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  L’atlante di Le Corbusier  
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Le Corbusier (Charles-Édouard Jeanneret): Villa Savoye, Poissy. 1928–31, patio, photo 2012. The Museum of Modern Art, New York. Dono di Elise Jaffe + Jeffrey Brown. Photo © 2013 Richard Pare
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Le Corbusier (Charles-Édouard Jeanneret): Villa Savoye, Poissy. 1928–31, patio, photo 2012. The Museum of Modern Art, New York. Gift of Elise Jaffe + Jeffrey Brown. Photo © 2013 Richard Pare
  James Turrell: Aten Reign  
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Luce al tungsteno, dimensioni variabili. Solomon R. Guggenheim Museum, New York, Collezione Panza, Dono © James Turrell. Vista della mostra: "James Turrell: Iltar", University of Arizona Museum of Art, Tucson, 5 settembre–12 ottobre 1980.
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James Turrell, Iltar, 1976. Tungsten light, dimensions variable. Solomon R. Guggenheim Museum, New York, Panza Collection, Gift © James Turrell. Installation view: James Turrell: Iltar, University of Arizona Museum of Art, Tucson, September 5–October 12, 1980. Photo courtesy James Turrell
  The Hidden Mother  
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Vero enigma della sezione della Sherman queste madri alla periferia dello sguardo, questi bambini improvvisamente fissati ed espulsi dal tempo come in ogni esperimento fotografico, ossessionano dolcemente il visitatore della mostra di Gioni. Gli portano in dono una sorta di atlante misterioso che fa emergere, alla fine ogni immagine, un genere fotografico vernacolare ancora inesplorato.
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There is a sweetness, and also – paradoxically – an irony, in everything that you find on the edge of an image, in everything that enters it only in a minor key. True enigmas of Sherman’s section, these mothers at the periphery of the gaze, these children suddenly fixed and expelled from time – as in every photographic experiment – sweetly haunt the visitor to Gioni’s exhibition. They bring as a gift a kind of mysterious atlas that makes a still-unexplored vernacular genre of photography emerge at the end of the image. They dialogue silently, opening up other horizons, with the underlying theme of this 55th Venice Biennale.
  Richard Rogers: Inside ...  
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Questi pezzi sono integrati da oggetti più personali, tra cui un astuccio di matite colorate dono di Norman Foster, suo associato nello studio Team 4 (1963-67), e da ceramiche della madre Dada Rogers.
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Although less chromatically arresting, the rest of the exhibition is equally visually stimulating. Occupying the centre of the next two galleries are a variety of large architectural models, while around their walls a continuous shelf displays photographs, lectures and other paraphernalia documenting the activities of the architect and those that have inspired him, from Frank Lloyd Wright to Buckminster Fuller and Jean Tinguely. These are complemented by more personal exhibits – including a colouring pencil set given by Norman Foster, one of his partners in the Team 4 studio (1963 - 67) and pottery by his mother Dada Rogers. The latter speaks of Rogers’ Italian origins; although he moved to England in 1939, his socio-cultural engagement recalls Italian architects such as his cousin, and former Domus editor, Ernesto N. Rogers.