The Coppola Foundation is pleased to announce the opening of the collective exhibition "The School of Venice", an exposition that celebrates the talent of five artists who trained at the Academy of Fine Arts in Venice. Founded in 1750, the Academy stands out as one of the oldest and most prestigious artistic institutions in Italy. The exhibition presents the works of Thomas Braida, Chiara Calore, Nebojša Despotović, Eric Pasino, and Paolo Pretolani.

The works of these artists are characterized by various features that recall the Venetian tradition in a contemporary key. They stand out for a chromatic and decorative richness that captures the eye: the use of vibrant colors, meticulous details, and compositions full of architectural and symbolic elements invite the observer to a careful reading of the work. The eclectic choice of figures reflects Venice's historical position as a crossroads of different cultures and artistic influences, combining elements of different traditions into a unique artistic language.

In its tribute to water, the exhibition unfolds on multiple levels within the tower, guiding the visitor through a progressively evolving experience. The journey begins with themes of transition and tranquility, through a selection of images related to sleep and death. It continues on the second floor, in a more ethereal atmosphere, introducing a suspended and transcendent dimension. On the third level, the undulating motion of the sea emerges strongly on the canvases. On the fourth floor, there is a close dialogue on the transience of life between the portrait of Thomas Braida, created by Nebojša Despotović, and the work "Tempus fugit! fio mio – Tempus fugit! my son", created by Thomas Braida himself. Finally, the journey concludes in the Observatory, an open and bright space, where works depicting faces and cities connect Vicenza and Venice together.

The uniqueness of the exhibition lies in the opening of the turret to the works "Morning Glory" and "Capriccio" by Paolo Pretolani. "Capriccio" is created with UV painting and does not represent a conclusive point, but rather a "suspension" that ideally continues infinitely. Here, painting becomes light and a metaphor for the search for an all-encompassing meaning. The tower's lantern ideally projects this signal towards Venice and the whole world.