Ilê Sartuzi

Ilê Sartuzi (1995, lives and works in London) is an artist with a degree from the University of São Paulo (USP) and a master's degree from Goldsmiths, University of London. He received the PIPA Prize (2021), the Bienal de Artes Mediales award (Chile, 2022), and was nominated twice for the CIFO-Ars Electronica award (USA-Austria, 2022-2023). Sartuzi also co-created and directed the independent space arte_passagem.

With a conceptual and research-based approach, his practice involves sculptural objects, mapped video projections, mechatronic installations, tricks, theatrical pieces (and more) playing with the idea of ​​animating objects and infrastructure elements. His interest in the dramatic arts gave a theatricality to these objects and installations that are animated by mechanical movements and interpret dramaturgy and choreography; often in an exercise of repetition that does not lead to any catharsis, but instead begins to reveal the functioning of the machines themselves. That is, often operating with an empty center of attention (or a univocal meaning) – the idea of ​​absence is recurrent – ​​these systems play with opacity and transparency, showing nothing but their own functioning, their internal logics of communication and power relations. More recently, procedures of disorientation and sleight of hand with a special interest in investigating institutional infrastructure have been incorporated into research. Evidently, in a similar context, questions related to circulation in the art system (and its topos) and site specificity are also explored.

These autonomous devices not only replace human actors, but often act only for themselves, thus speculating on a possible post-anthropocene scenario. Within this theatrical atmosphere, the instability and failures of these fragile machines add a kind of personality to their performances. It should be noted that, despite the theatricality, minimalist procedures are generally surgical (simple and precise), offering little room for overtly dramatic situations. They share qualities with the trickster figure: however manipulative they may be, there is always the elegance of a well-executed “sleight of hand”.

His recent exhibitions and solo projects include “Vaudeville”, Pedro Cera (Lisbon, 2023); “Cabedo oca foam doll”, SESC Pompéia (São Paulo, 2022); and “A. E A de novo.”, auroras (São Paulo, 2021). He has participated in exhibitions at institutions such as Pinacoteca do Estado de São Paulo (2021); Videobrasil (2021); Museu Oscar Niemeyer (2022); Bienal SUR (2021); Instituto Moreira Salles (2020); SESC (Pompéia, 2022; Pinheiros, 2022; Ribeirão Preto, 2019; Distrito Federal, 2018); CCSP – São Paulo Cultural Center (2018); MAC-USP Museum of Contemporary Art (2017); Ribeirão Preto Art Museum (2020; 2017; 2015); Galeria Vermelho (2017; 2018, 2019); all three in collaboration with the research group After the End of Art, of which he was a member for six years. His work is present in public and private collections such as the Pinacoteca do Estado de São Paulo, the Moraes-Barbosa collection, the PIPA Institute, Videobrasil and the British Museum.