ANDREA MASTROVITO

Bergamo, 1978



April 6 - May 26, 2021

Galleria Michela Rizzo is pleased to present La miseducation to the real, the first exhibition by Andrea Mastrovito in its spaces in Giudecca, curated by Alberto Fiz, with over thirty works largely created for this occasion.

Andrea Mastrovito returns to exhibit in an Italian gallery after the important goals achieved in the last three years: the victory of the Italian Council (2019) and the consequent personal exhibition at Palazzo Fabroni - Museum of Contemporary Pistoia (2020), participation in the XV Biennale in Lyon with just one show at the Fondation Bullukian (2019), and an impressive project at the National Gallery of Modern Art in Rome (2019). This new exhibition at the Galleria Michela Rizzo in Venice once again brings drawing to the center of attention in an innovative way, not as a substitute for painting, but as a technique capable of upsetting the visual process.
How is reality perceived? How does subjective truth change? Who is telling what? These are just some of the questions that emerge from Mastrovito's investigation. Through a series of reworkings and interpretations, the drawing is explored as a copy, trace, imprint, metamorphosis, negation and absence. The miseducation to reality is a renewed path of investigation in a context that synthesizes the traditional methods of the artist with the most recent experiments. What emerges, as the curator Alberto Fiz explains: "An awareness of a real that goes out of mind and escapes any definition, in a progressive integration of elements, only apparently antithetical".
The concept of miseducation arises from a reflection on the function of art and, in this circumstance, iconic elements of the educational and playful sphere are used according to a progressive reversal.

“Art must not respond to the logic of politically correct, nor must it be subject to social, ethical or political conventions” says Andrea Mastrovito. In the exhibition, the presence of elements from our childhood and objects related to school or pedagogical training appear as an intentional and misleading reminder.The colored rulers, the frottage, the blackboards, the desk and the desks, without ever losing any of their original meaning, are transformed into materials of use where the design imposes itself to tell mythological events, paradoxical fairy tales or totally unpredictable real circumstances, characterized by infinite references and semantic interferences.
It is precisely through drawing that reality can be studied, reinterpreted and rewritten.

In this way, Mastrovito intends to position drawing as a language opposed to writing, because, as suggested by Alighiero Boetti in Writing with the left is drawing, drawing is a practice that represents the origin and the end of writing itself, a concept in total harmony with the world of contrasts and hyperbole, central themes of the artist's research, which emerge once again with insistence in the dichotomies of life / death, light / dark, good / evil.

Within the wide spaces of the Michela Rizzo Gallery, the itinerary is divided into thematic sections, with over thirty works, almost all unpublished. Each choice is the result of a process that traces the artist's obsessions and his recent research in order to offer an exhaustive overview of his work, with a production part that explores an absolutely new technique in a central and complex installation.

The exhibition consists of five sections:
- Last pages: contains some trompe-l'oeil that reproduce a selection of the last pages of derivative novels (novelization is the genre in vogue in the United States) with a practice that perpetuates both written and pictured copying.
- Story of a flower: it is made up of four large frottages on paper, obtained from complex compositions of coins using a playful technique linked to childhood, with contents that reflect around the idea of ​​lies and money through the recent history of the European continent.
- Conversazioni: describes a research that has characterized Mastrovito's work in recent years, in which the stream of consciousness takes shape through combinations of pencil drawings and material elements.
- The man who could work miracles: It is a selection of lightboxes created with colored rulers that, starting from Plato's Myth of the Cave, revolve around the concept of perception of an object and, above all, of an event, depending on the context.
- Miseducation to reality: this is the richest and most unprecedented section, in which the artist reproduces an entire school class through a large environmental installation that appears to be a perfect metaphor of what happened during the pandemic. The twelve desks on the shelf show allegory drawings of the twelve elementary subjects and evoke the absence of pupils and school materials, while the themes depicted on the inlay of the chair and on the blackboard engraving represent the study of Melancholia.

Andrea Mastrovito is an italian multi-media artist (born 1978 in Bergamo) now New York-based.
He received his MFA in 2001 from Accademia Carrara di Belle Arti in Bergamo. He won the New York Prize, awarded by Italian Ministry of Foreign Affairs in 2007 and the Moroso Prize in 2012. He installed solo shows in private galleries in Milan, Florence, Paris, Geneva, Brussels, New York and in museums and center for contemporary art in Milan, Bergamo, Fort Lauderdale, Toulouse, Rome, Florence, Montélimar and Lacoux.
In 2011 he's been the first artist to have a solo show at Museo del Novecento in Milan.
His works have also been included in many public exhibition all across Europe and United States - MAXXI National Museum of the 21st century and Palazzo delle Esposizioni, Rome; Pecci, Prato; MART, Rovereto; Manchester Art Gallery, Manchester; B.P.S. 22, Charleroi, Belgium; M.A.D., New York.
He held public talks at Accademia Carrara in Bergamo, Naba, Accademia di Brera, Museo Pecci and Spazio Oberdan in Milan, Palazzo Forti in Verona, American Academy in Rome, Museum Nitsch in Naples, Pavillon Blanc in Colomiers, Broward College in Fort Lauderdale, ISCP and Italian Academy at Columbia University in New York.
He's been commissioned for many public installations and his works have been acquired by dozens of public and private collections in Italy, Europe and U.S.A.