Venice from London – London from Venice
2024
Two framed opposing postcards.
20,5 x 40,8 cm.
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In line with the Local Colour is a Foreign Invention series, the work Venice from London – London from Venice (2024) presents a cross-view of two cityscapes reproduced on postcards. On one side, The Thames from the Terrace of Somerset House towards Westminster (1750–51) by the Venetian painter Canaletto; on the other, Venice, View from the Giudecca Canal (1840) by the London artist William Turner. The visual displacement is twofold. London was painted by the most renowned painter of Venetian views, and Venice by the quintessential English Romantic artist. Each painting thus portrays the city of the ‘other’, while bearing the imprint of its creator’s relationship to the landscape of his own origin — a reminder of how our surroundings shape the way we see.
Credits
Venice from London – London from Venice (2024). 20,5 x 40,8 cm.
General installation view of the exhibition Cristina Garrido. The White Cube is Never Empty, MACS - Grand-Hornu (Hornu, 2025). Image: Isabelle Arthuis.
Detail.
Canaletto (Giovanni Giovanni Antonio Canal), 1697–1768. London: The Thames from Somerset House Terrace towards Westminster (1750-1). Royal Collection of the United Kingdom.
Joseph Mallord William Turner, 1697–1768. Venice from the Giudecca (1755-1851). Victoria & Albert Museum.
Venice from London – London from Venice (2024). 20,5 x 40,8 cm.
General installation view of the exhibition Cristina Garrido. The White Cube is Never Empty, MACS - Grand-Hornu (Hornu, 2025). Image: Isabelle Arthuis.
Detail.
Canaletto (Giovanni Giovanni Antonio Canal), 1697–1768. London: The Thames from Somerset House Terrace towards Westminster (1750-1). Royal Collection of the United Kingdom.
Joseph Mallord William Turner, 1697–1768. Venice from the Giudecca (1755-1851). Victoria & Albert Museum.