Part one: Optical-dynamic, Gruppo N, Arte Programmata, Olivetti, Umberto Eco
Part two: Kinetic Art, Gestalt, Responsive Eye, MoMA
The mesmerising works of Alberto Biasi, a pioneer of kinetic art, are currently on display in London. Fully receptive to the projections of the spectator, his optical/dynamic art recalls the concept of Umberto Eco’s “open work”, serving as an autobiographical receptacle of each viewer’s subjective experience.
If Marcel Duchamp notably distinguished between the retinal and the cerebral, Biasi’s virtual kinetic works, hovering in a dimension beyond painting and sculpture, refute such divisions. As a founder of Gruppo N, one of a series of sometimes overlapping collectives such as Zero and Azimut, Biasi and his colleagues also created some influential exhibition models that sought to bridge the gap between art and life.
Alberto Biasi, Optical/Dynamic 1959-2012
The Mayor Gallery, London
29 October – 19 December 2014
Interview by ANGERIA RIGAMONTI di CUTÒ
Filmed by MARTIN KENNEDY
Click on the pictures below to enlarge
Herman de Vries: ‘My guru is a squirrel’ – Venice Biennale 2015
Herman de Vries, whose work spreads far beyond the confines of the Rietveld pavilion, explains why he looks to a squirrel for guidance in every day living, noting the importance of nature as mother, truth and teacher
Zero: Countdown to Tomorrow, 1950s-60s
The Guggenheim is to be congratulated for tackling the complex subject of the German artists’ group Zero, and the international network of artists with whom they forged connections, in an attempt to change the face of postwar art
Deb Covell interview: ‘I want to show how far painting can be pushed’
Deb Covell (b1966) is a painter who seeks to celebrate the material qualities of paint. Rejecting pictorial imagery, she also eschews the traditional canvas support, producing paintings that hang from walls like drapes or lie folded and crumpled on the floor. There is a sculptural element to her works but, she explains, it is far more about form, materiality and the versatility of paint.
Starting at Zero: Black Mountain College 1933-57
Radical educational establishment and sanctuary of the avant-garde in art, music, poetry and dance, Black Mountain College survived for only 24 years, but its influence spread far beyond its isolated North Carolina location. This exhibition, and its accompanying catalogue, offers 'a kind of afterlife to [the] artists' practices'1 by assembling the sometimes contradictory memories and records of the college's experimental achievements in paint, print, dance, pottery, photography, poetry, theatre and music.