Monte di Pietà (Pawnshop): Christoph Büchel’s “Diamonds Made from Faeces”
By Huiyu Lan • 7 May 2024
"Rebellion/Subversion" is always the main subject in the context of art. The associated traits—audacity, unpopularity, and controversy—exist in art as a counter to mainstream perceptions. They represent the fundamental purpose of creation.
As one of the most anticipated works in this year’s Venice Biennale Collateral Events, Monte di Pietà rejects the white cube aesthetic, satirises the essence of an era defined by material excess, and immerses visitors in a mind-numbing sea of waste. Artist Christoph Büchel recreates a pawnshop from 20th-century Venice.
Photo: Marco Cappelletti.
Photo: Marco Cappelletti.
Photo: Marco Cappelletti.
In Italian, Monte di Pietà translates to “Mount of Piety” and can also be understood as “pawnshop.” It was a charitable institution established in Italian cities during the Renaissance. Originally created to help the poor, it provided low- or no-interest loans to prevent them from falling victim to usury. In these institutions, people could pawn valuables or provide collateral to obtain loans.
Compared to Büchel’s previous artistic projects (the cancelled Capital Affair and 1%, as well as Barca Nostra presented at the 2019 Biennale), this project appears relatively restrained.
The immersive exhibition is housed in the Ca’ Corner della Regina palace, built in the 18th century. From 1834 to 1969, the building served as a Venetian pawnshop and has been a permanent site of Fondazione Prada since 2011.
The entrance to the space is narrow, and through a small window, one can glimpse the piled-up debris inside. At first, it might seem like the wrong entrance, but after repeated confirmation with the guide, visitors proceed to enter. The bold exhibition design transforms the Ca’ Corner della Regina into a ruin filled with a pungent smell of mildew.
The three-storey immersive installation explores narratives from different times and spaces. The ground floor showcases counterfeit luxury handbags styled like street stalls, second-hand markets, television studios, casinos, war surveillance rooms, and arms shops.
On the second floor, visitors encounter a casino and a financial trading office. At the entrance, there is a roulette machine, poker tables, and a backstage broadcasting setup. On a coffee table in the ballroom, mouldy cider is placed next to green velvet chairs and gold combs on a vanity table. Visitors feel as though they have entered a parallel timeline where time has stopped, leaving behind the remains of materialistic indulgence.
It resembles an alchemical ritual, burning excess wealth to create new value. In Western history, debt, virtual currency, and the emergence of money have been closely tied to the expansion and accumulation of power. Opposite the billiard table, there is a digital trading page linked to blockchain technology. On banquet tables covered with white cloth, takeaway boxes and leftover food are scattered. A television in a single-room corner plays scenes of art auctions.
On the third floor lies the exhibition’s core piece—synthetic diamonds created using the artist’s DNA and fragments of previously unexhibited works. The Diamond Maker (2020–) features diamonds manufactured by ALGORDANZA AG, a Swiss company founded in 2004 that specialises in producing memorial diamonds worldwide.
The installation raises questions about the antithesis of art: What desires are satisfied by admiring art? What kind of debt do these desires create? The exhibition provokes reflection, with nudity and rebellion forming the core attitudes of both the organisers and the artist. Through anti-capitalism, anti-consumerism, and critiques of the commercial exploitation brought by the Biennale, the work examines the imbalance of art’s essence.
The theme of Monte di Pietà explores the concept of debt as a fundamental element in human socio-economic development and its critical role in shaping political and cultural power. Christoph Büchel examines the complex and invisible relationships between desire, money, and art, constantly challenging traditional notions with an uncompromising stance.
Venice, historically a key hub for commerce and art, provides an ideal backdrop for exploring the deep dynamics between these complex themes and contemporary society.
About the Artist: Christoph Büchel
Swiss artist Christoph Büchel is renowned for his bold performances and social commentary. His works frequently address social and political issues, garnering both controversy and acclaim.
Mosque Conversion (2015): During the Venice Biennale, Büchel transformed a 10th-century Catholic church into a mosque for the Icelandic Pavilion. The project sparked significant debate due to its engagement with religious and cultural sensitivities.
Barca Nostra (2019): At the Venice Biennale, Büchel presented the wreckage of a Mediterranean ship that sank in 2015, claiming 1,100 migrant lives. The piece sparked criticism but also drew attention to the refugee crisis.
1% (2012): At Frieze New York, Büchel purchased shopping carts from homeless individuals and resold them at 100 times their original price, igniting discussions about art value, social justice, and income inequality.
Critiques of Büchel’s works often contain elements of satire and sarcasm. However, these remarks seem to underscore the artist’s influence and conceptual depth. Perhaps this is a uniquely Western way of indulging controversial artists.
"Rebellion/Subversion" remains the main narrative in Büchel’s work. The associated traits—audacity, unpopularity, and controversy—seem ambiguous in value but, in the art context, counter mainstream perceptions. This is the fundamental purpose of creation.