On the afternoon on May 9, 2026, away from the frenzy of the Biennale, the Fort of Sant’Andrea became a place of refuge and idleness, set to the delicate, entrancing site-specific sound installation of Swiss artist Hannah Weinberger.
A journey of exploration and careful listening, Fort Sant’Andrea — A Tidal Listening immersed visitors in a 50-channel sound piece, woven into the derelict island’s fabric.
For centuries the fort guarded the main entrance to the lagoon; once a military fortress, it is now a vibrant place dedicated to encounter, art and freedom.
For this performance blending singing and field recordings, Hannah Weinberger created a temporary soundscape—not as a staged performance, but as a shared moment of presence between people, place, and time.
The work was conceived as a form of attentive presence, a way of being with the fort, its architecture, its environment, and its memory—a temporary layer that coexists with the island rather than imposing itself upon it.
The participants were invited to wander freely across the island, allowing the place to reveal itself through their own rhythms of walking, pausing, and looking.
For a few hours, the fort was activated through shared attention—a fleeting, tidal gathering to open a space of collective reflection on Venice’s relationship with water, time, and survival