Olhar em Movimento – Linguagens da arte cinética italiana dos anos 1950-70

The Italian Institute of Culture in São Paulo and Instituto Tomie Ohtake, on the occasion of the Year of Italy in Latin America, bring to Brazil the exhibition Olhar em Movimento – Linguagens da arte cinética italiana dos anos 1950-70 (“Look at the Movement – Language of the Italian kinetic art in 1950-70”). Curated by Massimo Scaringella and Micol Di Verolli, this unprecedented exhibition in Brazil brings together 50 works that includes paintings, collages, videos, sculptures, objects and pieces of designed by great Italian artists, such as Bruno Munari, Getulio Alviani and Marina Apollonio.

“Olhar em Movimento – Linguagens da arte cinética italiana dos anos 1950-70” brings together works of Bruno Munari, the forerunner researcher on the perception and undisputed reference point of design and didactic; Getulio Alviani, who develop the theoretical assumptions and practices of the Bauhaus and promoted artistic innovations in arts; Marina Apollonio, one of the most important representative figures of Italian international Optical-Kinetic art movement, which is know for what artists were using to create their pieces, calculated structures, which would intermingle with the dynamic and floating spaces that they would occupy; Miriorama 1 (1959), written by Gruppo T (Davide Boriani, Gabriele De Vecchi, Giovanni Anceschi, Gianni Colombo, Gracia Varisco),a statement considered as a theoretical fundament and manifesto in which the keywords were time-space transformation, change and participation; Gruppo N (Alberto Biasi, Edoardo Landi, Toni Costa, Ennio Chiggio and Manfredo Massironi) collective which was interested in exploring optical possibilities that could be applied to works of art; Gruppo 63 (Lucia Di Luciano, Lia Drei, Francesco Guerrieri and Giovanni Pizzo), Italian intellectuals, with Umberto Eco among them, were against the cultural conservatism and sought to the renewal of literary language; and Gruppo MID (Barrese Antonio). The exhibition also displays 10 Fausto Sarli’s dresses, which is a symbol of what the designer wanted to reveal to the public – the connections between art and fashion in the times when many things were being reconsidered.