Page 1

Matteo Rosa

selected works


At the core of my work is an interest in the unfolding of awareness. This brings me to a fascination for the interconnectedness of things, the play between form and formlessness, transience and stillness, imagination and presence. My practice explores art’s potential to address forgotten or neglected aspects of the self, such as the primal feeling of being in one’s own body, at a time when we are exposed to the largest amount of external input in history. I employ various media, from drawing and painting to photography, video and installation. “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 Kirkyard, 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 running 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, visualising 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 (Proposal for McGrigor Donald) (2000) Proposal for site-specific intervention Conceived in response to a call for submissions by the Scottish law firm McGrigor Donald for their new premises in Princes Exchange, Edinburgh.

Proposal for site-specific installation featuring hundreds of glass rods and tubes, partially bearing glass blown spheres, to be affixed directly into a recessed bronze painted wall in the reception area. The work would have extended organically 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 may have been reminiscent of something both “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 bearing no sphere seemingly about to blossom, or perhaps their fruit having already been picked.


Untitled (Proposal for Royal College of Physicians) (2001) Proposal for site-specific intervention Conceived in response to a call for submissions by the Royal College of Physicians in Edinburgh. Selected yet not realised due to changes in ownership of the 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 trace. A diversion to the neighbouring downpipe would also have been created, 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 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. Small in scale, some were full figures, while others only fragments. An additional piece was created with remnants of dried white paint onto a 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. While the ashes were suggestive of both defilement and impermanence. Formally the figures responded to the plaster casts of ancient Greek friezes displayed in the space and 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 works a reference to the phenomenon of gay cruising in public spaces such as parks and woodlands – connecting such universal mystical longing with 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 dated monitor, producing 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 viewer was allowed to wander, the various objects directing her experience. A series of veils or boundaries – the curtains, the lenses, the fleeting 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, and in that deep sense of voicefulness […] which we feel in walls that have long been washed by the passing waves of humanity […] in that 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 intending to evoke in the viewer a feeling of both containing and being contained. 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 same space.


In 2002 I began filming shadows cast by trees onto a white screen. The resulting video works could be seen as a metaphor for the mind and the fleeting images of perception, imagination and memory. The camera is fixed, the screen does not move – pointing to an underlying and eluding stillness.

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.

The 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, duration variable 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 entries 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


Untitled (Slush) (2004) Dirty snow on watercolour paper 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 realise 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)


Untitled (Slush) (2009) dirty snow on watercolour paper (details from series), 21 x 30 cm each


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. An analogy for the way we are “impressed” and conditioned through time by our environments 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 Årsutställning 2005, Malmö Art Academy, Malmö, 2005.

The work, originally executed directly on the gallery walls using black, grey and white vinyl chips, was later developed into a painting. Applied in several layers onto a large square board, the motif conveys a further sense of depth, reminiscent of both stillness and flux. Accompanying the painting was a small floor sculpture in the shape of a sphere, its surface covered with the same pattern.


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 read as a playful take on the interchangeability of 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 from demolished buildings had been left outside over time. Gradually the rain had began corroding them, tinging the whole terrain bright orange – the clay used for their making having returned to the ground. A symbol for lasting stability being rendered 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 elderly 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 fertilising 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


Libero (2005) Single channel silent colour video, 1 min. Liminal Express, Rijksakademie van Beeldende Kunsten, Amsterdam (2018); The One Minutes at Design, Poverty, Fiction, Grand Hornu, Boussu (2013); Let The User Speak Next (Mapping Place and Space), Castlefield Gallery, Manchester (2008); Video Cup, Botnik Studios, Gerlesborg (2007); SSA on Screen, Royal Scottish Academy, Edinburgh (2006); The one minutes, Paradiso, Amsterdam (2005); Independent Exposure!, Microcinema International, San Francisco (2005); Årutställning 2005, Malmö Art Academy, Malmö (2005).

Libero is a short silent video, one minute long. The camera is still, showing a river flowing in a mountain valley. Suddenly a balloon appears in the scene and flies up to the sky, till it briefly disappears. Like an egg or a sperm being released in the world. A life, making its appearance and disappearance in the world, momentarily marking existence. And the foreigner, the other, leaving his homeland in search of another. Not like Ulysses, involved in a round journey, but a wandering with no return. Perhaps the pull of another gravity, levitation, transcendence.


Forgo (2005) Silent colour video, 3 min. 40 sec. loop Passager, Galleri Peep, Malmรถ, 2005.

Forgo presents a series of balloons which, one after the other, are allowed to freely fly away. The video is shot from below, against the background of an overly blue sky. A meditation on letting go.


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, while 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 their work. The image appears out of focus, like the fleeting reflection of someone gazing 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 housing firm of the City of Malmö for three newly built rental buildings 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 screen-printed using 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, the piece subtly intervenes 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 home is affected by such intimate, carefully traced words.


Migrant (2007) Series of 15 serigraphs 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 – and screen-printed onto glass fibre sheets akin to the sound isolating panels employed 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


Migrant (2007) series of serigraphs on glass fibre sheets, 59 x 59 cm each installation view at Krognoshuset, Lund, 2007


From the series Migrant (2007-2016) serigraphy on paper, 59 x 59 cm each (detail) photo: Werner Zellien / KORO


From the series Migrant (2007-2016) serigraphy on paper, 59 x 59 cm each installation view at Kongsvinger Prison, Oslo, 2016 photo: Werner Zellien / KORO


Series of video works realised using an out of order video camera. As if by accident, in almost psychedelic tones, a deeper layer of reality is revealed, 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, its movement echoed by the flickering screen – as if gazing through a curtain of electronic signals.

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) silent colour video, 2 min. 38 sec. loop installation view at E:ventGallery, London, 2009


Amidst (2008) silent colour video, 7 min. loop


Flouen (2009) silent colour video, 1 min. 53 sec. loop 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) monotype 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) monotype 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 employing fallen hibiscus blossoms, collected from the ground and immersed into a water solution till they begin to dissolve – forming a viscous substance which then binds them to the paper. The results are fragile relief drawings suspended on the edge of time, displayed within box frames. The title, Vanus, is the Latin term for “empty, without substance”.


Vanus (2009) dissolved hibiscus flowers on paper (details from series), 23 x 32 cm each


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 a project initiated by Konstfrämjandet, which aimed to foster a dialogue between contemporary artists and ordinary 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 at work 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, thus 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 subject matter 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 expression ‘to immerse oneself’ derives. The exhibition touches on themes such as longing and fleetingness, aloneness and intimacy. A gorging consumption, followed by an inevitable and recurring loss, lies at the core of the work. Physical presence is chronically chased. A site-specific installation (Vessel) fills the first room with its fragile entanglement. Threads wind themselves across and close to one another, 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 queer 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 temporary epitaphs, memorials of ephemeral encounters. […] The slide projected in a 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 connection and wholeness.” 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) various elements from the installation at Skรฅnes Konstfรถrening, Malmรถ, 2010:

Untitled (2010), wall-mounted inverted nickel towelrail, 23 x 2,5 cm Held (2010), monoprint from pressed flower on watercolour paper, 30 x 42 cm Modulus (2010), series of monoprints on wall (detail), size variable


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


Mergere (2010) various elements from the installation at Skรฅnes Konstfรถrening, Malmรถ, 2010:

Untitled (2010), wall-mounted vintage funerary poster, 70 x 50 cm In Finitum (2010), single slide projection (installation view and detail), size variable


Untitled (Blue Signal) (2010-2011) Mixed media installation Passeggero, Fondazione Galleria Civica at 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


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


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

My proposal includes the use 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 artwork may initially appear as the result of an accident, blurring the boundaries to its urban placement and drawing the passers-by’s attention. The shape of the chosen lamp vaguely resembles the head of a shower, allowing for a humorous take on the work – connecting two different objects by means of their looks, as in children’s magical thinking or in dreams. On a further level, the dripping water would be reminiscent of the passage of time, while the fixed light source would point to an inherent, ever-present 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 (Nos. 6, 11, 12) (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 (No. 8) (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 (No. 16) (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)


Incorporeal (2014) Series of watercolours on paper Yearn, Sjรถbo Konsthall, Sjรถbo, 2014.

Stemming from the previous Embody series, Incorporeal progresses its probing into perception and imagination, approaching the body as felt from within, drawing connections between colour and sensation, transparency and memory. It touches on themes such as desire, intimacy and dissolution, while some homoerotic undertones emerge more strongly. The images point at a universal longing for union with existence, a pre-verbal unmediated connection with the substance of life.


Incorporeal (Nos. 12, 5, 9) (2014) watercolour on paper, 21 x 30 cm each (30 x 39 cm framed)


Incorporeal (Nos. 4, 8) (2014) watercolour on paper, 21 x 30 cm each (30 x 39 cm framed)


Incorporeal (2014) installation view at Sjรถbo Konsthall, Sjรถbo, 2014


Incorporeal (No. 3) (2014) watercolour on paper, 21 x 30 cm each (30 x 39 cm framed)


Untitled (2013) Diluted Chinese ink on tissue paper Dimensions variable

During my residency at AIT (Arts Initiative Tokyo) in 2013, I had the opportunity to experiment with watercolour and Chinese ink on Japanese paper, as well as research the ancient marbling technique of suminagashi. This craft relates to one of the core interests in my practice: a fascination for images and objects that form themselves, with little or no external manipulation, echoing natural processes. From my experiments, a series of small-scale paper sculptures emerged: ordinary paper towels partly soaked in black ink and folded into irregular shapes – abstract forms resembling leaves or fabric, poised on the threshold of nothingness.


Untitled (2013) diluted Chinese ink on tissue paper (details from series), dimensions variable


Rise (2014) Diluted Chinese ink on crumpled office paper, wire and nails Yearn, Sjöbo Konsthall, Sjöbo, 2014.

“As still as a halted rain, Matteo Rosa’s installation Rise fills Sjöbo Konsthall. In form it is reminiscent of meteorite fragments. A hail of space rocks that shattered upon entering the Earth’s atmosphere. The approach is typical for Rosa, born and raised in Italy yet based in Malmö since his graduation from Malmö Art Academy. The materials he chooses are simple, the style seemingly unassuming. It is an art that possesses a fairly rare ease. Perhaps it is precisely because of this that it demands a concentrated vision, in counterbalance to everyday life’s flickering flow of images and information. […] In a couple of small-scale watercolours, sinuous lines are interwoven into organisms that seekingly branch out. One of the pieces is called Yearn, a title which has appropriately lent its name to the entire exhibition. Since in counterbalance to the subtlety, there is a longing that pulls and pries the brushstrokes and splashing ink. It is expressed most clearly in a series of images where eroticism is laid bare through bulging silhouettes. Tryingly, he approaches that point where the boundary between different bodies and individuals is dissolved. Between self and other. Therein lies beauty.” Carolina Söderholm, art critic (Sydsvenskan, November 2014)


Rise (2014) installation view at Sjรถbo Konsthall, Sjรถbo, 2014


Rise (2014) installation view at Sjรถbo Konsthall, Sjรถbo, 2014


Rise (2014) installation view and detail at Sjรถbo Konsthall, Sjรถbo, 2014


Rise (2014) installation view at Sjรถbo Konsthall, Sjรถbo, 2014


Rise (2014) details from the installation at Sjรถbo Konsthall, Sjรถbo, 2014


Grow (2014) watercolour on laid paper, 12 x 16 cm (25 x 29 cm framed) installation view at Sjรถbo Konsthall, Sjรถbo, 2014


Yearn (2014) watercolour on laid paper, 9 x 14 cm (21 x 27 cm framed)


Clear (2015-2016) Site-specific installation Paese di guerra, paese in guerra, Fort Colle Delle Benne, Levico Terme, 2016; Dold konst, Slottsparken, MalmĂś, 2015.

“On the edge of the wood that through the decades has formed on the surroundings of Fort Colle delle Benne, almost as a siege created by nature, a group of white flags waves in the wind. No explanations are offered to the viewers observing them from one of the windows on the upper floors of the Austro-Hungarian fortification: the delicate sign of this installation stands before our eyes as if to suggest memories, feelings and whispers of a past that marked the history of Valsugana more than a century ago. The reference to surrender is self-evident, yet Rosa seems to want to take us further, and lead us to a basic, as much as fascinating, everydayness: that of laundry hanging in the sun, of light reflected through the hours in different shades, and of daily life happening all around. The reassuring call to the predictability of a common existence, confronted with the drama and cruelty of the Great War evoked by the setting, makes the simplicity of the work, in its radical cleanness, more than ever incisive.� Paola Vettorazzi, art historian, curator and art therapist, 2016


Clear (2015-2016) installation view at Fort Colle Delle Benne, Levico Terme, 2016


Clear (2015-2016) details from the installation at Slottsparken, Malmรถ, 2015


Whole (2016-2018) Series of ink drawings on watercolour paper En del av, Galleri S:t Gertrud, Malmö, 2016.

“Matteo Rosa’s work may appear quiet at first, but it creates majestic spaces for the mind to rest in, for those who take the time. In his practice, he often makes use of nature, to again and again pose questions about form and formlessness, about the coming into being of things and coincidences, consciousness and the unconscious. Can creation happen by itself or need there be an intention and plan? In nature, creation seems to happen automatically, and as an artist, Rosa often attempts to let chance play a major role, thus placing himself in the background. In his exhibition at Gallery S:t Gertrud, Matteo Rosa presents three new works, all of which clearly relate to his previous production. Whole is a series of drawings that begins with lightness and ease, and gradually shifts towards blackness. The motifs seem to be taken from nature, yet could as well depict something from inside the body or in outer space. We see patterns that have seemingly been swiftly drawn, and allow our own thoughts to fill them with meaning and order. In an untitled monotype, the artist has allowed leaves to soak in water and graphite, to then let them leave an imprint on paper. An abstract image, in which the texture of the paper and the pigmented marks come into focus. As in Whole, the artist invites us to meditate for a while over what it is we see, and what it may touch within ourselves. […]” Isabell Dahlberg, author, curator and musician, 2016


Whole (Nos. 1, 2, 3, 4) (2016-2018) series of ink drawings on watercolour paper, 20 x 20 cm each


Whole (Nos. 5, 6, 7) (2016-2018) series of ink drawings on watercolour paper, 20 x 20 cm each


Whole (2016-2018) installation view at Galleri S:t Gertrud, Malmรถ, 2016


Whole (Nos. 6, 7) (2016-2018) series of ink drawings on watercolour paper, 20 x 20 cm each installation view at Galleri S:t Gertrud, Malmรถ, 2016


Whole (No. 8) (2016-2018) series of ink drawings on watercolour paper, 20 x 20 cm each


Whole (No. 9) (2016-2018) series of ink drawings on watercolour paper, 20 x 20 cm each


Whole (Nos. 1, 10) (2016-2018) installation view at Galleri S:t Gertrud, Malmรถ, 2016


Untitled (2016) monotype (graphite, ink and natural dyes on paper), 27 x 27 cm (29,5 x 29,5 cm framed) detail and installation view at Galleri S:t Gertrud, Malmรถ, 2016


Untitled (2017) Site-specific intervention Arteles Open Studios, Arteles Creative Center, Haukijärvi, 2017.

During my residency at Arteles Creative Center in Finland in summer 2017, prompted by the weather conditions that marked the commence of my stay, I approached an idea that I had long considered: allowing images to form themselves through the action of rainwater. I am often drawn to water: for its cleansing power, releasing, clearing and letting go of the past; as a natural force giving rise to chance formations and patterns; and finally for its relation to time and impermanence, making it apparent how all life forms eventually dissolve and return one with the whole. I operated mostly on a small scale, testing different materials, both as independent pieces and in situ – in relation to the surrounding forest as well as to the “public space” of a notice board on a country road. With some of my final pieces, as the initially forecasted rain failed to return, I took a more active stance and started investigating the use of channelled water. Thus the images became somewhat more directed and expressive.


Untitled (2017) compressed charcoal on gessoed board affixed to tree, 20 x 20 cm each site-specific intervention at Arteles Creative Center, Haukijärvi, 2017


Untitled (2017) compressed charcoal on gessoed board affixed to tree, 20 x 20 cm each site-specific intervention at Arteles Creative Center, Haukijärvi, 2017


Untitled (2017) charcoal on paper affixed on notice board, size variable site specific intervention, Haukijärvi, 2017


Untitled (2017) watercolour and ink on etching paper (detail), 27 x 39 cm


Veil (2016-2018) Series of digital photographs, dimensions variable Vicino. Non qui, Galleria Civica, Trento, 2018; En del av, Galleri S:t Gertrud, Malmö, 2016.

“[…] In the work Veil, we also encounter the contemplative aspects of nature. Rosa presents a slide show of veiled digital photographs from the woods surrounding the Italian Alpine village where he grew up. In a dreamlike fashion, light and shadow play through branches or dazzle us like a star, to then dive deep into the cool darkness. Matteo Rosa’s artistic practice is pervaded by reflections on how all things are interconnected, and by the awareness that even when everything around us is quiet, small and big things are still happening both inside and outside our bodies. And that when all sorts of things are moving and we are bombarded with external stimuli, it is still possible to find stillness, perhaps in nature, both in our body and soul.” Isabell Dahlberg, author, curator and musician, 2016


From the series Veil (2016-2018) series of digital photographs, dimensions variable


From the series Veil (2016-2018) series of digital photographs, dimensions variable


From the series Veil (2016-2018) series of digital photographs, dimensions variable


From the series Veil (2016-2018) series of digital photographs, dimensions variable


From the series Veil (2016-2018) series of digital photographs, dimensions variable


From the series Veil (2016-2018) series of digital photographs, dimensions variable


From the series Veil (2016-2018) series of digital photographs, dimensions variable installation view at Galleri S:t Gertrud, Malmรถ, 2016


From the series Veil (2016-2018) series of digital photographs, dimensions variable installation view at Galleria Civica, Trento, 2018 photo: Jacopo Salvi / Mart


Through (2018) Solvent transfer on Washi paper, dimensions variable MABB - Malmö Artist’s Book Biennial, Victoriateatern, Malmö, 2018.

For this work I collected a number of leaves with holes in them. I was fascinated by the shape and casualness of the perforations as something that occurred spontaneously in nature, without a design in mind, as well as the ideas of disappearance and nothingness. The images lend themselves to reflection on the temporariness of life’s forms, and particularly on the concept of “emptiness”: from a perceived feeling of lack or absence of matter, to the notion of Sunyata in Buddhist philosophy – professing that all phenomena are devoid of any permanent independent existence or identity. It seems as if a break in the realm of form may sometimes evoke such deeper dimension, as an opening onto the formless space at the back of all appearances, almost like a substance from which everything we perceive is made out of. “There is a crack in everything, that’s how the light gets in.” Leonard Cohen


Through (2018) solvent transfer on Washi paper, dimensions variable


Through (2018) solvent transfer on Washi paper, dimensions variable


Matteo Rosa Born 1978 in Italy Lives and works in Malmö

EDUCATION

Malmö Art Academy, SE Master of Fine Arts 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

2016 En del av, Galleri S:t Gertrud, Malmö, SE 2014 Yearn, 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 Martin Gustavsson), E:ventGallery, London, UK Mirari, Galleri S:t Gertrud, Malmö, SE 2007 Abisko Stipendiet 2007 (with Magdolna Szabó), Abisko National Park, SE Migrant, Krognoshuset, Lund, SE Passager, Galleri Mors Mössa, Gothenburg, SE 2006 Serere, Galleri Ping Pong, Malmö, SE 2005 Passager, Galleri Peep, Malmö, SE 2004 Graphé, Galleri Pictura, Lund, SE

SELECTED GROUP EXHIBITIONS AND SCREENINGS

2018 Vicino. Non qui, Galleria Civica, Trento, IT Liminal Express, Rijksakademie van Beeldende Kunsten, Amsterdam, NL MABB - Malmö Artist’s Book Biennial, Victoriateatern, Malmö, SE 2017 Arteles Open Studios, Arteles Creative Center, Haukijärvi, FI Memoria Futura, Sala Municipale, Verla di Giovo, IT 2016 Nyt kapitel / Nytt kapitel / Nytt kapittel, Svends Bibliotek, Copenhagen, DK Paese di guerra, paese in guerra, Forte Colle Delle Benne, Levico Terme, IT Treasures, Northern Norway Art Museum, Tromsø, NO 2015 Konst åt alla, Spelens Hus, Malmö, SE Dold konst, Slottsparken and Kungsparken, Malmö, SE 2014 Borderland, MECA Mediterráneo Centro Artístico, Almería, ES Mediaverkstaden Skåne medlemsutställning, Galleri Ping Pong, Malmö, SE 2013 Disegno.3, The Boiler Room at ArtCopenhagen, Copenhagen, DK The One Minutes at Design, Poverty, Fiction, Grand Hornu, Boussu, BE Tretton konstnärer, Galleri Ping Pong, Malmö, SE 2012 Piccolo Festival dell’Arte, University of Trento, Trento, IT Water, water, every where, The Boiler Room, Oslo, NO Multipel, Ystads Konstmuseum, Ystad, SE 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 - Indagine biennale sulla giovane arte in Trentino, 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 2006 2005 2004 2003 2002 2001 2000 1998

Botnik Invited, Botnik Studios, Gerlesborg, SE Frösö Open, Härke Konstcentrum, Frösön, SE Video after work, Galleri 54, Gothenburg, SE SSA on Screen, Royal Scottish Academy, Edinburgh, UK Mete, Palazzo Trentini, Trento, IT Asolo International Art Film Festival, Teatro E. Duse, Asolo, IT About space, Midlands Arts Centre, Birmingham, UK Fruits of the Season, Galleri Rostrum, Malmö, SE Beep, Galleri Peep, Malmö, SE This is not film, Clarion Hotel, Stockholm, SE Ida Branson Memorial Bequest Exhibition 2003, Atkinson Gallery, Somerset, UK Word in Motion, New Riga Theatre, Riga, LV The Dirt of Love, Transmission Gallery, Glasgow, UK 11 days, Wasps Patriothall Gallery, Edinburgh, UK Videoteque, Ten Gallery, St Ives, UK 1st International Drawing Biennale, MASS Gallery, Melbourne, AU 14x14, Mafuji Gallery, London, UK 5th International Baltic Biennial of Weaver’s Miniatures, Muzeum Miasta Gdyni, PL Visual Arts Scotland, Royal Scottish Academy, Edinburgh, UK 2nd International Flag Biennial, Kunsthalle Szombathely, HU L’arte apre gli occhi, Mart, Rovereto, IT

SELECTED AWARDS AND RESIDENCIES

2017 2015 2014 2013 2011 2010 2008 2007 2006 2005 2004

Artist’s Residency at Arteles Creative Center, Haukijärvi, FI IASPIS International Cultural Exchange Grant, SE / FI Two-year Working Grant, Swedish Arts Grants Committee, SE IASPIS International Cultural Exchange Grant, SE / DE IASPIS Artist’s Residency at AIT, Tokyo, JP Ellen Trotzig Award, Malmö Art Museum, SE Artist’s Residency at Kunstverein ArsTerra, Hannover, DE Two-year Working Grant, Swedish Arts Grants Committee, SE Artist’s Residency at Fondazione Spinola Banna per l’Arte, Poirino, IT IASPIS International Cultural Exchange Grant, SE / IT The City of Malmö Culture Grant, SE Artist’s 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

EDUCATIONAL PROJECTS

2017 - present 2016 - present 2016 2016 2016 2015 - 2016 2013 2006 - 2014

Konstlyftet 2017 & 2018, Malmö Konsthall + KKV Grafik, SE Creative week-end workshops for children and families, Malmö Konsthall, SE Gör som Rita, autumn break workshop, Malmö Konsthall + The Libraries of Malmö, SE Creative workshop at B Art’s summer camp for girls, Glimminge Plantering, SE Stillness and flow, artist’s talk and drawing workshop for adults, Malmö Konsthall, SE Var går gränsen?, Skapande skola / Art in education program, Malmö Konsthall + Humfryskolan, SE Pueblo del Sol - Die kleine Sonnenstadt, creative workshop for children, Mühlenkraft e.V., Nürnberg, DE L’esperienza del disegno, seasonal drawing workshops for adults, Il Ponte sul Guado, Condino, IT

COLLECTIONS

Malmö Art Museum, SE MKB Fastighets AB / The City of Malmö, SE Lund Konsthall / The City of Lund, SE Bygdegårdarnas Riksförbund, SE Northern Norway Art Museum, Tromsø, NO KORO / Public Art Norway, NO Gdynia City Museum, PL Kunsthalle Szombathely, HU The Netherlands Institute for Sound and Vision, NL Private collections in Scandinavia, Italy, Germany and the UK


© M a t t e o R o s a 2 018

Profile for Matteo Rosa

Matteo Rosa, Portfolio  

Advertisement