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Draft:Sergio Sarra

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  • Comment: "Selected Solo and Group Exhibition" is unreferenced.
    Including material such as we are faced with an intense conciseness from the perspective of the formal process in favour of a greater concentration on the conceptual factor, many of the block quotations are turgid and soporific. Please cut. Hoary (talk) 11:51, 8 July 2025 (UTC)
Sergio Sarra
Sergio Sarra
Sergio Sarra, Rome 2010
Born1961 (age 63–64)
Pescara, Italy
NationalityItalian
EducationAcademy of Fine Arts in Bologna
Known forpainting, sculpture, drawing
Websitewww.sergiosarra.it

Sergio Sarra (Pescara, 8 July 1961) is an Italian artist and former basketball player.

From the beginning of his artistic career, Sarra has worked with a wide range of expressive media, focusing mainly on painting, drawing and sculpture. In his earliest exhibitions, art critics and specialist writers already recognised the distinctive style and speculative themes that would shape his entire body of work.

«[...] with Sarra we are faced with an intense conciseness from the perspective of the formal process in favour of a greater concentration on the conceptual factor. [...] The animal, the landscapes and the faces are stylised to the limit of being recognisable [...]»

— Lorenzo Benedetti, The sacred of Fusi and the sign of Sarra, exhibition critique, written in connection with Segno Senso Suono Sacro: installazioni di Mario Airò – Federico Fusi – Sergio Sarra (curated by Zerynthia Associazione per l'Arte Contemporanea, Centro Civico per l'Arte Contemporanea 'La Grancia' – Musei Senesi, Serre di Rapolano, May 10 – June 15, 1997).

Biography

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From top: Earvin 'Magic' Johnson, Sergio Sarra and Darnell Valentine, Italia – USA, AST Under-18 Basketball World Cup, Mannheim (FRG), 1977

He played for Italy's youth national basketball teams and, at the age of sixteen, made his Serie A debut with Fortitudo Bologna[1] in the 1976 to 1977 season. In 1985, at twenty-four, he left competitive sport to finish his studies in the Painting Department of the Academy of Fine Arts in Bologna[2] under Concetto Pozzati (1935–2017) during the 1987-88 academic year.[3]

After completing his studies, he moved to Rome, where in 1990 he held his first solo exhibition at Galleria Alice.[4] One of the most experimental venues in the capital, thanks to the creative drive of its founder Domenico Nardone[5] and the artists involved, including Stefano Arienti, Cesare Pietroiusti and Alfredo Pirri. Sarra presented, for the first time, an installation consisting of four horizontal glass panels placed on the floor and against the wall, with one panel tilted away from the surface. These glass sheets, twenty-six centimetres high and two hundred and forty centimetres long, bear painted marks or photographic film with fine signs and fragments of writing, all intersected by the white light of industrial neon tubes.[6][7]

«The glass sheets imprison fragments of writing, which become a veil, transparency, sign, arabesque, imperfection imprisoned in a film of ice similar to the covering of an Alpine pond in winter.»

— Ludovico Pratesi, "The Power of Fate," in Sergio Sarra, exhibition catalog, edited by Domenico Nardone and Sergio Sarra, Rome: Galleria Alice Arte Contemporanea, 1990, n.p.

Over the years, the signs and fragments of writing give way to new figurations and fresh imaginary worlds, populated by unprecedented zoomorphic forms that are mythic, symbolic and enigmatic.[8] The Portuguese scholar Miguel Amado helps to clarify some of these elements:

«Referencing classicism and employing symbolism in creating his enigmatic vision of the world, Sarra calls attention to the iconic power of the handmade image in Western civilization.»

— Miguel Amado, "Sergio Sarra – MCO Arte Contemporânea," Artforum, April 2, 2007, https://www.artforum.com/picks/sergio-sarra-13001.

At the start of the nineteen nineties Sarra produced a group of installations and paintings on emulsion-coated canvas,[9] a cycle titled Primitive,[10] built around zoomorphic images that appear almost always as mirrored doubles.[11] In nineteen ninety one he exhibited several works from this series in Volpaia in vista,[12][13] an international art survey organised by the art critic and gallerist Luciano Pistoi in Radda in Chianti, Siena.

In a 2023 critical essay tracing the stages of Sarra's artistic career, the Italian scholar Lorenzo Bruni examines in detail the site specific installation shown at Aperto '93[14][15][16] and brings to light a number of previously unknown aspects.

«At the Corderie dell'Arsenale during the 1993 Venice Biennale — overseen by director Achille Bonito Oliva and coordinator Helena Kontova, alongside a team of curators including the emerging Francesco Bonami — Sarra introduced three paintings within a space meticulously crafted to facilitate a distinct kind of engagement. The three pictorial works on canvas tackled subjects that would become recurring themes in his ensuing journey as an artist. The first, Autoritratto, initiated a trajectory of studies of figure where he explored various representations of himself. This painting in particular triggered perceptual and cognitive short circuits, as his profile bore a striking resemblance to that of a young girl, leaving a lasting impression of duality and ambiguity. The second work, titled Iguane, shifted focus towards the anthropomorphism of signs. This theme played a significant role in his later works, expanding gradually into the vast territory of constellations over the subsequent decades. The third painting, titled Paesaggio, diverged from a literal representation, presenting the viewer with the image of the foliage of two trees reflected in a lake. This thematic choice transposed forms from the tangible domain of figuration into the ephemeral realm of mirages and "recalled images," rather than relying on direct observation. These works were already imbued with the distinctive hallmarks of his artistic practice: a compelling need to negotiate a coexistence between opposites, be it the abstract and the figurative, or the interplay between painting and drawing. However, these to-be-reimagined images constituted only a part of the work, as they were placed in a specially constructed rectangular room. This room featured two openings corresponding to the short sides, compelling viewers to choose their own path and fostering either a lateral or another form of transitory vision. The floor of the space also served a role in the installation; it was raised by thirty centimeters and was slightly detached from the walls, functioning as a sort of sculptural element within the exhibit. Also noteworthy is the fact that it was constructed from wood particle board, a material that would frequently recur in his installations. Chosen for its status as a reclaimed material – essentially a "dust of the world" that technology has repurposed and compressed into new, standard-sized panels. In this context, the platform was devised to prompt reflection in viewers about the mechanics of vision — a theme referenced multiple times in this text. It invited viewers to contemplate not only the paintings but their entire experience as they chose to step onto the platform and exit through one opening rather than the other, navigating their individual paths through the exhibit. The installation revealed unprecedented aspects not only of the individual paintings but also of the creator's entire approach in the context of the end of ideologies following the fall of the Berlin Wall. Indeed, those were the years when (having moved beyond the post-modern excess and the resurgence of expressionist figurative painting) artists focused on fostering a dialogue between elitist and popular culture. The objective was to create art that would elevate the viewer's level of attention not to the history of art, but to their own daily life, which was experiencing swift changes in its paradigms following the collapse of the Soviet Union and the end of the Cold War. Even though in 1993 we were still at the outset of what would, a few years later, be acknowledged as a globalized and no longer Western-centric reality, it is true that that edition of Aperto had already encapsulated all those elements, thanks to the works of artists such as Rirkrit Tiravanija, Gabriel Orozco, Pipilotti Rist, Andrea Zittel, and Paul McCarthy. While these artists accomplished the aforementioned goals by experimenting with new media like video, adopting a neo-conceptual approach, or exploring a new kind of performativity, Sarra realized them through a deep analysis of the role of painting. This exploration was beneficial in grappling with the recent past and particularly with the stereotypes tied to figurative painting and its various genres.»

— Lorenzo Bruni, "The Observer and the Observed Figure: Study into the Work of Sergio Sarra from the 1993 Venice Biennale to the 2023 Exhibition at Palazzo Altemps," in Sergio Sarra: nature, exhibition catalog, edited by Sergio Sarra, Brescia: Edizioni l'Obliquo, 2024, pp. 93, 95. ISBN 978-88-31425-24-7.

In 1997 Sarra presented a solo exhibition at Galleria Cesare Manzo[17][18] in Pescara, accompanied by a performance by Emilio Prini (1943–2016) a brilliant artist[19] of the Arte Povera movement. The same year he took part in the exhibitions Odisseo (Ulysses)[20][21] in Bari and Segno Senso Suono Sacro[22][23] in Serre di Rapolano, Siena, showing a group of large format paintings whose subjects are female faces. In the essay that accompanies the Tuscan exhibition, the art critic and curator Lorenzo Benedetti sketches several key elements of the artist's poetics:

«In his work, the artist reveals a strong sense of superficiality, with any sense of the profound being denied, annulled; clarity and essentiality become the dominant factors in his work.»

— Lorenzo Benedetti, The sacred of Fusi and the sign of Sarra, exhibition critique, written in connection with Segno Senso Suono Sacro: installazioni di Mario Airò – Federico Fusi – Sergio Sarra (curated by Zerynthia Associazione per l'Arte Contemporanea, Centro Civico per l'Arte Contemporanea 'La Grancia' – Musei Senesi, Serre di Rapolano, May 10–June 15, 1997).

In 1997 Sarra conceived Orlo,[24] a free art journal that appears irregularly and had no fixed base. "The journal is characterised by the absence of written texts, by the lack of set publication dates and by distribution that is deliberately slow and secret".[25] He invited many artists to contribute a single image on a chosen theme, among them Carla Accardi (1924–2014), Ansel Adams (1902–1984), Mario Airò, Atelier Bow Wow, Rosa Barba, Carlo Crivelli, Enzo Cucchi, Jan De Cock, Thierry De Cordier, Bruna Esposito, Christelle Familiari, Günther Förg, Federico Fusi, Markus Huemer, Angelo Mosca, Vettor Pisani (1934–2011), Emilio Prini (1943–2016), Bob and Roberta Smith, Ettore Spalletti (1940–2019), Haim Steinbach, Adrián Villar Rojas and Luca Vitone.

In 2000 Sarra exhibited at Fondazione Volume![26][27] in Rome and curated Conversione di Saulo,[28][29][30] a group show in Palazzo Chigi Odescalchi built around the painting of the same title,[31] made about sixteen hundred by Caravaggio (1571–1610) and still owned by the Odescalchi family. The participating artists were Stefano Arienti, Vanessa Beecroft, Jake and Dinos Chapman, Shay Frisch Peri, Avish Khebrehzadeh, Sergio Sarra, Wolfgang Tillmans, Grazia Toderi, Jane and Louise Wilson and Francesca Woodman (1958–1981). Among the guests at the opening was the American art historian Everett Fahy (1941–2018). A leading authority on Italian Renaissance painting and then Director of the Department of European Painting at the Metropolitan Museum of Art in New York City.

That same year Sarra took part in the Seventh Havana Biennial[32][33] and married Elisabetta in Amalfi, for whom he would later paint an extensive series of portraits. From 2000-2002 the couple lived in Naples before returning to Rome. Their son Gerolamo Papik Merlino was born in 2001.

While in Naples, in 2003 Sarra created Table Sculpture (table projection on 12 points),[34][35][36] a work whose significance and central role in his oeuvre have since been highlighted by scholars.

«The figure of the table is very important in contemporary art. A table is a raised ground floor said Mario Merz "something still strongly linked to the organic" says Giorgio Verzotti (Mario Merz, Christian Marinotti Edizioni, Milan 2018) which adds "The idea of the table connects the artistic work to the human ... He explicitly says it: the table is the first place in which the work of art is born in the form of a project, a design, the first instrument thanks to which the artist can focus his intuitions. And then the tables, large or small, high or low, accompany all aspects of our existence, you sit down to eat at a table, you connect with others around a table, Mario indicates this need for socialization as the primary necessities of a fundamental need ...". Marisa Merz will install the fruit islands on these same tables (and just in Pescara ...). Think of the anthropological dimension of the table by Jannis Kounellis, its dimensions and proportions commensurate with those of man. Think of the social function of Michelangelo Pistoletto's table, of that Mediterranean mirror on which the speeches are "started". Let's think of Vettor Pisani's table theater. The table is communal place, but also one intimate, it is linked to life, but also to thinking [...]»

— Laura Cherubini, "Sergio Sarra. At the drawing board," in Sergio Sarra: excluding things I chose to do, exhibition catalog, edited by Sergio Sarra. Rome: Edizioni di Comunità, 2019, p. 87. ISBN 978-88-320-0521-9.

«The table suggests to us the potentialities of stability. Like that of an element strong in its identifiable plasticity, which we confront daily with its thresholds, surfaces, and substrata: references that have inspired the artist to invert the idea of "plane," and to stimulate a metaphysical interest, prior to a physical one, in crafting new spatial dimensions from and within a familiar space such as that created and occupied by a table.»

— Giorgio D'Orazio, "Birth, Descent, Beginning [as a tableau vivant]," in Sergio Sarra : nature, exhibition catalog, edited by Sergio Sarra, Brescia: Edizioni l'Obliquo, p. 111. ISBN 978-88-31425-24-7.

In the same years Sarra developed the performance Life drawing no. 2. It was later presented in Pescara for the exhibition Anomalie[37][38][39] (2003) curated by the art critic and writer Teresa Macrì, in Palermo for the exhibition D. dal vero n. 2[40][41] (2004) curated by Paolo Falcone at the Micromuseum for Contemporary Art and Culture, and for the exhibition Altered States. Are you experienced?[42][43] (2007) curated by Nicolas Bourriaud and Paolo Falcone at WAX Winkler Art Xperience in Budapest and at the Muzeul Naţional de Artă Contemporană in Bucharest.

From a conversation of the time with the artist, Teresa Macrì reveals the key points of the interdisciplinary nature of his performative practice:

«In his free-and-easy inspiration he told me about his project: it was evolving in performance, though it still contained the specific features of his method. The space of drawing was to turn into a space related to corporeity. The performance's goal was the connection of the manual realization with the display of the model and the collective fruition.»

— Teresa Macrì, "Anomalo Hotel," in Anomalie, exhibition catalog, edited by Teresa Macrì, Pescara: Edizioni Arte Nova, 2003, p. 20.

In 2006 Sarra created the installation Hypothesis of a Chemistry Library of the University of Padua (LSD),[44] for which the Italian philosopher and academic Umberto Curi wrote an intense critical essay[45] (2007). The work explores the link between psychedelia, chemistry and visual perception, a theme that appears again in other pieces by Sarra, such as the series Psychedelic garden[46]Cite error: A <ref> tag is missing the closing </ref> (see the help page). (2008), six large canvases in which he repeats the same drawing while changing the chromatic impact each time, and Reluctant commitment[47][48] (2010), where he shows the effort of painting two seemingly identical canvases while reflecting on repetition and difference. In formal terms the artist stages an iconography filled with zoomorphic groupings, landscapes, faces and buildings whose geometries are unfamiliar and disassembled. Thus the profile of a tower flows into the outline of a forest, the silhouette of an anthropomorphic figure turns into a constellation and the surface of a lake flips into a corner of sky.[49] Evocative and clearly preparatory to this new stylistic phase is Profile, a small paper painting measuring 24 centimetres by 16.5, made in 1997 and published by Bollati Boringhieri Editore in 2004 as the front-cover image of Umberto Curi's philosophical volume La forza dello sguardo.[50][51]

Pointing out that in his pieces Sarra addresses not what is visible[52] but the invisible elements that art is expected to reveal,[53] the French art critic and theorist Nicolas Bourriaud identifies further stylistic details and new nuances in the artist's work. In Une correspondance sur les fantômes avec Sergio Sarra[54] (May 2007) he reflects metaphorically on the ideas of immateriality, incorporeality and spirituality connected to Sarra's practice.

«N B: [...] Therefore, I would like to ask you my first, very direct question. Your works make one think of palimpsests, namely of those manuscripts that an author writes over an earlier text, without cancelling previous layers of writing. What is the nature of your relationships with ghosts, with the half-cancelled shapes that live together with them? S S: My relations with ghosts are getting better; after a hard beginning with Belphégor - Le fantôme du Louvre, when I was five, I built up a better relationship with my grandmother's ghost, whom I soon started to portray. As any other ghost, it was completely deprived of its own bodily nature, and I think that from that moment onwards, I lost interest in whatsoever form of naturalism. In the meanwhile, other relatives of mine died and, so not to offend anybody, I put them on top of the same painting. Still today, I often paint on top of previously conceived compositions of figures, without making them thoroughly disappear. Ultimately, these compositions end up living together with new things. For example, in the painting Players in the Mediterranean Coast this cohabitation shows the metaphysical sense of what I mean by «spectral». It's like agreeing to meet at the Bastille or at Circo Massimo, namely, in places that no longer exist. It's possible, it's real and comforting too.»

— Nicolas Bourriaud, "A correspondence on ghosts with Sergio Sarra," in Sergio Sarra, catalog, edited by Sergio Sarra, Rome: Galleria Cesare Manzo, 2007, n.p.

In 2008 the Circolo Filologico Milanese hosted the exhibition Sergio Sarra: pearl fishermen in the historic spaces of Palazzo Liberty in Milan. On this occasion the artist's iconography gained a new theme, the pearl fishermen, to which he devoted a series of paintings. Within an apparently empty space the painted line traced the contours of a universe of images inhabited by zoomorphic figures, landscapes, architecture and faces, the subjects the artist prefers. The exhibition was brief, lasting only 3 days, yet it enriched the narrative around his work with fresh and meaningful perspectives. The Italian art critic and journalist Helga Marsala gave the accompanying essay the emblematic title Noisy Writings. Sergio Sarra's Aesthetics of Void and set out its theoretical foundations.

«Sarra engraves the surface of his drawings with unforgiving hard cuts: his lines trace the void in the background like noises captured in the stillness: what is neutral is given life, like a stave punched out by note clusters, like a page hosting ideograms. [...] Sarra's overlapping layers, unbroken lines, and intervals do not ban void, but inhabit it, flow through it, and articulate it, weaving solid patterns in its homogeneous space and bringing to mind the "empty quantum" discovered by contemporary physics, where particles and antiparticles are being born and dying ceaselessly, annihilating one another. [...] Between one form and the other, between one figure and the other, a void unfolds. This is neither a metaphorical void, nor the mystical void of the sacred but rather a neutral void, a break between two lines or two words on paper, the pause generating the repetition, the resounding surface breeding the infinitesimal remains of a calm, brief speech. [...] Sarra's installations - as well as his drawings and sculptures - have often sought after this kind of interplay. Simple, linear displays that define quiet islands within a void yet to be mapped.»

— Helga Marsala, "Noisy Writings. Sergio Sarra's Aesthetics of Void," in Sergio Sarra: pearl fishermen, exhibition catalog, edited by Sergio Sarra, Milan: Circolo Filologico Milanese, 2008, n.p.

In 2011 he was invited to exhibit in the Italian Pavilion of the Venice Biennale,[55][56] and in 2016 at Ewha Womans University[57][58] in Seoul, where he presented a series of drawings and paintings titled iceberg rosaspina, accompanied by a brief text by the artist:

«I am painting icebergs, a series of icebergs. Each of them is a still life drawing, even though it may look like an automatisme. Icebergs are wandering and solitary shapes subject to imperceptible transformation, and they incorporate other shapes and remote images. The submerged part of these ice mountains is almost completely invisible and its balance and flotation capacity is strictly connected to the emerging part. When this ration ceases to exist, icebergs can overturn with deafening sounds, showing the part which has been hidden for millennia.»

— Sergio Sarra. Icebergs, May 24, 2016. Text originally published in the press release for the exhibition [Art & Design College EWHA Womans University, EWHA Art Gallery, Seoul, June 13–July 13, 2016]; reprinted in Sergio Sarra (ed.), Sergio Sarra: excluding things I chose to do, exhibition catalog, edited by Sergio Sarra. Rome: Edizioni di Comunità, 2019, p. 69. ISBN 978-88-320-0521-9. Also presented as a video clip titled Sergio Sarra: Icebergs, directed by Gerolamo Papik Merlino Sarra, on the invitation of 'Acqua Foundation Non-Profit Organization' (Milan), May 3, 2020. Narration performed by the artist.

«[...] these are seemingly uncomplicated paintings, whose simplicity hides, much like what happens in big floating ice blocks, more than is being revealed. Sergio's Icebergs capture us in a trap that has a little of the flavour of Poe's The Purloined Letter. For after a moment what attracts our attention is, the erasure, which conceals, or rather, which shows by concealing, another design apparently similar to the one in the foreground. So we look for the meaning of the painting, in the hidden drawing of the interweaving lines. But what is behind the erasure is nothing more than a diversion, which plays with the presumption of an observer who, believing himself attentive and acute, loses precisely what he has, as they say, under his eyes. If, we pass this first trap, we finally observe the "submerged" surface of the iceberg, we may be surprised to find hints of faces or figures, and perhaps even see a self-portrait: the artist's, or ours, both cases seem possible. If we continue to observe and we are captured, this time, by the chaotic, stratigraphic, procedural freedom of the line that "makes" these paintings, we might notice the difference, so obvious as to be almost didactic, with exactly that of the straight and linear horizon. One comes from the other because it is an elaboration, a multiplication of complexity; but the other can lengthen, melt into that one, as a block of ice can slowly melt into the water in which it floats. So, trap after trap, this elementary picture wraps us in a tangle of metaphors: we are that line, we trace its history, even if we never took a brush in hand.»

— Cesare Maria Pietroiusti, [Untitled], in Sergio Sarra: excluding things I chose to do, exhibition catalog, edited by Sergio Sarra, Rome: Edizioni di Comunità, 2019, p. 118. ISBN 978-88-320-0521-9.

Since 2018 Sarra has revisited and deepened a favorite theme, the study of the figure, by analyzing the relations of the human figure with the surrounding space, with its conflicts and inner passions. The exhibition Sergio Sarra | nature at the Museo Nazionale Romano in Palazzo Altemps,[59][60]; Sergio Sarra | nature, video of the exhibition by Alessandra Galletta, March 1, 2024. Speakers: Lorenzo Bruni, Ludovico Pratesi, Sergio Sarra, Stéphane Verger; Vittorio Sgarbi, "Pensare il mondo oltre la rappresentazione," Panorama, year LXI, no. 37 (September 6, 2023), pp. 66-68; Carlo Alberto Bucci, "Sarra, pittura come presenza : marmi antichi e tavole dipinte per "ciò che sarà generato"," la Repubblica, year 48, no. 221 (September 20, 2023), p. 13; Marco Bussagli, "Sergio Sarra a confronto con i classici," Agorà, column of Avvenire, year LVI, no. 224 (September 22, 2023), p. IV; Davide Oliviero, "Roma, Museo Nazionale Romano, Palazzo Altemps: "Sergio Sarra. Nature," September 29, 2023; Valentina Muzi, "A Roma le opere di Sergio Sarra disseminate tra i capolavori di archeologia : Forme fantasmatiche vestono le pareti dell'appartamento nobile di Palazzo Altemps, confrontandosi e dialogando con le straordinarie collezioni di statuaria antica[61]," Artribune, November 1, 2023, on artribune.com.</ref> Rome, 2023, highlights the peculiar features of these multiple relations and attempts to outline a synthesis between humankind and nature. According to Lorenzo Bruni, co curator of the show with Ludovico Pratesi, this approach prevents Sarra's works from being labeled as portraits, because that term would move his painting practice into a documentary or historical condition, whereas the artist's intent lies in engaging with the ontological dimension of being.[62]

Stéphane Verger, at the time Director of the Museo Nazionale Romano and a member of the Scientific Council of the Musée du Louvre in Paris, opened and presented the artist's solo exhibition. A short excerpt is published here:

«Sergio engages in a complex discussion on representing the body, employing techniques that are both abstract and figurative. This approach mirrors the historical progression of bodily representation throughout antiquity, from prehistory to the Hellenistic era. Thus, contemporary art continues to innovate in depicting the body, moving beyond merely categorizing the classical or ancient methods of human body representation.»

— Stéphane Verger, in Sergio Sarra | nature, video di Alessandra Galletta, Vimeo, 1 marzo 2024, https://vimeo.com/918311825?share=copy

Selected Solo and Group Exhibition

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Works in public collections

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  • Sergio Sarra, Senza titolo,[64] 1987, acrylic on wall, 100 × 300 cm; Museo di Arte Contemporanea all'Aperto di Maglione (MACAM), Maglione (TO), performed under the auspices of macam.org.
  • Sergio Sarra, Ipnologic quartett, 1998, marble, steel and acrylic esame, former Vittoria Stadium, Bari; civic collection of the Municipality of Bari.
  • Sergio Sarra, Tripode per Celestino,[65][66] 2015, wrought-iron with hot-sprayed paint; created for the 721st Perdonanza Celestiniana, civic collection of the Municipality of L'Aquila.

Special Projects & Collaboration

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  • Ettore Spalletti & Sergio Sarra, Senza titolo,[67] 1998, cardboard cover, colour impasto on pressed paper, acrylic paint, 17.5 x 12.5 cm.[68]
  • Ettore Spalletti & Sergio Sarra, Senza titolo,[69] 1998, cardboard cover, colour impasto on pressed paper, acrylic paint, 17.5 x 12.5 cm.
  • Sergio Sarra, senza titolo,[70] 2000, digital print, 17 × 12 cm; included as a loose plate in Massimo Morasso, Ludovico Pratesi, Sergio Sarra, Ettore Spalletti, Andrea Valcalda, Distacco, Brescia, Edizioni L'Obliquo, 2000.
  • Marco Eusepi & Sergio Sarra, Cose viste,[71] plus hand-printed lithographs by Beatrice and Flaminia Bulla, published by Litografia Bulla (Rome), June 2021.
  • Sergio Sarra, Figure, thinking De Chirico (Study no. 2), 2024, lithograph, 24 x 17 cm, Edizioni l'Obliquo (Brescia); included as a loose plate in Sergio Sarra (ed.), Sergio Sarra : nature, exhibition catalog, Brescia, Edizioni l'Obliquo, 2024, ISBN 978-88-31425-24-7.
  • Bruna Esposito & Sergio Sarra, ora quanto fosse estesa : now as vast it was, 2025, a lithograph by Sergio Sarra (30 × 21 cm) and a imprint on paper by Bruna Esposito (30 × 21 cm), Brescia, Edizioni L'Obliquo, 2025.

Lectures, Conferences, Masterclasses

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Awards and recognition

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In 2014 Sergio and Elisabetta Sarra completed their home studio in Abruzzo, designed together with Studio zero85. In the same year the building was a finalist for the Wienerberger Brick Award 14 in Vienna (the jury was chaired by architect Wang Shu, Pritzker Prize 2012) and received an Honourable Mention at the Fritz Höger Preis für Backstein Architektur in Berlin in Einfamilienhaus/Doppelhaushälfte Category. In 2015 the project won the Premio Ad'A - Architetture dell'Adriatico[74] in Pescara, and the British journal designboom placed the home studio in its Top 10 lists of 2015 - private houses. The bibliography on the subject is extensive.[75][76]

Critical Review

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Since the early Nineties, Sergio Sarra has been exploring the iconic nature of painting, (and of sculptural installations and performances) to approach things through an abstract comprehension, while also conjuring up ancestral figures: "it would be important for me to be able to make a really archaic drawing, that can be recognized only by one's consciousness, and has never been seen in real life."

For Sarra, the manual aspect of drawing is akin to a sort of imponderable writing, executed "from life" but detached from any interest in spatial composition; "the color must only be meaningful, not descriptive", and "a painting is finished when it resists the company of the other work in the studio."

Each piece is generated by an observing consciousness, that moves within autobiographical spaces and cultural affiliations, interrelating signs in redundant sequences: architectural antinomies, dualities, border zones, specious repetitions; transparent grids and aporias.

His home studio project is a clear form that interprets one of the artist's favorite landscapes: a protected space, personal and familiar, that fosters suggestions and ideas, where Sergio Sarra has organized his own painting possibilities.

Text by Rossella Caruso, "Sergio Sarra Critical Review", July 2018, in Literature, https://www.sergiosarra.it.

Monographs  

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  • Nardone, Domenico, and Sergio Sarra, eds. Sergio Sarra. Exhibition catalog. Rome: Galleria Alice Arte Contemporanea, 1990.[77]OCLC 1004344143.
  • Bonito Oliva, Achille, ed. Sergio Sarra. Exhibition catalog. Milan: Nuova Prearo Editore, 1991. OCLC 193358740.[78]
  • Prini, Emilio, ed. Sergio Sarra. Exhibition catalog. Pescara: Galleria Cesare Manzo, 1997. OCLC 1004344143[79]
  • Sarra, Sergio, ed. Sergio Sarra. Catalog. Rome: Galleria Cesare Manzo, 2007. OCLC 880870197.[80]
  • Sarra, Sergio, ed. Sergio Sarra: pearl fishermen. Exhibition catalog. Milan: Circolo Filologico Milanese, 2008. OCLC.[81]
  • Sarra, Sergio, ed. Sergio Sarra: why the beach becomes narrower after the Nàiadi. Book of stories and drawings. Teramo: Edizioni Sarra Varano, 2011. ISBN 978-88-906766-0-4. OCLC.[82]
  • D'Orazio, Giorgio, ed. Sergio Sarra: Dico a te,. Exhibition catalog. Morro d'Oro: Abbey of Propezzano, 2018. OCLC 1105931902.[83]
  • Sarra, Sergio, ed. Sergio Sarra : excluding things I chose to do. Exhibition catalog. Rome: Edizioni di Comunità, 2019. ISBN 978-88-320-0521-9. OCLC 1124656885.[84]
  • Esposito, Bruna, and Sergio Sarra, eds. Bruna Esposito Sergio Sarra. Exhibition catalog. Recanati: Idill'Io Arte Contemporanea, 2018. OCLC.[85]
  • Sarra, Sergio, ed. Sergio Sarra: Twenty six figures painted on board. Artist's book. Bologna: Fondazione del Monte di Bologna e Ravenna, 2020. ISBN 979-12-200-7311-0. OPAC IT\ICCU\RMS\2968431.[86]
  • Sarra, Sergio, ed. Sergio Sarra: nature. Exhibition catalog. Brescia: Edizioni l'Obliquo, 2024. ISBN 979-12-200-7311-0. OPAC IT\ICCU\ABR\0015652.[87]

Further reading

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References

[edit]
  1. ^ Alco Bologna – Team.
  2. ^ In 1986, Sarra, then a student, assisted in the realization of the Wall Drawing 462 by Sol LeWitt at Galleria Studio G7 in Bologna.
  3. ^ In the essay Sergio Sarra: Twenty six figures painted on board (2020), produced with the support of the Fondazione del Monte di Bologna e Ravenna, Sarra documents, through the text entitled "Thesis" and a series of unpublished archival photographs, the installation he conceived within the Aula Magna of the Academy of Fine Arts of Bologna as his painting school diploma project, and bears witness to the intense artistic experience of those years in Bologna. See also: Sergio Sarra, ed., Sergio Sarra: Twenty six figures painted on board (Bologna: Fondazione del Monte di Bologna e Ravenna, 2020), pp. 82–89, ISBN 979-12-200-7311-0; Sergio Sarra, live radio interview from MAMbo – Museo d'Arte Moderna di Bologna, STARTER – Fermenti Culturali, episode no. 21, hosted by Claudio Musso, Carlotta Chiodi, Moreno Mari, and Caterina De Feo, on NEU Radio, November 11, 2021, 18:03. Participants: Claudio Musso, Caterina De Feo, Sergio Sarra, and Moreno Mari; Sergio Sarra: Twenty six figures painted on board, conference and artist's book presentation, MAMbo – Museo d'Arte Moderna di Bologna, Conference Room, November 16, 2021. Speakers: Lorenzo Balbi, Mirta d'Argenzio, Maura Pozzati, Ludovico Pratesi, and Sergio Sarra.
  4. ^ Sergio Sarra, exhibition curated by Ludovico Pratesi, Galleria Alice Arte Contemporanea, Rome, May 1990.
  5. ^ Domenico Nardone and Sergio Sarra, eds., Sergio Sarra, exhibition catalog (Rome: Galleria Alice arte contemporanea), 1990; "Sergio Sarra – Alice – Rome," in Next, vol. 6, no. 18 (June–August 1990), p. 32.
  6. ^ Further exhibitions of the glass works during 1990: Novantesimo, curated by Achille Bonito Oliva, under the patronage of the Dicastery for Culture, State Museum, National Gallery of Modern Art, City of San Marino (RSM), July 15–August 31, 1990; Sergio Sarra, Forum Internationale Kunstmesse, by invitation of Cleto Polcina artemoderna (Rome), Düsseldorf, September 19–24, 1990.
  7. ^ Selected bibliography: Achille Bonito Oliva, Novantesimo, exhibition catalog (Rome: Edizioni Carte Segrete, 1990), pp. 18, 38–39, ISBN 88-85203-02-7; Editorial staff, ed., "Novantesimo," Flash Art, vol. 23, no. 157 (Summer 1990), p. 160; Laura Cherubini, "Novantesimo," Segno: International Contemporary Art Newsletter, vol. 14, no. 96 (Summer 1990), pp. 16–19; Vittoria Coen, "S. Marino: Novantesimo: Galleria Nazionale d'Arte Moderna," Flash Art, Special Young Art Issue, vol. 23, no. 158 (October–November 1990), p. 204; Achille Bonito Oliva, "Novantesimo: 'finis russiae,'" Diagonals, vol. 1, no. 1 (November–December 1990), pp. 46–47; FORUM: Düsseldorf 1990, fair catalog (Zurich: FORUM Internationale Kunstmesse, 1990), pp. 170–171.
  8. ^ Main exhibitions of the glass work during the 2000s: Conversione di Saulo, conceived by Vittoria Odescalchi, curated by Sergio Sarra Palazzo Chigi Odescalchi, Rome, September 21–23, 2000); Sergio Sarra: Trinacria dream (MCO Arte Contemporânea, Porto, March 3–April 10, 2007); Sergio Sarra: un ambiente, sei vetri, in collaboration with Seowon University (Seoul) (Colonnade of Conservatorio di Musica Santa Cecilia, Rome, May 4–June 2, 2013); Sergio Sarra: Dico a te,', curated by Giorgio D'Orazio (Abbey of Propezzano, Morro d'Oro, July 20–August 20, 2018); Sergio Sarra: escluse le cose che ho scelto di fare, curated by Laura Cherubini (Mattatoio Museo d'Arte Contemporanea, Pavilion 9B, Rome, April 11–May 17, 2019).
  9. ^ The surface treated with gel to render the surface photosensitive and permitting the reproduction of images on the canvas via a procedure similar to that of traditional photographic printing. Subsequently, the pictorial process thus becomes less detached. Sarra then painted the images reproduced in transparent red ink. Cf. Laura Vecere, "I varani di Sarra e la Mori futurista mai vista," Il Giornale dell'Arte. no. 120 (March 1994), p. 76.
  10. ^ Selected Bbliography: Achille Bonito Oliva, Così: Lo stato dell'arte (e anche della critica). In Achille Bonito Oliva, Così – Lo stato dell'arte (Rome: Leonardo – De Luca Editori, 1991), p. 13, ISBN 88-7813-347-7; Achille Bonito Oliva, Sergio Sarra, exhibition catalog (Milan: Nuova Prearo Editore, 1991; Sergio Sarra, Intervista ad Achille Bonito Oliva: L'arte fino al 2000 e Fuori Uso '91, video clip, directed by Carla Urban, TVDonna, TMC, June 1991; Ludovico Pratesi, "Senza confini," Panorama, vol. 29, no. 1318 (July 21, 1991), p. 28; Sergio Sarra : Ateleta, video-catalog of the exhibition (Rome: Galleria Cecilia Nesbitt Federici, January 30, 1992), texts by Sergio Sarra, Rossella Caruso, Cecilia Nesbitt Federici; Achille Bonito Oliva, ed., Propaganda Arte (Rome: Carte Segrete Editore, 1992), pp. 144–145, 210–213, ISBN 978-8885203853; Achille Bonito Oliva, ed., Punti cardinali dell'arte, catalogue of the 45th International Art Exhibition, Venice Biennale, vol. 1 (Venice: Marsilio Editori S.P.A., 1993), p. 311, ISBN 88-208-0378-X; Achille Bonito Oliva and Helena Kontova, eds., Aperto '93: Emergency/Emergenza: Flash Art International, exhibition catalog (Milan: Giancarlo Politi Editore, 1993), no pagination, ISBN 88-7816-053-9; Ludovico Pratesi, "Sergio Sarra," la Repubblica, vol. 17, no. 42 (February 19, 1992), p. VIII; Saretto Cincinelli, "Sergio Sarra: Gentili" Flash Art, vol. 27, no. 183 (April 1994), p. 78; Ami Barak, Dan Cameron, Giacinto Di Pietrantonio, et al., Art under 30: FIAR International Prize: Milano, Roma, Paris, London, New York, Los Angeles, exhibitions catalog (Milan: FIAR Publisher, 1994), pp. 38–39, 58–59; Luca Beatrice and Cristiana Perrella, Guido Costa, eds, Nuova scena: Artisti italiani degli anni '90 (Milan: Editoriale Giorgio Mondadori, 1995), pp. 20, 64, ISBN 88-374-1401-3.
  11. ^ Ludovico Pratesi, "La personale di Sarra e i fossili viventi," la Repubblica, vol. 17, no. 27 (February 1, 1992), p. IX; Laura Cherubini, "Sergio Sarra," Flash Art, vol. 25, no. 168 (June – July 1992), pp. 120–121; Laura Cherubini, "Giovani artisti. IV," in Mariano Apa, Laura Cherubini, Marco Di Capua, et al., eds., Giovani Artisti IV, exhibition catalog (Rome: Edizioni Carte Segrete, 1992), pp. 27–28, 37–39, ISBN 88-85203-70-1.
  12. ^ Volpaia in vista, third section of Imprevisto, 10th International Exhibition of Contemporary Art, by invitation of Cleto Polcina artemoderna (Rome), Cantina Caparsino, Radda in Chianti, September 7–30, 1991.
  13. ^ Luciano Pistoi, ed., Volpaia in vista, exhibition brochure including territory map, list of artists, gallerists, and owners involved; Margherita Sassone, "Cronologia," in Mirella Bandini, Maria Cristina Mundici, and Maria Teresa Roberto, eds., Luciano Pistoi: "inseguo un mio disegno", (Turin: Hopefulmonster, 2008), pp. 306, 349, ISBN 978-88-7757-222-6.
  14. ^ Aperto '93 Emergenza/Emergency, 45th International Art Exhibition of Venice, Punti cardinali dell'arte, La Biennale di Venezia, Venice, Corderie dell'Arsenale, June 14–October 10, 1993. Project by Achille Bonito Oliva; curators: Helena Kontova (Coordination), Francesco Bonami, Nicolas Bourriaud, Antonio d'Avossa, Jeffrey Deitch, Mike Hubert, Thomas Locher, Kong Chang'an (Lauk'ung Chan), Robert Nickas, Rosma Scuteri, Berta Sichel, Matthew Slovoter, Benjamin Weil.
  15. ^ Sandra Giannattasio, "La Biennale di Bonito Oliva annuncia a Venezia le tendenze di fine secolo," Avanti!, vol. 97, no. 296 (December 17, 1992), p. 18, [Archived January 15, 2019, on the Internet Archive]; Achille Bonito Oliva, ed., Punti cardinali dell'arte, catalogue of the 45th International Art Exhibition, Venice Biennale, vol. I. (Venice: Marsilio Editori S.p.A., 1993), p. 311,ISBN 88-208-0378-X; Achille Bonito Oliva, and Helena Kontova, eds., Aperto '93: Emergency/Emergenza: Flash Art International, exhibition catalog (Milan: Giancarlo Politi Editore, 1993), no pagination, ISBN 88-7816-053-9; Gabriele Di Matteo, Franco Silvestro, and Vedova Mazzei, "Ad Aperto novecentonovantatre si scambiarono per se stessi / The Name of Player Playing the Part," E IL TOPO, artist's journal, vol. 2, no. 4, 1993, no pagination; Luca Beatrice, and Cristiana Perrella, Guido Costa, eds., Nuova scena: Artisti italiani degli anni '90 (Milan: Editoriale Giorgio Mondadori, 1995), pp. 20, 64, ISBN 88-374-1401-3.
  16. ^ The prerogatives of Sarra's work carried out at the Corderie dell'Arsenale for Aperto '93 were presented by the artist in the Aula Magna of the Academy of Fine Arts of Bologna during a meeting with students on June 26, 1993, introduced and moderated by the Italian art critics Roberto Daolio (1948–2013) and Adriano Baccilieri (1946–2017).
  17. ^ Sergio Sarra, curated by Giacinto Di Pietrantonio, Galleria Cesare Manzo, Pescara, February 15–March 20, 1997.
  18. ^ Emilio Prini, ed., Sergio Sarra, exhibition catalog (Pescara: Galleria Cesare Manzo, 1997); Sergio Sarra, and Emilio Prini, eds., Quaderno, 76 blank pages, hard cover bound in cloth-covered paper (25 × 16.8 × 1.2 cm). Published as a companion to the Sergio Sarra exhibition catalog (Pescara: Galleria Cesare Manzo, 1997); Giulia Visci, "Sergio Sarra: Cesare Manzo, Pescara," Flash Art, vol. 30, no. 204 (June – July 1997), p. 109; Emilio Prini, Emilio Prini: graphitavit et performavit, performance, Galleria Cesare Manzo, Pescara, February 15, 1997, 8:15 PM.
  19. ^ Alessandra Mammì, "Emilio Prini, l'artista geniale e antipatico in una grande mostra a Roma," Artribune, December 10, 2023, on artribune.com.
  20. ^ ODISSEO (Ulysses), edited by Giacinto Di Pietrantonio, exhibition held on the occasion of the XIII Mediterranean Games, former Vittoria Stadium, Bari, May 4–June 23, 1997. Invited artists: Mario Airò, Vanessa Beecroft, Alighiero Boetti (1940–1994), Maurizio Cattelan, Tony Cragg, Enzo Cucchi, Federico Fusi, Giuseppe Gabellone, Alberto Garutti (1948–2023), Bertrand Lavier, Ange Leccia, Richard Long, Mimmo Paladino, Alfredo Pirri, Sergio Sarra, Cindy Sherman, Ettore Spalletti (1940–2019), Haim Steinbach.
  21. ^ Giacinto Di Pietrantonio, ed., Odisseo (Ulysses), exhibition catalog (Pescara: Edizioni Arte Nova, 1997), pp. 12-13, 80-83; Carolyn Christov-Bakargiev, "Sulle tracce di un'Europa inattuale," Il Sole-24 Ore : quotidiano politico economico finanziario, Domenica Insert, Art Section, May 18, 1997; Antonella Marino, "Odisseo: Stadio della Vittoria, Bari," Flash Art, vol. XXX, no. 205 (Summer 1997), p. 144.
  22. ^ Segno Senso Suono Sacro: Installazioni di Mario Airò - Federico Fusi - Sergio Sarra, curated by Associazione Zerynthia per l'Arte Contemporanea, Centro Civico per l'Arte Contemporanea 'La Grancia' - Musei Senesi, Serre di Rapolano, May 10–June 15, 1997.
  23. ^ Mario Airò (una stanza per Danilo Cherni), Federico Fusi Sergio Sarra, photographic prints, 12 × 20 cm, 1997, included as loose plates in Riccardo Giagni, ed., Segno Senso Suono Sacro : Della spiritualità nelle arti contemporanee, acts of the conference (Rome, I libri di Zerynthia, 1997); Dora Stiefelmeier, ed., Il Libro di Zerynthia, vol. II (Spoltore: Di Paolo Edizioni, 2020), no pagination, ISBN 978-88-97676-19-5.
  24. ^ Orlo Roma (artist's journal; Rome: I Libri di Zerynthia, 1997); Orlo L'Aquila (L'Aquila: Accademia di Belle Arti di L'Aquila, 2011); Orlo Mountain (L'Aquila: Accademia di Belle Arti di L'Aquila, 2013). Since 2020, all three editions have been held in the Artist's Book Documentation Fund Collection at the National Central Library of Florence.
  25. ^ Orlo L'Aquila, second issue, press release, Accademia di Belle Arti di L'Aquila, L'Aquila, March 7, 2011.
  26. ^ Bruna Esposito – Sergio Sarra – Richard Van Buren, Fondazione Volume!, Rome, September 15–30, 2000.
  27. ^ Dafni&Papadatos, curators, Bruna Esposito Sergio Sarra Richard Van Buren, video documentation of the exhibition (Rome: Fondazione VOLUME!, 2000); Paola Magni, Claudio Abate: VOLUME! Portfolio (Rome, Associazione culturale Francesco Nucci, 2001), pp. 54-55; Marilena Borriello, Silvia Marsano, VOLUME! 1998›2008 (Rome: Edizioni VOLUME!, 2008), no pagination, ISBN 978-88-95986-00-5; Fondazione Volume! & Musée D'art Moderne et Contemporain de Saint-Étienne Metropole, eds., Volume! 1997 ... Today, volume documenting activities from 1997 to 2015 (Cinisello Balsamo: Silvana Editoriale, 2015), pp. 48, 122-123, ISBN 978-88-366-3166-7.
  28. ^ Conversione di Saulo, from an idea by Vittoria Odescalchi, curated by Sergio Sarra, Palazzo Chigi Odescalchi, Rome, September 21–23, 2000.
  29. ^ Sergio Sarra, ed., Conversione di Saulo, exhibition catalog (Pescara: Edizioni Arte Nova, 2000), texts by Stefano Arienti, Rossella Caruso, Dinos & Jake Chapman, Laura Cherubini, Bruna Esposito, Maria Silvia Farci, Agnes Kohlmeyer, Carlo McCormick, Innocenzo Odescalchi, Vittoria Odescalchi, Alessandro Rabottini, Sergio Sarra, Stuart Shave.
  30. ^ Selected Bibliography: Ludovico Pratesi, "Guardando Caravaggio," la Repubblica, year 25, no. 199 (August 29, 2000), pp. XII-XIII; Lia De Venere, Caravaggio a confronto con i nuovi realismi, Il Sole 24 Ore, no. 253 (September 17, 2000), p. 34; Conversione di Saulo, video clip, curated by Michela Moro, in Start, RaiSat Art, October 2000; Conversione di Saulo, video clip, curated by Lorenzo Di Las Plassas, in Imago, TG3, RAI3, October 2000.
  31. ^ Caravaggio Odescalchi The first version of the Conversion of Saul is commonly called the "Caravaggio Odescalchi." The large painting (237 × 189 cm) is housed in Palazzo Chigi Odescalchi in Rome. The image of the work displayed in the Palace's rooms is reproduced full-page on the frontispiece of the exhibition catalogue. Cf. Sergio Sarra, ed., Conversione di Saulo, exhibition catalog (Pescara: Edizioni Arte Nova, 2000).
  32. ^ Los últimos dibujos del siglo, curated by Zerynthia Association for Contemporary Art (Rome), under the patronage of the Italian Ministry of Foreign Affairs and with the support of the Italian Embassy in Cuba, Teatro Nacional de Cuba, Galería René Portocarrero, Havana, November 16 – December 31, 2000, as part of the 7th Havana Biennial; Universes in Universe, November 2000–January 2001.
  33. ^ Zerynthia Associazione per l'Arte Contemporanea, ed., window onto venus - ventana hacia venus - finestra su venere, conference proceedings and exhibition catalog (Milan: De Agostini Rizzoli arte&cultura, 2001), pp. 71, 78; Dora Stiefelmeier, ed., Il Libro di Zerynthia, vol. II (Spoltore: Di Paolo Edizioni, 2020), p. 291, ISBN 978-88-97676-19-5.
  34. ^ The table/sculpture—beneath which a gigantic red monitor lizard is attached (an archaic and symbolic figure, structurally integral to the piece)— arises from the union of twelve points and the development of a golden rectangle (ratio).
  35. ^ Exhibitions featuring the work: Sergio Sarra, Galleria Sogospatty, Rome, February 9–March 31, 2004; cose mai viste 1, curated by Achille Bonito Oliva, Museo Nazionale Romano - Terme di Diocleziano, Rome, February 26–March 1, 2008; Sergio Sarra: pearl fishermen, Circolo Filologico Milanese, Milan, May 28–30, 2008.
  36. ^ Achille Bonito Oliva, Cose mai viste 1: things you never saw, exhibition catalog (Rome: The Road To Contemporary Art, 2008), no pagination; Cloe Piccoli, "Cose mai viste: a Roma," la Repubblica delle Donne, no. 586 (February 23, 2008), p. 124; Helga Marsala, "Noisy Writings. Sergio Sarra's Aesthetics of Void," in Sergio Sarra, ed., Sergio Sarra: pearl fishermen, exhibition catalog (Milan: Circolo Filologico Milanese, 2008), no pagination; Editorial staff, "Personale di Sergio Sarra al Circolo Filologico Milanese," in arteecritica, year 15, no. 55 (June – August 2008), p. 133.
  37. ^ Anomalie, Fuoriuso 2003, 12th edition, curated by Teresa Macrì, former Albergo dei Ferrovieri 'Ferrotel', Pescara, November 20, 2003– anuary 20, 2004.
  38. ^ Teresa Macrì, ed., Anomalie, exhibition catalog (Pescara: Edizioni Arte Nova, 2003), pp. 20, 94-99, 100-101.
  39. ^ Fuori Uso Festival In the 1990s, Fuori Uso began in Pescara, a festival which, because of its 'low-tech' organizational methods, became an international example. Curated by Cesare Manzo, it is characterized by hosting exhibitions and performances in abandoned, unconventional spaces, relying on the contribution of volunteers and the artists themselves. Cf. Massimo Melotti, Vicende dell'arte in Italia dal dopoguerra agli anni duemila: Artisti Gallerie Mercato Collezionisti Musei, series Pubblico, professioni e luoghi della cultura (Milan: Franco Angeli Edizioni, 2017), p. 196, ISBN 978-88-917-5197-3.
  40. ^ Sergio Sarra: D. dal vero n. 2, curated by Paolo Falcone, Micromuseum for Contemporary Art and Culture, Palermo, June 24, 2004, from 9:00 p.m. to 12:00 a.m.
  41. ^ Sergio Sarra: D. dal vero n. 2; micromuseum for contemporary art – Palermo, brochure of the exhibition, 2004; Paola Nicita, "Micromuseum si trasferisce e ospita la performance di Sarra," la Repubblica, Palermo section, 24 giugno 2004, p. 10.
  42. ^ Altered States - Are you experienced?, Fuori Uso 2006, 14th edition, curated by Nicolas Bourriaud and Paolo Falcone, former Mercato Ortofrutticolo COFA, Pescara, December 16, 2006 – February 15, 2007/ WAX Winkler Art Xperience (former MEO), Budapest, May 5 – June 10, 2007 / Galeria Nouă e Muzeul Naţional de Artă Contemporană (MNAC), Bucarest, June 26–August 31, 2007; available on web.archive.org - fuoriuso.it (21/03/2007).
  43. ^ Nicolas Bourriaud and Paolo Falcone, eds., Altered States - Are you experienced?, exhibition catalog (Pescara: Edizioni Arte Nova, 2006), p. 106, no pagination.
  44. ^ Ipotesi di Biblioteca di Chimica dell'Università di Padova (LSD), 2006, installation published in Nicolas Bourriaud and Paolo Falcone, eds., Altered States - Are you experienced?, exhibition catalog (Pescara: Edizioni Arte Nova, 2006), no pagination.
  45. '^ Umberto Curi, "[Text by Umberto Curi for 'Hypothesis of a library for the Faculty of Chemistry of the University of Padua]," Special Project, in Nicolas Bourriaud and Paolo Falcone, eds., Altered States – Are you experienced?, exhibition catalog (Pescara: Edizioni Arte Nova, 2006), p. 106. Title omitted.
  46. ^ Exhibitions of the works: Sergio Sarra, at the invitation of Achille Bonito Oliva [curator of the Gallery's exhibition program], Kistê Gallery, Lisbon, from October 24, 2008; Sergio Sarra: Dico a te,, curated by Giorgio D'Orazio, Abbey of Propezzano, Morro d'Oro, July 20–August 20, 2018; Sergio Sarra: escluse le cose che ho scelto di fare, curated by Laura Cherubini, Mattatoio Museo d'Arte Contemporanea, Pavilion 9B, Rome, April 11–May 17, 2019.
  47. ^ Exhibitions featuring the work: Sergio Sarra : The indifferents, Galleria Cesare Manzo, Rome, March 18–May 8, 2010; Fuoriuso in Opera, Fuori Uso 2012, 16th edition, curated by Giacinto Di Pietrantonio, Cantiere 'Caldora TorreOperA', underground parking lot, Pescara, July 7–September 7, 2012; Sergio Sarra: escluse le cose che ho scelto di fare, a cura di Laura Cherubini, Mattatoio Museo d'Arte Contemporanea, Pavilion 9B, Rome, April 11–May 17, 2019.
  48. ^ Giacinto Di Pietrantonio, ed., Fuoriuso in Opera, exhibition catalog (Pescara: Edizioni Arte Nova, 2012), p. 25; Sergio Sarra, ed., Sergio Sarra : excluding things I chose to do, exhibition catalog (Rome: Edizioni di Comunità, 2019), no pagination, ISBN 978-88-320-0521-9.
  49. ^ Helga Marsala, "Noisy Writings. Sergio Sarra's Aesthetics of Void," in Sergio Sarra, ed., Sergio Sarra: pearl fishermen, exhibition catalog (Milan: Circolo Filologico Milanese, 2008), no pagination.
  50. ^ The Power of the Gaze.
  51. ^ Umberto Curi, La forza dello sguardo, series Saggi: Storia, filosofia e scienze sociali (Turin, Bollati Boringhieri Editore S.r.l., 2004), ISBN 978-88-320-0521-9.
  52. ^ «is the state of an object that cannot be seen. An object in this state is said to be (literally, "not visible"). The phenomenon is studied by physics and perceptual psychology», on wikipedia.org.
  53. ^ «N B: [...] Je ne suis pas sûr que vous traitez le visible, mais plutôt, les éléments invisibles qu'on suppose l'art montre,» in Nicolas Bourriaud, "Une correspondance sur les fantômes avec Sergio Sarra," in Sergio Sarra, catalog (Rome: Galleria Cesare Manzo, 2007), no pagination.
  54. ^ A correspondence on ghosts with Sergio Sarra.
  55. ^ L'arte non è cosa nostra, curated by Vittorio Sgarbi, 54th International Art Exhibition of Venice, ILLUMInazioni, La Biennale di Venezia, Venice, Italy Pavilion, Tese delle Vergini, June 4–November 26, 2011.
  56. ^ Vittorio Sgarbi, ed., L'arte non è cosa nostra, exhibition catalog (Milan: Skira Editore, 2011), pp. 546-547, ISBN 978-88-572-1158-9; Intervista a Sergio Sarra, video clip, curated by Michela Moro, in Speciale Biennale di Venezia – LIV Esposizione Internazionale d'Arte, Cool Tour, RAI5, on rai.tv, June 8, 2011.
  57. ^ Sergio Sarra: iceberg rosaspina. Conversations about automatic drawing, conference and exhibition presentation Sergio Sarra: iceberg rosaspina, curated by JongKu Kim and Art and Real Movement (Seoul), EWHA Womans University, Lecture Hall, Seoul, June 13, 2016; Sergio Sarra: iceberg rosaspina, exhibition curated by JongKu Kim and Art and Real Movement (Seoul), EWHA Womans University, EWHA Art Gallery, Seoul, June 13–July 13, 2016.
  58. ^ Sergio Sarra: ICEBERG ROSASPINA, video of the exhibition curated by Ito Lim, produced by Art and Real Movement (Seoul), June 14, 2016, on youtube.com.
  59. ^ Sergio Sarra | nature, curated by Ludovico Pratesi and Lorenzo Bruni, National Roman Museum – Palazzo Altemps, Rome, September 20–November 12, 2023.
  60. ^ Sergio Sarra (a cura di), Sergio Sarra : nature, exhibition catalog (Brescia: Edizioni l'Obliquo, 2024), ISBN 978-88-31425-24-7
  61. ^ "Sergio Sarra in mostra a Palazzo Altemps a Roma". November 2023.
  62. ^ Lorenzo Bruni, "The observer and the observed figure Study into the work of Sergio Sarra from the 1993 Venice Biennale to the 2023 exhibition at Palazzo Altemps," in Sergio Sarra, ed., Sergio Sarra : nature, exhibition catalog (Brescia: Edizioni l'Obliquo, 2024), pp. 82, 84, ISBN 978-88-31425-24-7.
  63. ^ Arianna Fantuzzi, "Essential Chronology of Italian Art. 1989-2020," in Senzamargine : Passages in Italian Art at the Turn of the Millennium, edited by Stefano Chiodi and Bartolomeo Pietromarchi, preface by Giovanna Melandri, translated by Christopher Huw Evans and Karen Tomatis (Venice, Marsilio Editori S.p.A., 2021), no pagination, ISBN 978-88-297-0981-6.
  64. ^ Untitled.
  65. ^ Tripod for Celestine.
  66. ^ Celestine V (1215 – 1296) Born Pietro Angelerio (also known as Pietro da Morrone), Celestine V was a hermit and founder of the Celestines, a branch of the Benedictine order. He was known for his ascetic and spiritual life, spent in solitude in the mountains of Abruzzo, Italy. In 1294, after more than two years of papal vacancy and internal divisions within the conclave, he was elected pope as a compromise candidate. He was around 80 years old and reluctant to accept the position. Celestine V served as pope for only five months (July – December 1294). A deeply spiritual man with no political experience, he was overwhelmed by the pressures of the Roman Curia and power struggles. Recognizing his limitations, he voluntarily abdicated—a very rare act in Church history. He was the first pope in history to voluntarily resign from the papacy. His successor, Boniface VIII, had him imprisoned, fearing he might become an antipope. Celestine died in 1296 at the Castle of Fumone, under harsh conditions. Celestine V was canonized as a saint in 1313 by Pope Clement V. He is remembered as a symbol of humility and renunciation of power. Dante Alighieri famously refers to him in the Inferno (Canto III, lines 59–60) as the one who made "the great refusal" ("il gran rifiuto"), though the reference is not explicitly confirmed.
  67. ^ Untitled.
  68. ^ Cf. Hans Ulrich Obrist, Ettore Spalletti, libri (Mantua: Corraini Edizioni, 2022), p. 104, ill., ISBN 9788875709921.
  69. ^ Untitled.
  70. ^ Untitled.
  71. ^ Things seen.
  72. ^ Sergio Sarra (sculptor): HIPNOLOGIC.
  73. ^ Editorial staff, ed., "Confronto sulla pittura. Gianni Politi / Sergio Sarra : Conversazione a cura di Ludovico Pratesi," arteecritica, year XXX, no. 99 (Winter–Spring 2023/2024), pp. 71-77.
  74. ^ Ad'A Award Architecture of the Adriatic.
  75. ^ Selected Bibliography: Studio Zero85 and Sergio Sarra, "Ohne Jede Prahlerei," Vorteile das Backstein-Magazin, October 1, 2016, pp. 30-35; Jens Kallfelz and Katharina Ricklefs, Moderne Einfamilienhäuser aus Backstein (Munich: Deutsche Verlags-Anstalt Bildband, 2016), pp. 36-41, ISBN 978-3421040411; Francesco Pagliari, "Casa-Studio Sarra," The Plan, accessed April 6, 2018, <https://www.theplan.it/architettura/casa-studio-sarra-it>; accessed March 12, 2023, <https://www.theplan.it/architettura/casa-studio-sarra-it>; Ludovico Pratesi, "Appuntamento con Sergio Sarra: una visita nel paesaggio," Exibart, year XIX, no. 109 (September-October 2020), p. 57; Giorgio D'Orazio, "Vita e pittura dell'ex cestista : Una casa studio fra i monti nell'alto pescarese," Vedere in Abruzzo, p. 9, supplement [vol. 5] of Il Giornale dell'Arte, May 11, 2020, year XXXVIII, no. 408 (May–June 2020), accessed <https://www.ilgiornaledellarte.com/immagini/IMG2020063009294118.pdf>; Susanna Legrenzi, "L'artista Sergio Sarra: «Ho pensato lo studio come un'installazione. Più che in armonia, in contrasto con il paesaggio»," Living [supplement to Corriere della Sera, October 6, 2021, year 146, no. 237], Album section, no. 10, October 2021, pp. 200-209; Ludovico Pratesi, Vivere di paesaggio, Apalazzogallery
  76. ^ "Vivere di paesaggio, APALAZZOGALLERY, Brescia". 18 April 2021., accessed April 18, 2021, on exibart.com.
  77. ^ https://search.worldcat.org/oclc/1004344143
  78. ^ https://search.worldcat.org/it/title/193358740
  79. ^ https://search.worldcat.org/it/title/1004344143
  80. ^ https://search.worldcat.org/it/title/880870197
  81. ^ "Ti%3Asergio sarra - Risultati della ricerca".
  82. ^ "Ti%3Aperch%C3%A8 la spiaggia si assottiglia dopo - Risultati della ricerca".
  83. ^ https://search.worldcat.org/it/title/1103488942
  84. ^ https://search.worldcat.org/it/title/1124656885
  85. ^ "Ti%3ABruna Esposito Sergio Sarra - Risultati della ricerca".
  86. ^ "Risultati ricerca".
  87. ^ "Risultati ricerca".
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