Al Fresco
Art Cinema

International video art selection in collaboration with Chioggia’s fishing community

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Bogiaisso in Chioggia dialect means 'vortex, the point where water bubbles up'.

Since 2022, during the fishing moratorium, Bogiaisso has been a moment to look in the mirror and discover ourselves reflected in sensibilities, lands and waters both near and far, thanks to a selection of video works in profound dialogue with local life experience.

Bogiaisso is also a journey of collective imagination lasting 12 months, where fishermen, artists, artisans and curators meet in bars and trattorias to interrogate art and use it to critically re-imagine the present.

All this is possible thanks to the support of a scientific committee composed of over 20 curators and art experts who every year strengthen the bonds between contemporary art and the lagoon.

bogiaisso@gmail.com
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Versione Italiana

Fourth Edition

25—28
August
2025

From
9 PM

Palazzo
Grassi
Courtyard

Chioggia (VE)

Free
Admission

Access from Riva Canal Vena.

Free seating available until capacity is reached.

Partners

In co-partecipation with:

Supported by:

How to get to Chioggia

From Padua:
Autobus Busitalia E005

Tickets available on BusItalia Veneto App or in tobacco shops

From Venezia:
Autobus 80 da Piazzale Roma
Autobus 85 da Areoporto Marco Polo

Tickets available on Arriva MyPay App or in tobacco shops

ACTV Linea 11 from Lido & Pellestrina | Timetable or CheBateo App | Tickets available at ACTV Offices

From Milan, Rome, Neaples etc:
we reccomend taking the train up to Padova

Parking:
Park Unione (Silos)
or where you see parking spots marked by blu stripes with the app Mooneygo

Where
to eat
& shop

Where
to rest

From 24/08 to 31/08 (checkout), on a first come, first served basis.

for Info & Bookings

16 euros per night, for stays of 4 nights & more
18 euros per nigght, for stays of 3 nights or less

Videos

2024

2023

2022

ABBAS ZAHEDI
Me, Myself and A I I I (2017)

“Me, Myself & A I I I” is based on the research carried out at the Diaspora Pavilion, during the 2017 Venice Biennale, and collects the narratives of MANNA: Machine-Aided Neural Networking of Affect. The script was generated with the use of machine-learning code, which then led to developing a soundtrack using Google’s voice assistant, subsequently inserting it into the images of the MANNA archive, a visual archive built over the course of the Diaspora Pavilion. The work touches with irony and randomness existential paradoxes, philosophical skepticisms and technological absurdities that characterize Zahedi’s daily life, as a person and as an artist growing up and navigating London.

MICHAEL FLIRI
Early one morning with time to waste (2007)

To swim and face the sea with a boat made of plastic bottles. The work takes the form of a motor pilot boat, the image is that of a bizarre floating shell, made with thousands of plastic bottles, which act as vital air chambers to stay afloat. It is not just a challenge to physical laws, to the forces of nature, to conventions; it is above all the story of a solo adventure that has no goals or ambitions, other than to make the unimaginable happen, to transform a mirage into reality, to make a myth become a work.

DANIELE COSTA
Spazio Morto (2016)

«Papis, a boy from Senegal, who arrived in Italy in 2007, settles on the Lido of Venice, where he finds work as a lifeguard in the “Bagni Alberoni” bathhouse. “I’ve known him for a long time. Filming his daily routine, I realized that inside him you could very well identify a “dead space”, that is, the stasis, the unreal and firm stillness that sometimes envelops an immigrant uprooted from his land who finds himself having to work in a distant country from his»
(Daniele Costa)

GIOVANNA REPETTO
Atmosfera n.2 (Carlos, Augusto, Filipe, Joel, Leandro, Paulo, Matilde, Elisabete) (2021)

The video talks about the decontextualization of landscape and how the image of it takes on different forms through human action. A Portuguese company transports portions of the ocean to homes around the world. Seawater serves to improve the life of fish, aquatic plants and corals in aquariums, which are usually filled with artificially reproduced salt water. The video compares the latent image of the sea with the shape the water acquires when it enters the long green pipes connected to the pumps that suck it and which draw the path that leads from the Portuguese rocks to the trucks that will transport it.

ROBERTO FASSONE
Pas Seul (2021)

“Pas seul” is a surreal choreography and exists in both single-channel and dual-channel version (Pas de deux). It shows the unfolding of a psychedelic trip, through four non-linear chapters, inspired from “Un Chien Andalou” (1929, Luis Buñuel and Salvador Dalì). A fragmented collection of ideas carries the audience into an odd and personal journey: an attempt at escaping, through imagination, dreams and psychedelic substances, from lockdowns and fears. Stolen images, YouTube videos, archive footage, 3D renders and bold texts coexist in a chaotic and trippy sequence of events. Prepare to meet an ongoing flow of upside-down forests, Yoko Ono poems, colorful tennis matches, very short documentaries, vampires and crystals.

VALENTINA FURIAN
Into Perpetual Night (2016)

“Into perpetual night” draws its name from the last chapter of the book “Half mile down”, written by William Beebe. The marine biologist is remembered in the history of scientific innovations for being the first man to reach a sea depth of over 900 meters. A voiceover will lead us into an imaginary on the edge between reality and fiction: an immersion in the seabed will thus become a journey into a fantastic world. “Into perpetual night” investigates the relationship between man and nature and explores the human need for conservation and care for a nature shaped for scientific and informative purposes.

GIORGIO ANDREOTTA CALÒ
Volver (2008)

In 2008, on the occasion of his first solo exhibition in Milan, Giorgio Andreotta Calò created the sculpture “Volver”, generated from a performance documented in the video on display at Bogiaisso. Onboard his Venetian barchino, Calò flies suspended from a crane over the roofs of the Lambrate district, to land on the terrace of Galleria Zero, where the boat was then sectioned into two parts and displayed on a small stretch of water.

SAM MESSER
Denis the pirate (2015)

A man tells the story of his great-great-great-great grandfather, Denis the Pirate, and his sidekick monkey, Babe Ruth, with whom he terrorized the Caribbean islands. 1,700 etchings were filmed to bring the fantastical sea adventure to life. Written by Denis Johnson (1949–2017), a longtime friend of the artist, the epic adventure was shot in stop-motion with works on paper, resulting in a quirky, old-fashioned quality punctuated by the artist’s signature controlled, chaotic hand. The story is vividly narrated by actor Liev Schreiber and accompanied by a soundtrack provided by musicians Sarah Neufeld (Arcade Fire) and Colin Stetson.

MICHELA DE MATTEI
The World Part I MIRAGE (2020)

“The World Part I: MIRAGE (2020)” is a video that stages the melting under the sea of a 250 kg camel carved in ice. Like an underwater mirage or hallucination, the alien creature dissolves into the water through a game of optical refractions and the changing state of the liquid matter. Shot on the coast of Fujairah and in the luxurious underwater Sea horse houses of The World islands Archipelago(Dubai), where water is scarce and ice sculptures are the ultimate expensive whim, the video reflects on the relationship between luxury and wonder. By shifting perspective and immersing the viewer underwater, it questions the conventional frontal frame of the “spectacle of nature”, blurring the distinction between the terrestrial and the aquatic; the artificial and the natural, fiction and reality and seeking a private vision, a space for imagination.

VASHISH SOOBAH
Mandir Capitolo II (2022)

“Mandir Chapter II” is a documentary that narrates an idea of home and place of belonging through the artist’s biographical experience. Two beats alternate within the work: the first develops around voices, interviews and testimonies of people more or less connected to the artist, from their relatives to people met in public spaces in Mauritius. The second story, intertwined with the first, has a more metaphorical nature and uses the image of sugar cane and its journey, from the gardens of the Indian Ocean island to a vase on the balcony of the artist’s apartment in Italy.

SHIRAZ BAYJOO & SHIVANJANI LAL
Nadi (2021)

“Nadi”, meaning “river”, is a collaborative work by Shiraz Bayjoo and Shivanjani Lal. Shot on the Meghna River in Bangladesh and edited in London, with audio translated and read by their mothers: Arzmand Bayjoo and Shakuntala Lal, in Mauritian Creole and Fijian Hindi. Nadi is a site of both departure and return for these artists, as it explores their shared histories of indenture, language as a site of resilience, and the movement of bodies both in the past as well as in the now.

Poem lyrics (English translation by Shiraz Bayjoo)

Distance is a language the heart doesn’t understand.

True story,
A white man,
In charge of the movement of colonial bodies Chose what he believed were quiet and passive people,
Passive people, who had long known the worlds envy
Their resistance weary,
His decision made easier.
He did not want to deal with uprisings. Instead he created another type of violence, one that was expressed upon the colonial bodies that moved
These bodies are the bodies of my great grandmothers and great grandfathers
My ancestors
Girmityas, signers of agreements,
Bodies that tended fields unable to return home
In my body there is both silence, that stems from this colonial trauma,
and the unmaking of that silence through language.
My mother tongue was formed by colonial violence,
Udhar, is the land my ancestors were removed from.
Udhar, is the land in which I was born in. Udhar, over there is where I live now.
When you look at an image of a landscape it is easy to be observational.
To not scratch below the surface.
To not seek the political and historical reasons why some bodies were moved and others got to stay.
To get distracted by an ocean or a beautiful river curving its way through a landscape.

When I look at the land, I am reminded of the complexity of displacement.
Of my fracture
I am a ghost,
a daughter,
and a son,
A spectre of separation
For me this is a land
I will always be bound to a vision of what once was,
And what has passed,
I think of our colonised bodies,
In these wretched landscapes,
With this shared record of community, how do we press upon new pathways
I look to the new lunar,
Haldi turns the ocean from blue to green, three oceans meet
I walk along the shore line
Water is the longest separation.

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Al Fresco Art Cinema

Versione Italiana

Fourth Edition

Videos

Al Fresco
Art Cinema