Luca Bosani is a 30-year-old Italian creative who currently lives and works in London and near Milan. With an educational background in the history and practice of performance, art and interior design, his professional figure is certainly eclectic and, together with you, we want to know more.
STRIP, 2019, Lewisham Arthouse, London, with Anna Dean and Rafael Escardó Espejo.
Photograpy: Tom Carter
Hi Luca! thanks for accepting my invitation. First I would like to ask you who Luca Calu Bosani is.
Luca Bosani is whatever you think I am.
Calu is whatever you think I’m not.
I saw you are originally from Pregnana Milanese, a small town near Milano. What prompted you, at the time of your studies, to broaden your horizons in a city like London? And why London in particular?
Province’s self-referentiality and limited mental elasticity led me to move abroad *.
Energy of London, inclusive and overwhelming, is in my opinion inimitable. Then the experimentation in the artistic field, the educational offer (pre Brexit) and the great trust that is given to the younger generations in work and professional fields.
* dynamics of which I speak in depth in a nice interview last year with Gianluca Gramolazzi for Forme Uniche.
What advice would you give to today’s young people who would like to enter the contemporary art world?
You are about to embark on the longest journey of your life, a journey in which it’s not allowed to turn around or go back, as in the myth of Orpheus and Eurydice, you think you are able to resist external pressures – social, cultural, economic – and continue your path in the years to come?
this is how you define your works, how and where does this concept come from?
UPOs, Unidentified Performing Objects, are Objects that do not fall within or fall into any predefined category.
They are Performative because they perform one or more functions at the same time and because they can be activated through performative events. Finally, they are not identified because they cannot be associated with any pre-existing label.
UPO (hot pink), 2020, Materials after analysis: Flexeine, urethane, silicone, varnish, pigment,
acrylic polymer emulsion, steel, synthetic rubber, Nike Air Max Plus, cellulose, aluminium,
Would you like to explain what your performances consist of and the relationship they have with your sculptures?
They are not performances but enigmatic situations, magical manifestations, fantastic apparitions, carved dreams.
UPOs and events connected to them are complementary to each other, that is, one completes the other. At the same time it’s possible to abstract a UPO, a physical object with sculptural qualities, from a live event but not the other way around.
This means sculptural object’s narrative capacity exceeds and differs from that of event, which is instead relegated to predefined space-time notions, immortalizing narratives and dreams through the three-dimensional nature of the material.
C0032: I Masnadieri Volanti, 2020, Residenza La Fornace, with Federico Esposito Spadary.
Photograpy: Mattia Angelini
What are inspiration sources and creative processes behind your creations?
Meteorological phenomena, geology and zoology are an important source of inspiration for me. Furthermore, my personal history connected to a very diligent and continuous study of the practice of other creatives contributes to the creation of my magical worlds.
Is there a particular message that you want or are you trying to convey to others with your works?
My goal is to make people dream,
to offer another chance when all roads seem closed,
to give confidence, stimulating and facilitating change in reality.
C0034: The Gargantuan Shoe, 2021, San Mei Gallery, London, with CJ Calderwood and Oli
Photograpy: Brando Prizzon
In performances, interaction with public is almost always a fundamental and integral part of work itself: how do you choose to involve your viewers?
Spectators are for me first of all people, and as such I relate to them. Those who take part in these lucid dreams are accompanied and introduced into parallel worlds through different methodologies which vary from case to case.
My priority is the journey together with these people – physical, visual and intellectual – to reach an unknown, positive and purposeful place, both for me and for them.
Do you believe, as wearable, your sculptures can also be related to the fashion world? What’s your opinion about it?
I refer to the first answer:
They are what you think they are.
UPO (thunder moon) – S, 2020, Materials after analysis: Flexeine, urethane, silicone, pigment,
acrylic polymer emulsion, polystyrene, elastane, butadiene rubber, cotton, cellulose, aluminium,
Photography: Mattia Angelini
In conclusion, a classic: what are your dreams and future projects?
I have the immense luck of living some of my dreams and an irrepressible desire to turn others into reality.
Among goals for the future: to build a long and fruitful relationship with a commercial gallery, work in partnership with a fashion house for a collection or ambitious project, populate Palais de Tokyo in Paris with a lasting performance.
Regarding upcoming projects:
7 August 2021, ‘C0035’, Revine Lago (TV)
At dusk, on the shores of two magnificent Venetian lakes, we will try to solve together the mystery of the disappearance of three boys back in 1976 ..
‘C0035’ will be my first conundrum and live project in Italy since 2015 (‘I-YOU’, Fabbrica del Vapore, Milan), produced in partnership with BRODO, Fondazione Fabbri, Platform Lago, TRA and supported by the Italian Ministry of Culture.
Then at the beginning of September I will be in Germany for a project of which at the moment I cannot say much, except: haaring, hexagon, flatap.
Cover image credits:
UPO (cornillano) – S, 2020, Materials after analysis: Flexeine, urethane, silicone, leather, cotton, wood, steel, pigment, acrylic polymer emulsion, polystyrene, cellulose, aluminium, 45x70x45cm each
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