Cosimo Terlizzi was born in Bitonto in 1973. As an audiovisual artist, he is always on the lookout for different  production media. His works so far consist of photographs and videos. Cosimo lives and works between Bologna, Brussels and London. His film production includes:Nadia Luca & Roberto (1997), Il sonno di Michele (1998), Pepicek & Aninka (1999), La rosa necessaria (2000),Ritratto di famiglia (2001), Rocca Petrosa (2002), Une saison en enfer (2004), S.N. via senza nome casa senza numero (2007), Les Freres Fava, (2007), Murgia Fenomeno Carsico (2008) and Regina Irena Radmanovic (2008).

Your film Murgia Fenomeno Carsico (first prize "Corti di Natura" 2008), shown at the al London International Documentary Festival 2009, explores the relationship between geomorphology and anthropology, where inhospitable elements host life beautiful things in perfect harmony. How do you define Beauty and the Beast?

They are the same thing. I have recently considered the idea that all of us are beasts, and that it is art that makes us appear beautiful. Art redeems man. I can think of artists used by the church to help shape concepts of good and evil. Similarly, institutions too use artists to transform decayed and derelict buildings into fantastic cultural centres. Poor places are turned into rich and attractive properties. They then become so expensive that multinationals take over. That’s when,  having had its artistic soul destroyed, such places meet their death. A similar death occurs when works of art are turned into fashionable must-have commodities.  

Does 'perfection' exist?

It does exist, but is always a step away from you. I look at an object and it looks perfect; I look at it again and then I spot an imperfection. This happens because we are all beasts undergoing a process of evolution.

Why are 'stones' a recurring theme in your work?

Because the world is made of stone. 'Stone' is the world’s backbone - it’s everywhere … with its weight.

What/who has helped shape your artistic flair?

First was my mother. When as a young boy she asked me,’ what would you like to learn?’
‘To draw!’ I answered. The very next day I had started a drawing course in Milan. I was only five at the time. Then was Teresa who introduced me to poetry. And two brothers called Christian and William. The first propelled me towards the appreciation of the arts; the second towards the sensuality of the human body.

What is the importance of the position of the Fava brothers’ feet (Les Freres Fava, 2007) as they find their balance on top of a small rock?

The earth is too small a place.

Was  deCARITATE (2005), street art, meant to cause a discussion or confrontation?

I have to think about this one … The night before the performance, I was in bed praying that I would not cause offence to religion. It was a moment of weakness. The reality is that street beggars are almost always actors (as the actors in that role for deCARITATE). Being able to question this type of ‘fund-raising’ is a confrontation directed towards those people who believe that their loose change is really going to charity. De CARITATE is an invitation to think, that’s all. Does a woman unrealistically broken at your feet deserve a cash prize? How about a little child in the arms of an adult, taken around the city for hours, shouldn’t that be reported?

You express yourself with films, photographs and installations. Which would you say is your best communication medium?

Films, photography and installations are three dimensions that I don’t seem to be able to split. I believe that acting is an important asset for both photography and film-making. Picture this: a model is in front of me. I suggest they pose/act, and it’s only then that I can decide if I should take a picture or shoot a film.

What is ‘bacon over your eyes’ (prosciutto sugli occhi)"?

Ah! You must have read some of my other interviews! The "prosciutto sugli occhi" is an Italian way to reproach someone who chooses not to see the obvious (tinted glasses). For example here in Brussels which is where I am at the moment, there are ethnic problems, but very few people talk about it. I have noticed that ghettos are forming within this city, yet it is supposed to be the capital of the European Union.

Give yourself a vote 5 to 10.

9, for being elegant.

Which has been the most gratifying moment of your artistic career?

Receiving a call from Riccardo Scamarcio asking me to make a film with him. It wasn’t a joke, it really was him phoning me.

And which has been the most diffucult?

When in 1997, having presented the film “Nadia Luca & Roberto”, the art world appeared to be against me. However, years later I realise that, really, it was Bologna (that’s where I was living at the time) and its illustrious artistic community that had failed to keep pace with changes in cinema.

What is hope?

To believe that things are going as best as they can … the wheel is always turning which means that if things go well for you, they go badly for me!

What is your next dream?

A house with a garden. Two men that love each other, my mom, my dad, several children, several chickens, a couple of geese, a couple of tortoises, a dog and a cat, a donkey, a lake with things in it, snakes and toads … things like that.

What advice do you have for aspiring young Pugliesi working around the world?

Please don’t tell everyone how beautiful Puglia is, otherwise everyone will end up buying houses here and prizes will go sky rocket.

What book will you pack for your next holiday? Which film will you watch next?

A book on the history of Pantelleria. ‘Star’ directed by Sylvie Verheyde is a film I would like to watch again.

 
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http://www.youtube.com/watch?v=Qg802iBHip4
 
http://www.youtube.com/watch?v=ljd320zuojk
 

 

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Tags: Cosimo Terlizzi, Nadia Luca & Roberto (1997), Il sonno di Michele (1998) , Pepicek & Aninka (1999), La rosa necessaria (2000), Ritratto di famiglia (2001), Rocca Petrosa (2002), Une saison en enfer (2004), S.N. via senza nome casa senza numero (2007) Les Freres Fava, (2007), Murgia Fenomeno Carsico (2008), Regina Irena Radmanovic (2008), Riccardo Scamarcio

 

 

You may wish to read other painters' interviews:Stuart Morle, Andrea Rossi, Eleonora De Giuseppe, Max Viccardi, Angelica Romanazzi, Gianluca Darkan, Francesco Grillo, Vito Savino