TABLE OF CONTENTS

Mark Godfrey

SOMEWHAT PUT OFF by the cheesy ad adorning vaporetto stops, the queue outside, and the general air of disappointment infusing the art crowd in Venice, I entered “Artempo” not expecting much, but discovered the most riveting exhibition of the summer. The show was housed in the Palazzo Fortuny, once home to nineteenth-century collector, scholar, artist, and designer Mariano Fortuny. Some of Fortuny’s own collections and artworks remained on display, but most of the installation showcased the property of Axel Vervoordt, one of Europe’s most catholic collectors and dealers of antiques and art. With the curatorial assistance of Mattijs Visser and Jean-Hubert Martin, Vervoordt had supplemented his own and Fortuny’s collections with museum loans, resulting in more than three hundred objects in all, some dating as far back as the third millennium BC, others from the past few years. Not all the

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