Sarah Ciracì is an Italian artist who lives and works in Milan.
Since the early 1990s, Sarah Ciracì has been researching the relationship between humans, technology, pop culture, and mass media. Her artistic research has been stimulated by the sense of bewilderment that the acceleration of science and technology has produced in her. Lately, she has focused on science, particularly quantum physics, and what scientific methodology has in common with Buddhist philosophy. The artist uses technological tools, such as digital manipulation of photographs, video recordings, and installations, to create a visionary world. Initially, she focuses on the theme of landscape, which becomes an abstract entity, devoid of topographical identity and devoid of human life. Later, she explores images of atomic explosions from archival footage, emphasizing fluorescent colors and lighting effects, accompanied by the deafening roar of explosions.
Her works later incorporate flying saucers and spaceships, taking up stereotypes from movies, television, and Japanese popular culture and science fiction. However, the artist seeks to infuse new meaning into these stereotypes, stimulating reflection on the future of humanity and often mixing these elements with the elevated language of art. This visionary world represents an “artificial nature” in the manner of authors such as Philip Dick and James Ballard, authors whom Sarah Ciracì admires. She uses a variety of media, including digital photography, slide projections, video, and light boxes, demonstrating a mature mastery of the manipulation of technology.
Sarah Ciracì studied at the DAMS at the Accademia di Belle Arti, Bologna. She has had solo exhibitions in museums like the Museo d’Arte Contemporanea di Roma (MACRO), Rome; the Italian Academy for Advanced Studies in America at Columbia University, New York; and the Galleria nazionale d’arte moderna, Rome. She has participated in group exhibitions in the context of national and international galleries and museums, including the Museo Nazionale della Arti del XXI secolo, MAXXI, Rome; the Yuki Kondo ACAC Aomori Contemporary Art Center, Japan; 21st Century Museum of Contemporary Art, Kanazawa, Japan; the Triennale di Milano, the FRAC Languedoc-Roussillon, Montpellier; and the Fondazione Sandretto Re Rebaudengo, Guarene D’Alba, Turin, just to name a few. In 2003/04 she achieved important recognition with the New York Prize, consisting of a yearly scholarship at the Italian Academy for Advanced Studies in America at Columbia University, New York.