Getulio Alviani

Getulio Alviani, Textura vibratile, esagoni e 2 cubi verticali, 1972. Collezione Dina Caròla, Napoli. In comodato a Madre · museo d’arte contemporanea Donnaregina, Napoli. Foto © Amedeo Benestante. | Getulio Alviani, Textura vibratile, esagoni e 2 cubi verticali / Vibrant texture, 2 hexagons and vertical cubes, 1972. Dina Caròla collection, Naples. On loan to Madre · museo d’arte contemporanea Donnaregina, Naples. Photo © Amedeo Benestante.

The systematic analysis of perceptual phenomena has always been at the center of the poetic of Getulio Alviani (Udine, 1939 – Milano, 2018), in which the domains of art meet those of scientific inquiry, transforming the work into an ongoing research project. His work raises a set of logical-mathematical rules to a system and becomes cognitive experience, being dispelled in reality as an expression of an ideal rational ordering.
In 1961 the artist collaborated on the mass production of plastic objects and between 1962 and 1964 participated in the exhibition of Programmed Art by Olivetti in Venice, Rome, Trieste, Düsseldorf and London. In 1964 he was invited to the Venice Biennale and presented his work in the exhibition Nouvelles Tendances at the Louvre in Paris. In 1965 he participated to the exhibition The Responsive Eye at the MoMA in New York and created the first room-environments with vibrant wall surfaces. At that time his work began to show a growing interest in spatial articulation, and its comparisons with architecture became increasingly stringent, not only through the multiplication of standard modular elements but also with the creation of mirror structures, curved and rotated to create special effects of perception. In 1968 he participated in Documenta 4 in Kassel. He was again invited to the Venice Biennale in 1986 and 1993. In recent years he has devoted himself to the production of texts and exhibitions on the principal figures in international structural and visual research, collaborating with museums above all in Eastern Europe.

The work in the collection belongs to the famous series of Superfici a testura vibratile (“Vibrating Texture Surfaces”, 1972-74), which play on the ambiguity of vision. The subtle iridescence generated by the refraction of light, due to the compositional texture of aluminum surfaces, activates their intrinsic dynamism and random interaction with the viewer, making them a fragment of Alviani’s complex Weltanschauung, based on the stimulation of new operational procedures and different possibilities of expression bound up with the study of phenomena and ideological questions related to optical-visual issues. This bears witness to his rigorous path of research on the plane of theory and the precision of its formal developments, closely related to the historical experience of the Bauhaus and artists such as Josef Albers, Max Bill and Konrad Wachsmann, flowing into the Kinetic and Programmed Art movement of which Alviani was one of the earliest and most lucid interpreters.
Alviani’s partnership with Dina Caròla’s Galleria Il Centro dates back to 1966, at the time of the exhibition Tendenze Confrontate. Arte Visuale e Figurazione Oggettuale a confronto, curated by Filiberto Menna and Alberto Boatto, and continued uninterrupted over the years (with his first solo exhibition in 1972 and the latest in 2007). The exhibitions at the Neapolitan gallery soon guided his interests towards all research into scientific experiments with vision, with Alviani curating, over the years, exhibitions by modern masters such as Josef Albers and Max Bill, exponents of Kinetic and Programmed Art such as Gianni Colombo, Enzo Mari, François Morellet, Jesus Rafael Soto, Victor Vasarely, Luigi Veronesi, or historic exponents of the Gruppo T and Gruppo N, such as Edoardo Landi and Manfredo Massironi.