Punta della Dogana, also known as Punta della Salute or Punta da Màr, is a historic and cultural landmark in Venice, Italy. The name translates to "Customs Point" and refers to both the triangular promontory where the Grand Canal meets the Giudecca Canal and the iconic 17th-century building that originally served as a customs house (Dogana da Mar). Today, it is a premier contemporary art museum showcasing temporary exhibitions from the Pinault Collection. Located near the Basilica of Santa Maria della Salute and the Patriarchal Seminary of Venice, it embodies Venice's maritime heritage and its modern role as a global art hub. Its strategic position offers panoramic views across the lagoon, making it a symbol of the city's historical and cultural evolution.
Punta della Dogana is situated in the Dorsoduro sestiere of Venice, at the eastern tip where the Grand Canal flows into the Giudecca Canal, at approximately 45°25′52″N 12°20′10″E. It lies diagonally opposite Piazza San Marco across the water, offering stunning views of St. Mark’s Basin. Accessible by vaporetto (water bus) at the Salute stop or by foot from areas like the Accademia Bridge, the site’s location has historically been vital for trade and navigation, reflecting Venice’s identity as a seafaring republic. The surrounding area blends residential neighborhoods with cultural landmarks and is a focal point during events like the Venice Biennale.
The history of Punta della Dogana began in the early 15th century
when the area was developed for maritime customs operations under the
Republic of Venice. Initially, temporary wooden structures stored goods
like salt, flour, and oil, and housed customs officials who inspected
and taxed shipments, underscoring Venice’s dominance in Mediterranean
trade. By the late 17th century, a permanent facility was needed,
leading to the construction of the Dogana da Mar building, commissioned
in 1677 and completed between 1678 and 1682 by architect Giuseppe
Benoni. It functioned as the main customs house for sea imports until
the Republic’s fall in 1797. The building’s last major pre-modern
renovation occurred in 1838 under architect Alvise Pigazzi. As Venice’s
port activities declined in the 20th century, the structure fell into
disuse and remained vacant for decades. Proposals to repurpose it as
apartments or a hotel failed due to preservation concerns and logistical
issues.
In 2007, the City of Venice launched a tender to transform
the site into a contemporary art space. French billionaire and art
collector François Pinault won a 33-year lease. Restoration began in
January 2008, and the building reopened as an art museum on June 6,
2009, marking its transition from a maritime hub to a cultural landmark.
The Dogana da Mar building is a fine example of late-Baroque Venetian
architecture, designed by Giuseppe Benoni with a triangular plan that
mirrors the promontory’s shape. Its facade features arcades that vary in
style, reflecting phased construction. The most striking feature is the
tower at the tip, topped by two colossal Atlas statues supporting a
golden bronze globe, with a figure of Fortune by sculptor Bernardo
Falconi (1670s) standing atop, symbolizing Venice’s global trade
supremacy and serving as a weather vane.
Constructed from stuccoed
brick, the building has a robust yet elegant appearance suited to its
waterfront setting. Internally, it originally housed storage halls and
offices, which were reimagined during the 2008-2009 restoration by
Japanese architect Tadao Ando. Ando’s minimalist approach preserved the
historical fabric while introducing modern elements. Key restoration
features include:
Materials and Preservation: Exposed brick walls
were retained where possible, with stainless steel anchors used for
structural repairs. Interoors were stripped to an industrial, unfinished
state, with polished concrete floors (sometimes covered with linoleum)
and a reconstructed timber gable roof with skylights to introduce
natural light.
Contemporary Integration: Ando added glass and steel
fixtures, creating a contrast between historic brickwork and modern
design. Nineteenth- and 20th-century partitions were removed, replaced
by parallel rectangular halls to enhance spatial flow. A proposed
concrete slab for the western entrance was rejected to preserve
historical authenticity. Ando’s design emphasizes simplicity, light, and
spatial harmony, blending the building’s industrial roots with Venice’s
architectural heritage.
The restoration, costing €20 million,
navigated strict preservation laws and challenges like flooding and
tidal fluctuations.
The 2008-2009 restoration, funded by François Pinault and executed by Tadao Ando, revitalized the derelict structure through adaptive reuse, avoiding major additions. This transformed Punta della Dogana into the second Venetian venue for the Pinault Collection, alongside Palazzo Grassi, hosting temporary contemporary art exhibitions. Ando’s interventions ensured the building could accommodate large-scale installations while retaining its maritime character, creating a dialogue between history and modernity. Since opening, it has hosted acclaimed exhibitions, drawing international visitors and reinforcing Venice’s status as a year-round art destination beyond the Biennale.
Punta della Dogana is a contemporary art center managed by the
Pinault Collection, which holds over 10,000 works from the 1960s onward.
It hosts temporary exhibitions exploring modern and postmodern art
themes, often featuring loans from Pinault’s collection and other
sources. The venue supports artist residencies and cultural exchange
initiatives. Exhibitions are curated to interact with the building’s
architecture, using its vast halls and natural light to enhance the
visitor experience.
As of July 31, 2025, the current exhibition is
Thomas Schütte. Genealogies (April 6, 2025 – November 23, 2025), curated
by Camille Morineau and Jean-Marie Gallais. This is the first major
Italian retrospective of German artist Thomas Schütte (born 1954),
featuring nearly 50 sculptures and about 100 works on paper, many
previously unseen, from the 1970s to today. The non-chronological
display traces evolving motifs in Schütte’s unclassifiable work,
spanning sculpture, architectural models, drawings, and engravings. His
human figures—caricatured yet poignant, in materials like clay, wax,
ceramics, glass, steel, and bronze—blend violence with ingenuity,
intimacy with theatricality, and seriousness with humor. Notable works
include Großer Frauenkopf (2021), reflecting his ironic commentary on
the human condition. Supported by Bottega Veneta, the exhibition
includes a digital guide. Related events as of July 2025 include free
daily cultural mediator sessions (11 am–1 pm, 4 pm–6 pm) and guided
tours starting at €80.
Past notable exhibitions include:
"Mapping the Studio: Artists from the François Pinault Collection"
(2009–2011), the inaugural show.
"Prima Materia" (2013–2015),
featuring 80 works, praised as a Biennale highlight.
"Bruce Nauman:
Contrapposto Studies" (2021–2022), exploring movement and space.
These exhibitions often align with the Venice Biennale, cementing Punta
della Dogana’s role in the city’s art ecosystem.
Sculptural Elements: The Atlas and Fortune statues are iconic,
visible from afar, and symbolize Venetian power.
Public Art
Controversies: In 2009, Charles Ray’s eight-foot "Boy with Frog"
sculpture was installed at the tip but removed in 2013 after protests,
replaced by a historic streetlamp reproduction.
Views and
Integration: The promontory offers 360-degree lagoon views, with Ando’s
design allowing art to engage with the water and sky through strategic
openings.
Cultural Significance: Ranking among Venice’s top landmarks
after Piazza San Marco, it contributes to the city’s reinvention as a
perennial art destination.
Opening HoursDaily except Tuesdays, 10 am–7 pm (last admission 6 pm).
Ticket Prices Full: €18; Reduced: €15; Ages 20–26: €7; Free for under
20, Pinault Collection members, Venice residents/students on Wednesdays,
and on the first/last exhibition day.