Sarah Ciracì

Meeting the Universe Halfway

Opening on Wednesday May 13, 2026, 7-9pm.

May 13 – July 24, 2026.

WIZARD LAB is pleased to present Meeting the Universe Halfway, a solo exhibition by Sarah Ciracì, opening on May 13th. Taking its title from physicist and philosopher Karen Barad’s landmark 2007 book, the exhibition brings together new works in video, lenticular photography, holographic film, and installation, whose common thread is to interrogate the limits of perception and knowledge.

For over three decades, Ciracì has traced the uneasy relationship between human experience, technology, and the accelerating pace of scientific change. In the body of work conceived for this exhibition, this unease takes the form of a sustained engagement with quantum physics and its philosophical implications: the idea, shared by physicist David Bohm and theorist Karen Barad alike, that the world is not a collection of separate things waiting to be observed, but an entangled, indivisible whole that is always already in the act of becoming — an idea for which Barad coined the term “intra-action.”

At the center of the exhibition is a large-scale lenticular photograph, a work that is, by its very nature, resistant to a single, fixed reading. As viewers move before it, the image shifts, making visible another key concept of the show: the importance of the point of view. The lenticular surface enacts, in purely optical terms, one of the central arguments of Barad’s philosophy and Bohm’s physics alike, namely, that what one perceives is never independent of the position of the beholder, and that reality does not hold still for the observer.

A second major work takes its formal cue from Lucio Fontana’s Spatialist cuts. Where Fontana’s gesture echoed Einstein’s relativity puncturing and cutting the canvas to bridge the gap between space and time, Ciracì shifts the inquiry toward the Holographic Principle explored by David Bohm and Leonard Susskind. The holographic film is a material that holds light itself as its subject: depending on the angle of incidence and the quality of light, the work reveals shifting iridescent fields that cannot be fixed or photographed; they act, in fact, as a visual metaphor for Bohm’s “implicate order,” suggesting a reality in which every part contains the information of the whole.

What connects the works in this exhibition is a shared concern with the boundary between knowledge and its limits, between what an image reveals and what it necessarily withholds in relation to one’s point of view. Barad writes that reality is not independent of one’s exploration of it, but neither is it simply a matter of our choosing what to see. Ciracì’s practice inhabits this precise tension: her works do not illustrate scientific ideas, but short-circuit them. To encounter her work is to experience perception as an event: partial, entangled, always incomplete, and in the process of unfolding.

Installation: Marcello Camoglio.

Sarah Ciracì (1972, Grottaglie) is an artist whose practice spans diverse media, among which photography, video, and installation. Since the early 1990s, her work has explored the intersections of human experience, technology, pop culture, and the mass-media. More recently, her research has turned toward quantum physics and its resonances with Buddhist philosophy, examining what scientific inquiry and contemplative tradition share in their understanding of the limits of knowledge. She 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 an 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. Ciracì’s work is part of the public collections MACRO-Museo d’Arte Contemporanea di Roma; Fondazione Sandretto Re Rebaudengo, Turin; Collezione La Farnesina, Roma; FRAC Languedoc-Roussillon; 21st Century Museum of Contemporary Art, Kanazawa. She lives and works in Milan.

SARAH CIRACì