ARTISTS
Ile Sartuzi: Contract
Luisa Strina presents Contrato [Contract], a solo exhibition by ll锚 Sartuzi featuring a series of new works in video, painting, and installation that intertwine the structures of the art system and its bureaucracy to tricks and movements of the economy.
With a conceptual and research-based practice, Sartuzi investigates the less visible aspects of the structures that shape cultural environments. The exhibition unfolds from a set of five contracts that draw on legal and financial concepts to prompt reflections on the art system, the roles of its various agents - including the artist himself - and the specificities of a commercial space such as the gallery. These contracts also serve as catalysts for performative and installa- tion-based actions. "Every contract is, in a sense, a spell: a set of words and symbolic gestures that establish a new reality," writes Pedro Zylbersztajn, invited by Sartuzi to author the exhibition text.
In Consigna莽茫o (Cildo) [Consigment (Cildo)] (2025), for instance, the artist inter- venes in the architecture to establish the consignment of O morto, seu corpo, seu fantasma e uma testemunha (1991) by Cildo Meireles. Sartuzi cuts through the wall separating the exhibition room from the art storage racks to bring Meireles' work into his own exhibition. In doing so, he assumes responsibility for its sale for the duration of the contract, thereby adopting a role typically distinct from that of the artist.
In vista / vista restrita [view/restrictive view] (2025), Sartuzi stipulates that gallerist Luisa Strina may not enter the exhibition space, experiencing the show only through "video or sound recordings, published (or unpublished) texts, conversations, descriptions, and rumors.鈥� Four CCTV cameras transmit images of the exhibition to a monitor placed on the gallerist鈥檚 desk, transforming her into a kind of security chief.
Luisa Strina presents Contrato [Contract], a solo exhibition by ll锚 Sartuzi featuring a series of new works in video, painting, and installation that intertwine the structures of the art system and its bureaucracy to tricks and movements of the economy.
With a conceptual and research-based practice, Sartuzi investigates the less visible aspects of the structures that shape cultural environments. The exhibition unfolds from a set of five contracts that draw on legal and financial concepts to prompt reflections on the art system, the roles of its various agents - including the artist himself - and the specificities of a commercial space such as the gallery. These contracts also serve as catalysts for performative and installa- tion-based actions. "Every contract is, in a sense, a spell: a set of words and symbolic gestures that establish a new reality," writes Pedro Zylbersztajn, invited by Sartuzi to author the exhibition text.
In Consigna莽茫o (Cildo) [Consigment (Cildo)] (2025), for instance, the artist inter- venes in the architecture to establish the consignment of O morto, seu corpo, seu fantasma e uma testemunha (1991) by Cildo Meireles. Sartuzi cuts through the wall separating the exhibition room from the art storage racks to bring Meireles' work into his own exhibition. In doing so, he assumes responsibility for its sale for the duration of the contract, thereby adopting a role typically distinct from that of the artist.
In vista / vista restrita [view/restrictive view] (2025), Sartuzi stipulates that gallerist Luisa Strina may not enter the exhibition space, experiencing the show only through "video or sound recordings, published (or unpublished) texts, conversations, descriptions, and rumors.鈥� Four CCTV cameras transmit images of the exhibition to a monitor placed on the gallerist鈥檚 desk, transforming her into a kind of security chief.
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