At the Ca’ Pesaro Gallery, a new project to enhance the museum's collections is dedicated to contemporary investigations: featuring the unprecedented dialogue between Giorgio Andreotta Calò, Arturo Martini, and the city of Venice, through language and reflections on sculpture.

The title of the project hosted in the Dom Pérignon Rooms of Ca’ Pesaro, "Dead Language Sculpture," refers to the famous 1944 writing by Arturo Martini, in which the sculptor questions the sculpture's ability to express itself in a lively and universal way, even openly attacking it, denying its salvific potential, during the terrible years of the Second World War. From Martini's reflections, a dialogue - almost a confrontation - begins between Giorgio Andreotta Calò, a Venetian artist counted among the most authoritative voices of Italian art internationally, and the city of Venice, considered in its plasticity and physicality.

The exhibition offers a journey through the artist's most significant works, including the Hourglasses, Noble Fins, Core Drills, and two extraordinary Medusas. One of the Medusa specimens, acquired by the Ca’ Pesaro civic collection through the PAC2021 - Contemporary Art Plan promoted by the General Directorate of Contemporary Creativity of the Ministry of Culture, will be displayed in the museum's staircase to welcome visitors to the first floor, while another establishes an unprecedented dialogue in the rooms with Martini's Medusa Head, coming from the collections of the National Gallery of Modern Art at Ca’ Pesaro.

Alongside these works, the materials that first sparked the artist's dialogue with the Palazzo on the Grand Canal are exhibited: the second room of the exhibition comes to life in drawings and core drills, the result of investigations carried out by the professionals of the Public Works Department of the City of Venice.