PROJECT 02: EUROPEAN KINETIC VISUAL ART (E.K.V.A) & YOUNG ITALIAN ARTISTS
European Kinetic Visual Art & Young Italian Artists was the second hosting project of Sixty29 Contemporary and presented two exhibitions with selected works created by two generations of Italian artists. Watch the video link.
E.K.V.A. featured the works of historical artist of the European Kinetic Movement from the 1970 to the present, selected from the Penna art collection - such as Alberto Biasi, Franco Costalonga, Marcello Morandini, Jorrit Tornquist, Toni Costa, Mario Nigro, Terry Haggerty, Dario Perez Flores, Getulio Alviani, Piero Dorazio & Achille Perilli.
History of the Italian Abstraction and Kinetic Visual Movement
The third and most articulated phase of Italian abstractionism commenced in the years just after World War II, with a reappraisal of the early experiences of Italian abstract art (as for instance the by then forgotten Balla and Magnelli) and a definitive recognition on an international level.
It suffices to consider the number of movements and groups that were created - such as the Forma 1 group in 1947 (with artists Carla Accardi, Ugo Attardi, Pietro Consagra, Piero Dorazio, Mino Guerrini, Concetto Maugeri, Achille Perilli, Antonio Sanfilippo, Giulio Turcato) the MAC group (with Atanasio Soldati, Bruno Munari, Gillo Dorfles, Gianni Monnet), the Spatialismmovement (founded in Milan and inspired by Lucio Fontana) Arte d’Oggi (founded in Florence by Vinicio Berti, Bruno Brunetti, Alvaro Monnini, Gualtiero Nativi, Mario Nuti). To add to this list is the birth of kinetic and programmed art - the last evolution of abstractionism in Italy that took place in the Sixties with the research centring on optical illusions and an attempt to make art play an active role. The strong linguistic identity of Italian abstractionism and its evident ability to gradually renew itself were also witnessed in the following decades through mutual relations with the experiences of certain neo-avant-gardes as environmental art, minimalism, conceptual art and arte povera movements.
Indeed, the Italian abstractionists have from the beginning proven able to establish a profound dialogue with a great variety of creative trends, even though these may have appeared distant from their goals: abstractionism was not a style, it was not united in a specific movement, but has from the beginning branched out internally to several different ones (from expressionism to constructivism, from Dadaism to surrealism, from Futurism to Cubism to Metaphysics). From a more technical point of view, Italian geometric abstractionism gradually developed its own, clearly recognizable identity, and the results it achieved were of the very first order.
The starting point of this particular abstractionism was the module, principle, element and structural wedge that was multiplied in Italian abstractionist painting without an overly rigid repetition, that thus came to clash with the inventive and variable surprise of colour and light. The result was a sensual, changing and developing geometry. The distinctive traits of Italian abstractionism mainly originate from two experiences: Futurism and the Metaphysics of Giorgio de Chirico.
Many Italian abstractionists meditated on plastic dynamism, an interpretation of space and time, a sensibility for light and space, simultaneity, a chromatic-luminous continuum, the end of the separation between subject and object and the analogical abstractionism actuated by Futurism. Others, on the contrary, decided to obtain their lifeblood from empty and flat spaces that became abstract interpenetration of coloured surfaces, as well as from suspension in time, enigmatic revelations, mental and scenic abstraction, alienating and incongruous perspectives, from arbitrary shades and from the powerful metaphysical feeling dominating the works of De Chirico.
Italian abstractionism has thus contributed, forcefully and originally, throughout the 20th century and parallel with other international currents, to liberate art from everything that is not specifically inherent to the linguistic autonomy of artistic action. Regardless of where the abstract experience has its origin, it has therefore left a profound mark on the history of contemporary art throughout its numerous developments, and it has contributed to the birth of various avant-garde movements that have come to characterize the rest of the 20th century. It has been a fundamental element of history, which has led to a definitive break with the tradition of the 19th century, leading the individual to an awareness of the great necessity of a renewal, not just within artistic research but also within social life.
Kinetic and Programmed Art and the N Group
The N group was born in Padova in 1959; the theorists of the group were Alberto Biasi and Massironi. In the “Manifesto” of the group we can read:” N means a group of “experimental designers” unified from the need to make research together. They believe that “rationalism” and Tachisme” are dead and “informal art” and every “expressionism” are useless “subjectivisms” . They believe that new materials and machines are the expressive media of the “new art” . The activity of N Group is focused on kinetic and visual research, linked to the psychology of perception, and to the creation of objects and environments which involve the entire audience. The group survived until 1964 when it dissolved due to problems related to practice a real common research.
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