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photo © OKNO studio
photo © Emilio Tremolada
Mario Merz , Senza titolo , 1999 Veduta dell ’ installazione / Installation view , Fondazione Merz , Torino , 2010 Courtesy Fondazione Merz , Turin © Mario Merz , by SIAE 2018
Marinella Senatore , site specific installation We Rise Lifting Others , Cortile di Palazzo Strozzi , Firenze
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photo © Paolo Pellion
Nanda Vigo , Light Tree , 1984-85
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the economic boom , Adriano Olivetti , promotes an exhibition in Milan in the Olivetti shop in Galleria Vittorio Emanuele entitled Programmed Art . Kinetic Art . Multiplied works edited by Bruno Munari , Giorgio Soavi and Umberto Eco . This exhibition re-presented in Venice and in Rome , then in Europe and the United States , introduces light and kinetic effects in avant-garde artists ' research , who in these years prefer to share experiments of new languages in group . With the participation of Gruppo T , born in the classrooms of Achille Funi at the Accademia di Brera , on the futurist legacy as part of the lessons of Guido Ballo and Gruppo N , active in Padua . In those years artists considered reality as a continuous becoming of " phenomena " that we perceive in the variation . Since 1964 to 1968 , Lucio Fontana and Nanda Vigo collaborate for the realization of ephemeral environments where light is the protagonist . Since 1964 Dan Flavin uses also cold minimally modular colored neon tubes . Bruce Nauman since 1966 begins to use neon , taking advantage of the features in various ways including the written . Since 1967 in Italy also Maurizio Nannucci assembles light and color in neon installations focused on the dialectic between image and words , between the visual and semantic dimension , in which to think and to know become uniform in a single language and space . Joseph Kosuth since 1968 and Mario Merz |
introduce neon in its installations assembled to different objects and poor materials . These are the masters among which we have deepened modalities and objectives of their research in the Light Art column . Between the Sixties and the Seventies light is the material of the new , the aesthetic habitat in which neon assumes the centrality of conceptual art , which ignites new formal insights together with optical-kinetic effects , open experimentations to new visual and synesthetic perceptions of reality , through environments with increasingly complex multimedia technology . These are the years in which even Italian design stands out for the production of tables and wall lamps conceived as luminous , functional and beautiful sculptures . In this technological , cultural , economic and social unique scenario , in the second half of the 20th century Luce magazine was born . In the new millennium , Luce will be increasingly attentive to the details of the layout , to covers and titles , new sections and numbers of articles and pages , in order to promote the culture of light as a metaphor of technical design . Luce becomes the art of communication , recognizable on the model of Domus ( 1928 ) and Abitare ( 1961 ) and other important magazines of the following years , from Lotus to Ottagono , to Flaire founded and directed by Piero Castiglioni . Light Art columns are born , Photography , Magic Lanterns , light Epiphanies , Show Time , Design , Specials on exhibitions , museums and light festivals . The art of graphics is entrusted to Mario Piazza , a master of composition and visual design , who gives shape and substance to the content of the historical magazine , increasingly careful to promote the culture of light in which the image is part of the whole , because seeing is a complex act that is not reduced to deciphering a harmonic composition . The aims of Light Art section are to inform , communicate and make know the potential of technology applied to different fields of research , in a dynamic way with images of works , projects artists of yesterday and today , such as Paolo Scirpa , Daniel Buren , Federica Marangoni , Keith Sonnier , Marinella Senatore , Cerith Wyn Evans , Olafur Eliasson , Massimo Uberti and others . Different artists who " objectify " the visualization of their research focused on perception , through light have found a fluid , transversal sign , allowing everyone to participate in a visual , ephemeral and mysterious event . The Light Art individual and collective language becomes sign and object , space and image capable of creating experiences of various perceptions , with multiple meanings , with works or environments in which to share , know and reconfigure always new points of view as promise of hope of a time " other " from reality , because our being in the world is increasingly multimedia . Light Art relies on emotional involvement of the user in a spatial and temporal short circuit that cancels the distance between past and present , reconfiguring a neutral zone of passage between real and imaginary , where technology and knowledge with the Luce magazine , seismograph of contemporary complexity is and will be a scientific and a creative device that gives meaning to what we produce . |