Murano’s seed beads, known as ‘perline di conteria,’ have a rich history dating back to the 15th century. They quickly became a coveted currency in Venice’s global trade, facilitating exchanges for gold, bronze, palm oil, and even enslaved people in Africa and the Americas.
Artist Kapwani Kiwanga’s installation, ‘Trinket,’ at the Canada Pavilion in Venice, explores the pivotal role of these seemingly insignificant glass beads. Thousands of seed beads, in hues ranging from sunset colors to blue, adorn the pavilion, suspended from the ceiling and cascading down the walls.
While the installation effectively highlights the bartering power of these beads, it surprisingly overlooks the profound significance of seed beads in Venice’s own history. Despite the fact that the art of glass beads has been recognized as intangible heritage by UNESCO, this crucial fact is curiously absent from the pavilion’s information boards.
This omission has drawn criticism, as advocates for the recognition of Murano’s glass beads believe it undermines the installation’s intended message of exposing ‘overlooked’ histories. The installation also lacks a more thorough exploration of the key role played by women in the bead stringing process, a task that brought economic opportunities for women and required specialized skills and techniques.
Despite these shortcomings, Kiwanga’s ‘Trinket’ remains a visually striking and thought-provoking installation, inviting viewers to contemplate the complex legacy of these tiny glass objects and their impact on global trade and cultural exchange.
