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Marcello Sessa
I obtained a BA in Cultural Heritage from the University of Milan in 2016; my thesis was about the presence of the aesthetic category of the sublime in Barnett Newman’s writings. I then completed a MA in Art History and Criticism at the same university in 2018; in the thesis I outlined a profile of Clement Greenberg between Aesthetics and Art History. On both occasions I graduated with highest honors. In 2019, I won a PhD in Philosophy (Aesthetics curriculum) at the University of Pisa, with a research project that compared the figures of Greenberg, Harold Rosenberg, and Leo Steinberg about the presence in their ontologies of the modernist image of a dialectic between “painterly vision” and “sculptural vision”; the thesis has already been rated as “excellent” and has been discussed on February 9, 2024. During the course of my PhD I also worked on other topics, directing my research interests to Theory of Literature, Semiotics of Painting, the contemporary Visual Culture Studies, and the investigation of the verbo-visual phenomenon; I published several journal articles, book chapters, and participated in a dozen conferences. I am a member of the editorial board of the scholarly journal "Aisthesis", among the most important in Europe in the field of Aesthetics, and I regularly peer review for other journals in Aesthetics, Art and Literature. Concurrently, I engage the world of publishing, academic and otherwise, writing forewords and afterwords, and editing volumes, mainly Neo-avant-garde literature, and contemporary experimental prose and poetry.
Supervisors: Andrea Mecacci
Supervisors: Andrea Mecacci
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concrete poetry. The essay would trace this itinerary with the analysis of a specific example, the “typewriter poem”, going beyond the usual concretist lesson. It would finally demonstrate, with three case studies, how much the linguistic-typographical display alone can be a “tabula”, on which a variety of functions of representation can act, in the form of data: graphic-pictorial (Eugen Gomringer), plastic (Carl Andre and Minimalism), sonic (Giovanni Fontana).
In the present essay, I aim to reinterpret the notion of performing in respect of modernist ontologies of art, with a particular focus on American art criticism in the mid-Twentieth century. Firstly, I will address to art critics such as Clement Greenberg but especially Harold Rosenberg, as forerunners in acknowledging theoretical importance to the very concept of performing, and in pointing out its leading role in the development of contemporary art.I will analyse the implications of the work of art as a performance in Rosenberg’s formulation of “Action Painting” as the “arena” of artistic creation, and in Greenberg’s conception of modernist painting as autonomous and self-determined. I will proceed in verifying the impact of this “performative turn” from the painting to the evironment and the pure event, taking for example Allan Kaprow’s theory of happening and nonart. I will compare it with Rosenberg and Greenberg’s achievements. As a result, I will suggest that performing could be seen, at the same time, as a threshold of modernism and as a shift toward postmodernism.
Convegno per il centenario dalla nascita, Università di Pavia, 15 maggio 2024.
Title of my paper: "Brushstroke Strikes Again. The Brushstroke as a Crossroads between Artist’s Writing, Art Theory and Visual Culture".
Titolo dell'intervento: "Super extra sexy segno. Erotismo e corporalità nella scrittura di Carla Vasio".
Title of my intervention: "The Iridescent Response to the Abyss. For a Modernist Ontology of the Image, both 'Painterly' and 'Rhythmic': Heinrich Wöfflin, Clement Greenberg, Henri Maldiney".
Locandina progettata da Marcello Sessa.
concrete poetry. The essay would trace this itinerary with the analysis of a specific example, the “typewriter poem”, going beyond the usual concretist lesson. It would finally demonstrate, with three case studies, how much the linguistic-typographical display alone can be a “tabula”, on which a variety of functions of representation can act, in the form of data: graphic-pictorial (Eugen Gomringer), plastic (Carl Andre and Minimalism), sonic (Giovanni Fontana).
In the present essay, I aim to reinterpret the notion of performing in respect of modernist ontologies of art, with a particular focus on American art criticism in the mid-Twentieth century. Firstly, I will address to art critics such as Clement Greenberg but especially Harold Rosenberg, as forerunners in acknowledging theoretical importance to the very concept of performing, and in pointing out its leading role in the development of contemporary art.I will analyse the implications of the work of art as a performance in Rosenberg’s formulation of “Action Painting” as the “arena” of artistic creation, and in Greenberg’s conception of modernist painting as autonomous and self-determined. I will proceed in verifying the impact of this “performative turn” from the painting to the evironment and the pure event, taking for example Allan Kaprow’s theory of happening and nonart. I will compare it with Rosenberg and Greenberg’s achievements. As a result, I will suggest that performing could be seen, at the same time, as a threshold of modernism and as a shift toward postmodernism.
Convegno per il centenario dalla nascita, Università di Pavia, 15 maggio 2024.
Title of my paper: "Brushstroke Strikes Again. The Brushstroke as a Crossroads between Artist’s Writing, Art Theory and Visual Culture".
Titolo dell'intervento: "Super extra sexy segno. Erotismo e corporalità nella scrittura di Carla Vasio".
Title of my intervention: "The Iridescent Response to the Abyss. For a Modernist Ontology of the Image, both 'Painterly' and 'Rhythmic': Heinrich Wöfflin, Clement Greenberg, Henri Maldiney".
Locandina progettata da Marcello Sessa.
Convegno, Centro Studi Arti della Modernità, Torino, 18-20 maggio 2022
Titolo dell'intervento: Camilla Balbi (IULM, Milano), Marcello Sessa (Università di Pisa), "Un astrattismo mancato? Carl Einstein e Clement
Greenberg rileggono Kandinsky".
Link to participate: urly.it/3gk5y
Poster designed by Marcello Sessa.
Titolo dell'intervento: "Vapori e nubi. I paradigmi morfologici 'leggeri' di Eugenio d’Ors e Hubert Damisch".
Diretta streaming: http://bit.ly/sguardindivenire
Per partecipare scrivere a: webinarcolore@gmail.com
Abstract:
Colour reflects the "fluid" nature of the image: both can be considered as a factual, objective evidence of the external world as well as a subjective and sometimes deceptive re-representation of it.The section entitled "Colour. Photography, Image, Reality" collects essays that widely investigate the power of colour to unfold new sensibilities and practices linked the fruition, the creation and theuse of images, across very different media: from literature to social media. The authors develop some core themes, such as the aesthetics of colors, the relevance of intermediality to comprehend specific experiences, and the epistemological and political implications of color technology.The reflections on images encounter the philosophical debate on colour, offering the opportunity to examine every pattern of recognition (that can be ours or of others, human or non-human) and contributing to the discussion on the contingent and questioning relationship between image and reality.
A cura di Andrea Mecacci, Gabriele Gambaro e Marcello Sessa.
Call for papers.
***
«Itinera», 23 (2022), "Colour. Photography, Image, Reality".
Edited by Andrea Mecacci, Gabriele Gambaro and Marcello Sessa.
Call for papers.
Zoom link:
https://utoronto.zoom.us/j/81062255595