2013 GraziaToderi, (curated by M. Moore e C.Malcolm), John Curtin Gallery, Curtin University, Perth, Australia. 2012 GraziaToderi. MirabiliaUrbis, (curated by M. Trombetta), MAXXIMuseonazionaledellearti del XXIsecolo, Roma. Catalogue. GraziaToderi, AtlanteRosso, Galleria Vistamare, Pescara. 2011 GraziaToderi, (curated by K. Gordon), Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington DC. GraziaToderi, Galerie Anita Beckers, Frankfurt am Main. 2010 GraziaToderi, (curated by J. Fernandes), Fundaçao de Serralves, Porto. Catalogue. GraziaToderi, OrbiteRosse, GiòMarconi, Milano. 2008 Fantasia, Base/Progetti per l’arte, Firenze. GraziaToderi - Tobias Rehberger, (curated by J. Blüher, L. Pratesi), AccademiaTedesca Villa Massimo, Roma. Catalogue. 2007 GraziaToderi, Galleria S.A.L.E.S., Roma. GraziaToderi. Babel Red, f a projects, London. 2006 GraziaToderi, (curated by F. Pasini), Padiglioned'ArteContemporanea, Milano. Catalogue GraziaToderi, Rendez-vous, (curated by P. Boswell, R. Morales), Miami Art Museum, Miami. 2003 GraziaToderi. Teatri, (curated by F. Pasini), FondazioneBevilacqua La Masa - Galleria di Piazza San Marco, Venezia. 2002 GraziaToderi. Olympia /Homo ludens,(curated by G. Quaroni), Fundaciò Joan Mirò, Barcelona. 1999 GraziaToderi, (curated by S. Bos), De Appel Foundation, Amsterdam. Catalogo. GraziaToderi. ProjektRaum, (curated by P. Allmann), Museum Ludwig, Köln. Pieghevole. 1998 GraziaToderi, (curated by I. Gianelli, M. Beccaria), CastellodiRivoliMuseod’ArteContemporanea, Rivoli-Torino. Catalogue. GraziaToderi. Centro (curated by S. Legrandjaques, E. Lunghi), Casino Luxembourg – Forum d’art contemporain, Luxembourg; Galerie des Franciscains, Saint-Nazaire, Francia. Catalogue. GraziaToderi, (curated by E. Latreille), FracBourgogne, Dijon. 1995 GraziaToderi. Potage éternel et clartésoudaine, (curatedbyA. Barak), Galerie de l'Eole, FracLanguedoc-Roussillon, Montpellier. Catalogue.
Group exhibitions 2013 Metropolis: Reflections on the modern city, Birmingham Museum and Art Gallery, Waterhall, Birmingham. Between appropriation and interventions, (curated by H.Theiss), KunstraumKreuzberg/Bethanien, Berlin. 2012 Futbol, arte y pasion, (curated by P. Charpenel e M. Maillé)Marco, Museo de artecontemporaneo de Monterrey, Monterrey, Mexico. Catalogue The Giuliana and TommasoSetari collection, behind closed doors again, la maison rouge,Paris. Catalogue. Kaleidoscope, C24 Gallery, New York (curated by K. Lynn Johnston). 2011 Prospect.2 BiennialNew Orleans, (curated by D. Cameron), Contemporary Arts Center, New Orleans. Catalogue. Between appropriation and interventions, (curated by H.Theiss), ChristianssandsKunstforening, Kristiansand. 2010 Pùblicos y contrapùblicos, (curated by J. A. Alvarez Reyes), Centro Andaluz de ArteContemporaneo, Seville. Catalogue. Metropolis, (curated by D. Robinson), The New Art Gallery Walsall, Walsall. Spazio, dallecollezionid’arteed’architettura del Maxxi,(curated by B. Pietromarchi e G. Scardi), MAXXI – MuseoNazionaledelleArti del XXIsecolo,Roma. Catalogue. Elogiodellasemplicità. Un caratteredell’artecontemporanea, (curated by G. Verzotti), FondazioneStelline, Milano. Catalogue. 2009 Fare Mondi / Making Worlds...,(curated by D.Birnbaum), 53° EsposizioneInternazionaled’Arte La BiennalediVenezia, Arsenale, Venezia. Catalogue. 2007 Space for your future, (curated by Y. Hasegawa), Museum of Contemporary of Art, Tokyo. Catalogue. Vertigo. Il secolodiarte off-media dalFuturismo al web, (curated by G. Celant e G. Maraniello), M.A.M.bo., Museod’ArteModernadi Bologna, Bologna. 2006 Out of Place,(curated by D. Robinson), New Art Gallery Walsall, Walsall. Catalogue. 2005 La DanzadelleAvanguardie,(curated by G. Belli, E. Vaccarino), Museod’ArteModerna e ContemporaneadiTrento e Rovereto, Rovereto. Catalogue. 2002 Slow Motion. Positions of Contemporary Video Art,(curated by A. Kolossa), Ludwig Forum fürInternationaleKunst, Aachen. CD-Catalogue. 2001 Squatters, (curated by V. Todoli, J. Fernandes, B. Mari, M. von Hafe Perez), Casa de Serralves, Museo de ArteContemporanea de Serralves, Porto. Catalogue. Subject Plural: Crowds in Contemporary Art,(a curadi P. Morsiani), Contemporary Arts Museum, Houston. Catalogue. 2000 Leaving the island, (curated by Y. C. Lee, R. Martinez, H. Hanru), Metropolitan Museum of
Art, Pusan, Corea del Sud. Catalogue. Quotidiana, (curated by I. Gianelli, D. Ross, N. Serota, J. Watkins, G. Verzotti), CastellodiRivoli Museod’ArteContemporanea, Rivoli-Torino. Catalogue. 1999 48ª EsposizioneInternazionaled’Arte La Biennaledi Venezia.DAPERTutto, (curated by H. Szeemann), GiardinidiCastello, Venezia. Catalogue. 1998 11thBiennale of Sidney.Every Day, (curated by J. Watkins), Australian Centre for Photography, Paddington-New South Wales. Catalogue. 1997 5th International Istanbul Biennial,(curated by R. Martinez), Istanbul Foundation for Culture and Arts,Istanbul. Catalogue. Rooms with a View,(curated by N. Spector, J. Hanhardt), Guggenheim Museum Soho, New York. 1995 Tradition & Innovation: Italian Art since 1945, (curated by F. Bonami), National Museum of
Contemporary Art, Seoul. Catalogue. 1993 XLVEsposizioneInternazionaled’Arte La Biennaledi Venezia.Aperto'93, (curated by A. Bonito Oliva,
H. Kontova), Corderiedell’Arsenale, Venezia. Catalogue.
GraziaToderi was born in the northern Italian city of Padua in 1963. After studying at the Academy of Fine Arts in Bologna, the artist moved to Milan in 1992 and has divided her time between Milan and Turin since 2005.
The artist first gained critical attention in part as a result of her participation in Aperto ’93 at the 45th Venice Biennale, where she exhibited, in addition to photographs, the video Notiscordardime(Forget-me-not). In this work, Toderi used a fixed video camera to film a small plant assailed by a violent and continuous jet of water from a shower. In these early years, Toderi tended to make detached recordings of actions that often unfold in an everyday environment, and her deliberately elementary use of video as an expressive means emphasizes her desire to concentrate on the subject and the action taking place, distancing herself from pure and simple creative will. All shot with a fixed video camera, the subjects of these early works are, in fact, very simple. One video, for example, shows the head of a large doll being beaten by the windshield wiper of a car (Mia testa, miocuore[My head, my heart], 1993), while the same doll is again shot in Soap, 1993, this time visible through the window of a front-loading washing machine, revolving in circular motion. While showing quotidian objects in domestic contexts, GraziaToderi’s works do not hide a sense of unease, and her subjects, in reality, are often subjected to concealed violence. In 1995, invited to exhibit at FracLanguedoc-Roussillon in Montpellier, France, the artist herself became the protagonist of a video, Zuppadell’eternità e luceimprovvisa(Soup of Eternity and Improvised Light), 1994, where, negating the force of gravity, she attempted – while completely submerged in a swimming pool – to carry out normal actions, such as walking, or opening an umbrella. The slowness of the action seems to unfold following the rhythm of her breathing that, through the image, reveals all the exertion of the hostile situation to which her body is subjected.
From the absence of gravity and the orbit of washing machine windows, the artist’s everyday microcosm developed to become a means of conveying the sentiments of an entire generation – one that grew up through images broadcast on television. Natanel ’63 (Born in ’63) and Prove per la luna(Attempts for the Moon), both made in 1996, describe the emotion of the first moon landing, seen through the eyes of those who followed it, mediated by a screen that unified millions of people throughout the world. Her focus on the disseminative capacity of this means and its communicative potential, are also evident in works such as Il decollo(The Takeoff), 1998, where the image – again extracted from the world of television – of a stadium shot from above, is made to turn slowly, to a background accompaniment of the babble and chorus of voices, once again emphasizing the unifying power, not only of the televisual image, but also of the spectacle in and of itself. Toderi examines this means of communication in positive terms, not interpreting it as a vehicle that encourages the standardization of sentiments, but rather, capturing its unifying aspect and its symbolic value for an entire generation.
Always fascinated by the use of extant images and the dynamics of spectacle – which she understands as an occasion for encounter and coming together – Toderi works on images of stadiums, arenas and large historical theatres. In Eclissi (Eclipses), 1999, Random, 2001, and Orchestra, 2003,the audiences in various Italian theatres become an occasion for reflection on the relationship between container and contents, use and user, in a play of parts that, in the end, turns the public into protagonist. The realisation of the audience, recreated with the help of digitally manipulated images – to which applause, background babble and bursts of flashes are added – serves only to underscore the artist’s focus on the public, which she considers the real protagonist of performance.
During this same period, Toderi also made a series of videos using aerial images, that recreate night-time views of cities such as Rome, Florence and London. These works explore the cities, following a viewpoint completely different from the usual one, where the artist – thinking of author ItaloCalvino’sInvisible Cities – conceives of the city as a mirroring between sky and earth. La pistadegliangeli (The Trail of Angels), 2000, Firenze, stelledi terra (Florence, Stars of Earth), 2000, MirabiliaUrbis, 2001, Cittàinvisibile(Invisible City),2003 and London, 2001, are all works where the view from above of known places, transforms them into magical and mysterious territories.
In addition to her participation in numerous group exhibitions, Toderi has created various special projects, such as the collaboration with VirgilioSieni’s Dance Company, creating the sets for the performance Il fioredelle 1001 notte (The Flower of 1001 Nights), 1998, which was one of the winners of the Golden Lion award at the 1999 Venice Biennale, as well as the installation Audience, presented on the occasion of the opening of the MuseoNazionale del Cinema in the Mole Antonelliana in Turin in 2000. In 2001, GraziaToderi was awarded a fellowship from the Supporting Friends of CastellodiRivoli, Italy, enabling her to spend a period of time in the United States, resulting in the creation of works that focus on large American stadiums (Subway Series, 2001, Diamante[Diamond], 2001, Super Tuesday, 2001), and on an image of the United States seen from above (Empire, 2002). In 2004 she created the video Sempereadem for the reopening of the Teatro La Fenice Opera House in Venice.
In 2009 she was invited to participate in the exhibition Fare Mondi / Making Worlds…, at the Venice Biennale, for which she created OrbiteRosse(Red Orbits) 2009. This is a large scale double video projection in which lights of distant cities appear in continuous transformation, with the now distinctive form of two large ovals, in homage to both the ancient tradition of terrestrial and celestial mapping – the planisphere – and to the sockets of our eyes, optical tools that convey images to our head/world.
In recent years, as well as being invited to participate in many group exhibitions around the world, Toderi has held several major international solo exhibitions. These include a major solo show at the Museu de ArteContemporanea de Serralves, Porto, Portugal– creating several new large-scale works including Atlante and Diaframmain 2010. The following year in 2011, Toderi was invited to present a solo exhibition at the Hirschhorn Museum and Sculpture Garden, Smithsonian Institution, Washington DC, USA and in 2012, she was invited to exhibit at the Maxxi National Museum of XXI Century Arts in Rome, Italy. In 2013 GraziaToderi was invited to participate in the 2013 Perth International Arts Festival where she will present her first solo exhibition in Australia at the John Curtin Gallery, Curtin University, Perth.