The Scuola Piccola Zattere, formerly known as the VAC Foundation, has reopened in Venice under the leadership of Victoria Mikhelson, daughter of Novatek’s owner Leonid Mikhelson.This conversion comes amid a backdrop of heightened Russian LNG sales in Europe, with the EU reporting a record 16.5 million tonnes purchased in 2024. The newly revamped space emphasizes local artistic initiatives and freedom of expression, distancing itself from its previous ties to the Russian art scene.The reopening event attracted a diverse crowd, including students from Cà Foscari University, signaling a shift towards community engagement and cultural revitalization in Venice. As Europe grapples with its energy dependencies, the presence of Russian interests in the art world raises questions about the intersection of culture and geopolitics.
title: Exploring the Cultural Revival of Scuola Piccola Zattere: An Interview with art Expert Dr. Elena Rossi
Editor: Today, we discuss the reopening of Scuola Piccola Zattere in Venice, a critically important cultural shift from its former identity as the VAC Foundation.Joining us is Dr. Elena Rossi, an art historian and cultural policy expert. Dr. Rossi, how does the leadership transition under Victoria Mikhelson reflect broader changes in the European art scene?
Dr.Rossi: The appointment of Victoria Mikhelson, particularly given her lineage linked to a prominent Russian billionaire, adds layers to how venues like Scuola Piccola zattere navigate their identities in a complex geopolitical landscape. This move can be seen as an attempt to reshape the institution’s narrative, particularly in distancing itself from the Russian art scene while still acknowledging the cultural ties that bind Europe and Russia. The influence of Russian interests in the arts remains a sensitive topic, especially as European nations reassess these relationships due to current political climates.
Editor: The reopening occurred against the backdrop of record LNG sales by Russia to Europe. How does this economic situation relate to cultural institutions like Scuola Piccola Zattere?
Dr.Rossi: The intersection of energy reliance and cultural platforms is crucial.as the EU has reported importing a record 16.5 million tonnes of Russian LNG in 2024, questions arise about the ethical implications of engaging with Russian-funded art initiatives. Institutions are sensitive to these dynamics and may struggle with funding sources that carry significant geopolitical implications. Scuola Piccola Zattere’s emphasis on local artistic initiatives can be interpreted as a strategy to bolster community ties and promote a sense of cultural independence away from the Russian influence.
Editor: The reopening event attracted a diverse crowd, including students from Cà Foscari University. What does this say about the role of educational institutions in the cultural landscape of Venice?
Dr. Rossi: The involvement of university students signifies a renewed commitment to community engagement and cultural revitalization. Educational institutions are increasingly recognized as key players in fostering cultural dialog and providing platforms for emerging artists. By attracting younger audiences and educational groups, Scuola Piccola Zattere can establish itself as a hub for innovative thoght and artistic expression that resonates with contemporary societal issues.
Editor: Given this backdrop, what practical advice can you offer to artists and cultural organizations that seek to navigate political sensitivities while promoting creative expression?
Dr. Rossi: Firstly, transparency is paramount.Artists and organizations shoudl openly communicate their funding sources and operational strategies to build trust with their audiences and collaborators. Additionally, fostering local partnerships can help enrich cultural initiatives while avoiding potential geopolitical pitfalls. Creative projects should also engage with the community directly, inviting dialogue and participation. This not only strengthens ties within the local context but also positions these initiatives as resilient against external political pressures.
Editor: As we look to the future, what trends do you see emerging from Scuola piccola Zattere’s reopening and the broader Venice art scene?
Dr. Rossi: I foresee a trend towards inclusivity and localism, where cultural spaces focus on unique narratives that reflect their communities rather than relying on broader international connections that may carry baggage. The desire for freedom of expression and a commitment to artistic autonomy will likely define manny cultural institutions in the coming years. Furthermore, expect to see more programming that engages with pressing global issues—climate change, social justice, and the impact of competition over resources—using art as a medium for discourse and community action.
Editor: Thank you, Dr. Rossi,for these insights into the evolving landscape of Scuola Piccola Zattere and the challenges and opportunities for artists navigating today’s complexities.