In his works, Casaretto conveys the connection of humans to culture and geography through his own personal history, myths, science, and technology. The narrative he adopts does not follow any temporal and spatial linearity. The artist tries to distinguish between data and information; by revealing the differences between those who are intervened and those who are not, those who come from nature and those who copycat it; questioning the core function of art making which imitates nature. From the most ancient technique to the most complex technology ever used, he dissects and decomposes the act of art making, and examines and applies the dexterity-mastership required when re-arranging materials to create a new formation. In this direction, he leaves the result to the material itself, staying loyal to the limits, rules, and cultural histories of given tools and techniques. Therefore his use of materials is very diverse. As he puts art-making processes at the center of his productions both technically and intellectually, the phases he goes through comes forefront rather than the final output. Adopting the technique and acknowledging it as a guide which as has been applied by someone else in the past as a manual, he repeats and imitates a series of irregular bodily movements as required by the technique. Consequently, the performative results can be followed in the final piece.
Guido Casaretto (b.1981) lives and works in Istanbul. He studied painting at the Mimar Sinan Fine Arts University in Istanbul, Turkey, and at the Bologna Fine arts Academy in Bologna, Italy. He is one of the founders of Sanatorium. His solo shows include: Crossing Carnevale (Zilberman Gallery, Istanbul, Turkey, 2021),The Ghosts of Matter (MOCAK, Krakow, Poland, 2019); The Pope and Galileo Had a Minor Disagreement (Zilberman, Istanbul, Turkey, 2017); Synesthesia (Zilberman, Istanbul, Turkey, 2015); Extrasystemic Correlations (Zilberman, Istanbul, Turkey, 2012); Default (Sanatorium, Istanbul, Turkey, 2011). His group shows include: At the End of the Day (OMM-Odunpazarı Modern Museum, Eskişehir, Turkey, 2021),Victoria National GalleryTriennial(Melbourne, Australia, 2020), Unlock (Zilberman Gallery, Istanbul, Turkey, 2020), The Union:A Selection from the Erol Tabanca Collection(curator: Haldun Dostoğlu, OMM- Odunpazarı Modern Museum, Eskisehir, Turkey, 2019), Part Whole. II, (Art On Istanbul, Turkey), Figure and Design (curators: Monika Kozioł, Maria Anna Potocka MOCAK, Krakow, Polonya, 2018),Restless Monuments (Zilberman, Istanbul, Turkey, 2018); Urban Justice (CerModern, Ankara, Turkey, 2015); Venice Biennial Italian Pavillion (Venice, Italy, 2011) and Teatro Comunale (Italy, 2000). His work is included in the MOCAK–Museum of Contemporary Art in Kraków (Krakow, Poland), the National Gallery of Victoria (Melbourne, Australia) and further acclaimed private collections in Europe and Middle East.
- Instances of Erasure
- From the top, on repeat
- Of Goats, Scapes and Appropriations
- Crossing Carnevale
- Restless Monuments
- The Pope and Galileo Had A Minor Disagreement
- EXTRASYSTEMATIC CORRELATIONS