Eva Marisaldi. Guarda caso

"I interpret my intervention - declares the artist - as a collaboration with the laboratory, not only for the pleasure of meeting (and bringing together) interesting materials, whose presence is as casual as it is temporary, but also to organize a sort of exhibition of the aforementioned materials selected together with my pertinent works. Two years ago I did something like this, in different ways, at the CSAC in Parma. Almost all the works on display are closely connected with the idea of watching the formation of the works, limiting the intervention of the "artist" to an accompanying form of becoming. The difference between 2007, when we made the first drawings for parties with a machine that paints with brush and ink, and today is that in the meantime we have developed the conviction (as science tells us) that our presence influences reality."

In connection with her intervention in the former Oratory, Eva Marisaldi proposes on the walls of the adjacent room the preparation of some large papers from the "Parties" cycle (2006-2007), following a new conservative methodology proposed in collaboration with the LabOratorio degli Angels.

In the Library room, "3000 pages" is presented, a sound work that Marisaldi produced in April 2018 in the small Theater of Villa Aldrovandi Mazzacorati, in Bologna. The artist asked a group of volunteer performers to participate in a collective action, leafing through the pages of a telephone directory in unison under the direction of the musician Enrico Serotti. The final result, a sound wave obtained from the assembly of the recording of several actions and transmitted through large loudspeakers made of cardboard plates, is declined by the artist in a refined reference to paper and its evocative materiality and which finds new celebration and emphasis re-proposed in the restoration atelier where the paper is usually "curated".

With the "Guarda Caso" project, the LabOratorio degli Angeli continues a well-established exhibition tradition, opening its doors to the public on the occasion of ART CITY to pay homage to the protagonists of Italian art from the past and present, with an exclusive event in which the historical-critical analysis is combined with the study of contemporary conservation issues and large formats. This new edition dedicated to Eva Marisaldi was preceded by the personal exhibitions of Sissi (2022), Giorgio Andreotta Calò (2021), Maurizio Bottarelli (2020), Simone Pellegrini (2019), Pinuccia Bernardoni (2018), Luca Caccioni (2017), Maurizio Osti (2016), Piero Manai (2015) and Aldo Mondino (2017).

Biographical Notes:
Eva Marisaldi lives and works in Bologna, where she was born in 1966 and graduated from the Academy of Fine Arts. Among her most recent one-man shows: “Transporto Exceptional”, curated by Diego Sileo, PAC – Padiglione d'Arte Contemporanea, Milan , 2018; “Surround”, Galleria De’ Foscherari, Bologna, 2017; “Eva Marisaldi”, curated by Pier Paolo Pancotto, Villa Medici, Rome, 2017; “Jukebox”, curated by Elisabetta Modena, CSAC, Parma, 2017; “Democratic Psychedelia”, Galleria Massimo Minini, Brescia, 2011; “Circular”, Luna Park, Trento, 2009; “Ghost track #2”, S.A.L.E.S., Rome 2008; “Jumps”, MAMbo – Museum of Modern Art of Bologna, 2007; “Parties 3”, Art positions, Art Basel Miami, Miami, USA, 2006. Her works have been exhibited in important group exhibitions and international venues such as the Venice Biennale in 1993 and 2001 and Documenta, Kassel in 2012; “Time is thirsty”, curated by Luca Lo Pinto, Kunsthalle, Vienna, 2019; “Raymond”, curated by Luca Trevisani and Olaf Nicolai, Grand Hotel et Des Palmes, Palermo, 2018; “Do it”, curated by Hans Ulrich Obrist, Center for Contemporary Art Prishtina, Kosovo 2014; “Twice”, Whitechapel, London, 2012, “The Wordly House: No Soul for Sale”, Tate Modern, London, 2011; “Think Invisible Exports”, New York, 2007; Gwangju Biennial, South Korea, 2004; Istanbul Biennial, Turkey, 1999; Alexandria Biennial, Egypt, 1999; “La ville, le jardin, la memoire”, edited by Hans Ulrich Obrist and Carolyn Christov Bakargiev, Villa Medici, Rome, 1998; “Made in Italy”, Center d’Art Contemporain, Geneva and ICA, London, 1997; “Officina Italia”, Municipal Gallery of Modern Art, Bologna, 1997; Manifest, Witte de With, Rotterdam, 1996; "L'hiver de l'amour", ARC Musèe d'Arte Moderne de la Ville de Paris and PS1, New York; 1994.

The LabOratorio degli Angeli, a historical reality known nationally, was born from the will of Maricetta Parlatore who in 1982 transferred the activity to the deconsecrated Church of S. M. degli Angeli and the adjacent Oratory. In 2005 he was taken over by Camilla Roversi Monaco, a graduate of the OPD in Florence, now a professor at the Academy of Fine Arts in Bologna, who continues to hold the position of technical director of the company. In 2019, Andrea Del Bianco, chemist and restorer, head of the paper and contemporary restoration sectors, joined the company. The Laboratorio degli Angeli, in possession of S.O.A. OS2-A class. II, operates both in the field of architectural restoration and of movable works, and stands out for interventions on large-format artefacts and contemporary art. Great attention is paid to the methods of intervention, respecting the peculiarities of the individual works. The laboratory also deals with programmed conservation, display systems, appraisals, condition reports, research, also through collaborations with public and private institutions.