beautiful views of the city and the Grand Canal. After dedicating ourselves to a few shots to capture the moment, we continue our cultural visit in the city.
Only until the end of July, don't miss the exhibition  'Jim Dine: 'Dog on the Forge'  hosted inside the marvellous Palazzo Rocca Contarini Corfu. Here the artist Jim Dine presents large installations created specifically for this edition of the Biennale, along with paintings and sculptures never before exhibited. The exhibition includes 32 works of art, including paintings, drawings, bronze and wood sculptures.

Open until 21 July 2024

Training Series

[new] Disruptive interpretation: program

WEEX Training Series 2026

[it’s a wrap] “Progettare per le Persone: allestimenti accessibili”

Museum Training: Investing in the Future

Art projects

10 pavilions to experience and understand
– Biennale Architettura Venezia 2025

Ten years of We Exhibit: our team’s voice

Producing Live Events: The Venice International Performance Art Week

Ten Years of We Exhibit: 10 Years of Us

Exploring Art Biennale 2024: A Journey Through Exhibition Design

Colour Curatorship: Guiding the Visitor Experience through Exhibition Design

Accessibility

Graphic Design, Accessibility, and Listening: The Responsibility of Visual Communication

We Exhibit for The Venice International Performance Art Week 2022

Training Series

[new] Disruptive interpretation: program

WEEX Training Series 2026

[it’s a wrap] “Progettare per le Persone: allestimenti accessibili”

Museum Training: Investing in the Future

Art projects

10 pavilions to experience and understand– Biennale Architettura Venezia 2025

Ten years of We Exhibit: our team’s voice

Producing Live Events: The Venice International Performance Art Week

Ten Years of We Exhibit: 10 Years of Us

Exploring Art Biennale 2024: A Journey Through Exhibition Design

Colour Curatorship: Guiding the Visitor Experience through Exhibition Design

Accessibility

Graphic Design, Accessibility, and Listening: The Responsibility of Visual Communication

We Exhibit for The Venice International Performance Art Week 2022

10 pavilions to experience and understand
– Biennale Architettura Venezia 2025