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Vittorio Santoro,exhibition view at the Fondation d'entreprise Ricard. 2012 ©Marco Blessano
Vittorio Santoro Né en 1962 à Zurich. Vit à et travailleentre Paris et Zurich. Born in Zurich in 1962. Lives in and works Between Paris and Zurich.
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Vittorio Santoro was born 1962 in Zürich (CH). He lives and works among Paris (FR) and Zürich (CH). Developing a work that is both conceptual and referential, Vittorio Santoro’s production takes the form of sound installations, sculptures or drawings. His work, articulated around repetition and literary forms, questions as much the inscription of the work in space and in time as the ontological inscription of the individual within his social space. His work has been exhibited on the occasion of various exhibitions in France: Espace Culturel Louis Vuitton (2013), Fondation Ricard (2012), Centre Pompidou (2012), Rosascape (2011), CAPC (Bordeaux 2010), FRAC Aquitaine (2010), BF15 de Lyon (2011); but equally abroad: Irish Museum of Modern Art, Dublin (2011), Kunstmuseum Thun, Berlin (2006), ARTforum Berlin (2007), Tate Modern, London (2006), Contemporary Art Center, Vilnius (2009). His works are currently exhibited at Counter Space (Zurich) until May 10, 2014 on the occasion of the monographic exhibition « 3 JULY 1913 : UNEXPECTEDLY ARRESTED BY TWO UNIDENTIFIED AGENTS FROM AN UNSPECIFIED AGENCY ON UNSPECIFIED CHARGES ». Numerous authors and critics have written about his work: Elizabeth Lebovici, Rhama Khazam, Manuel Cirauqui, Roxana Azimi, Daniel Kurjakovic, etc. His works are part of many permanent collections: Kunstmuseum Bern (CH), FNAC (Fonds National d’Art Contemporain, Paris), CAPC (Bordeaux, FR), Burger Collection (CH), Hong Kong, FRAC Aquitaine (FR), Graphische Sammlung der Schweizerischen Nationalbibliothek (NB), Bern (CH), Kunstsammlung der Eidgenossenschaft, Bundesamt für Kultur, Bern (CH), Kunstsammlung der Stadt Zürich (CH), Kunstsammlung Kanton Zürich (CH)
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Opening Moves (Valuable Qualities of the Mind to be Acquired as to Become Habits), 2011 Vintage chessboard, oak plaques, three engraved synthetic plaques affixed to the plate’s edges, newspaper clippings Chessboard: 50 x 60 cm ; Oak plates : 65 x 40 cm, 58 x 33 cm Photo : Amélie Chassary / © Vittorio Santoro Installation view, Rosascape, Paris, 2011
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F. Dostoyevsky: C. and P., page 67 (Penguin Popular Classics), divided vertically, 2007-2011 Divided vintage door, two framed drawings Door: 219 x 50 x 4 cm ; Drawings: 22,5 x 7,2 cm ; Frame: 42,2 x 48 cm Photo : Marco Blessano / © Vittorio Santoro
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F. Dostoyevsky: C. and P., page 67 (Penguin Popular Classics), divided vertically, 2007-2011 Divided vintage door, two framed drawings Door: 219 x 50 x 4 cm ; Drawings: 22,5 x 7,2 cm ; Frame: 42,2 x 48 cm Photo : Marco Blessano / © Vittorio Santoro Collection du Centre Pompidou, Paris
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Monologism As Poetry, 2009 Glass letters, neon, suspension devices, 43 transformers, electric cables, programmed light cycle, eletronic devices 80 x 130 cm © Vittorio Santoro / Courtesy Burger Collection, Hong Kong Installation views Fire wall Zimmerstrasse 88-89, corner Friedrichstrasse, Berlin
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Wether It, 2012 (exhibition view) Neon installation 200 x 150 cm Photo credit : Nicolas Brasseur
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Good-bye Darkness V, 2012 (Installation view) Venetian blind (250x120cm), suspension devices, steel wires, black steel base (30x60x60cm), light bulb with base, electric cord with plug Photo credit: Nicolas Brasseur
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Days, 2012 Several tear-off calendar pages between two gray cardboards (60x60 cm), four copper plates (each 30x30x0.3 cm) Photo credit : Nicolas Brasseur and Marco Blessano
Four squared sized copper plates on the floor (with factual minimalist allusions…) are positioned to form a bigger square. Underneath, several tear-off calendar pages rest between two grey cardboards. The calendar pages refer to some particular days of the year 2012 that, in indecipherable ways, suggest an ensemble of personal and world events that the artist wants to keep a trace of.
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Searching for... (One Day and Night in Amsterdam), 2012 Eighteen black and white photographs (pigment prints on baryte paper) in wooden frame (96.5x194.2 cm) Courtesy Galerie Jérôme Poggi, Paris Photo credit : Nicolas Brasseur
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Is This A False Graphic Mirror Of The World?, May - November 2009 Pencil on paper 154.5 x 104 cm / 164 x 114 cm (framed) Courtesy Galerie Jérôme Poggi, Paris
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To Repel Ghosts, 2007 Neon installation, glass tubes, neon, suspension devises, neon cable, eletric cable, transformer Variable dimensions Installation view, galerie Cortex Athletico, Bordeaux
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Defamiliarizing Tactics, Twice, 2009-10, diptych Two framed pigment prints on 210 gr. Canon Fine Art Premium paper subsequently folded, mounts 37 x 29 cm (each paper size) 54 x 64 cm (each frame size) Photo credit: © Patrick Lafièvre
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The World Was Full of Objects and Events and Sounds That Are Known to be Real..., 2011 Twenty collages (newspaper images on paper) mounted on gray painted wood in plexiglass frame 120 x 136 x 12cm Photo credit: ©Henning Moser Installation view, galerie Campagne Première, Berlin, September 2011
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Gagarin I (Impenetrable Corner/108 Minutes a Day), 2012, Pencil on wall, cables, suspension devices, 6 bulbs with china base, programmed light cycle (the bulbs are lightened up 108 minutes per day, each day at a different hour), electronic devices (6-channel Dimmer-box, Lan-box), red adhesive tape. Variable dimensions Photo credit: Marc Blessano
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Gagarin II (Sphinx/31 January 1962), 2012 Silkscreen on 35 copper elements (each element silkscreened individually, each element approx. 30 x 30 x 0.3 cm, overall dim. approx. 200 x 150 cm) Photo credit: Marco Blessano
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Untitled (Gagarin III), 2012 Wood structure (170x157x80cm), copper, glass plate (145x145 cm, one edge unpolished), mirror (147x69cm) Photo credit: ©Marco Blessano Installation view, Fondation d’Entreprise Ricard, Paris, March 2012
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A Concrete Aeroplane (six studies on an unwritten novel by Jeff Torrington), 2008 Six collages on paper Collages size: 20,4 x 25, 8 cm - Frames size: 43 x 34 cm Installation view, FIAC 2008, Paris
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Heavy Airmail Paper (You Never Turned Around...), 2013 Ink and pencil on 22 pages of letter paper (each 32.3 x 17.1 cm) sen from different cities (Rome, Poncé-sur-le-Loir, NYC) to differet addresses (Zurich, Paris) mounted on plywood painted black under plexiglass box (196 x 99 x 11 cm). Produced by Paillard Contemporary Art Center
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A Game of Mental Chess (Raskolnikov / Porfiry Petrovich),(Paillard Version), 2013 Window (347 x 151,5 x 3.5 cm), fan, electrical cable Produced by Paillard Centre d’art contemporain
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Heavy Airmail Letters (They Will Make Bets), 2014 Ink and pencil on 12 pages of letter paper (sent by airmail and received), plexiglas box 137 x 84 x 9,5 cm (framed) Unique piece ©Aurelien Mole
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A Limited Role, A Temporary Illusion..., July-Dec 2014 (Folded To Fit In My Suitcase), 2014 Time-based text work Pencil on paper, frame 167 x 100 cm (framed) Unique Piece
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Exhibition view, Le grand paysage (pour un jour) at Jerome Poggi Gallery, Paris (FR), 2014 © Aurélien Mole
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Window (Josef K.’s Relation Diagram To 17 Of The Characters In The Trial), 2014 Wooden window (122 x 147 x 6.5 cm), electric cable, socket, lamp and pencil layout diagram on the ceiling Variable dimensions Unique piece ©Aurelien Mole
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Window (Josef K.’s Relation Diagram To 17 Of The Characters In The Trial), 2014 Details of the electrical cable on the ceiling ©Aurelien Mole
The electrical cable set in the exhibition space draws a ceiling track (following a preparatory drawing) before falling in the embrasure of a window wall mounted. Structure refers to the relationship between Josef K. and the 17 main characters of the novel The Trial (Kafka, 1925). The drawing trajectory of the cable materializes a hypothetical path between these characters.
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Exhibitions views : Le grand paysage (pour un jour), Jérôme Poggi Gallery, Paris (FR), 2014 © Aurélien Mole
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Four Newspaper Front Pages, 2014 Four screenprinted newspaper frontpages with text on brass sheet (2 mm) 145 x 67 x 0,2 cm Edition of 1/3 (+1 AP) ©Aurelien Mole
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Floor/Ceiling Piece (10 Hours Walking And Talking In Paris With Adrian McGrath), 2014 Diptych : Diptych itinerary memory engraved by Adrian McGrath on two pine boards covered with plaster and black paint 120 x 40 x 1,8 cm (each boards) Unique piece ©Aurelien Mole
«J’ai demandé à un ami artiste de Dublin (Adrian McGrath) qui venait tout juste de s’installer à Paris de passer avec moi une journée à marcher à travers Paris, en se rendant à toutes les adresses où James Joyce a séjourné, vécu et travaillé. Le pèlerinage était une sorte de prétexte pour prendre le temps de se promener et de parler durant environ 10 heures (le temps que nous avons mis pour relier le premier et le dernier de nos 21 lieux de visite). Nous avons décidé de traiter simplement de trois différentes questions durant notre marche : pourquoi avoir choisi Paris? Un artiste a-t-il besoin d’un environnement particulièrement stimulant intellectuellement pour créer? Le bonheur doit-il se conquérir et être maintenu, ou est-ce un état naturellement existant? Nous nous sommes également interrogés sur les relations et les associations que les lieux visités pouvaient avoir avec les livres, Joyce lui-même ou les films, reliant entres eux tous ces éléments disparates.» - VS
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Untitled (P.P.P), 2013-2014 Installation, white electric cable, five light bulbs with base, suspension devices, four plywood plates (each 185x107 cm) with an engraved continuous Variable dimensions Unique piece ©Aurelien Mole
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Four Speaker’s Corners, (You Will Make Me Bet On Something I Can’t Lose/ I Will Make Bets I Can’t Lose/ They Will Make Us Bet On Something We Can’t), 2014 Installation : 4 framed photo booth stripes, tape Unique piece ©Aurelien Mole
«J’ai choisi différents coins de rues de New York et y suis resté en déclamant plusieurs fois de suite une phrase choisie (opérant à chaque fois une variation de la phrase “I will make bets that I can’t lose“). J’ai été photographié durant toutes ces interventions. Plus tard, je me suis servi de photomatons pour re-photographier ces clichés en les maintenant à des hauteurs différentes en face de l’objectif, acceptant le temps de la prise de vue comme un élément de hasard constitutif de la manière dont les images apparaissent sur la bande de photomaton. Le speaker’s corner auquel le titre fait référence renvoie aux speaker’s corners dans les parcs de Londres, le plus connu étant celui de Hyde Park. Un speaker’s corner est une zone publique en plein air où chacun peut librement prendre la parole pour débattre. Celui de Hyde Park se trouve à l’endroit même où se dressait la potence Tyburn et où se tenaient les exécutions publiques.» - VS
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Four Speaker’s Corners, (You Will Make Me Bet On Something I Can’t Lose/ I Will Make Bets I Can’t Lose/ They Will Make Us Bet On Something We Can’t), 2014 Installation : 4 framed photo booth stripes, tape Unique piece ©Aurelien Mole
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Poète Public, 2014 Wire mesch security roll container, two framed commisioned poems, screen printed image on aluminium (28 x 28 x 1,5 cm) Variable dimensions ©Patrick Lafièvre
«Deux poèmes, l’un en anglais et l’autre en français, ont été commandés à un poète de rue (poète public) sur le thème de “l’exil“ avec pour seule consigne que ce mot n’apparaisse jamais dans les poèmes. Par la suite, les poèmes encadrés ensembles ont été suspendus dans un chariot grillagé installé dans l’espace. La sérigraphie d’une photographie d’un détail de la sculpture de “l’Aurige de Delphes“ est accrochée perpendiculairement au mur, à proximité du chariot. La sculpture grecque représente un conducteur de char célébrant sa victoire en présentant son char et ses chevaux aux spectateurs. Malgré la sévérité du moment, l’attitude de l’adolescent contient toute la gloire du moment, ainsi que la reconnaissance éternelle de sa stature athlétique et morale, mêlée d’humilité. Cela m’intéresse de commenter le “splendide isolement“ de la création artistique face à l’expérience quotidienne où les limites dominent.» – VS
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What One Says Or Feels Resonate, 2014 Pencil on wall Vaariable dimensions (30 x 45 cm) Ed. 1/5 (+1 A.P.) ©Aurelien Mole
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Plate (for Paul), 2000/2003 Aluminum object, steel pole, white metal paint, graphite on aluminum, propeller motor Object : 27 x 65 x 17 cm Unique piece (+1 AP)
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COLLECTIONS | Collections
à corriger Musée départemental d'art contemporain de Rochechouart (FR) MAC / VAL, Musée d'art contemporain du Val-de-Marne, Vitry-sur-Seine (FR) Musée des beaux-arts de Nantes (FR) Les Abattoirs, Toulouse (FR)
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