I think it's time to
share with you all the motivations and intentions that have
moved in the past 35 years, my artistic research; described
in this presentation of the 19/12/2014:
GIOSUE 'MARONGIU
"THE FORMS OF THE FOURTH DIMENSION":
(Introduction of Marongiu.)
The reason for my
brief presentation is to try to establish fixed points
through which to relate correctly to both my artistic
research of the past 30 years but also with contemporary art
in general. Then we retrace together the various stages that
have characterized, since the end of the 800 to the present
day, the artistic research. The need leads me then to have
to go back in time and, ignoring the experience
Impressionist: (Paul Signac, Eduard Manet, Claude Monet,
Vincent Van Gogh and others), would we consider the current
"Post Impressionist" in 1886 and 1905 (Paul Gauguin, Vincent
Van Gogh and others). Within this artistic movement
developed in France around 1885 or pointillism pointillism.
You can consider this moment as the point of emergence of
the study of the psychology of perception and that is how
the human eye perceives the images, the colors and the
surrounding environment. Since that time the artists begin
to have a more pragmatic approach towards scientific and
art, turning into real researchers. In fact create a work
they approached dots or strokes of pure color to each other,
for example: some yellow dots near some blue dots or some
red dots near the blue ones, and even some yellow dots to
the red ones and so on ..., these dots or strokes observed
from a distance mingled with each other, giving rise to the
perception of green, purple and / or orange and so on ... In
practice at that time was born on Neo-Impressionism which
placed the 'requirement of the relationship between art and
science. The painting of romanticism drew to a close, and
with it the spiritual approach towards art. In fact, in
1907-1921 it spreads Cubist experience where you tend to NOT
be the interior dimension and / or spiritual, but to
represent reality in a completely rational, with a
scientific attitude and analytical. Cubism in practice is
inspired by everyday objects, but not limited to
transporting them, with painting technique but sometimes
even combining collage, on canvas, in their
three-dimensionality, highlighting the three faces of the
object more or less known. Now, new technological
achievements of that period substantially affect a new art
movement that faces in 1909 with Tommaso Marinetti, Umberto
Boccioni, Giacomo Balla and many other artists: Futurism.
With the advent of aeronautics that changes the perspective
of men, and with the speed of the cars and the animation
film, the point of view of Art turns further, following a
profound cultural revolution. Spirituality and contemplative
vision of art was replaced by the pragmatism that has
anticipated the current ones they consented then more
particularly in our times: the Art Kinetic, Programmed in
Art and Art Concrete transforming the latter, the subject in
the subject. Clearly the main points with relevant documents
indicate Futurism are virtually the Movement, Matter in all
its forms and the Three-dimensionality. This experience so
profound has given rise to one of the movements which belong
to us, at least chronologically: Spatialism 1946-1958. With
this new research through informal: the gesture; even
conceptually, the sign and space; from which then gave rise
to the current of Informal and Gesture (Action Painting):
(Jackson Pollock, Hans Hartung and others) and the
Conceptual (Marcel Duchamp, Piero Manzoni and others), which
are the basic elements through which the spatialism is
expressed. This movement, born of Lucio Fontana in 1946,
wants to renew the art of adapting to the scientific
achievements attained by inserting a new dimension: that of
space and time, prompted by new theories of relativity of
Albert Einstein. Essentially the artists intend Spatialists
strongly abandon the two dimensions of painting and
replacing them with an alternative three-dimensional
material can break away from the traditional canvas; taking
into account the awareness of the existence of forces and
particles that make up the electronic world of the
infinitely small, known as quantum physics, which led Lucio
Fontana to the gesture of the holes and the cuts in his
paintings; detaching forever the old conception of art to a
new form of Art Space. In Spatialism it declares in essence
that the means to be used are: the lights, the television,
where space and time coexist. Also opposed is definitely
figurativism.
This preface my introductory wants to prove that it can not
exist in our contemporary artistic research that does not
take into account the artistic and consequential time during
which took place the profound changes that have brought us
to this day.
In 1997 I wrote my "Manifesto of the new reality" (Art is
the thought) taking into account just these consequential
and considering the substantial transformation which was
performed on the contemporary language of communication;
underlining the urgent need that can operate those changes
and the total revision of the community are essential to the
social contingencies.
I urge you to carefully read the Manifestos of Futurism and
Spatialism, to better understand how the consequential
constant time and the attitude that artists have held, in
the passing of the years, only to indicate what is the way
of artistic research to go, without second thoughts
projected into the future.
In my long artistic career youth training, they landed, as
it was right that it was, the Art Concrete, Programmed,
built; very suited to my personality pragmatic, working for
several years with the Cultural Association "Check 8 + 1"
Venezia Mestre, and the Association "Art structure" of Milan
directed by Anna Channels, with which I have participated in
various projects Exhibition: "Art builds Europe" etc ... In
1990, I liked to immerse myself in an editorial experience,
founding a monthly Culture called "Dreams", the title of the
newspaper that I wanted to dedicate to the great Akiro
Kurosawa, director for precisely the film "Dreams" that
emerged in those months. Prepress of my newspaper, I had to
provide, to the office, a computer; considered, by then, a
valid work station: a Centris 660 AV, where AV was for
Audio-Vision (teleconferencing from a distance), and the 660
was the power of the processor that Apple Macintosh; a
dreadful slowness, which then seemed a great speed, which
compared the various Giga bit of current computers ... With
the computer I started my wonderful adventure in "Computer
Art". Many resistances having found the claim to be able to
make art with the computer; considered by many; fellow
artists and art critics in the first place, an idea very,
very, very "questionable". However this exciting new medium
that I had discovered and which had recently become public
knowledge, although still very expensive, I had given way to
expand, as a result, my artistic research in multimedia. At
first, my research was based on visual mirror images;
consequential to my previous research of "Wunderkamere" (Chambers
of wonders with the use of mirrors also Reflective), begun
in 1987 and lasting until the 1990/91 precisely. This new
research on symmetry, so then snubbed by most of the artists,
I soon led to the construction of geometric images to view
strongly Gestalt, metamorphosed into the more concrete "Autostereogrammi".
These images they clearly pointed the way to the
three-dimensionality. My geometric works were built on the
discrepancies of the vertical lines on the horizontal plane
and looking at them in a certain way svelavano the
three-dimensional architecture hidden: << you should just
look at forcing the optic nerve, with the technique of "strabicamento"
to hook the 'three-dimensional effect >>. In 1992 a friend
researcher CRS4 Cagliari, having seen my exhibition "For a
different way of looking", he came to the rescue by giving
me a pair of glasses, very special, just arrived from
America; by the developer in the experimental stage he sent
them to the Research Center. They were the first glasses for
viewing three-dimensional color "Croma 3D"; not those "red
cyan" for viewing anaglyph of the two images side by side (anaglyphic
images). With these new glasses I could easily give a
preview my works: frames and video, without forcing the
visitor to this torture on the optic nerve, but simply make
them get on. In essence, the colors are electromagnetic
waves and you have in front of our eyes, in a certain
position of the space, according facendoceli perceive a
certain spatial distance: first the RED, the ORANGE, YELLOW,
GREEN, BLUE, the INDIGO and VIOLET and their respective
halftones in the intermediate positions. Since that time the
images were no longer "Auto-stereograms" but simply "Stereograms
3D", with the aid of glasses. These glasses also gave me the
opportunity to build my colorful architecture geometric
color with absolute accuracy, because I could be both
operator and user and intervene continuously, with
amendments, the project vision. With the experience gained
and the library of still images that I had built, in 1996, I
could go to the motion pictures made my first work-VIDEO
COMPUTER-ART, in fact, in 1997 I presented, as invited, my
first work of Video-Computer-Art Series (Speculum Files
Movie) entitled "Metamorphosis" to the 7th Biennale of Cairo
Egypt, in the Italian Pavilion; Also in the company of
Francesco Clemente, Vincenzo Amato and 3 others artists.
Even the soundtracks of my videos are a project of sound
Sound-Art; built in sync with animation produced, sampled
and built / made to the computer with the help of well-known
program "Cubase". My second video: (Speculum Files Movie 2)
entitled "The Speculum's factory" was made by me completely
in 3D; with a program, by then but still, very soon: "Light
Wave", to animation and three-dimensional computer modeling.
This second work of Video-Computer-Art introduced him in the
Galleria d 'Arte "Contemporary" of the City of Venice-Mestre
in 1999; for the exhibition: "8 + 1 = 20." In September 2007
I theorized my "Manifesto of the New Reality (Art is the
Thought)", with the intention of trying to make the point
about new languages and new requirements that were quickly
taking root in the new society.
In February 2011, after several other exhibitions in
previous years, inauguravo my personal exhibition "Art as
research Marongiu 1990/2010" in Consorti gallery in Via
Margutta in Rome, by Professor Luigi Paolo Finizio.
My long search path, aesthetic and sound, could bring
clearly to the fourth dimension; making investigate the
theory of General Relativity of Einstein and the fourth
dimension of space-time. My new job of Video-Computer Art
"The Order implicit", comes from quantum hypothesis advanced
by Professor David Bohm. Later arose the "Fourth Dimensional
Works Cineplastiche" "Relative movement towards a state of
apparent calm" originate from a philosophical
Kinetic-Plastic theorized by Professor Gabriele Righetto
University of Padua. These two works have them presented at
the 54th and 55th Venice Biennale; between the Parallel
Events.
In conclusion, I think that we can not absolutely regardless
of the lesson that large groups Artistic research of the
past we have delivered, and have clearly noted that
consequentiality can not exist without a future of growth in
Art. Before Cubism, Futurism and then finally Spatialism,
and from this last great artistic group, the Contemporary
Art must draw in order to keep moving and continue their
journey towards the future.
The great Lucio Fontana, and before him, Pablo Picasso
showed us the way to go into the fourth dimension.
Giosuč Marongiu
Maracalagonis 19/12/2014