Eva MARISALDI (b. 1966 Bologna) studied at the Istituto Statale d’Arte and at the Academia de Belle Arti, in Bologna.
Multidisciplinary artist, Marisaldi creates objects, sculptures, drawings and films that are part of installations. Her poetic language encounters its source in childhood, evoking the world of traditional women's occupations. With a deliberately open conceptual base, her work does not adhere to linear logic, vouching instead for plastic formations that evoke absence and mystery, in an earnest quest for the emotions hidden in our inner world.
“August Sander and Asja Läcis probably never met. They have left traces of their contemporaneity for everyone, including myself. Berlin, Riga. During the 20s in Riga, Asja Läcis used to work with problematic boys, mainly orphans or marginalised, homeless kids. She created theatre plays with them, putting life and art on stage together. Hers was just one of the hundreds, maybe thousands, of agitprop theatre companies active in Russia and Germany at the time. The abundance of those troupes seems a marvellous thing to me. Läcis brought Walter Benjamin to Moscow. He talks about this in Moskauer Tagebuch. Asja noted that “what really astonished B in his trip to Moscow was our lack of needs”.
For this work I chose something I chanced upon in the book Asja Läcis professione rivoluzionaria by Casini Ropa. “Whenever the actors arrived, some of us in carriages, most of us by foot, they (the audience, people from the windows of the houses facing the street) used to throw us red flowers, pieces of red fabric wrapped around little stones. Others threw potatoes, eggs, and called the police.” I have no more information about this “ephemeral practice of appreciation”.
In several of my past works, I’ve used stone. Mainly little stones, used as actors, for stop-motion animations and kinetic sculptures.”
Marisaldi's work has been the object of a very wide range of individual exhibitions, including Gestein-gestalt, MIMA (Newcastle, 2012); Democratic Psychedelia, Galleria Minini (Brescia, 2011), Tjoloholm Castle (Göteborg, 2009); Ghost track #2, S.A.L.E.S. (Rome, Italy, 2008); Jumps, MAMbo (Bologna, 2007); Eva Marisaldi, De Carlo (Milan, 2007); Parties 2, Galerie Michael Zink (Munich, 2006); Eva Marisaldi, International Animation Film Festival (Annecy, 2006); Parties 3, Art Positions, Art Basel Miami (USA, 2006); Living rooms, Galerie Meert-Rihoux (Brussels, 2005); BE Iperfluo, S.A.L.E.S (Rome, 2005); Eva Marisaldi, Festival del Cinema Italiano (Annecy, 2005); Eva Marisaldi, Museo Carlo Zauli (Faenza, 2005); Parties, Zink-Gegner Galerie (Munich, 2004); No hope, Massimo Minini (Brescia, 2004); Storyboard, MAMCO (Geneve, 2003); Eva Marisaldi, Base, Firenze Legenda, Centro per l´Arte Contemporanea (Rome, 2002); Tempesta, Gam (Turin, 2002); Pale idea, Corvi Mora (London, 2001); Ghost track, S.A.L.E.S. (Rome, 2001); Interferenze, Galerie Meert–Rihoux (Brussels, 2001); Lieto fine, Palazzo delle Albere (Trento, 2000).
Her work has been displayed at major international exhibits such as The Wordly House, Documenta (Kassel, 2012); Think Twice, Whitechapel (London, 2012); No Soul for Sale, Tate Modern (London, 2011); Il confine evanescente, MAXXI (Rome, 2011); Voyage Sentimentale, FRAC Languedoc-Roussillon (2009); Invisible Exports, (NY, 2007); The Gwangju Biennale (South Korea, 2004); The Venice Biennale (2001 and 1993); The Istanbul Biennale (1999) and The Alexandria Biennale (Egypt, 1999).
Eva Marisaldi lives and works in Bologna (Italy).
Multidisciplinary artist, Marisaldi creates objects, sculptures, drawings and films that are part of installations. Her poetic language encounters its source in childhood, evoking the world of traditional women's occupations. With a deliberately open conceptual base, her work does not adhere to linear logic, vouching instead for plastic formations that evoke absence and mystery, in an earnest quest for the emotions hidden in our inner world.
“August Sander and Asja Läcis probably never met. They have left traces of their contemporaneity for everyone, including myself. Berlin, Riga. During the 20s in Riga, Asja Läcis used to work with problematic boys, mainly orphans or marginalised, homeless kids. She created theatre plays with them, putting life and art on stage together. Hers was just one of the hundreds, maybe thousands, of agitprop theatre companies active in Russia and Germany at the time. The abundance of those troupes seems a marvellous thing to me. Läcis brought Walter Benjamin to Moscow. He talks about this in Moskauer Tagebuch. Asja noted that “what really astonished B in his trip to Moscow was our lack of needs”.
For this work I chose something I chanced upon in the book Asja Läcis professione rivoluzionaria by Casini Ropa. “Whenever the actors arrived, some of us in carriages, most of us by foot, they (the audience, people from the windows of the houses facing the street) used to throw us red flowers, pieces of red fabric wrapped around little stones. Others threw potatoes, eggs, and called the police.” I have no more information about this “ephemeral practice of appreciation”.
In several of my past works, I’ve used stone. Mainly little stones, used as actors, for stop-motion animations and kinetic sculptures.”
Marisaldi's work has been the object of a very wide range of individual exhibitions, including Gestein-gestalt, MIMA (Newcastle, 2012); Democratic Psychedelia, Galleria Minini (Brescia, 2011), Tjoloholm Castle (Göteborg, 2009); Ghost track #2, S.A.L.E.S. (Rome, Italy, 2008); Jumps, MAMbo (Bologna, 2007); Eva Marisaldi, De Carlo (Milan, 2007); Parties 2, Galerie Michael Zink (Munich, 2006); Eva Marisaldi, International Animation Film Festival (Annecy, 2006); Parties 3, Art Positions, Art Basel Miami (USA, 2006); Living rooms, Galerie Meert-Rihoux (Brussels, 2005); BE Iperfluo, S.A.L.E.S (Rome, 2005); Eva Marisaldi, Festival del Cinema Italiano (Annecy, 2005); Eva Marisaldi, Museo Carlo Zauli (Faenza, 2005); Parties, Zink-Gegner Galerie (Munich, 2004); No hope, Massimo Minini (Brescia, 2004); Storyboard, MAMCO (Geneve, 2003); Eva Marisaldi, Base, Firenze Legenda, Centro per l´Arte Contemporanea (Rome, 2002); Tempesta, Gam (Turin, 2002); Pale idea, Corvi Mora (London, 2001); Ghost track, S.A.L.E.S. (Rome, 2001); Interferenze, Galerie Meert–Rihoux (Brussels, 2001); Lieto fine, Palazzo delle Albere (Trento, 2000).
Her work has been displayed at major international exhibits such as The Wordly House, Documenta (Kassel, 2012); Think Twice, Whitechapel (London, 2012); No Soul for Sale, Tate Modern (London, 2011); Il confine evanescente, MAXXI (Rome, 2011); Voyage Sentimentale, FRAC Languedoc-Roussillon (2009); Invisible Exports, (NY, 2007); The Gwangju Biennale (South Korea, 2004); The Venice Biennale (2001 and 1993); The Istanbul Biennale (1999) and The Alexandria Biennale (Egypt, 1999).
Eva Marisaldi lives and works in Bologna (Italy).