DAVID RICKARD

New Zeland, 1975



20 April – 2 July 2022 Opening: 20 April, 5 – 10 pm During Biennale Arte 2022, Galleria Michela Rizzo presents a group show establishing a dialogue among some of the artists with whom it has shared an important, long-standing path over the years. The members of the waiwai research and design agency – winner of the Golden Lion at the latest Architecture Biennale, as represented by Wael Al Awar – will be the special guests of the event, as they are part of the project curated by Elena Forin for research into environmental issues and new construction materials. Landscape, the value of experience, the spontaneous generation of forms, experimentation with systems for measuring space and energy, critical issues in the relationship between development and protection, sustainability and the socio-political dimension of local areas and exchanges are some of the themes addressed by the works and artists involved in the project. With their different lingos, research and backgrounds, Hamish Fulton, Antoni Muntadas, Cesare Pietroiusti, David Rickard, Mariateresa Sartori and waiwai research and design agency open a dialogue on these junctures by recounting the environment, natural resources – whether apparent or hidden – and social and economic constructions, thus reformulating the concept of imagination and enhancing the ability to look, feel, think and build beyond the usual. Each of these voices of contemporary research identifies energies and dynamics rooted in space and its many dimensions, thereby restoring aspects that often remain invisible through their work. Mariateresa Sartori focuses on the analysis of an immaterial force such as the wind and questions the concepts of emptiness and nothingness in two groups of works exhibited for the first time on this occasion. David Rickard dwells on the local and political significance of an element such as water and involves the gallery’s audience in an argument that focuses on the value of time and that of collaboration. Antoni Muntadas, on the other hand, notes some of the words that characterise the social dimension of space, thus showing the reinforcement of variables related to control and the progressive dissolution of those arising from the development of free thought. Cesare Pietroiusti delves into exchange, property and the relationship between gifts and debt and that between gifts and time, thereby enabling the audience to experience these nuances concretely through two cycles of specially created works. In addition to space as a force, a political and social field and an economic and mediating sector, there is also space as a landscape: the experience of the individual in the environment is indeed the basis of Hamish Fulton’s research, whose large wall painting shows part of a 2838 km journey he made from 11 September to 13 November 2002. Walking into distance beyond imagination is the extreme synthesis of a journey through five countries and a variety of different landscapes: walking beyond imagination seems to be the attitude shared by all the artists included in (in)visible fields, space as energy and provides the basis of the research that enabled waiwai research and design agency and Wael Al Awar to receive the most sought-after prize at the 17th Architecture Biennale with Wetland. The project inspired from sabkhah, a solid ecosystem of natural salt flats in the United Arab Emirates, turns to reject brine of desalination water (an industrial waste) of UAE to produce a new cement capable of replacing Portland cement (the production of which is responsible for 8% of the world’s carbon dioxide emissions). Thanks to a group of scientists from Abu Dhabi, Tokyo and Sharjah, the project continues to grow and expand: its cross-sectional look at the environment and resources is leading to the creation not so much of a new material as the development of real alternatives to known systems and mechanisms. By going beyond imagination and feeling the vibrations of space, you can reach unexpected, albeit often invisible places. Special thanks to the National Pavilion of the United Arab Emirates – La Biennale di Venezia.

David Rickard, (1975) is a New Zealand artist based in London, UK. His original studies in architecture have had a lasting impact on his art practice, embedding queries of material and spatial perception deep into his work. Through research and experimentation his works il understand how we arrived at our current perception of the physical world and how far our perception is from what we call reality.

Recent exhibitions include; Echoes from the Sound Barrier, Ashburton Art Gallery, NZ (2019-20), ₡URR€₦₡¥, NOME, Berlin (2019), Futuruins, Palazzo Fortuny Venice, in collaboration with Hermitage State Museum, St Petersburg (2018); AND A 123, Castlefield Gallery, Manchester, UK (2017); Het Zalig Nietsdoen, Kranenburgh Museum, Bergen, Netherlands (2017); Not Really Really, The Frederic de Goldschmidt Collection, Brussels, Belgium (2016); O, CØPPERFIELD, London (2016); A Bag of Atoms, Balzer Projects, Basel (2016); Open Forest, The Jerwood Space, London, UK (2016); Flags, Serra di Giardini, Venice (2015); Alchemy, State of Change, NEST, The Hague (2014); All Vertical Lines Intersect, Galleria Michela Rizzo, Venice (2013); Intersections, Weizmann Institute, Tel Aviv (2012); Round the Clock, 54th Venice Biennale, Venice (2011); Beyond Ourselves, The Royal Society of Science, London (2011).

Rickard’s work has been published in articles and interviews within The New York Times, The Times, The Independent, Frame, Kunstbeeld, Drome and Flash Art among others.

Curriculum Vitae