Edoardo Landi

Biography

Nato a San Felice sul Panaro, in provincia di Modena, nel 1937, si laurea in Architettura a Venezia, dove frequenta dal 1962 al 1964 il Corso Superiore di Disegno Industriale. Nel 1959 forma il gruppo Enne a Padova con Biasi, Chiggio, Costa, Massironi, mentre a livello internazionale, nel 1961, è tra i promotori del Movimento Internazionale Nuova Tendenza. Nel 1961, 1963 e 1969 è presente alle mostre di Nuova Tendenza I, II, IV a Zagabria. Dal 1962 al 1964 partecipa alla mostra itinerante Arte Programmata, presso i negozi Olivetti di Milano, Venezia, Roma, Londra, Parigi, rivelandosi uno dei più interessanti esponenti dell’”Arte Cinetica e Programmata” italiana. Nel 1963 è presente con il Gruppo N alla IV Biennale Internazionale d’Arte di San Marino, dove il Gruppo N riceve il primo premio. Nello stesso anno si tiene la prima mostra del Gruppo N allo Studio F di Ulm. Il suo lavoro s’incentra sulla percezione fenomenica della realtà nelle sue strutture più semplici, che sono essenzialmente geometriche: attraverso l’uso di forme geometriche elementari, tende a provocare una stimolazione percettiva nel fruitore. Gli interessa in particolare il rapporto che intercorre tra luce e colore, ma anche lo stretto nesso, che secondo lui, unisce pittura, scultura e architettura, e che motiva anche il suo impegno nel campo del graphic design e dell’industrial design. Già nel 1960 Landi comincia a creare le sue “strutture visuali” dipinte ad acrilico, o realizzate con cartoncini intrecciati e intagliati, o con fili elastici su telai di legno, e si muove sperimentando via via materiali diversi, come polietilene, plexiglas, reti metalliche, che gli consentono di riprodurre, come scrive Umbro Apollonio, “accadimenti di rifrazione luminosa o cromatica in cui l’instabilità non resta affidata al caso di agenti esterni, ma si produce per rigore di programmazione”. Su questa via, prosegue la sua attività di ricerca nel campo della percezione, approfondendo lo studio del meccanismo di percezione del colore, del movimento virtuale e dello spazio multidimensionale attraverso l’analisi di figurazioni impossibili o a valenza prospettica multipla, fino ai recenti “cubi virtuali” e “ipercubi”. Le opere di Edoardo Landi sono ospitate nei musei di arte contemporanea di tutto il mondo. Tra le principali mostre: IV Biennale Internazionale d’Arte della Repubblica di San Marino (Primo premio al Gruppo N), 1964; XXXII Biennale Internazionale d’Arte, Venezia, 1964; The Responsive Eye, Museum of Modern Art, New York, 1965; Arte programmata e cinetica 1953-1963. L’Ultima avanguardia, Palazzo Reale, Milano,1984; Lumière et mouvement, Galerie Denise René, Parigi, 1996; Opere Cinevisuali, Galleria Nazionale d’Arte Moderna, Roma, 1996; Gli Anni Sessanta, le immagini al potere, Fondazione Mazzotta, Milano, 1996; XIII Quadriennale d’Arte di Roma, Proiezioni 2000. Lo spazio delle arti visive nella civiltà multimediale, Roma, 1999. Tra le esposizioni più recenti, nel 2012 Arte Programmata e Cinetica, presso la Galleria Nazionale d’Arte Moderna di Roma, ed Ennio L. Chiggio / Edoardo Landi – Enne Relatività Instabili – a partire dal Gruppo N – opere 1961 – 2011 alla Galleria Ricerca d’Arte di Roma e Oltre l’immagine. XLVI Premio Vasto di Arte Contemporanea, Scuderie di Palazzo Aragona, Vasto, 2013.

Edoardo Landi - Programmed Art

Programmed or Kinetic Art is an international art movement that has left an indelible mark on 20th-century art. Umberto Eco uses the term "Programmed Art" to present the historic exhibition at the Olivetti in Milan in 1962, organized by Bruno Munari. The great critic Giulio Carlo Argan calls it "arte gestaltica", while Lea Vergine will definitively establish its importance in Italy by describing it as the Last Vanguard, in the eponymous retrospective at the Royal Palace in Milan in 1984. The Programmed or Kinetic Art but also optical art have a common genesis: they arise from the innovative study, by artists, of the mechanisms of vision, optical and bright phenomena, in line with scientific advances from the post-war period onwards. All over the world, both informal and abstraction in painting no longer satisfy the search for young artists. Looking at Marcel Duchamp, Futurism - or more recent experiences such as the research of Bruno Munari,who already in the 1930s made "Useless Machines", and published the Manifesto of mcchinism in 1952 - we want to be able to create works that really involve the viewer, visually but also psychologically, and definitively overcome the concept of art as representation and expression: finally art becomes experience, and then it will be even environment. No in secondary importance, it is also the push of new artists to work in groups, so aggregations of artists are born who try to overcome the individualism of the figure of the artist: in Italy the first will be the MAC – Concreta Art Movement (formed around Munari himself) and later Group T in Milan and Group N in Padua. Important for Italian artists will be the experience of Azimuth, gallery and magazine animated by Piero Manzoni and Enrico Castellani. Although they are not expressly part of the movement, the innovative, monochrome, anti-figurative works of the two artists – along with those of their neighbours such as Agostino Bonalumi and Dadamaino, will be very important to pave the way for the experimentation of the Programmed Art. The Kinetic or Programmed Art movement is established thanks to contemporary ferments all over the world: Group T in Milan, Group N in Padua, GRAV in Paris, Group Zero in Dusseldorf. In America the trend is called Optical Art or Op-Art (as opposed to Pop-art, which dominated the scene in the 1960s). In Zagreb the movement finds a supporter in the critic Marko Mestrovic, who organizes the international events "Nova Tendencije"(New Tendency),in which all young Italian artists participate. Not only Enzo Mari, Manzoni, Bonalumi and Castellani, but also Getulio Alviani will be among the most active Italians in "Nova Tendencije", which will also become an international movement. Alviani'sworks, using the treated aluminum sheet, look for continuous visual tensions between reflection, visual ambiguity, apparent movement, light and vibration, using as a "motor" the visual interaction of the metal with the viewer's gaze. Marina Apollonio also joined the movement in 1965, encouraged by the encounter with Alviani, and as the latter uses modern industrial materials, to create structured works that transform into dynamic surfaces (metallic reliefs to alternating chromatic sequences) or that seek the apparent movement with optical geometric effects (Circular Dynamics). In Milan, the Arte Programmata is well represented by Group T, founded by Davide Boriani and Gabriele De Vecchi, to which Gianni Colombo, Giovanni Anceschi and finally Grazia Varisco are added. The group's first exhibition , Miriorama 1 , was in 1960 at the Pater Gallery (Gallery where Paolo Scheggi and Vanna Nicolotti will also exhibit at that time, with their three-dimensional canvases of several overlapping floors). Group T presents works in motion, consisting of mechanisms that animate them, without any representative intent. Colombo uses motors to move its surfaces; in those of Anceschi is the colored liquid that flows in tubes that can be moved by the hands of the viewer; while Boriani's magnetic surfaces use magnets and iron dust to get the work moving. Grazia Varisco creates works moved by mechanical motors and internal luminescence (variable light schemes) and structures in mobile industrial materials animated by multifaceted glass that breaks down its shapes. From the idea of work in motion through visual effects we then move to works that actually move on their own, or sometimes - in open break with the past - the viewer is asked to operate them directly with their own hands. Frequent exchanges and co-operations in exhibitions are with the N Group of Padua, formed shortly after Group T, by young people from architectural and industrial design studios: Alberto Biasi,Ennio Chiggio, Toni Costa, Edoardo Landi, Manfredo Massironi. They too embrace the new concept of art and are particularly active in popularizing it (for example, bringing to Padua the exhibition "The new artistic conception", by the Azimuth Gallery, in 1960), and accentuate the importance of the conceptual approach: the exhibition "No one is invited to take part" is a striking example. From Group N, the personality of Alberto Biasi,the group's animator, emerges that addresses in his works the themes of kineticism and visual perception, among the first works the "Trame", in which he studies the interference of the movement of the gaze on layered surfaces, and the "Optical-dynamic reliefs", lamelular structures with contrasting chromaticisms that "activate" thanks to the interaction with the viewer, who moves makes active use of a work in consequent optical movement. Edoardo Landi instead seeks the involvement of the viewer with the optical stimulation given by geometric and elementary forms, excellent examples of Optical compositions for a research that will continue even in the 70s. The Italian painting is complemented by figures who also operate in other cities, such as Franco Costalonga who conducts an in-depth research on optical effects in the work, as in chromokinetic objects in which he will experiment with countless combinations with the use of spherical mirrors. Costalonga participated in the founding of the "Dialettica delle tendenze" and "Verifica 8+1" groups with other Venetian artists in line with the international trend of Programmed Art in the 1960s. The success for the Programmed Art is evidenced by the exhibition of the same name in 1962 at the Olivetti store in Milan, then repeated at the company's headquarters in New York and at the 4th Biennale of San Marino (titled Beyond the Informal) in 1963, and will be definitively sanctioned with the incredible success of the exhibition The Responsive Eye,organized in 1965 by the MoMa in New York (180,000 visitors), in which almost all Italian exponents were exhibited, from Enrico CasteIlani to Getulio Alviani,from Group T to Group N, along with the greatest international artists from Josef Albers to Victor Vasarely.

Tags: Programmed Art - Kinetic Art - Optical Art - Agostino Bonalumi - Getulio Alviani - Manfredo Massironi - Alberto Biasi - Franco Costalonga - Vanna Nicolotti - Kinetism - Chromokine Object - Victor Vasarely - The Responsive Eye - Concrete Art Movement - Grav - Group Zero - Bruno Munari