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Littoria - Sibò
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La mostra propone 20 opere del pittore futurista Pierluigi Bossi, detto Sibò, presentandone l’attività artistica negli anni Trenta. Per ora poco noto alla critica, Pierluigi Bossi fu in realtà un pittore originale se paragonato agli altri aeropittori. Ispirato dalla bonifica dell’agro pontino e dalla nascita delle città nuove, collegò la prospettiva mobile dal cielo a un territorio in trasformazione. La sua rappresentazione è quindi legata al dato fenomenico anche nelle alterazioni ottiche e prospettiche e trasfigura l’attività dell’uomo come se stesse trasformando la Terra e mutando se stesso. Le città nuove e il territorio dell’agro appaiono a volte quasi un ponte verso il cosmo, che appare come lo sviluppo futuro della nostra realtà, e gli uomini tramutati in macchine e entità arborescenti, fertilizzate: una soluzione inedita e narrativa che connette l’aeropittura e l’idealismo cosmico prampoliniano. Affiancano le opere di Sibò in mostra tre lavori di altri futuristi, Enrico Prampolini, Tato, Renato Di Bosso, dedicati a Littoria e alla bonifica. Il catalogo, ricco di materiale documentario e di alcuni scritti inediti, ricostruisce anche le partecipazioni alle mostre e il contesto pubblicistico dell’epoca, dall’esordio nella I mostra della provincia di Littoria nel 1936 alla II Mostra di Plastica Murale nel 1936 alla XXI Biennale di Venezia nel 1938.
In the exhibition are proposed 20 works by the futurist painter Pierluigi Bossi, nicknamed Sibò, showing his artistic activity in the thirties. Almost unknown to the critics, Pierluigi Bossi was actually an original artist if compared to the other aeropainters.
Inspired by the land reclamation of the Pontine Campagna and the birth of new cities, he linked the moving perspective from the sky to a transforming land.
His representation is thus connected to the phenomenal datum also in the optical and perspective distortion and it transfigures man’s activity as if man transformed the Earth and changed himself. The new cities and the Pontine Campagna sometimes seem to be nearly a bridge towards the Cosmos, which appear as the future development of our reality, while men are turned into machines and arborescent, enriched entities: it is an unpublished and narrative solution connecting Aeropainting to the cosmic Prampolinian idealism.
Side by side to the exhibited Sibò’s paintings are shown three works, also devoted to Littoria and the land reclamation but by other Futurists: Enrico Prampolini, Tato, and Renato Di Bosso.
The catalogue rich in documentary material and some unpublished writings, reconstructs also his participations in the shows and the publishing framework of the time, from the debut in 1936 in his first show in Littoria, the Second Exhibition of Wall Plastic, till the XXI Biennal of Venice in 1938.
In the exhibition are proposed 20 works by the futurist painter Pierluigi Bossi, nicknamed Sibò, showing his artistic activity in the thirties. Almost unknown to the critics, Pierluigi Bossi was actually an original artist if compared to the other aeropainters.
Inspired by the land reclamation of the Pontine Campagna and the birth of new cities, he linked the moving perspective from the sky to a transforming land.
His representation is thus connected to the phenomenal datum also in the optical and perspective distortion and it transfigures man’s activity as if man transformed the Earth and changed himself. The new cities and the Pontine Campagna sometimes seem to be nearly a bridge towards the Cosmos, which appear as the future development of our reality, while men are turned into machines and arborescent, enriched entities: it is an unpublished and narrative solution connecting Aeropainting to the cosmic Prampolinian idealism.
Side by side to the exhibited Sibò’s paintings are shown three works, also devoted to Littoria and the land reclamation but by other Futurists: Enrico Prampolini, Tato, and Renato Di Bosso.
The catalogue rich in documentary material and some unpublished writings, reconstructs also his participations in the shows and the publishing framework of the time, from the debut in 1936 in his first show in Littoria, the Second Exhibition of Wall Plastic, till the XXI Biennal of Venice in 1938.
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