MARIATERESA SARTORI

Venice, 1961



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.

Mariateresa Sartori was born in 1961 in Venice where she lives and works. She graduated in German studies with a thesis on Freud and the psychology of art.
Her research revolves around three thematic fulcrums: empirical scientific method; behavioural dynamics, often in relation to neurosciences; music and sound in relation to language. Since 1999 she has taught drawing to absolute beginners, applying the Betty Edwards method, Drawing with the Right Side of the Brain, based on the same neuroscientific presuppositions as her own artistic research. The tension between objective and subjective, between the uniqueness of events and general theory, nourishes all of her research which often makes use of the collaboration with experts from the various disciplines she explores: geologists, theoretical physicists, linguists, musicologists, musicians, singers, actors, botanists, ornithologists… The concrete data is empirically revealed and then analysed from perspectives which vary from work to work and which have different outcomes, from video to drawing, from pinhole photography to sound work. Constants and not exceptions, the universal and not the contingencies drive her research, which is aimed at a clearly unattainable objectivity. What is important to the artist is the tension towards objectivity and not its attainment, if it were even possible.

Among her solo exhibition:  Telling time. Roman Opalka Mariateresa Sartori, Fondazione Querini Stampalia, Venezia; Seguendo l’ordine del tempo, Galleria Doppelgaenger, Bari;  Monde dis moi tout, Exercices de trascription, Cairn Centre d’art, Digne les-Bains, France; Etude Op.25 N.10 in B minor. Homage to Chopin, Ikon Gallery, Tower Room, Birmingham; Per caso e per necessità. In dialogo con le collezioni Marsili e Monti, Museo di Palazzo Poggi, Bologna, invited by Angela Vettese, curator Lucia Corrain, Linea Katie Holten Mariateresa Sartori, New York, Bosi Contemporary, curated by  Kathy Battista; You are the music while the music lasts, Galleria Michela Rizzo, Venezia,  curated by  Raffaele gavarro; Omaggio a Chopin, Greenhouse at the Giardini Venice Biennale, curated by Paolo Rosso; Movimenti e situazioni, with Antoni Muntadas, Galleria Michela Rizzo, Venezia, curated by Marco Ferraris; Living is very dangerous, Palazzetto Tito, Bevilacqua La Masa, Venice,  invited by Angela Vettese; Seen from here, Careof,  Milan, curated by Angela Madesani.

Among the group shows: I see the music, Museo Chopin, Varsavia; Etude op.25 N.10 in B minor, Homage to Chopin, Ikon Gallery, Birmingham; Il tempo e le opere. Museo della grafica, Palazzo Lanfranchi, Pisa, curator Massimo Melotti;  Arte e Perturbante. Die Kunst und das Unheimliche, Museum of Modern Art,  Ascona, Switzerland, curator Viana Conti; My way, A modo mio. Ginevra Grigolo e lo Studio G7, 44 anni tra attualità e ricerca, Mambo Museum of Modern Art, Bologna; Extended Compositions, Kunsthaus Centre d’Art Pasquart, Biel/Bienne, Switzerland, curator Ellen Fellmann; The Human Condition. Don’t you think it’s time for love, MMOMA, Moscow Museum of Modern Art, curator Viktor Misiano; How to picture Living systems, KLI, An Institute for the Advanced Study of Natural Complex Systems, Klosterneuburg, Austria, curator Petra Maitz; Corpus. Anathomical Theater, Museum of the Russian Academy of Fine Arts, Saint Petersburg, Russia, curators Semyon Mikhailovsky, Ivan Govorkov; Alchimie Culturali, Opere nell’incontro tra impresa e arte, Palazzetto Tito, Bevilacqua La Masa, Venezia; The Sound of the Language, Elicotrema 2015, Punta della Dogana, Fondazione Pinault, Venice, curator Blauerhase; Now You Can Go, ICA, The showroom, Londra, curators Giulia Casalini and Laura Leuzzi; Proportio, Palazzo Fortuny, Venezia, curated by Daniela Ferretti e Axel Vervoordt; Movingimage, Contemporary Video Art Fair Waterfront New York Tunnel, New York,  invitation by Viktor Misiano , In other words – the black market of translation, Negotiating Contemporary Cultures, NGBK,  Kunstraum Kreuzberg/Bethanien, Berlin, curated by Elena Agudio, Paz Guevara, Giulia Piccini; Off Centre, Hangar Bicocca Foundation, Milan, curated by Chiara Bertola and Ra di Martino; XV Quadrennial of Rome, Energy, Folkwang Museum, Essen, curated by Hubertus Gassner; Projekt Artistst in residence, Graz, Austria, and Pittura Immedia,  Neue Galerie in Graz, curated by Peter Weibel, and at the Museum of Budapest Mucsarnocz;  XLV Venice BiennaleDesign: Miroir du siècle, at the Grand Palais, Paris.