Rä di Martino

Rä di Martino lives engrossed in a world that is imbued with TV, cinema, the Internet. Since the beginning of her career, the artist has said: “I find that the experiences you have through a film or through TV are as powerful and important as those that belong to real life, and the images end up engraved in the “emotional” memory of the viewer”. This virtual world, in which, for biographical reasons, she has grown, make her notice that nowadays the distinction between subject and object, reality and fiction, myth and everyday life, is increasingly blurred.

Her work is based on an interaction of mirrors, of references, of mentions; on situations and the multitude of potential interpretations thereof; as if life were an open schedule and let us get hold of what convinces us most, or let us revive old situations, reconvert them, by adding our own tweaks.

In her works, Rä di Martino tends to take inspiration from real elements to eventually encompass them into the fiction of the camera; more often than not, she is prompted by stories that have already been told and shows us some alternative versions; some- times, she brings a situation to life herself, then she documents and witnesses it; but, more often than not, as Chiara Bertola writes in Rä di Martino 2011- 2001, “Rä is sort of shy about writing new scripts for her videos, she’d rather take something that is already available in the image market and recycle it. However, in this way, she creates stories and visions that are different from the usual, trite ones […]”. “Her work is built on an endless dialogue with the world of fiction, it become the collective mythology of fiction, a fiction that invades reality, that changes reality, and that is twisted, redefined, reshaped by reality. But, even more than that, the artist feels challenged by the remains of such an imaginary world, what is left of it after society’s voracious consumption: working on waste, recycling used material, is then a en ethical choice as well as a stylistic choice, it means taking a stance in an all-pervading media system that cannot help producing surplus, heaps of cultural garbage, mountains of unabsorbed, disjointed fragments that are discarded at some point”.


Further information
  • 11 March 2020
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