“Yellow stickers” Urban intervention project in simultaneously with the 51st Venice Biennale – 2005 (Curated by Elisa Marras)
Location: Venice, in particular the route from the Railway station to the Gardens and back.
YELLOW STICKERS is a work of art that involves the whole of Venice. The idea was conceived, and subsequently executed for the first time, for a collective display of contemporary art, exhibited right here in Venice at the A+A Gallery from 11 to 30 April 2005, where Anila Rubiku participated with her installation called “we are looking for a better place”.
The work has been designed specifically for this city, a place where thousands of visitors converge every day: travellers in continual exploration of this “labyrinth”, foreigners trying to understand where they’re going,, who have too little, or too much, time on their hands, foreigners who also love getting lost in the little alleys and by the canals, or who race to get their train on time.
It’s for all this people that Anila Rubiku has created a sort of “guiding voice” to accompany them through the walk from the station to the Gardens, venue of the 51st Biennale d’Arte, and back again. The route will be demarcated by signs that resemble the well known yellow road signs of the city (Railway station –> <– San Marco), but will not contain any directions as such. What they will contain is exhortations, questions and reflections directed at those who, with nose in the air and map in hand, are looking hopefully for normal directions.
Now for once, pedestrians, usually disheartened by their inability to find their way and to understand exactly where they are in relation to the city («how far now?»), will be encouraged by the presence of a hypothetical travelling companion, who is sometimes concerned, sometimes ironical, sometimes teasing, and who is also intent on completing his journey. Wondering about his or her own route, the pedestrian can identify with the “travelling companion”.
The theme of travel, always at the centre of Rubiku’s work, finds a special embodiment here through the care taken of another “me” in transit, in a mirrored relationship that is all the more emblematic being portrayed, as it is, in the city that lives on water.