Dive into the rainbow is the title of the anthological exhibition of Alberto Biasi set up atMonument of Peace in Rome from 13 October until 7 February 2022. Curated by Giovanni Granzotto, through 60 works and 4 environments-installations, the exhibition tells the story of an artist among the greatest exponents ofKinetic and programmed art, former founder of Enne Group.
The exhibition, set up in such a particular place where ancient and modern are forced to dialogue, is divided into six sections which correspond to the different types of works of the artist and which tell the path of his conceptual research.
In Section I the weft which date back to 1959 and represent the artist's first experiments. The Wefts are made up of overlapping materials belonging to the same typology, such as cotton gauze, metal meshes and perforated papers, stacked and rotated progressively to create variable and progressive constellations.
In Section II, le Twists they develop classic geometric shapes, such as rhombuses, triangles and squares, and are made with double-sided plastic strips in almost always contrasting colors, combined in such a way as to create iridescent perceptual effects depending on the shift of the point of view.
In Section III we meet the jobs Optical-Kinetics, from those developed within the N Group in 1974 until 2014.
From the construction point of view, they are linear and luminous configurations placed on two different floors spaced a few centimeters apart. Illusoryly, the structures seem to be placed on a single level, which moves while the proliferation of images occurs due to the interference of the two floors.
The Section IV proposes the series of Politipi dating back to 1965 and developed within his optical-kinetic research.
In V Section, the Assemblies the 2000 they represent figural memories, mostly accompanied by witty and surprising titles.
In VI Section, four can be visited Environments of the Paduan artist who pose as a fusion between the space of the work of art and that of the viewer. It is about Projections of lights and shadows of 1962, of Light Prisms of 1967, of Eco of the early seventies and of I am you are he is) from 1972
With these works Biasi has been able to relate to the public no longer treating it as a simple user, but involving it in the experience of a work of art itself.
Among all Eco it is a room entirely covered with fluorescent panels and strongly illuminated that keeps for a while on the walls the imprint of who has passed in front of it: a metaphor of the impermanence of art which in spite of what is said is not eternal but must be always be renewed by the viewer.