The Exhibition

“Venice Anamorphic” isn’t just a photography project; it’s a dreamlike journey, an emotional passage through a city that eludes, folds, twists, and slowly transforms before our eyes, as if we were in a dream we can’t quite clearly recall.

After the acqua granda of November 12, 2019 – a symbolic, almost mythical event that engulfed and submerged Venice – Fabrizio Uliana felt the need to look at Venice with new, raw eyes, devoid of nostalgia but full of attention. This is a Venice that folds and recomposes itself, that never fully reveals itself, that disappears as you observe it. There’s no polemic or denunciation, but a profound sense of suspension: as if the city is holding its breath.

His images, created with an everyday tool like a smartphone, transport us elsewhere. Through circular movements and almost choreographed gestures, like a contemporary dance, Fabrizio transforms reality into unstable visions, where water becomes a distorting mirror and palaces seem like waves or memories. The photographs become mirrors that don’t reflect but question: Is this still Venice we’re looking at? Or is it already something else?

In this space of visual uncertainty, the viewer is invited not so much to see as to get lost. To “see things that don’t exist,” as the author himself suggests, to imagine a future that doesn’t yet show itself, but silently inhabits these images. It’s not about immortalizing a decadence, but about capturing this fragile and splendid moment where everything is still in balance and everything can still be preserved.

The book accompanying the exhibition – “Venice Anamorphic / Venise Anamorphique” – brings together these visions and delves deeper into them with reflections ranging from photography to philosophy, and even language. Because, ultimately, Venice is also that: a language to decipher, a tongue that changes its sound with every tide.e livre qui accompagne l’exposition – Venezia Anamorfica / Venise Anamorphique – rassemble ces visions et les approfondit avec des réflexions qui vont de la photographie à la philosophie, en passant par le langage. Parce qu’au fond, Venise, c’est aussi cela : un langage à déchiffrer, une langue qui change de son à chaque marée.
Ivana Galli