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Matteo Rosa

selected works

Central to my work is an interest in the unveiling of awareness. This brings me to a fascination for the interconnectedness of things, the play between form and formlessness, perception and imagination, transience and timelessness. I am interested in art as a way to address forgotten or neglected aspects of the self, such as the feeling of being in one’s own body, at a time when we experience the highest amount of external input in history. “The function of unreality comes to charm or disturb – always to awaken – the sleeping being lost in its automatisms.” Gaston Bachelard, The Poetics of Space

Met (2000) Proposal for site-specific intervention Arteries, series of site-specific projects throughout Edinburgh, 2000.

Proposal for a site-specific work consisting of a glass gutter with funnel-shaped cavities, conceived for one of the enclosed spaces in Greyfriars graveyard, Edinburgh. The spaces were accessible through central open doorways and delimited by stone walls. They were mostly empty and possessed a geometrical orderly presence. The piece I proposed was intended to collect the falling rain in a gutter and release it through a number of funnels, creating thread-like liquid columns down to the ground, marking the earth. I chose a transparent material such as glass to avoid corrupting the atmosphere of the graveyard. I wanted the piece not to intrude or create contrast. With time, it would also have weathered, assuming the tones of the surrounding environment. The delicate changeable water columns were meant to evoke natural events such as falling, raising and evaporating; as well as human bodily functions and spiritual beliefs. They lead the rain to the soil, marrying the air to the dark ground, visualizing a transitional meeting between sky and earth. Only a section of the work was realised, and during the exhibition a sign stood in the space, illustrating the project to the visitors.

Untitled (McGrigor Donald proposal) (2000) Proposal for site-specific intervention Conceived in response to a call for submissions by the law firm McGrigor Donald for their new premises in Princes Exchange, Edinburgh.

Proposal for site-specific installation featuring hundreds of glass rods and tubes affixed directly into a recessed bronze painted wall in the reception area, partly featuring a glass-blown sphere. The work would have organically grown in the space, the use of glass connecting it to the facade of the building, linking interior and exterior. Based on a grid with elements of subtle variation, the piece would have constantly varied depending on the viewer’s position, the tubes acting as lines of perspective. The spheres and straight lines would have contrasted with each other, reacting differently to light. Each sphere would have been sandblasted to a different degree, producing further gradations in tone. The work would have appeared at once “natural” and “artificial”: like the texture of a recently cut field, but also like an electronic chart. It would have alluded to notions of time and harvesting: the rods with no sphere seemingly about to blossom, or perhaps their fruit having already been picked.

Untitled (Royal College of Physicians proposal) (2001) Proposal for site-specific intervention Conceived in response to a call for submissions by the Royal College of Physicians in Edinburgh. Selected and not realised due to changes in ownership of the College grounds.

The wall was situated in a small courtyard between two premises of the College. It was visible from a number of windows and from an elevated glass passageway linking the two buildings. Made of cement, it was frequently soaked by the rain. The work I proposed consisted of a series of horizontal clear glass shelves, featuring funnel-like cavities at an irregular rhythm. A drawing based on the same motif was to be created at the back, in a denser pattern, acting as a shadow or a trace. A diversion to the neighbouring downpipe would also have been made, allowing water to run down the wall and be released through the funnels. Each time it rained, the installation would have delicately and playfully come to life. The highest funnels would have contained clear quartz stones, while the lowest ones pieces of coal, like black alchemical matter, suggesting a purification process. The coal placed in the glass would have eventually been washed away by the rain.

Untitled (Ash Silhouettes) (2001) Site-specific intervention, Edinburgh College of Art Rosa, Taylor, Vazquez-Ponte, Edinburgh College of Art, 2001.

Series of temporary wall drawings made with ashes from burnt paper, in the shape of silhouettes. The drawings measured about 20 cm in height. Some were full figures, while others only fragments. One of them was created with remnants of dried white paint onto a small sheet of glass, placed on a shelf. Almost invisible, but casting a dark shadow on the wall behind. One of the panels of the nearby door was also covered with ashes. I was interested in the silhouette as a representation of the demarcation line between self and other. The black ashes suggested both impermanence and defilement. Formally the figures responded to the plaster casts of ancient Greek friezes displayed throughout the college.

Untitled (Cruiser) (2002-2010) Series of digital prints, various dimensions Mergere, Skånes Konstförening, Malmö, 2010; Kåt A4, Galleri Box, Gothenburg, 2009; Ida Branson Memorial Bequest, Atkinson Gallery, Somerset, 2003; The Dirt of Love, Transmission Gallery, Glasgow, 2002; 11 days, Wasps Patriothall Gallery, Edinburgh, 2002.

Silhouettes are representations of the border between inside and outside, self and other – pointing to the notion of the self as separate and independent. In these works, the landscape is brought inside, absorbed by the body, like the feeling or memory of being in a certain place and time. The images hint at the interconnectedness of things, as well as at a longing for communion with nature and existence. The works may be viewed in relation to Maurice Merleau-Ponty’s investigations on a general anonymous vision, including both subject and object, which he described as “the flesh of the world”. As well as in connection to Sigmund Freud’s writings on mysticism, which he defined as an “oceanic feeling of indissoluble bond with the universe”, as opposed to experiencing sharp lines of demarcation towards the outer world. The figures I used were drawn from queer pornographic literature, adding to the work a reference to the phenomenon of gay cruising in public spaces, hence connecting such mystical longing to the sensuous and prosaic.

Close (2002) Mixed media installation Edinburgh College of Art Degree Show 2002.

Close consisted of several interconnected elements. A series of shower curtains hung in a row, subdividing the space. Marked and stained, they appeared like drawings or canvases, authorless reflections of their owners through time. They pointed to entropy and impermanence, but also to the body and intimacy. The cubicles formed by the curtains were interwoven by electric cables with lightbulbs, lit in different intensities. Various other objects punctuated the space, such as a broken chair, a couple of semi-empty frames and a wall clock ticking at an unusual speed. Affixed to the wall were a series of spectacles lenses with imprinted images of nature. Facing a second chair, a video work was shown. Presented on a worn-out monitor, with overly saturated colours, shadows of trees moved repeatedly across the screen. As soundtrack, the narrator’s improvised train of thoughts, its sound diffusing in the room. A deserted set where the viewers were allowed to wander, the various objects directing their experience. A series of veils or boundaries: the curtains, the lenses, the shadows on the screen; evoking a state beyond the ordinary passage of time. “Reflection on dirt involves reflection on the relation of order to disorder, being to non-being, form to formlessness, life to death.” Mary Douglas

“For, indeed, the greatest glory of a building is ... in its age, in that deep sense of voicefulness ... which we feel in walls that have long been washed by the passing waves of humanity ... in the golden stain of time.” John Ruskin

Threshold (2003) Site-specific light and sound intervention Edinburgh College of Art Degree Show 2003.

The work consisted of two spotlights, a blue one and a red one, hung above the doorways at the opposite ends of a corridor. Both lights gradually and repeatedly changed in intensity, while their buzz was amplified through a speaker. Sound and lights created a sort of “breathing effect”, activating the space and evoking in the viewer a feeling of both containing and being contained by the room. The work responded to the architecture, as well as to a copy of Lorenzo Ghiberti’s 15th century Doors of Paradise from the Baptistery in Florence, on permanent display in the space.

In 2002 I began a series of videos filming the shadows cast by trees onto a white screen. The screen may be seen as a metaphor for the mind and the images of perception, imagination and memory, as well as its underlying and eluding nature.

Vento (2002) Silent colour video, 13 min. 45 sec. loop Il raccolto d’autunno è stato abbondante, Careof and Viafarini DOCVA, Milan, 2009; Passager, Galleri Mors Mössa, Gothenburg, 2007; Word in Motion, International Video Festival, Riga, 2003; Videoteque, Ten Gallery, St Ives, 2002; Close, Edinburgh College of Art, Edinburgh, 2002.

This piece shows the mesmerising movement of trees in the wind. It was first shown accompanied by the sound of an improvised monologue.

Vigilant (2002) Silent black and white video, 11 min. 48 sec. loop Serere, Galleri Ping Pong, Malmö, 2006; Close, Edinburgh College of Art, Edinburgh, 2002.

Like a slowly moving photograph. Over its duration, the sunlight gradually shifts from one side of the screen to the other.

Solace (2004) Silent black and white video, 1 min. 6 sec. loop Asolo International Art Film Festival, Teatro E. Duse, Asolo, 2005; About space, Midlands Arts Centre, Birmingham, 2005; This is not film, Clarion Hotel, Stockholm, 2004; Skånes Videofilmfestival 2004 (Best Art Film Award), Helsingborg, 2004; Graphé, Galleri Pictura, Lund, 2004.

The play of light and shadow beneath a tree. The work was first presented as an installation with a bench in a quiet room, as a resting place where visitors could mark their thoughts in a notebook. I then inserted their comments into the work itself, to present in other contexts such as film screenings. The polyphony of anonymous thoughts constructs the illusion of a single subject.

Solace (2004) silent black and white video, 1 min. 6 sec. loop installation view at Galleri Pictura, Lund, 2004

Slush (2004) Dirty snow on watercolour paper Series of 7 drawings, 21 x 30 cm each. Ungkonst, Mazetti Kultur, Malmö, 2005; Graphé, Galleri Pictura, Lund, 2004.

“It is nearly enraging to discover the sheer simplicity of the work. And distressing to realize its fragility. One tap of the finger on the backside of the paper and the drawing sprinkles away as the dust it actually is. But the moral of this is not the romantic delusion that all beauty must fade and ultimately die – but rather that we must care for these endowments (...). A reminder.” Tor Billgren, journalist and art critic (The Jet Set Junta, December 2005)

Through Out (2005) silver gelatin print mounted on aluminium, 60 x 40 cm

Graphé (2004) Vinyl chips on wall, dimensions variable Galleri Pictura, Lund, 2004.

Work created directly on the gallery walls using black, grey and white vinyl chips – ordinary decorating materials used mostly in Scandinavian public spaces such as staircases and stations. Visually the work is reminiscent of minimalist art, with its ethos on pure presence devoid of representation, heightening the viewer’s self-awareness through the experience of space. Yet the piece is rich in metaphor, and the materials employed place it in a region between art and everyday life. The wall assumes the tone of a black and white photograph being developed. A metaphor for the way we are “impressed” and conditioned through time by our environment and choices. The black fragments being suggestive of the past, the grey ones of the present, and the white ones of the future – yet unimpressed. The title, Graphé, is an ancient Greek word meaning both drawing and writing.

Graphé (2005) Vinyl chips on board, 200 x 200 cm Årsutställningen 2005, Malmö Art Academy, Malmö, 2005.

The work, originally executed directly on the gallery walls, was later developed into a painting. Applied on a board in several layers, the black, grey and white vinyl chips created a further sense of depth, conveying an impression of both stillness and transition. Accompanying the piece was a small floor sculpture in the shape of a sphere, its surface bearing the same pattern as the painting.

La mia voce (2004-2007) Mixed media installation Passager, Galleri Mors Mössa, Gothenburg, 2007; Beep, Galleri Peep, Malmö, 2004.

The viewer is confronted with a theatrically lit microphone on a stand in a darkened room. On closer inspection, a lyrical singer’s voice is heard being emitted through the microphone, repeatedly singing the Italian words for “my voice”, in different tones. I chose Italian because it is my native language, but also the original language of opera. The work reflects on finding one’s own true voice, while the use of a recording device to emit sound may be viewed as a playful take on traditional active and receptive roles. “We are all patchwork, and so shapeless and diverse in composition that each bit, each moment, plays its own game ... Myself now and myself a while ago are indeed two.” Michel De Montaigne

Untitled (Tegel) (2005) Bricks and brick-dust from demolished buildings Ungkonst 2005, Mazetti Kultur, MalmĂś, 2005; Fruits of the season, Galleri Rostrum, MalmĂś, 2005.

I gathered the materials for this work from a site where stacks of old bricks had been left outside over time. Gradually the rain had began dissolving them, turning the whole terrain bright orange. The clay used for their making was returned to the ground – a symbol for lasting stability being brought back to dust.

Festa di contrada (2005) Colour video, 23 min. loop Ungkonst, Mazetti Kultur, Malmö, 2005; Passager, Galleri Peep, Malmö, 2005.

“At times it is only a matter of shifting your gaze slightly out of focus for new possibilities to reveal themselves. (...) The street light, we soon notice, is encircled by buzzing creatures – indefatigable as these flying creatures are. Songs replace one another, wine is drunk below in the square, perhaps a man pinches a woman’s bum – terribly dull, sexist and predictable, really. Yet the flies continue swarming around the lamp as if nothing else was happening in the world. The scene becomes hypnotic. This is where the real drama takes place. The people with their karaoke rumbling down in the square, are nothing more than a parenthesis.” Tor Billgren, journalist and art critic (Sydsvenskan, September 2005)

Passager (2005-2009) Mixed media installation Il raccolto d’autunno è stato abbondante, Careof and Viafarini DOCVA, Milan, 2009; Passager, Galleri Mors Mössa, Gothenburg, 2007; Passager, Galleri Peep, Malmö, 2005.

“A certain evanescence combined with stillness distinguishes most of Matteo Rosa’s works. Time and fugitiveness are crucial elements. Dregs of dirt from a melting snowball seem to imitate Indian ink washes – a beautiful image of loss which seems to operate in a non-linguistic field of impossible, written presence. Vanitas painting as calligraphy. The artist Michaux at his most Buddhist period. The affinity between macro and microcosmos is described through photo, video and sculptural installations. One is within the other: a little filth on the water surface transforms instantly into stars, nebulae and galaxies. The same happens with dust on a projector lens. It plays the main part in the film, while the motif itself (an older woman knitting in an eternal movement) is left out of focus. In this exhibition the tactile and in fact erotic aspects are at the core. A rectangular accumulation of seeds may illustrate the breaking point between structure and chaos, but at the same time the seeds are sperms in a peculiarly enlarged fertilizing scenario. Used paper towels, touched and crumpled by many, many hands, speak softly of bodily contact and sensuality, but also of consumption, of finding oneself in an irrevocable ‘afterwards’. An anonymous erotic encounter on a park bench laconically commented, leaving a discreet aftertaste of loss. The text on the park bench is a readymade, an Internet find. Rosa’s exhibition constitutes a clearly sexualised sphere, a powerful if yet subtly formulated statement, consisting of a few separate stations to pass in between, join together, pass by. They are words to pronounce speechlessly only to oneself.” Leif Holmstrand, artist and author, 2005

Passager (2005-2009) installation view at Galleri Peep, Malmรถ, 2005

Passager (2005-2009) installation view at Galleri Mors Mรถssa, Gothenburg, 2007

Serere (2006) Mixed media installation Serere, Galleri Ping Pong, Malmö, 2006.

“The main gallery space is taken up by a floor piece: first he painted a white square, then placed heaps of seeds on it and finally lowered a glass sheet on top. With the air pressure, the seeds spread over the surface, fixed under the weight of the glass. It looks a little like a vegetarian Jackson Pollock, but infinitely more reserved. One could talk about “retreatism” instead of expressionism, with yearning and perhaps a little melancholy. The nostalgia of desire. Three ink drawings hang together in the hallway. New ways of retreat. These were not touched by Rosa either. He poured Indian ink in a metal cup, heated it up from underneath and laid a piece of paper on top – round shapes, marks of simmering colour raised by the heat, while the paper is scolded in various degrees. On the floor lie part of the seeds, which landed out of the glass. It is the fragile dimension of the future in Rosa’s world.” Lars-Erik Hjertström, art critic (Konsten, April 2006)

Resting Satyr (2006) c-print mounted on aluminium, 33 x 50 cm

Passager (2005) c-print mounted on aluminium, 57 x 38 cm

Flitting (2007) Silent colour video, 2 min. 56 sec. loop Piccolo Festival dell’Arte, University of Trento, Trento, 2012; Migrant, Krognoshuset, Lund, 2007.

“The camera is pointed at a house in northern Italy, while logs are being thrown out from one of its dark glassless windows with rhythmical regularity. The absence of sound delays and reduces the movement to a perpetuum which, though maintaining an atmosphere of complete stillness, still manages to stage a narrative. Silence – and to genuinely experience silence – is an all too rare occurrence that in Rosa’s work is given a liberating, perhaps even mind expanding role. Flitting thus opens a space for a meditative experience in a cautious manner that is quite representative of Rosa’s artistic method and particularly of his video works.” Joakim Borda, art critic and curator, 2007

Morphé (2005) Silent colour video, 12 min. 32 sec. loop Sette artisti trentini, Parco Asburgico, Levico Terme, 2011; Radar.01 - Indagine biennale sulla giovane arte in Trentino, Al Silenzio, Rovereto, 2008; Passager, Galleri Peep, Malmö, 2005.

An elderly woman’s hands knitting and then undoing her work. The image appears out of focus, like the fleeting reflection of someone looking out of a window at night, while the dust collected onto the projector’s filter creates the illusion of a starry night. A quiet reflection on micro and macrocosm, form and its dissolution.

Migrant (2007) Site-specific intervention in three apartment buildings in Malmö, commissioned by MKB (Malmös Kommunala Bostadsbolag) Hjärpen, Möllevångsgatan 36 - Södra Skolgatan 26 A & B, Malmö.

Work commissioned by the City of Malmö’s housing firm for a newly built apartment block in Möllevången, an area of town characterised by its multiculturalism. For this project, I collected handwritten letters sent both by 19th century Swedish emigrants and by various nationalities that in more recent times have settled in Sweden. I then over-layered the scripts to create an almost abstract pattern, composed by individual handwritings in different languages. This was finally screenprinted in blue ink onto the ceiling’s acoustic-panels placed in the three corridors where the tenants’ mailboxes are kept. Rather than introducing a new object, I decided to subtly intervene on the already existent, blurring the boundaries between the work and its setting. The result is non-monumental and almost subliminal, while the anonymity of the rental house is warmed by such intimate, carefully traced words.

Migrant (2007) Series of 15 screenprints on glass fibre sheets Migrant, Krognoshuset, Lund, 2007.

“Originally a public art project for an apartment building in central Malmö, Migrant assumes its place in Krognoshuset as a conceptual piece in its own right. The work is composed of private handwritten letters, sent by emigrants to and from Sweden, from the time of the great emigrations of the 19th century to the ethnic displacements of today. The texts have been merged together into abstract patterns – removing any traces of legibility whilst keeping the characteristics of handwriting – to be screenprinted on glass fibre paper of the very kind covering the sound isolating panels employed as support for the final work in the building. (…) Much in the same way as the panels in the house absorb sound, the texts in Migrant seem to corrode and dissolve, as if absorbed by their own support. Ultimately, these palimpsests of glass fibre become a contemplation of evanescence, of the transitory existence of things.” Joakim Borda, art critic and curator, 2007

Series of video works realized using an out of order video camera. Through an accident, a further aspect of reality is revealed, in almost psychedelic tones, reminiscent of the state of communion with existence described by mystics.

Amidst (2008) Silent colour video, 7 min. loop Borderland - The Entropy of Identities, MECA Mediterráneo Centro Artístico, Almería, 2014; Piccolo Festival dell’Arte, University of Trento, Trento, 2012; As We Speak, Stereo, Glasgow International Festival, Glasgow, 2010; The Spring Exhibition 2009, Kunsthal Charlottenborg, Copenhagen, 2009; Mirari, Galleri S:t Gertrud, Malmö, 2009; Radar.01 - Indagine biennale sulla giovane arte in Trentino, Museo Civico, Riva del Garda, 2008.

“The ephemeral is also the common thread in the video Amidst. The watercourse in a public park is filmed with a video camera that suddenly stops working, creating a dreamlike landscape with unnatural and hypersaturated colours. The unexpected reveals all of its potential: exclusive entry into another dimension which puts us in contact with everything in a contemporary mysticism.” Marco Tomasini, art critic and curator, 2008

Transire (2009) Silent colour video, 2 min. 38 sec. loop Mergere, Skånes Konstförening, Malmö, 2010; Feed Thy Soul, E:ventGallery, London, 2009.

The piece captures the wavering foliage of a tree in the wind, echoed by the flickering screen, as if looking through a curtain.

Flouen (2009) Silent colour video, 1 min. 53 sec. loop Feed Thy Soul, E:ventGallery, London, 2009; Brännaren 2, Föreningen Ute, Malmö, 2009.

The camera is positioned over a stream, while small particles gradually gather and then disperse again on the surface. The work was first presented on a monitor placed on the gallery floor, and later outdoors in an abandoned industrial site.

Transire (2009) installation view at E:ventGallery, London, 2009

Amidst (2008) still from video

Flouen (2009) installation view at Brännaren 2, MalmÜ, 2009

Isole di Luce (2009) Monoprint from poplar leaves on watercolour paper Mirari, Galleri S:t Gertrud, Malmö, 2009.

“Ethereal leaf shapes dance on paper and form a fragmented pattern of shadow and light. Created with natural dyes from poplar leaves, Matteo Rosa titled these exquisite watercolour sheets Isole di Luce (Islands of Light). He explains how he conceived them: almost like the shadow play beneath trees lit through by the sun. But also like a mindscape, where reflections and emotions form islands, partly interconnected, partly surrounded by rest and space. What a delightful state, I reflect – like an opening, a sudden breathing space in daily life’s stress. Contemplating his drawings and photographs allows me to touch the settling calm which nature, through his glance, becomes a bearer of. The aesthetic expression in his art is perhaps unassuming yet functions precisely because of this as a light for the soul. A worn expression, I know, yet in this case it is so. His exhibition at Galleri S:t Gertrud bears no sweeping manners, but glimmers all the more brightly with a series of quiet masterpieces.” Carolina Söderholm, art critic (Sydsvenskan, April 2009)

Isole di Luce (2009) monoprint from poplar leaves on watercolour paper detail from diptych, 70 x 50 cm x 2

Through (2008) and Isole di luce (2009) installation view at Galleri S:t Gertrud, Malmรถ, 2009

Lauss (2009) monoprint from poplar leaves on paper, diptych - 23 x 32 cm x 2 installation view at Galleri S:t Gertrud, Malmรถ, 2009

Vanus (2009) Dissolved hibiscus flowers on paper Codex Vitae, Palazzo dell’Istruzione, Rovereto, 2011; Mirari, Galleri S:t Gertrud, Malmö, 2009.

Series of works on paper created with hibiscus blossoms, collected from the ground and submerged in a solution till they begin to dissolve, creating a viscous substance which then binds them to the paper. The results are fragile relief drawings suspended on the edge of dissolution, displayed within box frames. The title, Vanus, is the Latin term for “empty, without substance”.

Vanus (2009) dissolved hibiscus flower on paper, 23 x 32 cm

Mirari (2008) c-type print mounted on aluminium, 52 x 34 cm

Tracing the Invisible (2010) Series of inkjet prints on tracing paper Multipel, Dunkers Kulturhus, Helsingborg, 2012; Multipel, Ystads Konstmuseum, Ystad, 2012; The Spring Salon 2011, Liljevalchs Konsthall, Stockholm, 2011; Tracing the Invisible, Galleri Spegeln, Malmö, 2010.

Tracing the Invisible has its starting point in my experience at Slottsträdgården, an organic garden in the centre of Malmö, where I took part in an initiative by the Swedish organization Konstfrämjandet, aiming to foster a dialogue between contemporary artists and everyday working environments. My intention was to explore repetitive manual activities, where the mind is at rest and a higher level of bodily awareness develops. I began by filming the gardeners’ tasks and gradually my attention shifted to the garden as a whole, attempting to reveal that which remains mostly invisible or unnoticed. From the collected video material I selected a number of still images, which were then printed in small scale onto tracing paper, resembling contact sheets from medium format negatives. The works were created employing a faulty inkjet printer, delivering an excessive amount of ink onto an unsuitable type of paper, and granting them a similar quality to miniature watercolour paintings. As in a recent series of video works, I was interested in the use of an accident, a technical fault, to point to a deeper layer of reality. The fluidity of the ink, combined with the fragility and tactile quality of tracing paper, contributes to the images a sensory feel, a texture. Realistic details and references to a specific time and place are diluted, transcending the ordinariness of the subjects depicted and inviting viewers to relate to the works through their imagination.

Mergere (2010) Mixed media installation Mergere, Skånes Konstförening, Malmö, 2010.

“Mergere is a Latin term meaning ‘to dip, plunge’, from which the English expression ‘to immerse oneself’ derives. The exhibition touches on themes such as longing and impermanence, solitude and intimacy. A gorging consumption, followed by an inevitable and recurring loss, lies at the core of the work. Physical presence is constantly reminded. A site-specific installation (Vessel) fills the first room with its fragile entanglement. Threads wind themselves across and close to each other, clinging to the lamps and holding fast. On the walls hang contours of bodies, empty and yet filled with infinity. (...) The numbers imprinted in the furthest room function as a code to a private world. Collected from adult dating sites, they tell various men’s age, height, weight and penis size. As tattooed onto skin, the numerical combinations become one with the wall. (...) The codes become as temporary epitaphs, memorials of ephemeral encounters. (...) The slide projected in the corner, evocative of outer space infinity, is itself a blown up imprint of skin. In the video installation Transire the foliage of a tree flickers in distorted colours. It becomes a passage. The tones create a peculiar dreamlike feel. It is a work that connects the other two rooms: those empty silhouettes and the men whose data we have just perused could indeed meet here. The viewer feels akin to a voyeur, brushing against strangers, while overall lies a yearning for wholeness and boundlessness.” Anna Sandberg, art historian and curator, 2010

Vessel (2010) aerosol string on lamps and floor installation view at Skรฅnes Konstfรถrening, Malmรถ, 2010

Untitled (Cruiser) (2010) inkjet print on registered paper, 24 x 32 cm

Mergere (2010) Details from the installation at Skรฅnes Konstfรถrening, Malmรถ: Untitled (2010), wall mounted nickel towelrail, 23 x 2,5 cm Held (2010), monoprint from pressed flower on watercolour paper, 30 x 42 cm (35 x 48 cm framed) Modulus (2010), series of monoprints on wall (detail), size variable

Modulus (2010) series of monoprints on wall (detail), size variable

Mergere (2010), elements from the installation: Untitled (2010), found funerary poster for infants, 70 x 50 cm In Finitum (2010), single slide projection, size variable

Untitled (Blue Signal) (2010-2011) Mixed media installation Passeggero, Fondazione Galleria Civica, Giardino Santa Chiara, Trento, 2011; Ljussättning av det Offentliga Stadsrummet, Pildammsparken, Malmö, 2010.

“The traffic light, with its blue hue marked by the hypnotizing insistence of its rhythm, becomes the symbol of an autonomous reign whose two poles are infinite distance and immediate presence. It is a sentinel, a regulatory beacon for special traffic, which helps introduce us to a state of inner tranquillity and contemplation. Matteo Rosa’s blue traffic light demonstrates that, despite its placement in a natural environment, it is an object conceived above all in relation to people and their habitat. It is a means to awaken feeling, and break the automatisms of a society overly focused on doing instead of perceiving, on exterior rules instead of intimate understanding and interior reflection. It is an instrument that articulates time: the time to pause in the face of nature, with no scope other than that of unhurried observation. It is a plea to ‘unwind’, to open one’s self to an enchanted and poetic attitude towards life.” Marco Tomasini, art critic and curator, 2011

Untitled (Blue Signal) (2010-2011) installation view at Pildammsparken, Malmรถ, 2010

ph. Hugo Mu単oz

Untitled (Blue Signal) (2010-2011) installation view at Giardino Santa Chiara, Trento, 2011

Untitled (Weeping Light) (2012) Proposal for public intervention Light-based public artwork conceived for the City of Malmö.

My proposal consists of an ordinary lamp post, like those currently employed on the streets of Malmö, altered in such a way that water would drip from the inside of its lantern down to the ground. The piece may initially appear as the result of an accident, heightening the passers by’s awareness and blurring the boundaries between art and reality. Water and electricity are indeed a dangerous combination, calling for a certain alertness. The shape of the chosen lamp vaguely resembles the head of a shower, allowing for a humorous read of the work – connecting two different objects by means of their looks, as in children’s magical thinking or in dreams. Furthermore, the water flow would recall the passage of time, as a reflection on change and impermanence, while the light source would point to a certain inherent quality of stillness.

Embody (2011-2013) Series of watercolours on paper The Leaving, The Boiler Room, Oslo, 2013; Embody, Galleri Arnstedt, Ă–stra Karup, 2011.

As from the depths of consciousness, images rise to the surface and appear on paper. Sometimes they bear resemblance to figures, like theatrical characters in a play of the imagination, other times to abstract patterns and nature. Often the works present something that is just barely there, very lightly, as if on the point to dissolve again and be brushed away by the wave of time. Like traces, tracks of events or thoughts; temporary apparitions, unfolding to then eventually return one with the whole. The paper employed also reflects this fragility, being lightweight and folding slightly at the touch of the wet paintbrush, like a crumpling autumn leaf.

Embody (2011-2013) watercolour on paper, 21 x 28 cm each (30 x 37 cm framed)

Embody (2011-2013) installation view at Galleri Arnstedt, Ă–stra Karup, 2011

Embody (2011-2013) watercolour on paper, 21 x 28 cm each (30 x 37 cm framed)

Embody (2011-2013) installation view at The Boiler Room, Oslo, 2013

Embody (2011-2013) watercolour on paper, 21 x 28 cm each (30 x 37 cm framed)

Wings (2013) watercolour on paper, 15 x 21 cm (30 x 37 cm framed)

The Leaving (2013) watercolour on paper, 21 x 30 cm (30 x 39 cm framed)

Matteo Rosa Born 1978 in Tione di Trento (Italy) Lives and works in Malmö (Sweden)


Malmö Art Academy, SE Master of Fine Art 2003 - 2005 Edinburgh College of Art, UK BA (1st Class Hons) Fine Art 1998 - 2002 Istituto d’Arte F. Depero, Rovereto, IT Diploma in Applied Arts 1992 - 1997 SELECTED SOLO EXHIBITIONS

2014 (upcoming) Sjöbo Konsthall, Sjöbo, SE 2013 The Leaving, The Boiler Room, Oslo, NO 2011 Passeggero, Fondazione Galleria Civica, Trento, IT Embody, Galleri Arnstedt, Östra Karup, SE 2010 Mergere, Skånes Konstförening, Malmö, SE Tracing the Invisible, Galleri Spegeln, Malmö, SE 2009 Feed Thy Soul (with M. Gustavsson), E:ventGallery, London, UK Mirari, Galleri S:t Gertrud, Malmö, SE 2007 Abisko Stipendiet 2007 (with M. Szabó), Abisko National Park, SE Migrant, Krognoshuset, Lund, SE Passager, Galleri Mors Mössa, Gothenburg, SE 2006 Serere, Galleri Ping Pong, Malmö, SE 2004 Graphé, Galleri Pictura, Lund, SE SELECTED GROUP EXHIBITIONS AND SCREENINGS

2014 Borderland, MECA Mediterráneo Centro Artístico, Almería, ES 2013 Tretton konstnärer, Galleri Ping Pong, Malmö, SE Disegno.3, The Boiler Room at ArtCopenhagen, Copenhagen, DK The One Minutes at Design, Poverty, Fiction, Grand Hornu, Boussu, BE 2012 Multipel, Ystads Konstmuseum, Ystad, SE Water, water, every where, The Boiler Room, Oslo, NO Piccolo Festival dell’Arte, University of Trento, Trento, IT 2011 The Spring Salon 2011, Liljevalchs Konsthall, Stockholm, SE Staying, Galleri Rostrum, Malmö, SE Sette artisti trentini, Parco Asburgico, Levico Terme, IT 2010 Konst på duk, Galleri Spegeln, Malmö, SE Evading Customs Milan, Le Dictateur, Milan, IT As We Speak, Stereo, Glasgow International Festival, Glasgow, UK 2009 Il raccolto d’autunno è stato abbondante, Careof and Viafarini DOCVA, Milan, IT The Spring Exhibition 2009, Kunsthal Charlottenborg, Copenhagen, DK Kåt A4, Galleri Box, Gothenburg, SE 2008 Radar.01, Museo Civico, Riva del Garda, IT The Beautiful Children, E:ventGallery at The Wharf Road Project, London, UK Under the full moon, Signal, Malmö, SE 2007 Botnik invited, Botnik Studios, Gerlesborg, SE Frösö Open, Härke Konstcentrum, Frösön, SE 2006 Video after work, Galleri 54, Gothenburg, SE SSA on Screen, Royal Scottish Academy, Edinburgh, UK 2005 Asolo International Art Film Festival, Teatro E. Duse, Asolo, IT Fruits of the Season, Galleri Rostrum, Malmö, SE About space, Midlands Arts Centre, Birmingham, UK 2004 Beep, Galleri Peep, Malmö, SE This is not film, Clarion Hotel, Stockholm, SE 2003 Ida Branson Memorial Bequest Exhibition 2003, Atkinson Gallery, Somerset, UK Word in Motion, New Riga Theatre, Riga, LV 2002 11 days, Wasps Patriothall Gallery, Edinburgh, UK Videoteque, Ten Gallery, St Ives, UK The Dirt of Love, Transmission Gallery, Glasgow, UK SELECTED AWARDS AND RESIDENCIES

2014 2013 2011 2010 2008 2007 2006 2005 2004

IASPIS International Cultural Exchange Grant, SE IASPIS Residency at AIT, Tokyo, JP Ellen Trotzig Fund, Malmö Konstmuseum, SE Residency at Kunstverein ArsTerra, Hannover, DE Two year Working Grant, Swedish Arts Grants Committee, SE Residency at Fondazione Spinola Banna per l’Arte, Poirino, IT IASPIS International Cultural Exchange Grant, SE The City of Malmö Culture Grant, SE Residency in Abisko National Park, Prince Carl Gustaf Foundation and Swedish Tourist Association, SE One year Working Grant, Swedish Arts Grants Committee, SE MKB Public Art Prize, UngKonst 2005, Malmö, SE Best Art Film Award, Skånes Videofilmfestival 2004, Helsingborg, SE


Malmö Konstmuseum, SE The City of Malmö / MKB Fastighets AB, SE Lunds Konsthall / The City of Lund Art Collection, SE

Matteo Rosa, Portfolio