| My art is, first of all, the consequence of the joy of playing. When I was a kid I loved to draw; I represented my family and everything around me. I also played with my sister’s dolls. TV was a huge influence; I developed my drawing inspired by the comics as well as all the junk commercials I saw at that time (Pagsa, Fiorucci, Coca Cola, Mango, etc.). In high school I learned about ceramics before I attended the School of Fine Arts to study sculpture. Lately, I discovered the constant presence in my drawings of subjects relating the body with tense situations and sexuality. So I started exploring the body manipulated by power and discipline, a body that could be dominated. I designed a series of mobile drawings called Docile Bodies, bodies similar to puppets that people could play and interact with. These actions were captured in short videos. |  |
Sergio Lamanna
My art is, first of all, the consequence of the joy of playing. When I was a kid I loved to draw; I represented my family and everything around me. I also played with my sister’s dolls. TV was a huge influence; I developed my drawing inspired by the comics as well as all the junk commercials I saw at that time (Pagsa, Fiorucci, Coca Cola, Mango, etc.). In high school I learned about ceramics before I attended the School of Fine Arts to study sculpture.
Lately, I discovered the constant presence in my drawings of subjects relating the body with tense situations and sexuality. So I started exploring the body manipulated by power and discipline, a body that could be dominated. I designed a series of mobile drawings called Docile Bodies, bodies similar to puppets that people could play and interact with. These actions were captured in short videos. Video acted as a guide for me, giving me instructions and helping me explain what these characters were made for. That is how I started editing with the computer. I also studied with the artist Juan Doffo, and took seminars with Julio Sánchez and Luis Felipe Noé.
In my work, I try to break the boundaries between the spectator and art. I try to unite them in the action. The interesting part is when the spectator dares to discover the movements these puppets could perform, their expressions, and gestures, to make them come alive in a game that represents the relationships we have with power in our daily lives. The main idea is the social body being manipulated through publicity and the political and religious speeches.
I’m interested in the study of Eadward Muybridge’s photography about animals and people’s motion that was then used for the creation of the cinematographer, Umberto Boccioni’s paintings and sculptures, and the first ideas of Marinetti’s futurist manifesto.I’m currently working in a project named Monument to the Manipulated Body, which is the construction of an articulated horse and its rider in a natural scale, making them gallop, and then present the projection of those images in the public space as if it would be an historic monument.
