Curated by Elena Forin

May 31 - August 31, 2013

Galleria Michela Rizzo is pleased to announce All Vertical Lines Intersect, the project specially conceived by David Rickard (New Zealand, 1975) for the spaces of the Ex Birreria Giudecca, the new evocative exhibition venue of the Galleria Michela Rizzo in what was once the atelier of the artist Lawrence Carroll curated by Elena Forin in collaboration with LaRete Art Projects, the international collective of curators founded in 2004 by Julia Draganović and Claudia Löffelholz.
Part of the rich exhibition program promoted and organized by the Michela Rizzo Gallery in conjunction with the 55th Venice Biennale, the exhibition, also through completely new works, offers a glimpse into the most recent phases of the artist's research, which has reached a further and extraordinary moment of maturity. Interested in the dynamics that link work and space, Rickard experiments with each of his works the different ways that can give voice to this relationship.
The first work that welcomes the spectators is Outer Reaches, a bronze bell that descends from the ceiling to the centre of the room, and remains in a static position. Evidence of his previous movement, however, is visible in the walls of the room, which show the signs - of the real wounds that open the plaster - of a past event whose noises can still be heard, spread through the speakers. In fact, in the days before the inauguration, the artist swings the bell until it hits the surrounding walls, which are scratched at every point of impact. Any noise produced by this action is also recorded and amplified in the room when the exhibition is open to the public, and visitors are invited to reconstruct what happened in that context before their arrival. In the second room, through a specific intervention carried out on one of the walls, and with the installation of several elements arranged on the floor, Rickard opens up the spatial analysis to further possibilities. Using a practice expanded over time that presupposes patience, rigour and meticulousness, the artist intervenes on the "skin" of the work and on the surface of the wall, deeply questioning, in each of the two interventions, the limit between the environmental space and the of work, whose boundaries are integrated.
This limit finds further development in the last room, profoundly different from the others both for the dimensions - much more elongated - and for the presence of David Tremlett's Wall drawing, also exhibited in this large space of Giudecca in a personal exhibition curated by Rachele Ferrario.
Rickard relates to the imposing Wall drawing that the English master conceived for large horizontal bands, reflecting on the verticality that characterizes the room: the lines created by the plumb lines suspended from the ceiling of 36 Lines Describing a Truncated Cone create, says the artist, “Part of a cone which is such both in appearance and in reality. First of all, because the perspective will always make us perceive a convergence of the vertical lines towards a vanishing point that creates a virtual cone. Secondly, if we assume that the force of gravity magnetizes the plumb lines to the ground in different directions depending on their position on the globe, and if we accept that the differences in direction will be reduced in proportion to the proximity between the plumbs. , we can conclude that no matter how close the elements are, there will always be a small difference in their direction. In simple terms, all the vertical lines intersect "
The exhibition is curated by the Michela Rizzo Gallery in collaboration with TRA Treviso Ricerca Arte.