Looking at our times through the prism of the moving image.
At Fondazione In Between Art Film, we foster dialogues between video, cinema, and performance, supporting artists and institutions whose visions cross the boundaries between creative disciplines.
NEWS
Sneak peak from the upcoming video documentation of CANICULA, where filmmakers Massimo D’Anolfi and Martina Parenti reflect on the role of space in their first video installation “24 Landscapes + A Vision”
Massimo D’Anolfi and Martina Parenti make use of film archive material, selected from within their wide-ranging documentary practice. In “24 Landscapes + A Vision” (2026), these fragments are recomposed into a symphonic score on the dimension of human existence as a cycle of destruction and renewal. Anticipated by a corridor of blinding lights and a dark space, the three-channel installation is a non-linear, encyclopaedic reflection on the interweaving of film-footage technologies, historical forms of domination and devastation, and germinal fragments of life and resistance
CANICULA is open until November 22 at the Complesso dell’Ospedaletto in Venice and features 8 new site-specific video installations commissioned from Lawrence Abu Hamdan, Massimo D’Anolfi and Martina Parenti, Roman Khimei and Yarema Malashchuk, Janis Rafa, P. Staff, Wang Tuo, Yuyan Wang, and Maya Watanabe
Curated by @alessandro.rabottini and @leonardobigazzi
Scenography by @2050.plus
Video credits:
Directed and edited by @daviderapp
Filmed by @_giorgiodemarco_
Editorial Supervision and Project Coordination by @anninacastelli
Graphic Design by @lorenzomasonstudio
Sneak peak from the upcoming video documentation of CANICULA, where artist Yuyan Wang elaborates on her video installation “Boring Billion” and her affective weaving of found footage within
“Boring Billion” (2026) is composed of a multitude of video fragments found online, compiled by the artist into a new, complex narrative focusing on the relationship between human bodies and industrial machinery. Taking her cue from a consideration of the overloading of digital information, the artist puts together an inner meditation on the processes of relentless optimisation, updating and repair of machines, within the wider story of their inevitable destiny of deterioration
CANICULA is open until November 22 at the Complesso dell’Ospedaletto in Venice and features 8 new site-specific video installations commissioned from Lawrence Abu Hamdan, Massimo D’Anolfi and Martina Parenti, Roman Khimei and Yarema Malashchuk, Janis Rafa, P. Staff, Wang Tuo, Yuyan Wang, and Maya Watanabe
Curated by @alessandro.rabottini and @leonardobigazzi
Scenography by @2050.plus
Video credits:
Directed and edited by @daviderapp
Filmed by @_giorgiodemarco_
Editorial Supervision and Project Coordination by @anninacastelli
Graphic Design by @lorenzomasonstudio
Sneak peak from the upcoming video documentation of CANICULA, where artist Janis Rafa expands upon her video installation “Baby I’m Yours, Forever” and her research into the darker side of humanity
Conceived as an allegory of the idea of sacrifice, “Baby I’m Yours, Forever” (2026) is set in a meat refrigeration facility – a symbolic architecture for the industry that processes and distributes meat for human consumption. The work poetically widens this reflection and looks at the tension between life and death, survival and extinction, as well as at the ‘sacrificial’ violence that one life form demands starting from the killing of another
CANICULA is open until November 22 at the Complesso dell’Ospedaletto in Venice and features 8 new site-specific video installations commissioned from Lawrence Abu Hamdan, Massimo D’Anolfi and Martina Parenti, Roman Khimei and Yarema Malashchuk, Janis Rafa, P. Staff, Wang Tuo, Yuyan Wang, and Maya Watanabe
Curated by @alessandro.rabottini and @leonardobigazzi
Scenography by @2050.plus
Video credits:
Directed and edited by @daviderapp
Filmed by @_giorgiodemarco_
Editorial Supervision and Project Coordination by @anninacastelli
Graphic Design by @lorenzomasonstudio
Sneak peak from the upcoming video documentation of CANICULA, where the Fondazione’s curator and co-curator of the exhibition Leonardo Bigazzi reflects on the material and metaphorical role of uncertainty in the curatorial process
CANICULA is open until November 22 at the Complesso dell’Ospedaletto in Venice and features 8 new site-specific video installations commissioned from Lawrence Abu Hamdan, Massimo D’Anolfi and Martina Parenti, Roman Khimei and Yarema Malashchuk, Janis Rafa, P. Staff, Wang Tuo, Yuyan Wang, and Maya Watanabe
CANICULA is the third and final chapter of the ‘Trilogy of Uncertainties,’ a series of exhibitions initiated by Fondazione In Between Art Film in 2022 and that has seen the Complesso dell’Ospedaletto transformed each time into a form of cinematic architecture. Each episode in the trilogy was inspired by a different atmospheric phenomenon: the half-light with ‘Penumbra’ in 2022, fog with ‘Nebula’ in 2024 and, last of all, the excess of light and heat with CANICULA. This brings to an end a narrative arc that, over the course of three editions of the Biennale Arte in Venice, has gradually explored different states of vision as metaphors for human existence: the ambiguity and uncertainty of the faint light of ‘Penumbra,’ the disorientation caused by the mist in ‘Nebula,’ and the sense of oppression engendered by the blinding light and torrid heat of CANICULA. Each of these atmospheric conditions deceives the senses and raises questions on the reliability of sight and on the interpretations of reality that it produces
Curated by @alessandro.rabottini and @leonardobigazzi
Scenography by @2050.plus
Video credits:
Directed and edited by @daviderapp
Filmed by @_giorgiodemarco_
Editorial Supervision and Project Coordination by @anninacastelli
Graphic Design by @lorenzomasonstudio
Sneak peak from the upcoming video documentation of CANICULA, where the Fondazione’s artistic director and co-curator of the exhibition Alessandro Rabottini reflects on the relationships between the curatorial concept and the state of the world we live in
CANICULA is open until November 22 at the Complesso dell’Ospedaletto in Venice and features 8 new site-specific video installations commissioned from Lawrence Abu Hamdan, Massimo D’Anolfi and Martina Parenti, Roman Khimei and Yarema Malashchuk, Janis Rafa, P. Staff, Wang Tuo, Yuyan Wang, and Maya Watanabe
‘Canicula,’ the Latin term that translates as ‘dog days,’ is widely used today to refer to the hottest days of summer, a period of the year that, in various ancient Mediterranean cultures, was associated with either great abundance or terrible ruin. The exhibition takes on the dazzling light and sweltering heat that characterise the dog days of summer as metaphors for the present day, a time saturated with excesses and distortions: extreme light and heat are thus considered to be the material and metaphorical frames within which matter, people and ideas are subject to immense pressure. The overload of images, the manipulation of information, the abuse of power, and oppressive temperatures are accelerating the approach of society – and, for that matter, of life on Earth itself – towards a critical threshold
Curated by @alessandro.rabottini and @leonardobigazzi
Scenography by @2050.plus
Video credits:
Directed and edited by @daviderapp
Filmed by @_giorgiodemarco_
Editorial Supervision and Project Coordination by @anninacastelli
Graphic Design by @lorenzomasonstudio
The scenography for CANICULA was conceived by the interdisciplinary agency @2050.plus, Milan
“The scenography operates as an extension of the films, translating their moods and rhythms into spatial form in dialogue with the artists and the architecture of the venue.
The show unfolds as a material, climatic, and mental condition – a state of saturation and suspension generated by relentless heat and light: floors rise, ceilings descend, surfaces blister or soften as if fatigued by exposure. Artificial light punctuates the path, shifting from flare to near-darkness while dense hues of orange suggest a metaphorical heat permeating the spaces from outside.
The exhibition design creates a sense of entropy, precarity, and vulnerability, reflecting instability as a breaking point between escape and withdrawal. Heat becomes a spatial presence, turning the exhibition into a site of tension between exposure and protection, inertia and intensity, where perception is blurred and matter breaks loose.
The spaces respond to these conditions, activated through incision, wrapping, and distortion. Architectural proportions shift, while technical systems are exposed and repurposed as agents of the exhibition design, generating a space both being formed and on the verge of collapse.”
2050+ (Sara Barbini @sai_______i, Matteo Bozzi @matteo__bozzi, Francesca Lantieri @fralantieri, Ippolito Pestellini Laparelli @ippopeste, Sofia Tapia Buchelli @sofivtapia)
Curated by @alessandro.rabottini and @leonardobigazzi, CANICULA is open at the Complesso dell’Ospedaletto until November 22, 2026
Images credit: 1), 3), 5), 7): Details of the scenography by 2050+ for CANICULA. Photo: @g.i.a.c.o.m.o.b.i.a.n.c.o; 2), 4), 6), 8): Installation view of CANICULA, courtesy of the artist and Fondazione In Between Art Film, photo © Marco Cappelletti and Giuseppe Miotto / @marcocappellettistudio
Discover with us the works commissioned and produced for CANICULA, the final chapter of the “Trilogy of Uncertainties”
Set in a fictional future when Russia’s current war against Ukraine is already over, @yaremaandkhimei’s video installation “Wishful Thinking” (2026) unfolds as a sequence of four tableaux where elderly Russian soldiers variously regret, cover up or ignore their roles and responsibilities. The soldiers’ parts are performed by Ukrainian actors whose careers were built on playing characters from Russian literature and drama in the theatres of Soviet Ukraine.
In this ambiguous mise-en-scène, speech and silence follow shifting configurations, from forms of justification in which responsibility appears diffused and absorbed into the logic of a system, to moments where language falters or drifts into incoherence, where speech moves toward confession without reaching resolution, all the way to states suspended in the proximity of death, between unconsciousness and lucidity, which resist comprehension.
The work approaches victimhood as a position defined by a demand for acknowledgment that remains unfulfilled, just as the end of violence and aggression feels like an ever-shifting horizon. Drifting between staging and testimony, propaganda and truth, collective history and personal memory, what emerges from this unreliable storytelling is a suspended field where the possibility of future repair remains uncertain and deferred, and the only certainty seems to be the banality of evil in the present.
Curated by @alessandro.rabottini and @leonardobigazzi, CANICULA is open at the Complesso dell’Ospedaletto until November 22, 2026
Scenography by @2050.plus
Images credit: 1, 4) Installation view of CANICULA, courtesy of the artist and Fondazione In Between Art Film, photo © Marco Cappelletti and Giuseppe Miotto / @marcocappellettistudio; 2-3) Roman Khimei and Yarema Malashchuk, Wishful Thinking, 2026. Commissioned and produced by Fondazione In Between Art Film for the exhibition CANICULA, 2026. Courtesy of the artists; Fondazione In Between Art Film; @galeriepoggi
Discover with us the works commissioned and produced for CANICULA, the final chapter of the “Trilogy of Uncertainties”
Over the past decades, the Arctic permafrost has lost one meter of ground each year. As it melts, it reveals bodies from the Pleistocene Epoch that appear frozen in time. Buried in ice for millennia, these remains have been prevented from decaying, sometimes with fur, skin, and internal organs intact. Jarkov is a remarkably well-preserved woolly mammoth who died 20,000 years ago. Upon discovery, he was extracted and relocated as a single, massive 23-ton block of frozen soil and surrounding sediments, with only two visible tusks protruding from it. Carved out of the permafrost in northern Siberia, a subterranean network of tunnels now holds Jarkov, where a constant temperature of –12°C stops him from thawing out
@maya_watanabe_’s film “Jarkov” (2026) is shot within this underground space, where the camera moves unhurriedly, carefully panning its frozen passages together with the few visible patches of Jarkov and other mammoths’ remains, such as bones and molars, preserved there. The slow pace and macroscopic definition, however, do not ensure the legibility of the scene. In this enigmatic atmosphere, caught between visibility and uncertainty, exposure and concealment, preservation and decomposition, the artist creates an embodied experience of a space and a time that predate and exceed the human lifespan, situating the viewer before a scenario that resists cognitive grasp.
Sound design by @robinrimbaud
Curated by @alessandro.rabottini and @leonardobigazzi, CANICULA is open at the Complesso dell’Ospedaletto until November 22, 2026
Scenography by @2050.plus
Images credit: 1-2) Installation view of CANICULA, courtesy of the artist and Fondazione In Between Art Film, photo © Marco Cappelletti and Giuseppe Miotto / @marcocappellettistudio; 3-4) Maya Watanabe, Jarkov, 2026. Commissioned and produced by Fondazione In Between Art Film, co-produced by @moriartmuseum with additional support from @mondriaanfonds, for the exhibition CANICULA, 2026. Courtesy of the artist; Fondazione In Between Art Film; @liviabenavidesgaleria; @tegenboschvanvreden