Sarkis was born in Istanbul in 1938, and has lived in Paris since 1964. Active since the 60’s, which were crowned by the invitation to When Attitudes Become Form (1969). Since then he has participated in numerous international appointments, including two editions of Documenta Kassel and three editions of the Biennale di Venezia, as well as many other exhibitions around the world. His greatest quality as an artist is the ability to perfectly conjugate his culture of origin with the contemporary tradition of Western art, to which he adds elements of the local culture of the places where he is called to exhibit and intervene. He does the same with techniques, mixing the more ancient ones with modern ones, and with a cross-reference to original archetypes, not without allusions to recent episodes in art. Due to these characteristics, he moves today between that art which finds an important nucleus for its own research in anthropology, and so-called "rapport" art, which finds an intrinsic modality of a piece in the active involvement of the spectator. The project for Arte all'Arte picks up one of his recent favorite themes, that is the relationship between color and transparency - and therefore light, depth, the immaterial, passage, transformation. He has been developing this for some time with the use of watercolour and of glass, ancient techniques that give very modern results, which he carries out in the most varied forms, such as the memorable series of short videos 25 films de Sache', 1997-98, which is a short summary of the possibilities of his work. In a piazza in Poggibonsi, a community meeting point, Sarkis has created a sort of fountain, made up of 12 small basins that can be used as containers by anyone who wishes to create original watercolours. A ritual, a game, a creative project that has Sarkis as its first animator and as the teacher of the first course, that will remain a fixture available for the population.

Sarkis, The watercolour fountain, 2003
Piazza Matteotti, Poggibonsi
Project for Arte all’Arte 2003
Photo Ela Bialkowska, view of the installation