Date of Birth: 
Place of Birth: Pescara, Abruzzo, Italy
About Sergio Sarra
- Sergio Sarra (Pescara 1961) is an Italian artist and former basketball player. In 1985, at the age of 24, he retired from playing competitively in order to study at the School of Painting at the Academy of Fine Arts in Bologna, concluding in 1987.
- Sarra took part in the Biennial of Young Artists from Mediterranean Europe (Barcelona – 1987), Venice Biennale at the Corderie dell'Arsenale (1993) in Aperto '93, at the Italian Pavilion (2011) and in the Havana Biennial (2000).
- Sarra curated the group exhibition Conversione di Saulo at Palazzo Chigi Odescalchi (Rome – 2000) and exhibited at the Muzeul National de Arta Contemporana (Bucharest – 2007) and the WAX Kultúrgyár (Budapest – 2007) in Altered States – Are you experienced?, group exhibition curated by Nicolas Bourriaud and Paolo Falcone, and at Baths of Diocletian (Rome – 2008) at Cose mai viste curated by Achille Bonito Oliva. Other group exhibitions at: Palazzo Rondanini alla Rotonda (Rome – 1989), Palazzo della Permanente (Milan – 1991) and Espace Pierre Cardin (Paris – 1992), 34th Spoleto Festival of 2Worlds (Fonti del Clitunno – 1991), Fondazione Orestiadi (Gibellina – 1992), Palazzo delle Esposizioni (Rome – 1992, 1995), Fondazione Volume! (Rome – 2000), Circolo Filologico Milanese (Milan – 2008).
- Sarra has held solo exhibitions at public and private institutions including the Faculty of Architecture of University of Palermo (1998), the Micromuseum for Contemporary Art and Culture (Palermo – 2004), the Conservatory of Santa Cecilia (Rome – 2013), the Ewha Womans University (Seoul – 2016), the Benedictine Abbey of Propezzano (Morro d'Oro – 2018) and others. From the beginning of his artistic career, Sarra worked almost exclusively with painting, drawing and sculpture.
- In 1997, the art critic and curator Lorenzo Benedetti wrote: […] In Sarra ci troviamo di fronte ad una intensa sinteticità dal punto di vista del processo formale a vantaggio di una maggiore concentrazione al dato concettuale… L’animale, i paesaggi e i volti vengono stilizzati fino al limite del riconoscibile […]([…] With Sarra we are faced with an intense conciseness from the perspective of the formal process in favour of a greater concentration on the conceptual factor… The animal, the landscapes and the faces are stylised to the limit of being recognisable […])
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