Sisteenth episode of the program “Pralines. Deliciousness from the world of art” by Ly thi Thanh Thao and Sergio Mandelli dedicated to Ivano Sossella.
Ivano Sossella is born in 1963, in Genoa.
He gets a degree in Arts with a thesis on “Fluxus and the idea of love in art”.
Then, under the influence of Art Informel, he creates artworks utilizing the soil of Liguria. He further confronts himself with the Arte Povera movement that holds a key position at the beginning of 1980s.
What’s more, the reflection on rational and religious thinking proves fundamental to Ivano Sossella.
This reflection, in Western Europe, gives rise to what we commonly define as “art”. Through his works, therefore, he tries to answer the questions: when does the event called “art” happen? When do we have the conditions to let “art” manifest itself? His answer is that artists are always inclined to make paintings! And according to Ivano Sossella, making paintings means transforming something “real” into something “true”.
In order to make out this concept let’s take an example from literature.
Just imagine the poet George Byron, back from a walk, writes to his friend: “I’ve seen a beautiful woman with black hair.” This is real.
But then Byron takes another piece of paper and writes: “She walks in beauty, like the night/Of cloudless climes and starry skies”. This is true.
The artistic form, so to speak, has the potentiality to transform daily reality into something immortal, into something that remains attractive with the passing of time.
With this idea in mind, Ivano Sossella begins to realize performances: for example he exposes a basin where water is moved by the air of an electric fan. This operation is labeled “art”, since it is enclosed in a frame.
Afterwards Ivano Sossella produces artworks using radio sets and hairdryers. The noise from the latter interferes with radio waves, which results in a newly transmitted noise.
His works are getting more and more cerebral, in the footsteps of a movement called neo-conceptualism that included, among others, Luca Vitone, Cesare Viel, Tommaso Tozzi, that received favorable comments from critics such as Elio Grazioli, Angela Vettese and from outstanding gallery owners such as Caterina Gualco, Luciano Inga-Pin, Paolo Vitolo.
In 1992 he takes part in Documenta in Kassel; in 1993 Achille Bonito Oliva invites him to the Aperto Section of the Venice Biennial.
His success has taken him to make exhibitions abroad, especially in France and in Germany, the country where he resided for a long period.
Sossella’s recent series have dealt with the idea of “absence”, one of the prevailing concepts of aestheticism of the past century.
In short, Ivano Sossella invites us to follow him in a world where, apparently, nothing happens, by which I mean, the manifestation of art, something that embraces all the characteristics of miracles.