Defining Giosuč Marongiu’s work-art as “art as a research” is the best way considering its versatile and unsteady limits. The idea of space and time, of their associations and disgregations, unfolds and expresses itself in the middle of his expressive elaborations between poetry and design, music and visual arts. After the turning point in the 80s from traditional techniques of the plastic art, the choices of image have tended to and have been concretized to the way of stereometria and of computer art. Since then, in Marongiu’s works, virtual reality, with its meta-rational fictions of space and time, stands above the extreme abstraction, the ordinary perception of things or, as in his recent works, the virtual reality plunges itself into a daily story or a social enquiry.

In his imaginary, usually incompatible differences merge. However, they are able to passages, to special temporal interactions. Those are the ones of followed four-dimensional visions (through special lenses) or those which only the digital virtuality, the electronic interface make them practible in places of discoveries and combinations of art and science in the past, present and future time between time and space, order and chaos are complementary as well as opposite.

The stereometric and cineplastic visibility of Marongiu’s expressive research are not certainly inventions of today, the same as his space-temporal imaginary takes inspiration and reawakens the sound and colour, of mass and movement, of etherous and material of the spatialist confused situation of Lucio Fontana’s art. But, this is the basis of Marongiu’s art as a research, the thickness of memory and enquiry through which he leads his imaginative thought.
As stated by the artist himself in Manifesto of 2007 New Reality:” Artis thoughtheory and inside of which the fact is also based. As it is known, the productive capacity of thought has taken shape in the imaginative concretenesses of various languages of art.But, since then, the multimedial telematic system has intervened to act and interact the language of art, the productive power of thought has enourmously increased both because of the tools of digital reproduction have overcome traditional and distinct bounds of languages, writing and thought and because they have widened and increased its productive powers of a representative illusion.
More and more, most of modern history of art, detatching from references of objective and idealized forms of the natural world, has linked and identified itself with the abstraction of the autoreferent forms of thought .An achievement of expressive freedoms and uncertainesses as Robert Musil asserted in his novel “a man without qualities”, after the man hasn’t looked for his own contemplative image in the mirror of streams anymore but in the poliedric sides of his sides of his mind. But Musil could not foresee that the stream would propose and impose to the image of reflections of a home video.
Marongiu’s research not only takes part in crossing over the evidence of things but also in a mediatic magnetization over them. It is true that the register and the document via multimedial, aim at forming a new sense of reality, of simultaneous and involving”multireality, even in art, as it has previously affirmed. In such a way, with stereometric abstractions of tridimensional universa in video, as
"The implicit order" (2010) and the concepts from a social observation and a narrative document. Men of glass and Man is God and finally having a symbolic sense, Utopia (2008). Coming to conclusions Marongiu’s research is not different from that one of contemporary artists: it shows a swinging in the relations between language and thought, image seeing on two sides.
Men live the environmental mutation in a perceptive and cognitive sense where the huge production and reproduction of visual signes of digital universe, have put aside and make useless the old distinction between imaginary and reality where an inner fusion (which makes apparently euphoricous the new change as “dejŕ vu”) flows between space and time.
Marongiu’s research seems to communicate that it is always possible , in our time, to graft a quantity of imagination to a quantity of realityAnd, especially in art, it is possible to come to deny one with the other, but avoiding the research to a mere finding,to a ready-made to be told.
In fact, according to the extemporaneous practice of art of our times. G.Argan’s observation regardingPicasso’s saying, “I don’t seek, I find”,earnsa present and relevant verve and has something immoral.


Luigi Paolo Finizio
Sorrento, 2011


Translated by Alessandra Pitzianti

Copyright © di Giosuč Marongiu dal 1990 - Copyright © by Giosuč Marongiu from 1990