Interview: Saverio Tesolato

1frame_souscettecroute_webImage courtesy of Saverio Tesolato

Interview: Saverio Tesolato
Luca Curci talks with artist Saverio Tesolato during SELF PORTRAITS – INNER FEELINGS exhibition in Venice on June 2015.

Saverio Tesolato was born in 1967. After the academic studies, he started focusing his interests on poetry since the beginning of the 90s, when his first writings were issued in some independent culture magazines. In the same period, he realized some shorts, among which a music video for an Italian rock band.
In 1994 he created the multi-media project AUTUNNA ET SA ROSE, initially focusing his interest on the interrelationship between poetry and music composition, but later expanding its view  also towards photography and graphics. Around 2006 he started working intensely on video production projects, creating some videos in order to use them in a synchronized form during the following Autunna et sa Rose shows: this synchronicity is to be intended as working both in a temporal sense, and in a conceptual one, with the specific aim to communicate some feelings in a deeper and more reflective way, and so conveying even different ideas apart from those already expressed by music and words. Moreover, his activity and improvements with graphics have continued, as witnessed by the making of the graphical layout of the works L’Art et la Mort (2006) and Phalène d’onyx (2012), for which he created all the images in the booklets. Some of this graphic works have been also used in order to complete the stage set in occasion of some Autunna et sa Rose shows since 2006.

2frame_souscettecroute_webImage courtesy of Saverio Tesolato

Luca Curci – Can you talk about your personal experience in Venice? What did you think about the whole organization of the event, the artists’ selection, the communication management and opening nights?

Saverio Tesolato – Unfortunately I could not be present during the days of the festival in Venice, because of some job engagements far from home. Nevertheless, I can say that, watching the photo and video documentation available on line, all seems to have been great and professionally remarkable, especially the selection of the artists involved.  

L. C. – What do you think about the collaboration between It’s LIQUID and Ca’ Zanardi/Venice Art House?

S. T. – A well-grounded management must have significant collaborators and good partners, in order to realize its projects and ambitions. Even though I could not visit these exhibition spaces, their fame is renowned enough to make me think this was a first-class relationship. I am sure that also in the forthcoming future It’s Liquid will be able to have further international collaborations, in order to organize new interesting events.

3frame_souscettecroute_webImage courtesy of Saverio Tesolato

L. C. – Can you talk about the artwork you presented in Venice? How is it linked with the festival’s theme?

S. T. – The title of the video presented at the Venice exhibition is Sous cette croûte, that means “Under This Crust” and it refers to the homonymous writing from Antonin Artaud, taken from the collection Le pèse-nerfs (1925). In fact, the whole work has been built starting from the Artaud’s text: the music and the frames of the video are inspired and conceptually linked to the words of the French author. In this short writing Artaud conceives his anxiety as the loss, both in a physical and in an essential form, of one sense, maybe a not easily perceivable sense, or one of the five senses. It is surely the case to recall the Artaud’s experience as an author who tried to break any kind of rules, proposing himself as an artist in a absolute sense, and that is why he found a great resistance his society offered him. My whole work, since the beginning, has been influenced by Artaud’s personality and his works, because of his revolutionary concept of theatre and his extremely “dangerous” sensitivity. Now I can really feel his anxiety as mine, my brain often – especially during the oneiric experience – suffers the disquiet of my soul as a loss of some inaccessible part of it. Sous cette croûte is indubitably an inner portrait of a soul. I hope it is the portrait of more than one soul, as other people can identify with these feelings.

3frame_Créer_webImage courtesy of Saverio Tesolato
L. C. – What are you currently working on?

S. T. – I have lately been engaged in working on my forthcoming project, writing some of the music compositions. I think this is normal, after completing the writings the musical part must be the first to be composed. Of course, this usually takes a long time, so the overall work will not be published before everything is ready and the various multi-media connections are quite satisfying: you will find more information about my further activity at the official site, as soon as it is possible to schedule a final publication. Moreover, as far as my video production is concerned, I have planned to create other videos on the basis of some further writing from Antonin Artaud: the project is conceived in a collection of works of the same kind and it currently consists of three videos.

5Fruscii7_webImage courtesy of Saverio Tesolato

L. C. – What is art for you?

S. T. – Art is the result of a construction, maybe a sort of architecture, sometimes complex, sometimes easier at first sight, according to the degree of spontaneity it can display. In any case, there is a special rational effort under every work of art, even in things that could seem improvised, and maybe this is the fact, but it does not mean they were quite randomly created. Autunna et sa Rose was born in reaction to quite a few experiences I had in my life, some events having made me conscious of the so-called unfillable “distance from being and appearing”: adolescence is always a period of rupture, in which you need a real overturning of all the conventions the society, the one in which you daily live, is slave to. Art could be the “key” for trespassing rules you do not accept at all, it could become the realm of emotions where it is possible to express each feeling coming from the tunnels of your heart. I decided to follow the artistic idea of Gesamtkunstwerk, that is the “total work of Art” as it was conceived in Late Romanticism and by the artists of the Wiener Secession: in this concept, each one of my works is to be intended as the result of a blend of several media, that is of several forms of Art.

1frame_Créer_webImage courtesy of Saverio Tesolato

Every note/image/frame I write or create is subordinated to the original idea and subject, usually detectable in the writings: nothing has an independent or a leading role, the whole of my work has to be deeply self-entwined. Who wants to enjoy a work of art, has to know that it can show him/her a different language by which to interpret the message somehow hidden beyond its façade. And the languages, the symbols used in several works of art could be continuously different one from another. This sort of “training” is the only way to appreciate art: so, the only way to walk across this “forêt de symboles” is not to fear your first reactions, but it corresponds to the right way to get experienced and let your artistic sensibility grow up. If many people do not want to accept that the artistic experience can be a demanding one (and this is one of the reasons why my works are judged to be avant-garde), it is because they have not still realized that such a practice can really be the way to an inner growth; however, this situation is linked to the television mentality imprisoning the brains of most of people today. No more synthetic mechanism of blank appearances and hypocritical behaviors, no more half-measures made of absurd compromises: it is time to reveal this world of “perfect men” that a fetid plague has measurelessly corrupted it and that just Art can help us getting more conscious of Love by allowing us to deeply experience our emotions and defeating any consumerist tendency towards superficiality.

8Nella pullulante11_webImage courtesy of Saverio Tesolato

Art is an entity that is strictly linked both to Love and to Death. They have a triangular relationship where the third one occupies the summit of the trigon (see image). In fact, Death can be seen as continuation of life and as eternal consecration of Love living in our souls; Love and Art are two sides of the same coin, the one of the lost humanity of the soul, in a world dominated by the caducity of the modern life; the duality Art-Death, as Antonin Artaud imagined, is a sort of a close, sexual interaction linking these two entities in a love affair that still reminds of the importance of Love (in any case, the symmetries of the triangle allow you to rotate it and watch it from any angle and any perspective, so that none of the three is to be considered more fundamental than the others).

L. C. – What do you think about International ArtExpo and It’s LIQUID organizations? Do you think they can represent an opportunity for artists?

S. T. – I think they can surely represent an opportunity for the artists who have talent and time to spend for their promotion. Nowadays it is getting harder and harder to find good chances that can make you gain visibility. Unfortunately, we notice the increasing lack of interest and can witness ridiculous investments from the public institutions: in particular, as regards the Italian situation, politics has killed any opportunity for culture development, so that you can have a least consideration only if you are on good terms with the ones who has the power.

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