Venice has become a focal point for design and craftsmanship this September with the return of the Homo Faber Biennial, a month-long event held at the Fondazione Giorgio Cini on the island of San Giorgio Maggiore. Now in its fourth edition, the biennial showcases a wide range of artisanal work, drawing visitors from across the globe to experience its unique approach to celebrating craft.
Under the artistic direction of British designer and stage artist Es Devlin, known for her work with high-profile figures such as Lady Gaga and U2, the event has been transformed into a multisensory experience. Homo Faber 2026: An Island Of Light features 15 installations displaying over 700 objects created by roughly 500 artisans representing 70 countries. The exhibition emphasizes the relationship between light, material, and the human hand, aiming to honor individual pieces while producing an immersive collective display.
Initiated by Johann Rupert, chairman of Cie Financiere Richemont, and Franco Cologni, former chairman of Cartier International, the biennial is part of the Michelangelo Foundation for Creativity and Craftsmanship’s broader mission to support global artisanship. Alongside the exhibition, the foundation runs educational programs and offers fellowships to emerging craftspeople. Unlike typical design fairs, Homo Faber is not focused on sales but serves to spotlight individual craftsmen and create connections with potential buyers.
Devlin described her curatorial approach as balancing spectacle with authenticity, ensuring that grand gestures in the presentation complement the delicate nature of many objects. For example, an installation features a table illuminated from below, showcasing a range of small white objects made from diverse materials including feathers, ceramics, glass, and even Lego. This collection highlights form and craftsmanship rather than color or scale, creating a cohesive yet varied display.
Artisans participating in the biennial have found the experience both surprising and meaningful. One craftsman from Hawaii noted how the event made him feel part of a larger community of makers with shared sensibilities, a connection often missing in solitary craft practices.
The exhibition also addresses the fragile state of craft traditions. Many artisans, particularly from older generations, express concern over passing down their skills amid technological and economic pressures. Devlin compared endangered craft techniques to endangered languages, emphasizing the urgency of preserving these time-intensive skills in the face of mechanization and modernization.
Visitors are guided through the exhibition in a carefully designed progression, beginning with an artisan’s workshop setting, followed by displays that gradually introduce the makers’ hands, faces, and the shadow forms of their work. A particularly striking installation includes a circular arrangement of vases rising from a pool of water, creating a dramatic visual centerpiece.
Ultimately, the biennial seeks to deepen appreciation for the diversity and inventiveness of human craftsmanship, encouraging visitors to reflect on the tactile connections between people and the materials they shape. Devlin expressed a hope that the exhibition might inspire a renewed awareness of the value of handcraft in an increasingly digital and disconnected world.