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:



(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