Reeducating the nose to the art of perfume, with two olfactory exhibitions in Venice
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Loading... - Coby Groff
- 17 May 2022
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The perfume on display in Venice
With the pandemic we have all forgotten a bit about the importance of the use of smell. Some, due to COVID-19, have even temporarily lost it but more generally, due to the masks, we have given greater weight to other senses, such as touch and sight, forgetting a bit how much smelling perfumes provides a certain pleasure. Today, to re-educate our sense of smell, we are thinking of two exhibitions in Venice , in Venice which now also hosts the acclaimed Biennale. There are two exhibitions, both in the historical context of Palazzo Mocenigo - seat of the Center for the History of Textile, Costume and Perfume - which since 2013 hosts the permanent path dedicated to perfume and which,until next November 27, it will welcome these two perspectives - Fragrance and Essence Agreements - promoted by the Venetian perfume house Mavive Spa in collaboration with the Musei Civici di Venezia foundation .
Accordi di Profumo makes you travel between the various continents of the world where the manufacturer Givaudan, always attentive to sustainability, accompanies together with Mavive the discovery of the ecosystem that revolves around excellent quality raw materials.
Es-senze instead transports you to an almost intangible artistic world. It is possible to complete the experience in the Visual Immersive Experience at Bottega Cini, where a sort of three-dimensional cinema has been set up where it is possible to virtually immerse yourself in the nature of those uncontaminated places that produce the raw materials of The Merchant of Venice perfumes.
The experience also returns home with those who want it, thanks to the new collection of the eight Perfume Accords , from tuberose to neroli, from cistus to patchouli, which can be vaporized on the skin alone or give the possibility to create your own unique layering. and personalized, combining them with each other.
At Palazzo Mocenigo, it starts with the Perfumery Art Exhibition Accordi di Profumo
Set up in the White Room on the ground floor of Palazzo Mocenigo , Accordi di Profumo is an invitation to rediscover the sense of smell by focusing attention on the great ingredients of contemporary perfumery, with an eye towards sustainability . The exhibition celebrates the sustainable perfume supply chain project conceived by The Merchant of Venice in collaboration with Givaudan, and it is a journey to discover the sustainable ecosystem. The visitor, through an interactive QR Code, will discover the peculiarities of traceable raw materials - for example sandalwood from Australia and bergamot from Calabria - and how they are able to transform themselves, giving life to fragrances. Here The Merchant of Venice also presents the homonymous line of its eight Perfume Accords with, in the heart of each fragrance , an iconic ingredient of controlled origin that contributes to the sustenance of local farming communities while also promoting the protection of the environments from which they have origin.
Es-senze - Contemporary artists and scent. An exhibition - the olfactory exhibition that is not expected
Conceived and curated by Pier Paolo Pancotto , it is a contemporary art exhibition, set up on the first floor of Palazzo Mocenigo, where a multisensory journey unfolds composed of installations created by twelve international visual artists who experiment with the use of smell and sensory components. related to it in their creations. Among them, Mircea Cantor, Mateusz Choróbski, Jason Dodge, Bruna Esposito, Eva Marisaldi, Florian Mermin, Giuseppe Penone, Paola Pivi, Namsal Siedlecki, Achraf Touloub, Nico Vascellari and Luca Vitone. To complete the exhibition, there is the presentation of an original document, the Flora Futurista Manifesto by Fedele Azari here interpreted by Nicola Pozzani , creative director of Mavive, and the perfumerGael Montero , who translated, in an original perfume, the evocation of the artificial odor, devoid of flowers, promoted in the same text of Azari of 1924.
