Paolo Mussat Sartor
OBIETTIVO, ARTE POVERA
Un viaggio nell’arte dal 1968
Galleria Gracis, Milan
January 29 – April 10
Critical essay by Laura Cherubini
Galleria Gracis presents OBIETTIVO, ARTE POVERA. Un viaggio nell’arte dal 1968 (A Journey through Art since 1968), a solo exhibition by photographer Paolo Mussat Sartor (Turin, 1947), who, through his images, chronicled Arte Povera and the international modern and contemporary art scene during the 1970s. His work offers a critical reading of the artists’ output that goes beyond mere documentation, becoming an authentic and vibrant testimony of that heroic era.
The exhibition’s title encompasses the key concepts that form the project’s guiding thread. The OBIETTIVO (lens) is that of Mussat Sartor’s camera, fused with his gaze and vision of reality. The VIAGGI (journeys) evoke the series of photographs taken from the driver’s seat of his car between the 1970s and 1990s, when he traveled across Europe to document exhibitions and artists.
Image, Journeys. Paolo Mussat Sartor
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Galleria Gracis, Milano
Piazza Castello Sfrozesco 16
14th Aprile – 1st June 2023
Galleria Gracis is pleased to announce the exhibition “Unexpected visions”, dedicated to Paolo Mussat Sartor, a leading figure of the artistic evolution of Arte Povera and of modern and contemporary art, also a great master in the field of "research photography". In the exhibition, created in partnership with the Turin based gallery Photo & Contemporary, will be presented about 20 photographic prints, which are unique pieces based on the series of Figures, of Roses, of Legs, of Asymmetrical and of Landscapes.
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WE ARE THE REVOLUTION
Camera, Centro per la Fotografia Torino
Curated by Ludovico Pratesi
14 luglio – 2 ottobre 2022
CAMERA presents We are the revolution. Art in Italy 1967-1977, curated by Ludovico Pratesi and organized and promoted by Archivio Luce Cinecittà in collaboration with CAMERA, an exhibition that aims to tell the evolution of art in Italy from 1967 to 1977, through a rich photographic documentation created by photographers of the calibre of Claudio Abate, Mimmo Jodice, Paolo Pellion, Paolo Mussat Sartor offering a direct and participatory look at events that have redefined the canons of International contemporary art.
In this period, driven by the protests of '68, art leaves galleries and museums to come into contact with daily life, often with works closely linked to the profound social and political changes taking place, which are also concretized in the continuous and increasingly frequent contaminations with theater, cinema, literature and poetry.
In this historical juncture, photography becomes indispensable for narrating and documenting otherwise ephemeral practices. Through 150 images from the archives of the galleries and photographers who participated in these events, portraying exhibitions, performances, debates and actions, the exhibition tells the evolution of an international scene that sees Italy at the center of the artistic movement of the time. Paolo Mussat Sartor and Paolo Pellion tell the story of the Arte Povera adventure in Turin, in the Sperone, Tucci Russo and Christian Stein galleries.
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VISIONS
Photo & Contemporary
Turino
On display 25 small-format photographic prints with silver salts with pictorial interventions.
15th September 30th November 2021
After having elaborated for years particular painting techniques in oil and pigments and toning techniques on b/w photographic papers, Paolo Mussat Sartor creates unique examples of prints of great charm and poetry. The theme of travel, visionary, inner nomadism emerge in dreamlike and delicate images, almost suffused mirages, which show us views of landscapes and glimpses of mysterious and surprising cities.
Revelations of a traveller at the wheel of his car, immersed in a solipsistic, almost feverish dimension; a non-stop journey through the hallucinatory obsession of photography as a metaphor for an existential path to pursue a hidden beauty, glimpsed for a moment and then suddenly disappeared.
Dark and dreamy images of Prague, with austere and elegant suspended palaces and flying bell towers in the manner of Chagall, or of Lisbon, melancholy and elusive towards the ocean with its famous stairs and descending streets, before its final consecration in the films of Alain Tanner and Wim Wenders. Or Paris and the Italian cities, Venice with golden reflections, the intimate and clandestine Turin, but also Rome of the 70s, timidly discovered by the artist in a car, almost encapsulated in its cockpit, which becomes part of the composition.
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