Artist:
Getulio Alviani
Title:
Quadrato + Cerchio = Volume
Year:
1967
Adress:
Deutsche Bundesbank
Playing with light and shadow
Getulio Alviani has made Quadrato + Cerchio = Volume out of óne material. However, we have a lot of colors through all the reflexions. The surface where the sun is shining is over-exposed. This gives a line which starts exactly at the corner off the adjacent field. A perfect circular shape may well reflect an elliptical shape. The over-exposed area may become through an inclination gradually an black area because here the light cannot come.
By Theo, www.artatsite.com
Vertaling
Spelen met licht en schaduw
Getulio Alviani heeft bij Quadrato + Cerchio = Volume één materiaal gebruikt. Toch zien wij veel kleuren door alle spiegelingen. Het vlak waarop de zon schijnt is overbelicht. Dit geeft een lijn dat exact in de hoek begint op het aangrenzende vlak. Een perfecte ronde vorm kan best een elliptische vorm reflecteren. Het overbelichte vlak kan door een buiging overgaan in een zwart vlak doordat hier blijkbaar geen licht komen kan.
By Theo, www.artatsite.com
www.welt-der-form.net:
Edelstahl. Standort: Berliner Allee 14, Deutsche Bundesbank.
Alviani deutet mithilfe ebener Flächenformen ein plastisches Volumen an: gerade mal je ein Viertel eines Kreises bzw. eines Quadrats klappt er dazu seitlich ab und fügt die beiden entstehenden Elemente so ineinander, dass sie sich gegenseitig stützen. Die räumliche Wirkung entsteht, weil das Auge gewohnt ist, Volumen wahrzunehmen, auch wenn nur Flächen zu sehen sind.
Der italienische Bildhauer, 1968 Teilnehmer der documenta 4 in Kassel, ist ein Vertreter der konkreten Kunst. Polierte "vibrierende Oberflächen" sind sein Markenzeichen. Er entwickelte sein Werk im Austausch mit u. a. Lucio Fontana und Max Bill.
www.decaso.com:
A wonderful 'cerchio+quadrato=volume' sculptural steel object, of a folded circle and square, by Italian artist Getulio Alviani. A large version of this 1967 sculpture stands in Du?sseldorf, Germany. Alviani is considered to be an import exponent of 1960s Op(tical) Art.
www.wikipedia.org:
Getulio Alviani (5 September 1939 in Udine – 24 February 2018 in Milan)[1] was an Italian painter based in Milan. He is considered to be an important International Optical - kinetic artist.
His first series was "The Wires", inspired by aerial electric wires. Fascinated by some polished aluminium surfaces found in a factory in which he was working: after further polishing and abrasion, he created his landmark "Superfici a testura vibratile" (vibrating texture surfaces), winning international acclaim. In 1961 he was invited to the Zagreb exhibition "Nove Tendencije", together with other artists working along similar lines and exploring the opportunities of a dynamic art which interacts with the viewer. He started exchanging ideas with artists like Julio Le Parc, François Morellet and Enrico Castellani, actively participating in the activities of the so-called G.R.A.V. (Groupe de Recherche d'Art Visuelle) in Paris.
In 1962 he moved to Milan, where he became friends with Piero Manzoni and Lucio Fontana, who was very interested in his works and bought some of his "surfaces". He also worked with other famous artists like Max Bill, Bruno Munari and Josef Albers. In 1964 he was invited to show at the Venice Biennale, successfully sharing a room with Enrico Castellani.
In 1965 Alviani took part in The Responsive Eye at MoMA in New York, together with other artists associated with Kinetic and Programmed Art. His work was purchased by MoMA and used as a poster image for the museum's next exhibition, "The New Acquisitions". In 1968 he was invited at Kassel's Documenta 4.
Getulio Alviani has made Quadrato + Cerchio = Volume out of óne material. However, we have a lot of colors through all the reflexions. The surface where the sun is shining is over-exposed. This gives a line which starts exactly at the corner off the adjacent field. A perfect circular shape may well reflect an elliptical shape. The over-exposed area may become through an inclination gradually an black area because here the light cannot come.
By Theo, www.artatsite.com
Vertaling
Spelen met licht en schaduw
Getulio Alviani heeft bij Quadrato + Cerchio = Volume één materiaal gebruikt. Toch zien wij veel kleuren door alle spiegelingen. Het vlak waarop de zon schijnt is overbelicht. Dit geeft een lijn dat exact in de hoek begint op het aangrenzende vlak. Een perfecte ronde vorm kan best een elliptische vorm reflecteren. Het overbelichte vlak kan door een buiging overgaan in een zwart vlak doordat hier blijkbaar geen licht komen kan.
By Theo, www.artatsite.com
www.welt-der-form.net:
Edelstahl. Standort: Berliner Allee 14, Deutsche Bundesbank.
Alviani deutet mithilfe ebener Flächenformen ein plastisches Volumen an: gerade mal je ein Viertel eines Kreises bzw. eines Quadrats klappt er dazu seitlich ab und fügt die beiden entstehenden Elemente so ineinander, dass sie sich gegenseitig stützen. Die räumliche Wirkung entsteht, weil das Auge gewohnt ist, Volumen wahrzunehmen, auch wenn nur Flächen zu sehen sind.
Der italienische Bildhauer, 1968 Teilnehmer der documenta 4 in Kassel, ist ein Vertreter der konkreten Kunst. Polierte "vibrierende Oberflächen" sind sein Markenzeichen. Er entwickelte sein Werk im Austausch mit u. a. Lucio Fontana und Max Bill.
www.decaso.com:
A wonderful 'cerchio+quadrato=volume' sculptural steel object, of a folded circle and square, by Italian artist Getulio Alviani. A large version of this 1967 sculpture stands in Du?sseldorf, Germany. Alviani is considered to be an import exponent of 1960s Op(tical) Art.
www.wikipedia.org:
Getulio Alviani (5 September 1939 in Udine – 24 February 2018 in Milan)[1] was an Italian painter based in Milan. He is considered to be an important International Optical - kinetic artist.
His first series was "The Wires", inspired by aerial electric wires. Fascinated by some polished aluminium surfaces found in a factory in which he was working: after further polishing and abrasion, he created his landmark "Superfici a testura vibratile" (vibrating texture surfaces), winning international acclaim. In 1961 he was invited to the Zagreb exhibition "Nove Tendencije", together with other artists working along similar lines and exploring the opportunities of a dynamic art which interacts with the viewer. He started exchanging ideas with artists like Julio Le Parc, François Morellet and Enrico Castellani, actively participating in the activities of the so-called G.R.A.V. (Groupe de Recherche d'Art Visuelle) in Paris.
In 1962 he moved to Milan, where he became friends with Piero Manzoni and Lucio Fontana, who was very interested in his works and bought some of his "surfaces". He also worked with other famous artists like Max Bill, Bruno Munari and Josef Albers. In 1964 he was invited to show at the Venice Biennale, successfully sharing a room with Enrico Castellani.
In 1965 Alviani took part in The Responsive Eye at MoMA in New York, together with other artists associated with Kinetic and Programmed Art. His work was purchased by MoMA and used as a poster image for the museum's next exhibition, "The New Acquisitions". In 1968 he was invited at Kassel's Documenta 4.