Byzantium in Venice: Stelios Faitakis’ Imposition Symphony (2011)

The Greek painter Stelios Faitakis has painted a mural for the Danish Pavilion in the 54th Venice Biennale.

It is not just a mural. It is a mural with the style and colors of Byzantium. In addition, it is beautiful. You can seat for a long time in the garden outside the Danish pavilion, enjoying the mural.

I had seen photos of it in the newspapers prior to my visit, but could never anticipate the impact the mural had on me.

Another Greek, Katerina Gregos, has been put in charge of the Danish kiosk after a lengthy and transparent selection process. Faitakis was one of the artists selected by Gregos. The mural builds on the tradition of Diego Rivera, but like any good piece of art, it goes beyond it. It tells many stories and it does so in pictures.

The mural comprises six panels. In the remainder I will present each panel, starting from the left to the right.

Panel 1:A photographer in the December 2008 events in Athens, Greece

Panel 2: President Mao in a garden of flowers with human faces

Panel 3: The crowd and the winged smart phones

Panel 4: Wilhelm Reich and the burning of the books

Panel 5: Gas Chamber and Oven

Panel 6: The violin – playing Saint

Above the door: Nikola Tesla

Epilogue: The themes on Faitakis’s mural are political, in the sense that they deal with the community, the society, the individual, and power. I do not get a sense of an all encompassing harmony in his synthesis. Most likely there is none. Likewise, there is no universal “message”. Which distinguishes the work from Rivera’s where there was a loud and clear message about the good workers, the bad capitalists, and so on. Faitakis’ world is far more complex. And this is why he can survive his playing with fire. Well done Mr Faitakis!!!! Thank you!!!

Postscript

Right across from the Danish kiosk is the one representing the United States. There, an art duo from Puerto Rico, Allora & Calzadilla, have placed a tank from the Korean War upside down and on top of it there is an exercise machine, a belt on which an athlete with the USA shirt is running. The noise is horrible, and the sight is nothing to write home about. As for the inside of the USA pavilion, I better not say anything.

A Cretan Madonna in Venice: Mesopanditissa in Santa Maria della Salute (Saint Mary of Health)

JMW Turner: Santa Maria della Salute

Today I want to honor the centuries’ old ties between Byzantium and Venice, by kneeling in front of the “Mesopanditissa” Madonna, a 12th or 13th century Byzantine icon that was brought to Venice in 1669, after Candia (Herakleion) fell to the Ottoman Turks. The picture is kept in the main altar of the Church of Santa Maria della Salute (Holy Mary of the Health). Lets start with the historical background.

Santa Maria della Salute is one of the jewels of Venice. Baldassare Longhena was 32 years old when he won a competition in 1631 to design a shrine honoring the Virgin Mary for saving Venice from a plague that in the space of two years (1629-30) killed 47,000 residents, or one-third the population of the city. Outside, this ornate white Istrian stone octagon is topped by a colossal cupola with snail-like ornamental buttresses and a baroque facade; inside are a polychrome marble floor and six chapels.

The Byzantine icon above the main altar has been venerated as the Madonna della Salute (Madonna of Health) since 1670, when Francesco Morosini brought it here from Crete. The icon and other holy relics, were brought to Venice by Morosini when Crete fell to the Ottoman Turks.

It was the jewel of the Church of Saint Titus in the center of Candia, today’s Irakleion. Morosini also brought to Venice the remains of Saint Titus. They were kept in Saint Mark’s Basilica until 1966, when they were returned to Crete.

Above it is a sculpture showing Venice on her knees to the Madonna as she drives the wretched plague from the city.

I must confess that the baroque sculptures surrounding the Madonna did not impress me, but they are not in nay way obstructing the view of the magnificent icon.

The Madonna is serene, understanding, can absorb the pain of the whole world. The Holy Child is contemplative.

The icon is at home in the magnificent Church. It stands next to Titian, Giordano, Tintoretto, like they are the most natural companion.

This is the glory of Byzantium, glory that remains alive and strong in Venice. More on the subject will follow.