{"id":42833,"date":"2025-06-06T16:23:18","date_gmt":"2025-06-06T14:23:18","guid":{"rendered":"https:\/\/www.veneziadavivere.com\/fondation-valmont-brings-telemachus-journey-to-palazzo-bonvicini\/"},"modified":"2026-03-25T09:58:20","modified_gmt":"2026-03-25T08:58:20","slug":"fondation-valmont-brings-telemachus-journey-to-palazzo-bonvicini","status":"publish","type":"post","link":"https:\/\/www.veneziadavivere.com\/en\/fondation-valmont-brings-telemachus-journey-to-palazzo-bonvicini\/","title":{"rendered":"Fondation Valmont brings Telemachus’ journey to Palazzo Bonvicini"},"content":{"rendered":"

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Telemachus – The Quest for Self is the new exhibition by Fondation Valmont: four artists explore the theme of identity, navigating between artistic heritage and family memory<\/h2>\n

The father-son relationship materializes in a physical and symbolic confrontation: TELEMACHUS – The Quest for Self<\/em><\/strong> is the second chapter of the trilogy inspired by Homer’s Odyssey<\/strong>, presented by Fondation Valmont<\/strong> at Palazzo Bonvicini until November 22.<\/p>\n

Four artists \u2013 Jakub Flej\u0161ar<\/strong>, Pavel Rou\u010dka<\/strong>, Maxence Guillon<\/strong>, and Didier Guillon<\/strong> \u2013 investigate the theme of identity through site-specific works that occupy the palace rooms entirely, transforming them into spaces for reflection and intergenerational dialogue.<\/p>\n

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The Heritage Rooms<\/h3>\n

In the first room, a monumental red steel sculpture<\/strong> spans two rooms of Palazzo Bonvicini. A seated man, a giant, his gaze elsewhere: it is the self-portrait of Jakub Flej\u0161ar<\/strong>. The figure cuts through the space like a silent blade, giving form to the confrontation with the paintings of Pavel Rou\u010dka<\/strong>. The works chase, contradict, and recognize each other. The sculpture turns its back on Rou\u010dka’s gestural paintings (second room), marking a symbolic distance: the son seeks a different direction for himself, while the father asserts a heritage made of dense matter, repeated gestures, and emotional layers. <\/p>\n

In the third room, Maxence Guillon<\/strong> presents The Virtuous Circle<\/em><\/strong>, a life-size sculpture resembling a Roman gladiator at the center of a digital arena. Opposite is the televised presence of his father, Didier Guillon, watching in silence: constant, absent, judging. The audience is invited to sit at the center of this circular space, symbolically assuming the father’s point of view, where the generational confrontation unfolds through the gaze. <\/p>\n

The (fourth) Room of Dreams<\/em><\/strong> brings together the anatomical drawings of Alphonse Lami<\/strong>, a distant relative of Didier Guillon<\/strong>, printed on Japanese paper totems. On the ceiling, the word “dream” shines in blue neon in ten different languages to imagine the future starting from the heritage of the past. <\/p>\n

During the exhibition period, the Room of Dreams welcomes a limited number of visitors each month (by reservation at info@fondationvalmont.com<\/a>) for a guided meditation session designed as a space to slow down, practice self-care, and establish a deep connection with the works. A space intended to counter the frantic pace of museum visits: “In Venice, people stay in front of a work for eight seconds<\/em>,” observes Didier Guillon. “Here, no phones, no distractions: just thirty minutes of silence, music, yoga, and a coach’s voice to release stress and remain present.<\/em>” The initiative is part of the Art of Longevity<\/em><\/strong> project, which Valmont is pursuing in Venice by integrating meditation, art, and physical well-being. <\/p>\n

Room 5, defined as the “final song” of the trilogy, introduces the theme of the 2026 exhibition with an installation of suspended textile lamps, handmade in Bhutan<\/strong>, each representing a different form of female freedom, anticipating the figure of Penelope<\/strong> as the symbolic axis of the next chapter<\/strong>, where weaving returns as a political gesture and a form of resistance.<\/p>\n

Inside the residence, in The Intimate Cinema<\/em><\/strong> room, Fondation Valmont presents its seventh film dedicated to the seventh art<\/strong>: every Friday, starting from May 9, Wong Kar Wai<\/strong>‘s masterpiece, In the Mood for Love<\/em><\/strong>, will be screened for free.<\/p>\n

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Palazzo Bonvicini<\/h3>\n

The palace that now houses Fondation Valmont is a 16th-century Renaissance building, once the home of the Bonvicini family, which still preserves original frescoes and Venetian terrazzo floors.<\/p>\n

Next to the Foundation is the R\u00e9sidence Bonvicini<\/strong>, conceived by Didier Guillon as a place where art and hospitality coexist. The project, launched in 2019, required years of research into materials, furnishings, color palettes, and artworks. The result is a harmonious composition of different styles, built with attention to every detail and free of Baroque elements, where the exposed beams, lightened by a pale shade, contribute to creating a bright and airy environment. <\/p>\n

The three suites \u2014 Murano, Burano, and Torcello \u2014 house artworks and Venetian artisanal details such as Murano glass handles by Leonardo Cimolin<\/strong><\/a>, the Ma’ Segno<\/strong><\/em><\/a> screen and Cocal<\/strong><\/em><\/a> shelves by Lunardelli Venezia<\/strong><\/a>, and a colorful glass mosaic created by the historic Orsoni Venezia 1888<\/strong><\/a> furnace.<\/p>\n

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TELEMACHUS. The Quest for Self <\/em><\/h3>\n

Free admission until November 22<\/strong>
\nPalazzo Bonvicini – Calle de Ca’ Bonvicini, 2161\/A
\nFind out more on the official Fondation Valmont<\/a> website.<\/p>\n

Article by Lucia Pecoraro.
\nPhotos c<\/em>ourtesy of Fondation Valmont.<\/em><\/p>\n

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[vc_row][vc_column][vc_column_text css=””] Telemachus – The Quest for Self is the new exhibition by Fondation Valmont: four artists explore the theme of identity, navigating between artistic heritage and family memory The father-son relationship materializes in a physical and symbolic confrontation: TELEMACHUS – The Quest for Self is the second chapter of the trilogy inspired by Homer’s […]<\/p>\n","protected":false},"author":14,"featured_media":40960,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[147,146,84],"tags":[],"class_list":["post-42833","post","type-post","status-publish","format-standard","has-post-thumbnail","category-culture","category-biennale","category-news","entry"],"_links":{"self":[{"href":"https:\/\/www.veneziadavivere.com\/en\/wp-json\/wp\/v2\/posts\/42833","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.veneziadavivere.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.veneziadavivere.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.veneziadavivere.com\/en\/wp-json\/wp\/v2\/users\/14"}],"replies":[{"embeddable":true,"href":"https:\/\/www.veneziadavivere.com\/en\/wp-json\/wp\/v2\/comments?post=42833"}],"version-history":[{"count":2,"href":"https:\/\/www.veneziadavivere.com\/en\/wp-json\/wp\/v2\/posts\/42833\/revisions"}],"predecessor-version":[{"id":42835,"href":"https:\/\/www.veneziadavivere.com\/en\/wp-json\/wp\/v2\/posts\/42833\/revisions\/42835"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.veneziadavivere.com\/en\/wp-json\/wp\/v2\/media\/40960"}],"wp:attachment":[{"href":"https:\/\/www.veneziadavivere.com\/en\/wp-json\/wp\/v2\/media?parent=42833"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.veneziadavivere.com\/en\/wp-json\/wp\/v2\/categories?post=42833"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.veneziadavivere.com\/en\/wp-json\/wp\/v2\/tags?post=42833"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}