This solo exhibition presents Martin Weinstein’s recent dimensional paintings on multiple acrylic sheets, capturing views of Venice, from water and skyscapes to intimate interior spaces, all rendered with a sense of transparency. His paintings respond to what he loves—a garden, a flower, sunlight through clouds, the city of Venice, his wife, Tereza, and the shifting atmosphere before a storm. For Weinstein, these subjects become intimate reflections on time, memory, and place.

A solo exhibition of paintings and works on paper by New York State artist Anne Leith. Inspired by the poetics of the woodlands, Leith captures transient light reflecting off water, filtering through branches, and vibrating through waterfalls, clouds, and streams. Working with gold and silver leaf on mulberry paper, she creates translucent gestural paintings installed with clothespins in a nod to the laundry lines of Venice’s Castello district. The exhibition marked Leith’s first international solo presentation.

Introspezione explores the inner self through installations and sculptures that confront emotions, impulses, and intrusive thoughts. The exhibition focuses on experiences such as regret, fear, and anxiety, transforming what is often hidden or suppressed into material for reflection and acceptance. By addressing emotional suffering directly, the works invite viewers to consider vulnerability, mental health, and the possibility of healing and personal growth.

Toile Libre explores the relationship between body, appearance, and material through the work of French artist Albane Dela. Seeking a direct connection with fabric, Dela examines how skin and textile can merge, conceal, and reveal one another. The exhibition creates an intimate dialogue between physical presence, materiality, and the act of inhabiting fabric.

White Noise is a photographic project by Venetian artist Federico Drigo, developed during an artistic residency and connected to his photobook of the same name. Working with black-and-white analog photography, Drigo uses images as a way to slow down, reflect, and bring order to thousands of snapshots taken over the past decade. The project becomes a personal attempt to reconcile inner limits with the external world through observation and reflection.

appena presents drawings by American artist Gary Gissler created during his residency in Venice. Continuing his long-standing interest in the sublime, the works explore pace, presence, time, and the fragile boundary between what is visible and what is barely there. Gissler invites the viewer to slow down and consider the quiet, often elusive qualities of lived experience.

Dentro | Fuori presents Martin Weinstein’s recent views of Venice, painted on his characteristic layered acrylic sheets. Canals, architecture, and intimate domestic interiors merge into deep, shifting spaces where inside and outside seem to dissolve into one another. These dream-like works play with perception, creating both dimensional and temporal ambiguity.

For the first time outside the United States, Castello 925 presented a selection of Bruce Cahn’s watercolours, gouaches, and works on paper. His practice moved between realistic studies of the human figure and abstract mandalas, tracing a deeply personal and spiritual journey. For Cahn, the act of making art became a way to confront the body, mortality, and the possibility of transcendence.

Lynne Tobin’s work explores drawing through thread, string, Sumi ink, and elongated paper. Interested in gravity, tension, and the relationship between what is fixed and what is falling, she reduces drawing to its most basic elements. The resulting tactile surfaces and repeating linear forms create quiet, meditative spaces that invite the viewer inward.

Transcending Chaos follows Fred Duignan’s spiritual and painterly search through colour, fragmentation, and gesture. Drawing on his Catholic heritage and personal experience, Duignan creates works charged with struggle, eros, spirit, and wider social concerns. His paintings are driven by a desire to move through both the chaos of image-making and the chaos of life itself.

Ambivalences brings together drawing, installation, and object-based work by Nina Annabelle Märkl. Her modular environments explore shifting states of mind and the instability of human perception, inviting viewers to question how securely they understand the world around them. Moving through these spaces, visitors encounter ambiguity as a way of seeing reality from new perspectives.

I Foresti is a group exhibition that plays on the Venetian dialect word for “foreigner,” linking the participating American artists’ outsider status in Venice with their shared fascination for forests, landscape, and natural materials. Featuring Anne Leith, Robin McClintock, Martin Weinstein, and Millicent Young, the exhibition brings together distinct approaches to memory, perception, materiality, and the natural world.

La Foresta reflects on the unseen systems of forest growth and Kaethe Kauffman’s memories of individual trees encountered throughout her life. Through prints on paper and silk, she combines the physical experience of walking through nature with the meditative movement of drawing. The resulting lightweight fabric works evoke trees as living presences and act as delicate veils between memory, perception, and the natural world.

Si pure senza tutti i comfort reflects on the realities of living in the Venetian lagoon, using a critical and ironic approach to housing, precarity, and everyday life in the city. Through installations, illustrations, performances, workshops, and participatory practices, the exhibition brings together multiple voices and alternative ways of imagining domestic space. The project turns Venice’s peculiar living conditions into a shared field for reflection, participation, and critique.

Inside / Outside presents twelve paintings by Martin Weinstein created on location in Rome, Venice, and Lucca. Built through repeated visits and shifting viewpoints, the works function as both a travel log and a record of time, place, and personal memory. Weinstein layers what he sees with what he wants to remember, turning each scene into an attempt to preserve a particular experience.

Campo/Field unfolds as a fluid space where the boundaries between artist and visitor begin to dissolve. Rather than a fixed exhibition, it becomes a living field shaped by gesture, encounter, memory, and the presence of those who move through it. The project invites viewers to experience connection as something intuitive, vulnerable, and continuously evolving.

Haunted explores how subtle perceptual shifts can transform the everyday into something ambiguous and unsettling. Through works dealing with metamorphosis, interference, ritual, and memory, the exhibition examines the moment when familiar objects or images take on new meanings. Structured around three themes—transformation, vibration, and memory—it turns the familiar strange and opens it to unexpected interpretations.

Future Light presents mixed-media works on canvas, paper, and plaster exploring vulnerability, memory, generational trauma, and our connection to the natural world. Returning to her ancestral roots in the Veneto region, Gabriella Kirby brings together organic forms and gestural abstraction in works that move between darkness, fragility, and the possibility of future light. The exhibition looks across plant, animal, and human forms, focusing on their protective, communicative, and life-giving qualities.

Featuring sculptures, paintings, and prints by the late feminist artist Nancy Azara alongside encaustic paintings and drawings by Darla Bjork. Although their practices developed from different sources—Azara exploring matriarchal archetypes and Bjork the human psyche—both artists share a neo-expressionist approach and an emphasis on gesture and mark-making. Curated by Jen Dragon and Fanny Perez. Together, the works create a dialogue between personal symbolism, material experimentation, and expressive form.