1962, Barletta. Lives and works in Berlin

According to Nicolas Bourriaud, relational aesthetics is the most reliable form to comprehend modalities and functions of contemporary art, which evolve and modify in accordance with the historical and social contexts and are not an unchangeable entity, as it is sometimes believed. To create a relation among different people and worlds may imply an intimate
minimalist approach to reality. This issue is perceived by Mario Rizzi in terms of strict necessity: the artist today is above all a “mediator” who, through his own actions and projects, is able to produce what we could define as an “added value” of ethic nature, if not even a political reading of the historical moment he lives in. Rizzi gets in touch with people and asks them to do some things, to lend him their own body, as it is, without any decorative or aesthetic addition, a body carrying a private history, which needs to be analyzed as a collective event.
— Luca Beatrice

Selected solo exhibitions: 2003: S-Bahn Nordbahnhof, Berlin; Helmer und Partner, Berlin; 2002: The Flat, Milan; Hotel d’Albret-Mairie de Paris, Paris; Diana Stigter, Amsterdam; 2001: City Art Museum, Helsinki; GNAM, Rome; Nouvelles Images, The Hague, Holland; Hafla Jerusalem, Jerusalem; 2000: Finnish Museum of Photography, Helsinki.
Selected group exhibitions: 2002: Mystic mountains, Tour Fromage, Aosta; Exit, Fondazione Sandretto Re Rebaudengo, Turin; C’est pas du cinema, Le Fresnoy, Tourcoing, France; The gift, Palazzo delle Papasse, Siena; Jay Grimm, New York.

Blue fortress, 2003. Video still.

Refugee, 2001. Photography.
Courtesy Helsinki City Art Museum.