Sara Sist - art curator
From a very young age Art Curator Sara Sist learned to recognize beauty in its purest form - her family has always had a great passion for antiques and fine art. She grew up in Switzerland, where she opened up to the international way of living and thinking. From 1999 Sara works for the Editors of Salvador Dali's bronze sculptures between Venice, Berlin, London and Paris. Needless to say, Sara is an expert in Dali's, Picasso's and Chagall's works of art.
Wishing to represent young emerging artists, in 2005 Sara Sist opened her own art space in Venice, the 3D'S Gallery. Her life has been a turbillon ever since. She managed Collateral projects to the Biennale with young Canadian artists, the Emirates Zayed University and, most notably, she organised the historical "International Art Prize La Colomba".
Her interest for Venice, her intelligent curiosity and her influential portfolio of artistic connections has put Sara in touch with the fascinating world of Murano Glass. The artistic programmation of the 3D'S Gallery is now curated by Sara and by "Cantiere Corpo Luogo", recently selected for its strong choice of cutting edge contemporary artists.
Sara lives between Venice, Paris and London. Her working field is extended to Berling, the Emirates, Canada and USA.
(Please refer to the bottom of this page for useful links related to the field of Art)
In 1927 Arturo Deana took over the La Colomba tavern in Venice that soon became a meeting place for local artists. Everyone was welcome at La Colomba and those who could not afford their food bill could always barter with a painting – if they had artistic talent, that is. These were the years of De Chirico, Morandi, De Pisis, Martini, Campigli, Chagall,and Picasso.
The advent of the Second World War meant that 1942 was the year of the last Biennale for the next six years. The initiative of Arturo Deana to create a Colomba award for painting in 1946 was described by many as the ‘Little Biennale’.
The artwork collection of Deana grew almost naturally. Some of these prestigious paintings can still be seen today on the walls of the grand dining room of the restaurant. In September of 1953, under the curatorship of Carlo Cardazzo, The Colomba Prize was born
“The public doesn't understand contemporary art, it's not because they are stupid, it's because art has become stupid." Do you agree with this statement?
The world has always had their hands on "stupid” art. Today there are far more people who consider themselves artists. It is easier to be shaped by commercial demands, than to take the time to research one’s inner artistic depth. Therefore, yes, I believe there is a lot of ‘stupid’ art around. On the other hand, sometimes we think that something is stupid only because we don’t understand it. “Real” art doesn’t admit ignorance.
Do you feel that the ‘value’ of an objet d’art is diminished or changed when an artist’s assistants actually produce the piece (as in the case of Damien Hurst)?
The definition of objet d’art is vast. For example, handcrafts are considered artwork by some nations. In my opinion ‘art’ is what starts off from an idea, is developed into a concept, is executed through perfect technical media and is able to provoke an emotion in the people that admire it - both positive and negative – it doesn't matter which. The most powerful fact is that the artwork does inspire you.
If you consider that a building, or even a song, is the product of professional teamwork, then an objet d’art too can be crafted by teamwork. The important factor is the communication of the technic(s) applied.
What would you say to those who argue that art experts are a ‘mysterious’ breed, feared by emerging artists?
There are some art experts that I fear myself! However, it is through their provocation or confrontation that an artist can develop: knowledge, spirit, a sense of criticism and analysis.
How would you rate the relationship that exists between artists and gallerists?
It’s like cats and dogs - love and hate - respectful and unbearable. But one cannot live without the other.
When does an artist ‘fail’ as an artist? What is at the basis of a rejection?
Every case is different. What is important is to be always on the move, with consciousness, with modesty and a lot of hard work.
Art ‘experts’ are failed artists. Please comment.
This statement can be correct. I also believe that there is an artist in all of us, we just need to acknowledge it, and find the right way of expression. Maybe it can be found in food composition, or even in the formulae of Algebra.
As an art expert, what do you look for in an artist?
His or her art has to give me a vibe. The technical execution together with the person’s artistic evolution has to capture my interest and imagination. I also think that the dialogue needn’t be complicated and, just as important, an artist needs to be reliable.
In what way do you support emerging artists?
By providing them with the right exposure.
What has been the most rewarding moment of your career?
The next one.
And the most difficult and how did you overcome it?
Every single project has a range of unpredictable factors. I believe in pragmatic, organised and rational teamwork to be able to react quickly.
What is your next dream?
A holiday!
You have been selected to go on an all expense paid weekend with historical figures, an artist. Who would you share your space/time with (apart from Salvador Dali!)?
Leonardo Da vinci
What is hope for Sara Sist?
Find something that catches my attention, stops my internal clock in order to cause a smile. Of a simple and pleasant surprise. Sometimes a piece of artwork, a stranger in the street, a sound, a smell.
What is your message to emerging artists around the world in search of affirmation?
Art is a profession. It is a dirty job, but it's a playful kind of work, so do it intensively, with passion and professionalism.
Where to study art in London - useful links
