Elena Mazzi
“In order to develop a qualified artistic methodology, I believe that it is necessary to employ a twofold strategy: a theoretical reflection on the artwork’s process and form that is strongly related to its context and complementing a concrete practice.
It is about how the human being perceives his surroundings and decides to operate in it, or make a change. This action is almost always determined by either a political or a social necessity, which could be a period of distress or crisis. That is why crises are so important for me: they can be seen as positive turn, and for this reason analyzed through several different methodologies. I've been personally affected by a big earthquake in Italy that destroyed L'Aquila town eight years ago, and this strongly affected my view on society and consequently my artistic practice. Since that moment I have followed the reconstruction planned by the Government, which has also been part of my final dissertation at the University. It was the first time in my research where I needed to share different views on that specific situation I was also personally experiencing. I didn't want to focus on the tragedy in itself, instead I wanted to understand how people were facing the situation, finding out strategies to struggle immediate injustice, and the rebuilding of a wiped-out land. I wrote my final dissertation and made a series of works in the unique little community (Onna) that managed to re-organize itself in a very short time, avoiding Berlusconi's proposals and using a bottom-up approach to politics and urbanism.
More recently I have found several common interests with scientific community, particularly with theoretical physicists, sharing common thinking on new environmental-related technologies and the study of particular theories that go toward resilient strategies which emerged in my works Reflecting Venice, A Fragmented world and in the project I am leading at GAM Museum in Turin called Atlante Energetico (Energy Atlas) as Tutor artist for 2017. Since then I have become more and more involved in science-related projects. I see in the scientific vision a potential to conceive something that is not existing yet, a need to make it real and functional. I find this dialogue embracing my needs and sharing a common method (from research toward the medium).”
Elena Mazzi was born in 1984 in Reggio Emilia (Italy). Mazzi received a BFA in 2007 in History of Art from Siena University, and a MFA in 2011 in Visual Art from IUAV, Venice University. She was selected for an exchange program at Royal Academy of Art (Konsthogskolan) of Stockholm. Mazzi has participated in several solo and group show, among others the 14° Istanbul Biennale, 17° BJCEM Mediterranean Biennale, EGE-European Glass Experience, Fittja Pavilion at the 14° Architecture Venice Biennale, COP17 in Durban, Festival of Contemporary Art in Slovenia, and among others she exhibited at Botkyrka Konsthall in Stockholm, Italian Institute of Culture in Stockholm, XIV BBCC Expo in Venice, Bevilacqua La Masa Foundation.
Mazzi has attended different residency programs and workshops such as HIAP (FI), GuilmiArtProject (IT), Via Farini (IT), Foundation Botin (SP), Bevilacqua La Masa (IT), Future Farmers A.I.R. (USA), Fondazione Spinola Banna in Turin (IT), Dolomiti contemporanee (IT), Botkyrka Konsthall Air (SE). She was one of the finalists at Celeste Prize, Fabbri prize, Meru prize and Termoli prize and the winner of VISIO Young Talent Acquisition prize, Eneganart prize, Illy grant for Unidee, Pistoletto Foundation 2016, ntcm e l’arte 2016, m-cult media and technology program 2016, Special mention for Arte Patrimonio e diritti umani, Antworks award 2015, Sandretto Re Rebaudengo prize 2015, Lerici Foundation grant in 2012 and Movin’up Italian prize for young Italian artists abroad in 2011.
Mazzi has lectured in several museums in Italy and abroad and for the year 2016-2017 she is a tutor and visiting professor for the project 'Energy atlas' at Spinola Banna Foundation in collaboration with GAM Modern Art Gallery of Turin.
