The Power of Sound: Vicky Krieps, Andrea Mancini and Every Island

Summary

CHANEL Connects: Episode Summary – "The Power of Sound: Vicky Krieps, Andrea Mancini and Every Island"

Release Date: July 9, 2024

In this captivating episode of CHANEL Connects, host Yana Peel delves into the intricate relationship between sound and artistic expression with an engaging panel featuring internationally acclaimed actor Vicky Krieps, artist and musician Andrea Mancini, and Martina Genovese of Every Island Design Collective. Set against the picturesque backdrop of the Conservatorio di Musica in Venice, the conversation explores how music serves as both a personal sanctuary and a professional tool for creativity.

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Introduction to the Episode

Jana Peel opens the discussion by situating listeners within the vibrant atmosphere of the Venice Biennale, the world's premier contemporary art exhibition now celebrating its 60th edition. She introduces the guests and sets the thematic focus on the pivotal role of music in their respective practices.

Timestamp: [00:04] – [01:03]

The Personal and Professional Significance of Music for Vicky Krieps

Vicky Krieps shares her profound connection to music, highlighting its dual importance in her private life and professional career. She describes music as a "universal vehicle and energy" that offers comfort and a means to process emotions stemming from her roles as an actress.

"Music is the only force that can go through time and connect. It's just a universal vehicle and energy that can feel silence, it can feel heartache, it can transport you."
— Vicky Krieps [02:13]

Krieps elaborates on how playing the guitar serves as a ritual to transition from her characters back to her personal identity, allowing her to "let go of my control" and reconnect with herself after immersive performances.

"I consider myself almost like a scientist or experimentator... I have to let go of my control that I believe is an illusion anyway."
— Vicky Krieps [09:40]

Every Island’s Innovative Use of Sound in Art

Andrea Mancini and Martina Genovese discuss their collective, Every Island, emphasizing the transformative power of sound in their installations. They reveal how their exhibition at the Biennale fosters a dynamic and ever-evolving dialogue between artists and audiences through sound.

"What we wanted to play with was a six month temporality that is given by the Biennale and the fact that therefore the space will evolve with it."
— Andrea Mancini [06:43]

The collective invites four performative artists to reside within the pavilion, each contributing to a shared sound library that fuels collaborative performances, effectively turning the pavilion into a living, breathing entity that changes over time.

"The sound of the pavilion will change... with the pieces of the others."
— Andrea Mancini [07:51]

Collaboration and Collective Creativity

The conversation delves into the nuances of collaborative work. Andrea Mancini explains that working as a collective involves continuous self-exploration and compromise, leading to a "collective voice" that transcends individual expressions.

"It's not at all about putting down the expression of the individuality, but trying to find a collective voice."
— Andrea Mancini [17:16]

Vicky Krieps relates this to her acting, describing collaborations with directors as "confrontations" that foster creative friction, essential for authentic artistic creation.

"I have to let go of my control... what I'm saying is, maybe we are ready to accept that parts of this control... is an illusion."
— Vicky Krieps [10:12]

The Essence of Luxembourg and Its Influence

Both Vicky Krieps and Andrea Mancini reflect on their Luxembourgian roots, painting a vivid picture of the country's picturesque, medieval charm intertwined with a spirit of openness and cross-border collaboration.

"I think I grew up thinking I am European. I didn't even know that it's not the same for other people."
— Vicky Krieps [20:20]

Juliane Zeaver adds that Luxembourg's multicultural environment fosters a "cross border spirit," essential for their collective's diverse artistic endeavors.

"That's why I always say cross border spirit."
— Juliane Zeaver [20:38]

Artistic Challenges and Historical Perspectives

Discussing her role in the film "Corsage," Vicky Krieps touches upon the challenges of accurately portraying historical elements and the deliberate blurring of reality and fiction to provoke thought.

"It's to challenge your perspective of history... it's all relative. And that was the whole movie."
— Vicky Krieps [22:21]

Future of Art: Perspectives from the Panel

In examining the future of art, the guests share optimistic visions centered around multidisciplinary dialogue, local community engagement, and a return to art's emotional and authentic roots.

"Reconnecting with the local realities... there's so much hidden talent."
— Juliane Zeaver [24:45]

Vicky Krieps expresses hope that art will move away from capitalist constructs and return to its foundational emotional essence, driven by artists' intrinsic needs rather than commercial pressures.

"I believe that through people like me... we need to resist how art is perceived."
— Vicky Krieps [25:30]

Closing Reflections and Participant Contributions

The episode concludes with reflections from all participants on what excites them about the future of art. Additionally, CHANEL Connects shares insights from other Biennale attendees about the sounds and songs that best capture the essence of Venice, emphasizing the city's unique auditory landscape.

Notable Contributions:

• Andrea Mancini: "The sound that I think of when I think of Venice is a kind of collective groan when people realize that they're not on the guest list for something." [27:01]
• Alessandro Kugola: "The sound of water kind of lapping, obviously snipping canals... It's a very particular sound." [27:05]

Conclusion

This episode of CHANEL Connects masterfully intertwines personal anecdotes, artistic philosophies, and collaborative dynamics to illustrate the profound impact of sound on creative practices. By showcasing the innovative work of Vicky Krieps, Andrea Mancini, and Every Island, the podcast invites listeners to contemplate the evolving landscape of contemporary art and its future trajectory.

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Listen to the full episode here.

Transcript

[Jana Peel]

Welcome to Chanel Connects, the Venice Biennale edition.

[Andrea Mancini]

It's important to be free.

[Vicky Krieps]

So who was the fool who didn't recognize it all that time ago? Yeah, yeah, yeah.

[Martina Genovese]

You know, I think it is seduction. Oh, absolutely.

[Vicky Krieps]

Just another woman trying to survive.

[Martina Genovese]

So who of them is lying? I wish that were the case. Well, let's face the terror of the new work, then.

[Andrea Mancini]

And this is what art is so good at.

[Martina Genovese]

I don't. Do you prepare? No, no, no.

[Jana Peel]

In this season of Chanel Connects, we've taken up residence in Italy to go to the center of the art world. Listen in to the artists, curators, thinkers and makers behind the Venice Biennale, the world's most important exhibition of contemporary art. Now in its 60th edition. Each of our guests is focused on what matters most and what happens next. And now we get to listen in. I'm Jana Peel, global head of Arts and culture at Chenille. Thank you for connecting with us.

[Andrea Mancini]

Could you tell where my head was at when you found me? Me and you went to hell and back just to find things.

[Jana Peel]

Nietzsche once mused, when I seek another word for music, I never find any other word than Venice. Music connects in this episode with with internationally acclaimed actor Vicky Kreepz, artist and musician Andrea Mancini and Martina Genovese of Every Island Design Collective and the Luxembourg Pavilion. They meet in the beautiful Conservatorio di Musica in Venice. Together, they share the vital role that music plays in their practices. For Vicki, as a tool to better understand the characters she embodies. For Andrea in Every island, music is an opportunity to create collective dialogues and challenge the distinctions between artists and audiences. Oh, and do keep an ear out for an impromptu musical performance by Vicky Penny Martin moderated the conversation and began by asking Vicki what the importance of music is to her.

[Vicky Krieps]

Oh, it's a big importance. I think there's two. One is private and one is professional. Private. I would say, like many people, it may have saved my life, beginning in my childhood, where there was always music in the house. And I think music is the only force that can go through time and connect. It's just a universal vehicle and energy that can feel silence, it can feel heartache, it can transport you. It can take you in, like an embrace, you know? So on a private level, it was always my most comforting friend, maybe. Yeah. And then in my work, it became an important tool, I would say, as an actress, I realized that I was missing some sort of ritual or something to help me get back to my normal life. I don't know how you feel as Artists. But I, having children very early, realized that I needed something to get me back to just being me faster and not, you know, taking weeks of, oh, I'm this character now, and I'm heartbroken. And in order to create a work, you bring a whole world into it, and then in the end, you have one form, if it's a painting or if it's a role I portray. But there's so much more to the character. And so I went out and I bought a guitar, very cheap one. And I'm not a musician. I have to say that first. I mean, people correct me and say, there's no such thing. So you are a musician. Whatever. I didn't go to conservatory, that much I can tell you. And I didn't take lessons, so I looked at other people playing and just copied the sound just enough so I could transport my words.

[Martina Genovese]

So if it's a tool of transformation, can you give an example of something that you put on to bring you out of work?

[Vicky Krieps]

Yes, it's more to get out. So it was specifically on the work on Phantom thread that was very intense as a film, and it helped me go somewhere with my feelings that it's just me. And when I finish a film, I finish the song, and my character then goes into the song, as in like a portrait gallery, or. I wouldn't say cemetery, because it's not really saying goodbye. It's more like taking it and putting it somewhere so the work stays alive within me and there's a place I can go back to my work, in a way.

[Martina Genovese]

Andrea and Martina, with your collective Every island, both of your practices incorporate sound and music and language, and this is, of course, the focus of your exhibition here at the Biennale. What is the importance or power of sound in the abstract for you?

[Juliane Zeaver]

I think for us, it was important to open a dialogue between multiple artists, guest artists that we would invite. And like, in the digital age that we're living in right now, we really wanted to go back to the origins of sharing knowledge, which is vocal or oral transmission. So I think it was an obvious choice for us to use sound in our project.

[Martina Genovese]

What is it about sound that makes it more primal for you then, or more essential?

[Juliane Zeaver]

I think sound has this capacity of ambiguity, so you can really try to find your own meaning and bridge meanings through sounds.

[Martina Genovese]

And how about you?

[Andrea Mancini]

From our side? I'm going to speak a lot plural, because, as you said, I'm here representing a collective that is actually made of different voices and different minds. So together with me, Juliane Zeaver, And Katerina Malavalti and Alessandro Kugola are part of this project and this collective.

[Katerina Malavalti]

So.

[Martina Genovese]

So there are four of you?

[Andrea Mancini]

Yeah, and we are all having a background in architecture actually. So our first approach is special and for us was really interesting because we experiment a lot in our design with the connotation of performance inside of space. This because as architects we are taught about looking at space and always people are defined as user. But we always felt like this definition was cool and a bit detached from the reality. We see people as activators. We like to play on the fact that actually inside the space there is no difference between who is going to visit the space and who is going to actually perform in it.

[Martina Genovese]

Can you both walk us through it? Paint me a picture of it. What's it like to attend the exhibition that you've called a comparative dialogue Act?

[Andrea Mancini]

First of all, is ever changing exhibition. So whoever is going to step into the space will not see the same that the person before and after is going to see. What we wanted to play with was a six month temporality that is given by the Biennale and the fact that therefore the space will evolve with it. And this evolution is out of our control. What we ask is for four performative artists to do residency inside the pavilion.

[Vicky Krieps]

Who are they?

[Andrea Mancini]

Bella Bagena, Celine Young Celine Davass and Stina Force.

[Juliane Zeaver]

They have multiple different identities or ways of communicating through sound. And with this project we asked them to try common language, actually. And so we asked them in the months before the Biennale to create a sound library that represents their practice, but also their background. And this becomes actually a shared tool for the others to co create. So we ask them during their residency to work on a performance, but with the pieces of the others.

[Martina Genovese]

And then I believe they add to it becomes a kind of iterative experience.

[Andrea Mancini]

Exactly. By the use of the residency that every performative artist is going to do, during the course of the six months, the sound of the pavilion will change.

[Vicky Krieps]

That's so interesting because I feel like what you're describing as an architect and having the need to re question, you know, what is a space? Who owns the space? What is my role as an architect? I think that's like maybe something like a zeitgeist, because I feel very much the same. And I think it came from the same origin of needing to change my own perception of my own work. But what I find interesting of what you say and what you say with making people connect in their art, you invite people to rediscover their own ownership of space. In a way, you know, that space is not owned by whoever puts it up, but also by the person entering the space or defined by that.

[Andrea Mancini]

You're precisely grasping the topic of the pavilion because, yeah, like both us as every island and both Andrea, we were so intrigued by two main factors. One is letting go of control, letting go of what is going to be the result. And that could be achieved only by sharing this experience with other artists, but also to leave an open ended process to the pavilion.

[Martina Genovese]

And it's perhaps no surprise that an actor such as yourself might be touched by that moment. Because it seems to me that that's what you do, isn't it? That you spend as much time as you possibly can preparing and then you're finally on the precipice of exposure and vulnerability perhaps.

[Vicky Krieps]

Yes, exactly. And I consider myself almost like a scientist or experimentator in the same sense because over the years I've been trying to push myself to a place where I let go. And I can only let go if I almost unprepared. And it's a tricky thing because sometimes there are moments I really truly do not know what is going to happen with me or with the scene, with what is going to be said. And it's these moments that I go for, you know, and I might have just only a few. Every movie maybe just has like a few of those moments.

[Martina Genovese]

Can you give an example?

[Vicky Krieps]

I will give an example that is maybe the most, you know, famous of people know is phantom threat. And there are a few of those moments and one is when it's about poisoning and asking someone to eat something. And that was a scene that, that I entered completely oblivious of. I mean, I did know my lines, but I intentionally didn't try to understand the scene. Sometimes you can bring yourself to not understanding the situation you're going to enter. I did the same today. I did know your work a little bit, but I refrained from trying to find out too much about your work. So I would enter something new in a way. And I have to let go of my control that I believe is an illusion anyway. So grand, you know, in my, what I'm saying. But maybe we are ready to accept that parts of this control that we had over our life, you know, the way we build society and architecture or in social structure, is an illusion and that we are ready to, you know, let go of that illusion away.

[Andrea Mancini]

In our practice, we are really intrigued about the word contamination in the sense that is usually having a really bad connotation as a word. But I'm So intrigued by actually the potentiality that he has. Because in the moment, as you're saying, a creative practice or mind or simply an individual put themselves in the position of being able. Of being contaminated. That's the moment in which something interesting can come out.

[Martina Genovese]

This all said there was an allusion to a moment of preparation that I shouldn't let go past. And you talked a little bit about some elements of preparation that you do in order to get into the sensibility, if not the kind of understanding of a role. And that is you create a song for a character in order that you understand them fully. And I see we have a guitar in the room.

[Vicky Krieps]

Yes. This is not actually my favorite guitar to play because I couldn't bring my other guitar because it's so difficult now with airlines to transport a guitar. And it was fully booked and I couldn't get a seat for my guitar. So now I had to play put it down in the. Where you put the bags. And so I didn't want my favorite favorite guitar to be damaged. So I have this one, which is not perfect, but it's also going to work.

[Martina Genovese]

If there's something you would care to share, we would love it.

[Vicky Krieps]

Yeah, I would just. Only if you really agree. And you are not going to judge me on the premise of like, this is so that I'm good at something.

[Martina Genovese]

Well, we all just agreed that we wanted to be contaminated by the unexpected.

[Andrea Mancini]

Contaminated. Not judge ourselves on performance.

[Vicky Krieps]

Which is maybe the best example of like the letting go, like the not expectation. Because I did a movie called Old and it's a horror movie and it really has nothing to do with this song. But for me, every character is just another woman trying to survive life. So actually I make these songs and I myself, I get surprised by what they are, you know, so it's not like I prepare and I think, oh, what song could go. It's really more like closing your eyes and what is going to spill out of me as a feeling of the. Of the character.

[Andrea Mancini]

Whatever.

[Vicky Krieps]

I hope I remember the lyrics.

[Katerina Malavalti]

You break open the heart, you let in all of this light and then you forget. And I slip away out of sound and out of sight. Out of life and into another round of loneliness. Cause here I am out in the open sea. O swimming arms wide open for memories. Now what if it killed you? What if I do? Oh, winning is losing now what if that's true? You only find peace in the one lover's hand. Oh, that bird now never quite landed here with me out in the open sea. Oh, Swimming, arms wide open looking out for me.

[Vicky Krieps]

The God of the ocean.

[Katerina Malavalti]

He painted it all black and my father once told me there's no coming back from life or from love or from all of this noise. All powerful potions made so we go sleep deep under the open sea O dreaming eyes wide open for some memories now what if I told you you were always my man? All of those years of water and sand I was holding on so tightly like a secret song While you were living your life and I was living along out here, out in the open sea.

[Vicky Krieps]

Swimming. Something like that. Wow.

[Martina Genovese]

Thank you so much for sharing that with us.

[Vicky Krieps]

It's incredible. I made myself the promise because, you know, I don't have the musical education. Somehow I feel something in me, I don't know what it is, wanting to do this. And so I said to myself that from now on, whenever I go somewhere, I enter the space and I will try and play. So far I played in the U Bahn in Berlin, like in the subway. I played in so many different places whenever I thought I would have to play in the conservatory. The opposite of what I am, you know, it's like, oh my God.

[Andrea Mancini]

Bringing the letting go in the most a rule based place of music ever.

[Martina Genovese]

Andrea Martina.

[Andrea Mancini]

Yes.

[Martina Genovese]

That idea about self expression and the singularity of someone's voice and sharing it, expressing themselves, of course, is part of all your practices as individual artists. But how does it then work in every island in a collective?

[Andrea Mancini]

I think actually working as a collective is a continuous self exploring and group exploring process because in the end is not at all about putting down the expression of the individuality, but trying to find a collective voice. And this takes time, this takes compromise, letting go of a lot of barrier, a lot of confrontation on a peaceful way and on a more heated up way.

[Martina Genovese]

Yeah, let's get to that. Because of course collaboration can sound very polite and kind of compromising, but actually it can be quite radical. It can be a punk act, can't it?

[Andrea Mancini]

Totally. But I have to say, for example, from our side, it was always useful in doing this self exploration process as a group to always involve other people. Because normally we started as the founders of the collective, but in the end, in every process, we always felt like this kind of relationship that we were sharing had to be shared also with someone else to feed and to explore and, and to evolve as much as possible. It's a way of working that becomes really intimate and really challenging, but that we think lead to the best result in the end.

[Martina Genovese]

So describe for us what your collaboration With a director might look like Vicky. Does it sound anything similar?

[Vicky Krieps]

Yeah, you know, I'm a big fan of talking about my collaboration in the sense that it's more like a confrontation because I'm a fan of the friction and I think, you know, it's when you create more. But interesting enough, people don't really like me talking about it like that. Like it's very interesting. Whenever I have interviews or so I keep feeling like I'm being, you know, whistled back into my box because we are supposed to say, oh, it was so nice working with X yon and I loved working on this and we were such. And I don't get it why this should be interesting to talk about. Because everything that is artistic is never created by pure agreement, you know. So I really, I think with all my directors I have these confrontations and even if they're women who even carry the same experience in life so they will know where I'm coming from. I even challenge that just because I want that friction, I will not do what they asked me to do.

[Martina Genovese]

And if you're seeking out that dream counterpart, who have you heard is feisty enough?

[Vicky Krieps]

I don't know, maybe someone from the street. Just like I would love to take the camera, go on the street and the next person we meet, that's who we have to make the movie with. And that would probably be the person I would have the best interaction. Yeah.

[Martina Genovese]

Vicky and Andrea, although you both live in Germany and Brussels respectively, you mentioned that you were born and grew up in Luxembourg. If you were to close your eyes and describe it to me, what picture would you paint? What is the essence of Luxembourg?

[Vicky Krieps]

I can only tell you what I know from people seeing it. So it's quite picturesque and medieval in a sense. And it has this postcard look to it, you know, it's like a little bit Lord of the Rings in tiny with a pinch of industrial in the south.

[Juliane Zeaver]

Post industrial. Yeah, we.

[Vicky Krieps]

Which brings interest by a lot of Italians actually. Because we had a lot of Italians coming working in the industry.

[Juliane Zeaver]

Yeah, my family comes from that phase of emigration actually. But for me also Luxembourg represents also the spirit of openness to its neighbors. Also by necessity, because it's such a tiny country surrounded by such strong neighbors, France, Germany, but also being in the center, in the heart of Europe. So it has to embrace. Yeah, that's why I always say cross border spirit.

[Vicky Krieps]

That we are like we are open minded by necessity, really. I think I grew up thinking I am European. I didn't even know that it's not the same for other people. And growing up, I was like, what? These guys still have borders, they still believe in that. It was really shocking for me because I grew up like you and I thought, oh, we're all Europeans, we're all one.

[Juliane Zeaver]

But also like the fact that Luxembourg has given, in our case, opportunity to represent the country by a collective which is not Luxembourgish. So actually it's only one person out of five that is Luxembourgish. It really, like, is also a stand to this openness.

[Vicky Krieps]

It is.

[Martina Genovese]

Vicky, I read that as executive producer on the film Corsage, you wanted to film in Venice, but ultimately that had been prevented.

[Vicky Krieps]

Yeah, we needed the boat and the harbor and that was very difficult and expensive. So we ended up shooting in Ancona.

[Andrea Mancini]

Oh, wow.

[Vicky Krieps]

Which was funny because it's a very industrial industrial. So to try and make it look like old school was not easy. But I mean, the whole movie is also embracing what is history.

[Martina Genovese]

And that said, didn't your character have a tattoo that was meant to have been made in Venice?

[Vicky Krieps]

Yeah. And the funny thing is that people watch the movie and they think, wait a minute, that's not historically correct. Which is why it's in the movie. It's to challenge your perspective of history. Because we perceive history only out of a time of history. You know, someone who writes about 1850 in the 50s has a different kind of 1850 than someone writing about it in the 80s. Right. So it's all relative. And that was the whole movie. And then they go, oh, so but what is real? What's not real? And the tattoo is actually real? I mean, not that particular tattoo, but she was said to have made a.

[Martina Genovese]

Tattoo of an anchor. Is that right?

[Vicky Krieps]

Yes, but originally in Amsterdam in a sailor's bar. Yeah.

[Martina Genovese]

Andrea, Martina and every island. Tell me what happens to the art after the show? I believe there's to be a physical record of what you collect. Is that correct?

[Andrea Mancini]

Yeah, that was a topic we thought about a lot. So how do you frame the ever changing material of this experience? And we decided to frame it with a vinyl record the that is going to be produced in November for the closing of the pavilion. And the idea is indeed impossible to frame what is going to happen in six months. But we wanted to kind of frame a moment in which the dialogue between the different performing artists and the crowd is going to be put together in a physical object. For the rest, we are really hoping to be able to make this experience repeatable in other places.

[Juliane Zeaver]

We would love to have more artists involved in this format. So it's actually an infrastructure that we've created.

[Martina Genovese]

So if this is only your second trip to Venice, what do you hope to see? Are there pavilions you would love to see?

[Vicky Krieps]

Well, I want to see the Luxembourg pavilion for sure.

[Andrea Mancini]

Please come.

[Vicky Krieps]

That's, like, on top of my list. That's the only thing I said. If I go, I have to see that.

[Martina Genovese]

And we're going to close. All of our conversations on Chanel connects with the same question. What are you excited about for the future of art?

[Andrea Mancini]

I think it will be interesting to open up a dialogue about multidisciplinary, about emerging artists versus already affirmed artists, and about cross nationality. So I think that for us, will be the most interesting topic to open about.

[Martina Genovese]

What about for you, Andrea? What's exciting you?

[Juliane Zeaver]

I mean, I couldn't agree more with every island's stand on this. But also for me, on a personal level, I think what's important for the future of art is reconnecting with the local realities. This in the music scene where I come from, has happened since COVID Since you couldn't travel outside of your country, you had to reconnect with your locals. And this gave more and more opportunities. And there's so much hidden talent, people that don't know how to get to opportunities. And I think it should be more and more like this, opening up to the local realities.

[Martina Genovese]

Vicky, you've got one day in Venice to experience all this future of art. What's exciting you?

[Vicky Krieps]

I think maybe that art will come back to art, because, you know, now it's in this weird pyramid of capitalistic construction, and it's running away towards a goal that doesn't really exist, built on this model of growth. And I also believe in this kind of resistance because, you know, what I do, it's so small, but I know that I'm doing it out of the same need, you know, I need to resist how art is perceived. So I believe that through people like me who don't do these things out of a concept, but out of emotional need to come back to the source of art, I think a lot of people are feeling that way. And that, to me, is what is exciting about the future.

[Martina Genovese]

That feels like a very hopeful place to end. Vicky, Andrea, Martina and every island, thank you very much for your time.

[Jana Peel]

Thank you.

[Vicky Krieps]

Thank you.

[Jana Peel]

Thank you so much. Vicky, Martina and Andrea for that fascinating conversation on the theme of music. We asked some of the Biennale's attendees what songs and sounds they most associate with Venice. Here is what they had to say.

[Juliane Zeaver]

When I think of Venice. The sound that I think of the most are video installations, art installations. There's quite a lot of them. So I would say this accumulation of.

[Andrea Mancini]

Sounds, I say, for me, the sound that I think of when I think of Venice is a kind of collective groan when people realize that they're not on the guest list for something.

[Alessandro Kugola]

The sound of water kind of lapping, obviously snipping canals and I guess kind of ricocheting off the buildings. It's a very particular sound. It's not just water. It's like the combination of water and architecture, which I suppose is Venice.

[Andrea Mancini]

When I think of Venice, I think of the water and the boats, but also the light. What strikes me the most in Venice is the light every time I come again.

[H]

The quiet at night when you walk across a palazzo is the most beautiful thing in the world. Your footsteps echoing and people laughing and talking and the clatter of silverware on plates and the clinking of glasses.

[Jana Peel]

Thank you so much to all of our contributors who joined us in Venice for the 60th edition of the Biennale. Thank you for listening to Chanel Connects, the Venice Biennale edition. Now, the number five is very important in the house of Chanel, so please consider giving us five stars on whatever platform you're listening to us. Please follow the show so you don't miss an episode. Other episodes in the Chanel Connects archive touch on music and collaboration. Why not listen back to Honey Dijon discussing the Chicago house scene that shaped her genius? Or Grimes in conversation with Maisie Williams in season two? You can find them and all previous [e-mail] next time on Chanel Connects. Renowned gallerist Sadie Coles, known for her work with leading contemporary artists, including Sarah Lucas and fellow London based gallery owner Angelina Foulke. Talk about selling your artist's work, the current gallery scene and what the Venice Biennale offers them.

[Vicky Krieps]

It's just a very, very, very large, increasingly large and rich platter from which you can look at things.

[Jana Peel]

I'll see you.

[Vicky Krieps]

Sam.