Place: MONOGAO21
Curated by: Luca Donelli in collaboration with Galleries G7 (Bologna) and Michela Rizzo (Venice)
Opening: Saturday, 14 October | 7.30 p.m.
Period: 14 October – 30 November 2023  
Opening hours: Friday, Saturday, and Sunday 6 - 9 p.m.
Admission: free entry

To know the wind and to convey it in its own language, making it understandable even to those who do not know it. The wind goes through us and affects us beyond any divide; it is present even when it stops or sets on a still leaf, ready to pick it up.
Mariateresa Sartori presents a cycle of works in which the air is explored in its macroscopic aspects – the winds that envelop the world – and its minute manifestations like a human breath. The wind is attributed the precise mass, which only makes itself visible through the movement of other things.
The work Correnti (Currents), derived from scientific images, depicts winds that cross the Earth at a given moment. The moving currents are expressed through the compositional principles of the mosaic, which instead, by its nature, suggests stillness, durability, and immobility, thus highlighting the contradiction between our illusory perception of the world as a stable place and the condition of constant transformation and volatility.
The works titled L’aria ha un peso (Air has Weight) and Il vuoto esiste (Emptiness Exists) strive to investigate the equivalence between emptiness and fullness: the represented object distinguishes itself from the outside only by the organized distribution of particles – external constitutes the same substance as the material. The hierarchy of mass and scale or emptiness and fullness does not exist.
In Elenco dell’aria (List of air) and Evidenza del soffio (Evidence of the Breath), human breath, merging with matter, creates a microworld, giving evidence to an invisible phenomenon that becomes credible and true by manifesting itself and gifting the air the dignity of matter. Breath becomes evident, and so does the surface on which one exhales, merging naturally on the surface itself. The work Elenco dell’aria shows the recursion of micro-landscapes that emerge betraying the taxonomic and serial intention. In Evidenza del soffio, the spherical shape is not accidental since neither the beginning nor the end of the curve is identifiable: the circularity is the end and beginning in itself, the potential of a prime state