The term introspection refers to the practice of observing, analyzing and becoming aware of one’s inner self. From this concept comes the idea of creating an exhibition that, through installations and sculptures, aims to generate an evocative journey into the human soul. Emotions, impulses, and intrusive thoughts confront the viewer in a raw and powerful manner, provoking a multitude of doubts and reflections.

Each work presented seeks to examine negative emotions and mental phenomena that often torment the human soul and those we sometimes try to suppress or hide. By focusing on what is typically seen as negative, such as regret, fear, or anxiety, gives these feelings a chance to redeem themselves, transforming them - from something to conceal due to their painful nature - into something to accept, to medicate and to repair. Becoming aware of one’s own illness is, in fact, the first step toward facing and overcoming inner torment.

In this way, the artworks aim to raise awareness around mental health; to normalize the presence of internal struggles within ourselves in order to promote both acceptance of discomfort and the ability to act toward healing and growth; and, ultimately, to make the viewer feel understood, breaking the taboos surrounding emotional suffering.

“The fabric seems to reveal as much as it hides the body. It sometimes subtly carries an intention through its shape, its color, its size, almost stealing the show from the skin itself. In the same silence, it seems to speak for it”

Born out of desire of finding a direct connection with the material, the new project by the French artist Albane Dela speaks about body, appearance and urgency of feeling and inhabiting the fabric itself.

Skin and fabric become a whole, a duality between two opposite concepts that create an intimate and personal experience.

Born in Venice in 1982, Federico approached photography in 2001 as a response to his “thrist for life”.

Punk and unconventional, he shoots compulsively to assign meaning to the world around him.

A coral project brought to life during an artistic residency, White Noise takes its name from the photobook recently released by the artist: a tactile alphabet composed of black-and-white analog photographs described in his own words as

a way to find the meaning and to bring order among the thousand of snapshots taken over the past ten years.

At the end of his residency in Venice promoted by the Emily Harvey Foundationof New York, the American artist Gary Gissler will present drawings exploring the nature of pace and presence.

Continuing a long standing interest in the character of the sublime, this project will inquire into the measure of time and the essence of what is barely there.

Gissler’s work quietly engages us to slow down, to consider the essence of being and to look with a calm consideration to see what’s almost not there: the pace, the chaos, the scrambling to make sense of this life.

Martin Weinstein lands once more at Castello925, presenting his most recent views of Venice painted on his characteristic multiple acrylic sheets.

Layer after layer the city’s magnificent canals and architecture melt and appear through elegant and intimate Italian domesticities, creating deep and infinitely shifting spaces.

In these dream-like visions interior and exterior dissolve into each other, playing with perception while creating dimensional and temporal ambiguities.

Driven by an all-consuming desire to absorb himself into an ongoing creative process, the late artist Bruce Cahn used to work tirelessly to perfect each handmade art discipline, believing this would prepare him for his next life.

The artworks exhibited at Castello925 shift from realistic depictions of the human form in all of its varieties to elegant abstract mandalas that chart a private, spiritual journey.

A sort of foreigner in his own body, at the end of his life Cahn was ultimately able to transcend it through his peculiar art practice.a descrizione

Lynne Tobin’s recent work explores the language of drawing, using thread, string and ink to create work on paper. Searching for a freer, less self-conscious way of drawing a line, she began dipping these flexible materials into Sumi ink, investigating their physical properties.
In her Threads series and her scrolls they create spontaneous marks which contrast to the repetition of careful linear patterns. Drawing fully from every-day rituals and  textile crafts traditionally associated with women, her peculiar artistic practice results in tactile surfaces where the drawing process is simplified to its basic elements. In this way a truer and more immediate expression is allowed to emerge.
Meditation and revelation shape Tobin’s poetic works, setting up quiet internal spaces that the viewer is invited to explore.

Fred Duignan is on a spiritual quest, cracking open his Catholic heritage into painterly fragments, allowing the colour to flow, skein, drip, puddle, ignoring all rules. Driven by primal personal experiences he faces a journey in finding himself, creating images that resonate with struggle, eros, and spirit and include a wider perspective on social issues.

His art is fueled by the longing to transcend chaos, both the chaos of picture making and of life itself.

Space and drawing, installation and object are at the centre of Nina Annabelle Märkl’s artistic practice.

Interested in the permeability of states of mind and in the nature of human perception, she develops disruptive modular settings (scapes) in which objects and drawings combine, leading the viewer to unveil a new perspective on reality. Walking through these spaces visitors experience the ambivalence of the world they inhabit and are therefore invited to question the sense of security given by a defined vision of it.

As there are no forests in Venice, the Venetian dialect phrase for “foreigner” is “foresti” or “someone from the forest”. I Foresti, a group exhibition at Castello 925, plays on that vernacular expression as these American artists are not only foreigners to Venice but are inspired by the materials and rich textures of the forest.

Kaethe Kauffman meditates on the unseen systems of forest growth as well as on memories of the calm, steady presence of individual trees throughout her life. Kauffman’s most recent series of prints on paper and silk not only explores the individuality and spirit of trees combined with the physical movement of walking through nature, but then captures this sensation with the meditative movements of drawing. These artworks, in turn, are transformed into prints on silk banners and on paper mounted onto wood panels. The lightweight fabric installations act as thin veils of consciousness.

The exhibition reflects on the living condition of the Venetian lagoon and its peculiar contingencies, adopting a critical-ironic approach, and developing a chorus of narratives and alternative devices.

Martin Weinstein’s paintings of Rome, Venice, and Lucca illustrate a certain time and a certain experience had by the artist and his partner on their travels throughout Italy.

Campo / Field unfolds as a fluid space of artistic resonance, where the boundaries between artist and visitor gently dissolve.
Here, connection itself becomes the artwork — each gesture, encounter, or trace left behind weaving a shared fabric of presence and memory.

Rather than a fixed exhibition, Campo / Field is a living field: an open system that changes with those who enter, linger, listen, draw, or simply feel.
The works act as nodes of tension and dialogue, gathering the subtle energy that emerges between people.

Through shared experience, the exhibition invites us to rediscover a form of connection that is intuitive, vulnerable, and deeply human.

Haunted is an exhibition that investigates the moment in which objects, images, and bodies undergo a shift in meaning and take on new symbolic identities. Infestation — understood not as a supernatural phenomenon but as a perceptual deviation, a displacement of sense — becomes the language through which the everyday turns uncanny. A minimal alteration, a gesture, a mistake, an unexpected juxtaposition is enough for the familiar to become charged with ambiguity and new interpretations.

Developed by Culturit Venezia together with artists and curators from the Ca’ Foscari student community, the exhibition unfolds across three thematic nuclei: Rooting/Transforming, where the body merges with natural matter, inheriting its memories and metamorphoses; Presences/Vibrations, which explores unstable identities, digital interferences, and the hidden resonance of space; Memories/Rituals, where recollections, daily gestures, and forms of spirituality emerge as traces, patterns, or emotional relics.

Through works that move between dissolution and recomposition, rituality and mutation, Haunted reveals how the invisible inhabits the real — and how every transformation, whether minimal or radical, can haunt the way we perceive the world.