For months, I had planned to visit the Venice Biennale, the major contemporary art exhibit that takes place in this culturally breathtaking city every two years.
I had planned how I would carry three suitcases over the bridge crossing the Grand Canal to the Santa Lucia train station – hook the smaller bag to a larger one like pilots do – store them at the station for the day, and then take a water bus to the 11th century San Stae church, which hosted at its entrance a small section of a monumental installation by Ukraine’s Oksana Mas. From there, I would go the Chiesa di San Fantin, near glorious San Marco Square, where I would visit the second section of her work.
I was fascinated by the concept of Mas’ project, titled Post-vs-Proto-Renaissance, part of which was on display at the Ukrainian Pavilion, which spans two sites: Inmates, intellectuals and other professionals from 42 countries have been painting 3,640,000 wooden eggs, or krashanky, for Mas’ installation.
Viewed up close, the sins and future hopes of the individuals who hand-painted the eggs are evident. From afar, however, collectively these eggs become a re-creation of sections of the Ghent Altarpiece.