SERGIO SARRA’s double exhibition displays two recent works in two Roman spaces, Pio Monti Gallery and Garage Carcani.
At Pio Monti Sarra presents a series of 200 drawings conceived as exploration of the atlas, natural elements and humanized structures that mark the area surrounding his studio in Abruzzo. The drawings reproduce the same “map” and are installed in the gallery’s spaces enclosing the bow window. With this environmental installation, Sarra creates a connection between the inner space and Piazza Mattei, where the Gallery opens. The drawings frame the external Fontana delle Tartarughe, a baroque masterpiece by Giacomo della Porta and Taddeo Landini, bringing into play its image and soundscape. The viewer is forced to relate, through his own perception, the drawings and the baroque architecture, the maps – which together form the image of an organism – and the historical and real city.
The drawings of the series, with title Mons?no, are sketched with the “sanguigna” technique, a complex Renaissance drawing process which makes use of a stick of hematite: this mineral outlines vermilion drawings, which need to be properly fixed in order to prevent the spread of dusty residues. “At first, producing the same drawing several times may look like a simplification. Instead, it complicates my work and makes the process very tiring. As usual I work sensing some reluctance: at times, I’m relieved by the good result of the single drawing”, the artist explains, quoting Alberto Moravia and his collection of political essays Impegno controvoglia.
200 further drawings from the same series are displayed at Garage Carcani, as trait d’union between the two spaces. The repetition implies an almost Zen process of reiteration of the same gestures the main objective of this practice is not the sketch of the single drawing or the achievement of perfection. On the contrary, the exhaustion in making the same gesture repeatedly – that changes over time – and the diversity of the result is the sense of this work. The series is a mise en scène of the observation and mapping of the territory, with the filter of the paranoid critical perception.
Corrimano per film cubista, is the second work presented at the Garage Carcani: an aluminum sculpture, glittering as if it were chromate, leaned on one side of the room. A zoomorphic handrail which reminds the forms of the Art Nouveau, about six meters wide. But the artist has removed from this structure any functional reference: stairs or balustrade, the architecture that should surround it, the human beings who should use it. The handrail becomes a structure in itself, not the decoration of a functional construction. A tool that evocates architectures, people, environments and even cultural references. From the Duchampian Nu descendant un escalier (1912), to Nu montant l’escalier by Dalì (1973), , without reaching destination. and the sequence of the Ballet Méchanique by Fernand Leger (1924), where a woman climbs the stairs ad infinitum.
November 17 – December 17, 2012
Galleria Pio Monti – Piazza Mattei, 18 – Rome
Garage Carcani – via Michele Carcani – Rome