1) PRESENTAZIONE CRITICA DI Anna Maria di Paolo “L’ordine dinamico in Giosuč Marongiu”...

ANNA MARIA DI PAOLO
“The dynamic order in Giosuč Marongiu”

If you would, briefly characterize the research in recent decades Marongiu has been developing one could say that is focused on the combination of conceptual order \ disorder and the implications.
It is in reference to the notion of order and balance that is lie, in fact, videos and Speculum Animeted paintings, works kinetic-plastics made around 1990, at the intersection of lines, shapes and volumes processed by computer, with a procedure technical stereo vision that can see a three dimensional effect of dissimilar colors.
If the obviousness of the images, as in "The Implicate Order" is ordered, however, there is also a glimpse fluctuation evolutionary transmutes the size of static dynamic, kinetic action for the well-known shapes and colors borrowed painting. The speculometrie therefore abstract from ideation Marongiu and inspired the search for Concrete Art Movement, such as "Relative movement towards a state of apparent calm," are the result dell'intersecarsi color vertical lines placed horizontal visual axis in a calibrated and illusory effect of movement.
The video, like any other media, has its own language, in fact, since the '80s, with the invention of some equipment is changed by converting electronic images into digital, but the news has come in years' 90 when they apply, in fact, the digital to video art. And we did that with a single computer could handle the flow of images created, working also mounting, the addition of the effects and sound mixing. Digital video, in fact, has helped to focus the dynamism, speed, and fragmentation at both the vision statement of the effect of strengthening three-dimensional.
In this context we find that the process of Marongiu, party art exact, by using the theory of symmetries from one to many, has arrived in the nineties, in fact, production of videos, like "The Speculum's Factory , with complex geometrical structures in a balanced and orderly mirror.
He passed from this static, then the "Wunderkamere" which multiplied with mirrors on the bottom, top and bottom, making the mirror no longer fixed, but unstable objects and structures chosen.
What interests Marongiu, however, was to create systems of signs like "real" not only colorful and harmonious but also digital optical vision stereometric. And so came to the current three-dimensional video.

Giosuč Marongiu, born in 1954 in Cagliari where he lives and works, he studied irregular. Soon became interested in art, however, starting to paint by himself. He liked to travel even in major Italian cities like Rome, Venice, Turin, then Menton, Paris and Melbourne, Florida, where he exhibited his figurative paintings.
In '77 he decided to return permanently to Cagliari where he continued to work and exhibit in various galleries. In '90, then, his interests turned to the mirror images and in fact wrote the "Wunderkamere. That same year he founded "Dreams", a journal of culture and information, which was also the editor until '95.
Participated in '97, in the Italian Pavilion, at 7. at the Cairo Biennale and was also the turning point for him not to paint more, but embarking upon a path of working with computer-generated video realization, in fact, the first "Speculum Movie Files" Metamorphosis ". Date back to 2003, moreover, the "Animated Paintings" with geometric patterns in motion.
In 2007 he joined L.I.G Metarationality Group, founded by Beppe Bonetti Rudolph, Reiner and Zoricic Milan and remained there until March 2009, when his works were born kinetic-plastic that shows up at the Inside \ outside Biennial World Pavilion , in 'Event 53.a parallel to the Venice Biennale.
Over the years, moreover, were the various solo and group exhibitions of Marongiu, for example, at: Spouses Gallery in Rome, Florence Gallery, Florida; Gallery Board of Cagliari; Palais d'Europe in Menton, in Spoleto Arts Festival ; Arx of Turin Gallery Check 8 +1 Mestre; Struktura at the Milan Gallery Anagma of Valencia with Studio Valmore Expo in Shanghai, to Artour-Ho Ywu International Fair, China Art Gallery Colossi, Brescia; Arrows of Eros, and London Biennale, among others, the Museum of Naples Minimum.
His works were finally obtained by the Museum Mondrianaan-huis in Amerfort, Holland Museum Gazoldo degli Ippoliti, Mantova; Museum Casabianca di Malo, Vicenza Municipal collection design, Salo and, among others, the Museum of Arts and Spirituality Brescia.
The combination of art and technology, in fact, has attracted Marongiu that with a growing interest for its innovative imagery, now becomes dynamically surfaces, volumes and colors.
Video art that has more than forty years of life, but is still considered young art, produced in various forms throughout the world on video art, television and computers increasingly present in international biennials and art fairs.
Similar fate, after all, before being recognized as an art form, he had the photograph. The endorsement of artistic originality was, in fact, in 1936, first with "The Work of Art in the Age of Mechanical Reproduction," Benjamin and then "Understanding Media", in 1964, McLuhan realized that even the unstoppable process of dematerialization of the media "and the 'effect of the global village.
The use of new techniques and contamination of several languages with the times, in fact, have fundamentally altered the art scene so as to show the video of the now historic founder Nam June Paik presented Exposition of Music-Electronic Television New York in the sixties.
In 1968, however, that was official recognition for videos with the exhibition "The Machine as Seen at the End of the Mechanical Age", curated by Pontus Hulten at MOMA in New York and that, in fact, marks the transition from 'time machine to that technology.
Global communication became faster approval and culturally with the videos, between integration and disintegration, saw the emergence of the art movement Fluxus, which belonged Pei, and in the world you are inspired. The same Gillo Dorfles in the late sixties, said video art as a "new dimensions of visuality. Fluxus art from the videotape - with artists like Gary Hill, Bill Viola, Marina Abramovic and the Italians of Studio Azzurro - and, finally, to video art made with computers, the pace was a result. He arrived, in fact, the digital art and computer art using a vector graphics software or by scanning a photograph or a drawing that are projected as video, numbered and signed or as drawings and paintings a single frame, printed on paper, vinyl or canvas.
Are obliged to add, finally, that the current three-dimensional shapes of complex geometric structures, we come to regard the stereoscope, invented in 1950 by the mathematician, programmer and art lover Ben Laposky, which, starting from Constructivism and Rationalism Bauhaus, enriched the computer's ability to produce images with the illusion of visual space similar to reality, now widely used both in art and in film in 3D, opening new avenues experimental contemporary art.

Plugin in the wake of this research, Marongiu, in recent years, has made videos with digital images simple concrete-abstract transform with exponential speed, complex structures in three-dimensional graphics. And so he, taking care of the aesthetic balance of the composition, creates within them a movement in volume.
Stereoscopic forms, exploiting the effect of binocular vision, no longer appear as a simple game, but as careful research proposal that gives rise to perception in the viewer a vision of intense emotional affinity also favoring the aid of glasses Marongiu polarized lenses which was held back in '90 thanks to the "CRS4" Research Centre of Cagliari, which gave him a copy and deepened the structures with which video.
Ultimately, it overcame the limitations of the monocular field with consequent extension of the concept of space and even with the manipulation of perception of reality, by extending the fluidity of their insights.
The digital aid, now is a means used worldwide so that falls, a full, comprehensive and radical change in communication speed allows knowledge and experience also in digital art.
It is, in short, produced a new culture is changing that relationship not only with themselves but also with the world, with all the positive and negative implications in 'ceaseless tension between humanity and the openings of technology and science.

Mutatis mutandis, remain, indeed, art the contradiction between freedom of artistic creativity and the planned construction of forms, including the arbitration rules, including the technological project el'inventivitŕ manually saved in extremis by the hope project inventions freer.
Video art, in all its aspects, in fact, expresses the contemporary social and cultural acceptance, but also opposed to the global system that wraps around with a veil of order. And now some artists react more or less consciously with the means they choose, revealing the entire endemic insecurity and disorder. And so they do not just make a statement in aesthetics, but also calling contributory cause in the viewer, they also tend to communication ethics.
Marongiu with his work, which has made the arts their main interest and his research laboratory, shows the same voltage. Choosing the reproducibility of the total work in which digital copies are identical to the original, he makes a moving image that seems to travel full circle and return to the starting point when, with the construction of pure forms, seemed to rule out the referent of human reality. With video "Wind" or "Utopia" of 2008, here documented phenomena of nature, like wind, water and fire which so evocative and poetic, show also the sense of disproportion between 'man el'ineluttabilitŕ elements of nature.
Different character, but always linked to the existence, his videos are a social as "The people" in which, with sequential shooting, scours the emblematic an extra day, with all the implications of solitude, of dignified deep poverty and collective aspects of this third millennium.
Marongiu, in short, not wanting to fall victim privileged drug spells a future of hyper-technology, has refined his art in the human and natural life to master the dream of virtual reality and perhaps even the "sleep of reason .
In the end, no one forgets that the existence focuses sull'epigramma Heraclitus: "The journey is the walk."

Anna Maria Di Paolo
Brescia June 25, 2010