PIERLUIGI BOSSI SAID SIBO '
It’s a pleasure to write about a futurist artist for the opening exhibition of the new home of Artecentro Lattuada Studio.
The new house and the new adventure of a gallery which has been so devoted to the art invented by Marinetti. And we can go back in time, at least for remembering the great monography of Prampolini, edited in the ‘90s. And it is an occasion of energy and positivity, in this occasion, to speak about an artist who, since few time ago, was hidden or in any case very less known. Who could have thought that in 2019, 10 years after the centenary, and 20 years after the great exhibitions of the 90s, at 30 years or more from the venetian futurists or, at 40 from “ Ricostruzione Futurista dell’Universo”, at the Mole Antonelliana, we could have talked about and presented an artist of the ‘future’ with the honest freshness he owns. Well, this is the case for Sibò, Pierluigi Bossi, futurist artist all centered on the transfiguration and moved by the inspiration of a real space, of a fact that is happening, as the great reclamation of the Agro Pontino. About Sibò, just before the recent turinese monography and the roman one of the last year, along with the institutional retrospective in Latina, in that GAM at whom he himself partecipated to help to build it, I remember that for pure interest and curiosity I put an artwork in the finnish exhibition in the EMMA, in 2012. It was a war aerial artwork, but other ammunitions and reserves were in the possibilities of the artist. Let’s take a little hint on what were the premises of the aerial painting: first, we can say, the optical mobility of the landscape through the mobility of the plane, of its flight. And here Dottori, and in a certain sense also Tato, Crali, Ambrosi, among the most important painters. It was a representation of the plane as a new dominating subject, more than all the other meanings of motion. A similar insistence, a literary frequency or obsession in representing it, in a way that every single thing that would have been submitted to it couldn’t have been sorted out without mutations- and from this the slow structural fusion between it and the man. Then, in a perspective of transfert and will towards the mechanical art of the ‘30s, mixed at the flat backgrouns of Depero and D’ Anna in the advertising. What was it, then? The ongoing of the concept of simultaneity, of day and night, of time and space, of front and back, in the 30s, linking the memory at the air that flows, at letting things behind the shoulders, the detachment from the heaviness of a role in the world. Simultaneity of memory and present, but also historical past, and then future of the species. And so, thematical implication of new worlds and perspectives of fantasticali deal as future for mankind. Sibò has walked into all of this, but he started from the lower plan, from earth and territory. We have his aerial paintings where the vision from the top of the fields and of the coasts follows the plastic dynamism in a fast vision of synthesis, but there are others a lot more frontal, constructive, where the city is dominating. In the passage from the city to the landscape we have one, among the others, futurist development from the ‘10s to the ‘30s. But
11
here again, the subjects are often cities under construction, cities always filled and wetted from the new geen land of the rigenerated fields, in emerald. In this new aerial painting of cities who are renewed from the artificial nature, we meet createures who are half- way between animals and planes, that is to say, the men. Even commistions who are violently disjointed in spaces which are built. In Sibò the transfiguration of the city- territory goes along with his inhabitants and builders. I promoted this in other occasions: it is a realized future, in commistion with reality in a grade of sufficient consistency, which goes beyond the reverie and beyond the descriptive and documentary realism. A lot of his paitings have some circular halo that, if they represent, on one hand, athmospherical formations, from the other hand they are also portals, passages, or just witnesses of a terrestrial area opened on the cosmos. To whom, familiar for a common fertility of worlds. Dimensions of a new- earth, of planets who are terra- formed, until the fertilization of a far- away space, of tubers and stars, who possesses all the concreteness of the reclaimed and plowed where he lived. The concept is not new nor original, we can see the methaphors of Prampolini of MOther Earth, of the cosmic and biochemistry’s paiting, of an artificial plasticism which is, de facto, futurist, that is to say, never seen before, which, at that historical highness it represents the lands and the matters of extraterrestrial origins. But, what an original union between the real that was happening and the imagination in the narrative position of Bossi. I won’t never forget his statement about the territory in slipping, for him aerial painting could have meant observing such a terrestrial slipping (not a plane’s slipping ) from the top of a tower crane. In this way, it is territory that moves independently, that embodies what moves for the motus that belongs to the vision in the plane, from above the skies and during the flight. From this it derives a very powerful sensation of the independent life of the matter.
The sensation of the mass that overpowers. A non human life, which is not interior vision. From this, it comes also his predilection and rediscovery of the plastic dynamism of Boccioni, which he puts in artwork including also, at the opposite, a clear sequential dynamism- see, for example, the towers of the cities-, and this cannot be disconnected from the plastic totality and it results canceled. In this plastic totality, we can find, sometimes, a part of the man, a part of the plane, which aspires to a fully living form, given to the necessary belonging.
19.01.2021
The new house and the new adventure of a gallery which has been so devoted to the art invented by Marinetti. And we can go back in time, at least for remembering the great monography of Prampolini, edited in the ‘90s. And it is an occasion of energy and positivity, in this occasion, to speak about an artist who, since few time ago, was hidden or in any case very less known. Who could have thought that in 2019, 10 years after the centenary, and 20 years after the great exhibitions of the 90s, at 30 years or more from the venetian futurists or, at 40 from “ Ricostruzione Futurista dell’Universo”, at the Mole Antonelliana, we could have talked about and presented an artist of the ‘future’ with the honest freshness he owns. Well, this is the case for Sibò, Pierluigi Bossi, futurist artist all centered on the transfiguration and moved by the inspiration of a real space, of a fact that is happening, as the great reclamation of the Agro Pontino. About Sibò, just before the recent turinese monography and the roman one of the last year, along with the institutional retrospective in Latina, in that GAM at whom he himself partecipated to help to build it, I remember that for pure interest and curiosity I put an artwork in the finnish exhibition in the EMMA, in 2012. It was a war aerial artwork, but other ammunitions and reserves were in the possibilities of the artist. Let’s take a little hint on what were the premises of the aerial painting: first, we can say, the optical mobility of the landscape through the mobility of the plane, of its flight. And here Dottori, and in a certain sense also Tato, Crali, Ambrosi, among the most important painters. It was a representation of the plane as a new dominating subject, more than all the other meanings of motion. A similar insistence, a literary frequency or obsession in representing it, in a way that every single thing that would have been submitted to it couldn’t have been sorted out without mutations- and from this the slow structural fusion between it and the man. Then, in a perspective of transfert and will towards the mechanical art of the ‘30s, mixed at the flat backgrouns of Depero and D’ Anna in the advertising. What was it, then? The ongoing of the concept of simultaneity, of day and night, of time and space, of front and back, in the 30s, linking the memory at the air that flows, at letting things behind the shoulders, the detachment from the heaviness of a role in the world. Simultaneity of memory and present, but also historical past, and then future of the species. And so, thematical implication of new worlds and perspectives of fantasticali deal as future for mankind. Sibò has walked into all of this, but he started from the lower plan, from earth and territory. We have his aerial paintings where the vision from the top of the fields and of the coasts follows the plastic dynamism in a fast vision of synthesis, but there are others a lot more frontal, constructive, where the city is dominating. In the passage from the city to the landscape we have one, among the others, futurist development from the ‘10s to the ‘30s. But
11
here again, the subjects are often cities under construction, cities always filled and wetted from the new geen land of the rigenerated fields, in emerald. In this new aerial painting of cities who are renewed from the artificial nature, we meet createures who are half- way between animals and planes, that is to say, the men. Even commistions who are violently disjointed in spaces which are built. In Sibò the transfiguration of the city- territory goes along with his inhabitants and builders. I promoted this in other occasions: it is a realized future, in commistion with reality in a grade of sufficient consistency, which goes beyond the reverie and beyond the descriptive and documentary realism. A lot of his paitings have some circular halo that, if they represent, on one hand, athmospherical formations, from the other hand they are also portals, passages, or just witnesses of a terrestrial area opened on the cosmos. To whom, familiar for a common fertility of worlds. Dimensions of a new- earth, of planets who are terra- formed, until the fertilization of a far- away space, of tubers and stars, who possesses all the concreteness of the reclaimed and plowed where he lived. The concept is not new nor original, we can see the methaphors of Prampolini of MOther Earth, of the cosmic and biochemistry’s paiting, of an artificial plasticism which is, de facto, futurist, that is to say, never seen before, which, at that historical highness it represents the lands and the matters of extraterrestrial origins. But, what an original union between the real that was happening and the imagination in the narrative position of Bossi. I won’t never forget his statement about the territory in slipping, for him aerial painting could have meant observing such a terrestrial slipping (not a plane’s slipping ) from the top of a tower crane. In this way, it is territory that moves independently, that embodies what moves for the motus that belongs to the vision in the plane, from above the skies and during the flight. From this it derives a very powerful sensation of the independent life of the matter.
The sensation of the mass that overpowers. A non human life, which is not interior vision. From this, it comes also his predilection and rediscovery of the plastic dynamism of Boccioni, which he puts in artwork including also, at the opposite, a clear sequential dynamism- see, for example, the towers of the cities-, and this cannot be disconnected from the plastic totality and it results canceled. In this plastic totality, we can find, sometimes, a part of the man, a part of the plane, which aspires to a fully living form, given to the necessary belonging.
19.01.2021