“Sergio Sarra”的意思、由来-开放百科全书

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

In 1985, at the age of 24, he retired from playing competitively in order to study at the School of Painting at the Academy of Fine Arts in Bologna, concluding in 1987. Sarra took part in the Biennial of Young Artists from Mediterranean Europe^[1]^[2] (Barcelona – 1987), Venice Biennale^[3] at the Corderie dell'Arsenale (1993) in Aperto '93,^[4]^[5]^[6] at the Italian Pavillion (2011)^[7]^[8] and in the Havana Biennial^[9]^[10] (2000). Sarra curated the group exhibition Conversione di Saulo^[11]^[12] at Palazzo Chigi Odescalchi (Rome – 2000) and exhibited at the Muzeul Naţional de Artă Contemporană (Bucharest – 2007) and the WAX Kultúrgyár (Budapest – 2007) in Altered States – Are you experienced?, group exhibition curated by Nicolas Bourriaud and Paolo Falcone, and at Baths of Diocletian (Rome – 2008) at Cose mai viste^[13] curated by Achille Bonito Oliva.

Other group exhibitions at: Palazzo Rondanini alla Rotonda (Rome – 1989), Palazzo della Permanente (Milan – 1991) and Espace Pierre Cardin (Paris – 1992), 34{{sup|th}} Spoleto Festival of 2Worlds (Fonti del Clitunno – 1991), Fondazione Orestiadi (Gibellina – 1992), Palazzo delle Esposizioni (Rome – 1992, 1995), Fondazione Volume! (Rome – 2000), Circolo Filologico Milanese (Milan – 2008). Sarra has held solo exhibitions at public and private institutions including the Faculty of Architecture of University of Palermo (1998), the Micromuseum for Contemporary Art and Culture (Palermo – 2004), the Conservatory of Santa Cecilia (Rome – 2013), the Ewha Womans University (Seoul – 2016), the Benedictine Abbey of Propezzano (Morro d'Oro – 2018) and others.

From the beginning of his artistic career, Sarra worked almost exclusively with painting, drawing and sculpture. In 1997, the art critic and curator Lorenzo Benedetti wrote:^[14]

|text = […] In Sarra ci troviamo di fronte ad una intensa sinteticità dal punto di vista del processo formale a vantaggio di una maggiore concentrazione al dato concettuale… L’animale, i paesaggi e i volti vengono stilizzati fino al limite del riconoscibile […]
([…] 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 […])

Life and work

He played for the national youth teams, making his debut at sixteen in the Italian Series A basketball championship with the Fortitudo Bologna team.^[16]

Upon completing his studies at the Accademia di Belle Arti di Bologna^[17] (1987), Sarra then moved to Rome where he held his first solo exhibition at the Galleria Alice in 1990,^[18] presenting an installation consisting of four painted sheets of glass and crossed by white light from industrial neon tubes. Such works – being glass – on which Sarra drew symbolic and enigmatic figures, went on to become a constant in his work. In this sense, two solo exhibitions – Trinacria dream^[19]^[20] (Oporto – 2007) and un ambiente, sei vetri^[21] (Rome – 2013) – appear indicative. In occasion of the exhibition in Portugal, art critic Miguel Amado wrote:^[22]

|text = […] 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.

Over the next few years, he produced a series of paintings on emulsified canvas^[23] – Primitive^[24] – comprising zoomorphic figures that were almost always mirror images.^[25] The artist was invited to take part in the Aperto '93 Emergency/Emergenza^[4]^[3]^[5] - 45{{sup|th}} Venice Biennale, where he created an environment consisting of a long wooden platform^[26] in chipboard with three paintings on the walls featuring: Iguane,^[27] Paesaggio^[28] and Autoritratto.^[29] Clarity and essentiality become the dominant factors in his work.

In the paintings after 1997, the artist poses with his 'sign-drawing', being continuous and abstract, various elements – faces, zoomorphic groups, buildings with unknown geometries – that insist upon previous pictorial composition processes^[30] that are not entirely erased to reveal further combinatorial forms.^[31] In Une correspondance sur les fantômes avec Sergio Sarra^[32] between Sarra e Nicolas Bourriaud in May 2007, the French critic and theorist wrote:

|text = […] Vos travaux font penser à des palimpsestes, ces manuscrits que leur auteur trace sur un document existant, sans effacer la ou les couches d'écriture précédentes. […]
([…] 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. […])

In 2000 in Rome, his works were exhibited at the Fondazione Volume!.^[34]^[35] In the same year, Sarra curated at Palazzo Chigi Odescalchi the group exhibition Conversione di Saulo^[12] that was developed around the painting of the same name, painted in 1600 by Caravaggio. Also in 2000, Sarra married Elisabetta Ruscitti in Amalfi, with whom he lived for a short time in Naples. In 2001, their son Gerolamo Papik Merlino was born. It was in Naples that he produced Table Sculpture (table projection on 12 points),^[36]^[37] a table/sculpture with a huge red Komodo dragon hooked underneath.

Over the same period, he produced the performance Life drawing no. 2,^[36]^[38] representing the connection between the manual creation and collective fruition^[39] in which Sarra coerces the public's perceptive nature, using a strobe light to produce a decisive intermittence between darkness and light. This is the same direction in which Sarra heads when painting 'from real life' inside the WAX Kultúrgyár in Budapest and the Muzeul Naţional de Artă Contemporană in Bucharest for the exhibition Altered States – Are you Experienced?^[40]^[41] (2006–2007).

Between 2006 and 2009, Sarra worked on a series of paintings entitled Psichedelyc garden,^[36] in which he reiterates the same design, altering the chromatic impact each time.

In 2011, Sarra published perché la spiaggia si assottiglia dopo le Nàiadi,^[42]^[43] a book in which he collates a series of drawings and writings focused on the city of Pescara. In 2012 he designed Handrail for Cubist Films,^[36]^[44] inspired by Fernand Léger's 1924 film Ballet Mécanique, and the diptych Involuntary Commitment^[36] which was exhibited at Galleria Cesare Manzo^[45] in Rome and at Fuori Uso 2012^[31] in Pescara.

|text = […] Anche in quest'ultima occasione Sarra elabora un percorso in cui l'apparente 'ripetizione' dell'opera viene simultaneamente smentita. Il tentativo di dipingere due quadri uguali sposta l'attenzione del pubblico sull’abilità pittorica, la copia, l'indifferenza. Lo sforzo esercitato diventa un 'impegno controvoglia'. […]
([…] Also on this occasion, Sarra expounds a path along which the apparent 'repetition' of the work is simultaneously denied. The attempt to paint two equal paintings shifts the public's attention to the pictorial ability, to copying, to indifference. The effort exerted becomes an 'involuntary commitment'. […])

In June 2016, Sarra was invited to exhibit at the Ewha Womans University in Seoul, where he presented a series of drawings and paintings entitled iceberg rosaspina,^[46] accompanied by a short text written by the artist:

| text = 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 parts of these ice mountains are almost completely invisible and their balance and floatation capacity are strictly connected to the emerging part. When this ratio ceases to exist, icebergs can overturn with deafening sounds, showing the part which has been hidden for millennia.

Traces of the theoretical processes underlying his works can be found in the short film My Painting Technique (2009, 2015).^[48]

Critical Review

|text = 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.

Selected Exhibitions

Main readings

| encyclopedia = L'Arte Moderna di Giulio Carlo Argan, volume attached to the Corriere della Sera of 28 November 1990, Vol. 11

| encyclopedia = L’Arte moderna / Giulio Carlo Argan. L’arte fino al 2000 / Achille Bonito Oliva

| encyclopedia = Aperto '93: Emergency/Emergenza: Flash Art International, exhibition catalogue

| title = La risposta, amico mio, sta soffiando nel vento – Lettera aperta a Pep Agut, Bigert & Bergström, Marco Brandizzi, Giorgio Cattani, Maria Eichhorn, Marcelo Expósito, Carsten Höller, Kirsten Mosher, Luca Quaranta, Sergio Sarra e SubREAL

| encyclopedia = Aperto '93: Emergency/Emergenza: Flash Art International, exhibition catalogue

| encyclopedia = Critique of the exhibition. In Literature, sergiosarra.it

| encyclopedia = In Sergio Sarra, perché la spiaggia si assottiglia dopo le Nàiadi

References

1. ^Biennal of Young Artists from Mediterranean Europe (BJCEM).
2. ^Maragall, Pasqual; Truñó, Enric; Dijan, Jean-Michel; et al. Biennal'87, exhibition catalogue. Barcelona: Ajuntament de Barcelona, p. 211.
3. ^¹{{cite magazine | last = Giannattasio | first = Sandra | date = 17 December 1992 | title = La Biennale di Bonito Oliva annuncia a Venezia le tendenze di fine secolo | url = http://avanti.senato.it/avanti/files/Avanti%201896-1993%20PDF/17.%20Avanti%20Ed.%20Nazionale%201990-1993%20OCR/Ocr%20-D-/CFI0422392_19921217.97-296_d.pdf | magazine = Avanti!, a. 97, no. 296 | page = 18}} {{cite magazine | last = Verzotti | first = Giorgio | date = October 1993 | title = Aperto '93 – The Better Biennale | url = https://www.artforum.com/print/reviews/199308/aperto-93-57685 | magazine = Artforum, Vol. 32, no. 2 | pages = 104–105}}
4. ^¹Aperto '93 Emergency/Emergenza, 45{{sup|th}} International Art Exhibition: Punti cardinali dell'arte, La Biennale di Venezia, Corderie dell'Arsenale, Venice, June – October 1993. Project: Achille Bonito Oliva; Curators: Helena Kontova (Coordinator), 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.
5. ^¹{{cite book |last1 = Bonito Oliva |first1 = Achille |author-link1 = Achille Bonito Oliva |last2 = Jünger |first2 = Ernst |author-link2 = Ernst Jünger |last3 = Perniola |first3 = Mario |display-authors=etal |year= 1993 |title= Punti cardinali dell'arte exhibition catalogue, Vol. I |publisher = Marsilio Editori s.p.a. |location= Venice |pages= 303, 311 |oclc= 832241900 |isbn= 88-208-0378-X |id= OPAC IT\\ICCU\\RAV\\0225285}} {{cite book | last1 = Bonito Oliva | first1 = Achille | author-link1 = Achille Bonito Oliva | last2 = Kontova | first2 = Helena | author-link2 = Helena Kontova | last3 = Daney | first3 = Serge | author-link3 = Serge Daney |display-authors=etal | year = 1993 | title= Aperto'93: Emergency/Emergenza: Flash Art International, exhibition catalogue | publisher = Giancarlo Politi Editore | location = Milan | id = OPAC IT\\ICCU\\LO1\\0323441 | isbn = 8878160539 | oclc = 832241900 | pages = 217, 396–397}} {{cite magazine | last1 = Di Matteo | first1 = Gabriele | last2 = Silvestro | first2 = Franco | last3 = vedovamazzei | author-link3 = Vedovamazzei | date = 1993 | title = Ad Aperto novecentonovantatre si scambiarono per se stessi/The name of player playing the part | magazine = E IL TOPO magazine, no. 4 | url = http://www.eiltopo.org | pages = 56, 81}}
6. ^Sarra created an environment consisting of a long wooden platform in chipboard (1266 x 211 x 30 cm) with three paintings on the walls featuring: Iguane (1993), Paesaggio (1993), Autoritratto (1993).
7. ^{{cite magazine | last = Moro | first = Michela | date = 8 June 2011 | title = Speciale Biennale di Venezia – 54° Esposizione Internazionale d’Arte | magazine = Cool Tour Arte, RAI5, rai.tv}}
8. ^Sarra exposed Pettino, planimetria di Contrada Selva, 2011, acrylic paint on board, 220 x 170 cm.
9. ^Los últimos dibujos del siglo, curated by [https://www.radioartemobile.it/ Zerynthia Associazione per l’Arte Contemporanea], Teatro Nacional de Cuba, Galleria René Portocarrero, 7{{sup|th}} Havana Biennial, Universes in Universe, Havana, November 2000 – January 2001.
10. ^{{cite book | last = Zerynthia Associazione per l’Arte Contemporanea | year = 2001 | title= window onto venus – ventana hacia venus – finestra su venere, conference pubblication and exhibition catalogue | publisher = De Agostini Rizzoli arte&cultura | location = Milan | oclc = 54086561 | id = OPAC IT\\ICCU\\TO0\\1065885 | pages = 71, 79}}
11. ^Conversione di Saulo, ideated by Vittoria Odescalchi, Palazzo Chigi Odescalchi, Rome, 21–23 September 2000. Artists invited at the exhibition: Stefano Arienti, Vanessa Beecroft, Jake and Dinos Chapman, Shay Frisch Peri, Avish Khebrehzadeh, Wolfgang Tillmans, Grazia Toderi, Jane and Louise Wilson, Francesca Woodman.
12. ^¹{{cite book | last = Sarra | first = Sergio | title = Conversione di Saulo, exhibition catalogue | year = 2000 | publisher = Edizioni Arte Nova | location = Pescara | id = OPAC IT\\ICCU\\TO0\\0918995 | oclc = 80725368}} {{cite magazine | last = Pratesi | first = Ludovico | date = 29 August 2000 | title = Guardando Caravaggio | url = https://ricerca.repubblica.it/repubblica/archivio/repubblica/2000/08/29/guargando-caravaggio.html | magazine = la Repubblica, no. 199 | pages = XII-XIII}} {{cite magazine | last = De Venere | first = Lia | date = 17 September 2000 | title = Caravaggio a confronto con i nuovi realismi | magazine = Il Sole 24 Ore, no. 253 | page = 34}} {{cite magazine | last = Moro | first = Michela | date = October 2000 | title = Conversione di Saulo | magazine = Start, RaiSat Art}} {{cite magazine | last = Di Las Plassas | first = Lorenzo | date = October 2000 | title = Conversione di Saulo | magazine = Imago, RAI3}}
13. ^{{cite book | last = Bonito Oliva | first = Achille | author-link = Achille Bonito Oliva | title = Cose mai viste 1, exhibition catalogue | year = 2008 | publisher = The Road To Contemporary Art | location = Rome | id = OPAC IT\\ICCU\\RMS\\2007233 | oclc = 908550606 | page = 86}} {{cite magazine | last = Piccoli | first = Cloe | date = 23 February 2008 | title = Cose mai viste: a Roma | magazine = la Repubblica delle Donne, no. 586 | page = 124}}
14. ^Benedetti, Lorenzo. Il sacro di Fusi e il segno di Sarra, critique of the exhibition Segno Senso Suono Sacro: installazioni di Mario Airò – Federico Fusi – Sergio Sarra, curated by [https://www.radioartemobile.it/ Zerynthia Associazione per l’Arte Contemporanea], Serre di Rapolano (Siena), Centro Civico per l’Arte Contemporanea La Grancia and Musei Senesi, May – June 1997.
15. ^{{cite encyclopedia | last = Benedetti | first = Lorenzo | encyclopedia = Critique of the exhibition. In Literature, sergiosarra.it | title = The Sacred of Fusi and the Sign of Sarra | url = https://www.sergiosarra.it/literature | year = 1997 }}
16. ^Alco Bologna – Team.
17. ^In 1986, Sarra has collaborated in the realization of the [https://massmoca.org/event/walldrawing462/ Wall Drawing 462] by Sol LeWitt at Galleria Studio G7 in Bologna.
18. ^{{cite magazine | last = Nardone | first = Domenico | date = May 1990 | title = Sergio Sarra (press release)}} {{cite encyclopedia | last = Pratesi | first = Ludovico | editor-last = Pratesi | editor-first = Ludovico | encyclopedia = Sergio Sarra, exhibition catalogue | title = The Power of Fate | url = https://www.sergiosarra.it/literature | year = 1990 | publisher = Galleria Alice arte contemporanea | location = Rome | id = OPAC IT\\ICCU\\IEI\\0285597 | oclc = 1004344143}}
19. ^Sergio Sarra: Trinacria dream, MCO Arte Contemporânea, Oporto, March – April 2007.
20. ^{{cite encyclopedia | last = Scuderi | first = Massimiliano | editor-last1 = Pinto | editor-first1 = Sílvia | editor-last2 = Laranja | editor-first2 = Ana Rocha | editor-last3 = Bernandes | editor-first3 = Marta | editor-last4 = et. al | encyclopedia = MCO Arte Contemporânea – Livro 2 | title = Sergio Sarra: Trinacria Dream | year = 2008 | publisher = MCO Arte Contemporânea | location = Oporto | oclc = 959193042 | page = 43}}
21. ^Sergio Sarra: un ambiente, sei vetri, Rome, Conservatory of Santa Cecilia, May – June 2013.
22. ^¹{{cite magazine | last = Amado | first = Miguel | date = 2 April 2007 | title = Sergio Sarra – MCO Arte Contemporânea | url = https://www.artforum.com/picks/sergio-sarra-13001 | magazine = artforum.com}}
23. ^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. Sergio Sarra (press release), Florence, Gentili arte contemporanea, January 1994. {{cite magazine | last = Vecere | first = Laura | date = March 1994 | title = I varani di Sarra e la Mori futurista mai vista | magazine = Il Giornale dell'Arte, no. 120 | page = 76}}
24. ^Cf. Urban, Carla (June 1991). "Sergio Sarra – Achille Bonito Oliva (L’arte fino al 2000 e Fuori Uso ’91)". In Urban, Carla. TvDonna, TMC. {{cite magazine | last = Pratesi | first = Ludovico | date = 21 July 1991 | title = Senza confini | magazine = Panorama, no. 1318 | page = 28}} Caruso, Rossella (January 1992). "Sergio Sarra: ateleta (press release)". Rome: Galleria Cecilia Nesbitt. Caruso, Rossella (January 1992). "ateleta". In Sergio Sarra: ateleta, video-catalogue, Rome: Galleria Cecilia Nesbitt Federici. {{cite magazine | last = Pratesi | first = Ludovico | date = 19 February 1992 | title = Sergio Sarra | magazine = la Repubblica, no. 42 | page = VIII}}
25. ^{{cite magazine | last = Pratesi | first = Ludovico | date = 1 February 1992 | title = La personale di Sarra e i fossili viventi | magazine = la Repubblica, no. 27 | page = IX}} {{cite magazine | last = Cherubini | first = Laura | date = June–July 1992 | title = Sergio Sarra | magazine = Flash Art, no. 168 | pages = 120–121}} {{cite encyclopedia | last = Cherubini | first = Laura | editor-last1 = Apa | editor-first1 = Mariano | editor-last2 = Cherubini | editor-first2 = Laura | editor-last3 = Di Capua | editor-first3 = Marco |display-editors=etal | encyclopedia = Giovani Artisti IV, exhibition catalogue | title = Giovani artisti IV | year = 1992 | publisher = Edizioni Carte Segrete | location = Rome | id = OPAC IT\\ICCU\\RMR\\0007183 | isbn = 88-85203-70-1 | oclc = 800726202 | pages = 27–28, 37–39, 103}}
26. ^platform-container, 1993, wood chipboard, 1266 x 211 x 30 cm.
27. ^Iguane.
28. ^Paesaggio.
29. ^Autoritratto.
30. ^"In the visual arts, composition is the placement or arrangement of visual elements or 'ingredients' in a work of art, as distinct from the subject. It can also be thought of as the organization of the elements of art according to the principles of art.", Composition (visual arts) – Wikipedia.org.
31. ^¹{{cite encyclopedia | last = Di Pietrantonio | first = Giacinto | editor-last = Di Pietrantonio | editor-first = Giacinto | encyclopedia = Fuoriuso in Opera, exhibition catalogue | title = Sergio Sarra | year = 2012 | publisher = Edizioni Arte Nova | location = Pescara | page = 25}} Cf. {{cite encyclopedia | last = Di Pietrantonio | first = Giacinto | editor-last1 = Prini | editor-first1 = Emilio | editor-link1 = Emilio Prini | editor-last2 = Sarra | editor-first2 = Sergio (curated by) | encyclopedia = Sergio Sarra, exhibition catalogue | title = Oblique Archetypes | url = https://www.sergiosarra.it/literature | year = 1997 | publisher = Edizione Galleria Cesare Manzo | location = Pescara | id = OPAC IT\\ICCU\\TO0\\1048791 | oclc = 1004344143 | pages = 13–15}} {{cite magazine | last = Visci | first = Giulia | date = June–July 1997 | title = Sergio Sarra | magazine = Flash Art, no. 204, Milan: Giancarlo Politi Editore | page = 109}} {{cite magazine | last = Moro | first = Michela | date = 4 November 1999 | title = Sergio Sarra | magazine = Start, RaiSat Art}} Martino, Adriana (December–January 2000). "Sergio Sarra". Flash Art, no. 219, p. 123. Milan: Giancarlo Politi Editore. {{cite encyclopedia | last = Cherubini | first = Laura | editor-last1 = Cherubini | editor-first1 = Laura | editor-last2 = Manzoni | editor-first2 = Gian Ruggero | encyclopedia = Sotto pioggia e sotto vento, exhibition catalogue | title = L'aure d'Abruzzo | year = 1997 | publisher = Umberto Sala Editore | location = Pescara | page = 7 }}
32. ^English translate: A correspondence on ghosts with Sergio Sarra.
33. ^{{cite encyclopedia | last = Bourriaud | first = Nicolas | author-link = Nicolas Bourriaud | encyclopedia = In Sergio Sarra, catalogue | title = A correspondence on ghosts with Sergio Sarra | url = https://www.sergiosarra.it/literature | year = 2007 | publisher = Galleria Cesare Manzo | location = Rome | id = OPAC IT\\ICCU\\UBO\\3622112 | oclc = 880870197 | page = 8 }} In Literature, sergiosarra.it.
34. ^Fondazione Volume! website.
35. ^{{cite AV media | people = Dafni&Papadatos | date = 2000 | title = Bruna Esposito Sergio Sarra Richard Van Buren | url = https://www.youtube.com/watch?v=N5sPwACQJMI | archive-date = 24 February 2015 | location = Rome | publisher = Fondazione VOLUME!}} {{cite book | last1 = Magni | first1 = Paola | year = 2001 | title= Claudio Abate: VOLUME! Portfolio | publisher = Associazione culturale Francesco Nucci | location = Rome | pages = 54–55}} {{cite encyclopedia | last1 = Borriello | first1 = Marilena | last2 = Marsano | first2 = Silvia | editor-last1 = Borriello | editor-first1 = Marilena | editor-last2 = Marsano | editor-first2 = Silvia | encyclopedia = VOLUME! 1998>2008 | title = Esposito/Sarra/Van Buren | url = http://www.fondazionevolume.com/index.php/it/artisti/item/sarra-sergio-esposito-bruna-van-buren-richard | year = 2008 | publisher = Edizioni VOLUME! | location = Rome | id = OPAC IT\\ICCU\\TO0\\1725777 | isbn = 978-88-95986-00-5}} {{cite book | last1 = Bonito Oliva | first1 = Achille | author-link1 = Achille Bonito Oliva | last2 = Eccher | first2 = Danilo | author-link2 = Danilo Eccher | last3 = Hegyi | first3 = Lóránd | author-link3 = Lóránd Hegyi | last4 = Benedetti | first4 = Lorenzo |display-authors=etal | year = 2015 | title= VOLUME! 1997…TODAY | publisher = Silvana Editoriale | location = Cinisello Balsamo (Milan) | oclc = 913214444 | id = OPAC IT\\ICCU\\MIL\\0901065 | isbn = 9788836631667 | pages = 120, 122–123}}
36. ^¹²³⁴[https://www.sergiosarra.it/works/ Sergio Sarra – Works, sergiosarra.it].
37. ^{{cite encyclopedia | last = Bonito Oliva | first = Achille | author-link = Achille Bonito Oliva | editor-last1 = Bonito Oliva | editor-first1 = Achille | editor-link1 = Achille Bonito Oliva | encyclopedia = Cose mai viste 1, exhibition catalogue | title = Table Sculpture (table projection on 12 points), 2004 | year = 2008 | publisher = The Road To Contemporary Art | location = Rome | id = OPAC IT\\ICCU\\RMS\\2007233 | oclc = 908550606 | page = 86}} {{cite magazine | last = Piccoli | first = Cloe | date = 23 February 2008 | title = Cose mai viste: a Roma | magazine = la Repubblica delle Donne, no. 586 | page = 124}}
38. ^{{cite encyclopedia | encyclopedia = In Sergio Sarra, catalogue | title = Life Drawing no. 2, 2004 | year = 2007 | publisher = Galleria Cesare Manzo | location = Rome | id = OPAC IT\\ICCU\\UBO\\3622112 | oclc = 880870197 | pages = 42–43 }}
39. ^{{cite encyclopedia | last = Macrì | first = Teresa | author-link = Teresa Macrì | editor-last1 = Macrì | editor-first1 = Teresa | editor-link1 = Teresa Macrì | encyclopedia = Anomalie, exhibition catalogue | title = Anomalo Hotel | year = 2003 | publisher = Edizioni Arte Nova | location = Pescara | id = OPAC IT\\ICCU\\TO0\\1282378 | page = 18}} – English version: [https://www.sergiosarra.it/literature "Anomalous Hotel"], in Literature, sergiosarra.it. {{cite magazine | last = Nicita | first = Paola | date = 24 June 2004 | title = Micromuseum si trasferisce e ospita la performance di Sarra | url = https://ricerca.repubblica.it/repubblica/archivio/repubblica/2004/06/24/micromuseum-si-trasferisce-ospita-la-performance-di.pa_041micromuseum.html | magazine = la Repubblica}} {{cite magazine | last = Nicita | first = Paola | date = 8 July 2004 | title = Buglisi, design e pittura Sarra espone al Micromuseum | url = https://ricerca.repubblica.it/repubblica/archivio/repubblica/2004/07/08/buglisi-design-pittura-sarra-espone-al-micromuseum.html | magazine = la Repubblica}}
40. ^Altered States – Are you experienced?, Fuori Uso 2006, curated by Nicolas Bourriaud, Paolo Falcone, former C.O.F.A. Pescara, December 2006 – February 2007 / WAX Kultúrgyár (former MEO), Budapest, May – June 2007 / Muzeul Naţional de Artă Contemporană (MNAC), Bucharest, June – August 2007 / Galeria Nouă, Bucharest, June – August 2007.
41. ^{{cite book | last1 = Bourriaud | first1 = Nicolas | author-link1 = Nicolas Bourriaud | last2 = Falcone | first2 = Paolo | year = 2007 | title= Altered States – Are you experienced?, exhibition catalogue | publisher = Edizioni Arte Nova | location = Pescara | id = OPAC IT\\ICCU\\URB\\0638550 | oclc = 501423064}}
42. ^English translate: why the beach becomes narrower after the Naìadi.
43. ^{{cite book | last1 = Sarra | first1 = Sergio | year = 2011 | title = perché la spiaggia si assottiglia dopo le Nàiadi | publisher = Edizioni Sarra Varano | location = Silvi (Teramo) | id = OPAC IT\\ICCU\\TER\\0036016 | isbn = 978-88-906766-04}} {{cite magazine | last = Flash Art | date = April 2012 | title = perché la spiaggia si assottiglia dopo le Naìadi - Sergio Sarra | magazine = Flash Art, no. 301 | page = 22}}
44. ^{{cite magazine | last = Moro | first = Michela | date = 8 December 2012 | title = Sergio Sarra – Garage Carcani | magazine = Cool Tour Arte, RAI5}}
45. ^¹{{cite magazine | last = Ciglia | first = Simone | date = March 2010 | title = Sergio Sarra: The indifferents (press release) | url = http://www.exibart.com/profilo/eventiV2.asp?idelemento=87092 | magazine = exhibart.com}}
46. ^{{cite AV media | people = Lim, Ito | date = 2016 | title = Sergio Sarra: iceberg rosaspina | url = https://www.youtube.com/watch?v=ViHkrk5KTAg | archive-date = 14 June 2014 | location = Seoul | publisher = Art and Real Movement }}
47. ^{{cite magazine | last = Sarra | first = Sergio | date = 25 May 2016 | title = Icebergs | url = http://www.sergiosarra.it/pubblicazioni | magazine = In Literature, sergiosarra.it}}
48. ^{{cite AV media | people = Carella, Andrea | date = 2015 | title = Sergio Sarra My Painting Technique | url = https://www.youtube.com/watch?v=5LUDHu9NLaQ | archive-date = 25 September 2018 | format = 2nd Edition | location = Pescara | publisher = Vario Edition }}
49. ^{{cite magazine | last = Caruso | first = Rossella | date = July 2018 | title = Sergio Sarra Critical Review | url = https://www.sergiosarra.it/literature | magazine = In Literature, sergiosarra.it }}
50. ^Library collocation of the Monograph – Centre G. Pompidou, Paris.

Life and work

Critical Review

Selected Exhibitions

Main readings

References

External links