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Draft:Giovanni Pizzo

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  • Comment: Draft is improperly sourced and written in a highly promotional tone rather than an encyclopedic tone, for example: "critical acclaim, dynamic, globally, highlights, influential, innovative, pioneering, prominent, significant" Netherzone (talk) 18:26, 10 October 2024 (UTC)
  • Comment: The creator of this draft, Conrad.Teller, also uploaded image files that appear within it. For c:File:Giovanni Pizzo, Sign Gestalt, 1964.jpg, he explains: I represent the company that holds the copyright to the materials related to Giovanni Pizzo. We maintain a close relationship with his family and have received their permission to share images of his work. Our intention is to promote awareness of Pizzo's life and contributions to the art world, especially as he is gaining recognition globally. Hoary (talk) 01:12, 9 October 2024 (UTC)

Giovanni Pizzo (1938, Veroli – 2022, Rome) was an Italian artist and one of the representatives of the arte programmata movement. His work intersected with scientific methodologies, emphasizing logical-mathematical processes and visual perception.[1]

Giovanni Pizzo
Born1938
Veroli
Died2022
Rome
MovementArte programmata
SpouseLucia di Luciano

For Pizzo, art was a form of research conducted through systematic, programmed processes, which he initially developed in notebooks before transferring them to canvas.[2] Today, his approach to merging art, science, and technology is referenced in discussions about the history of computers and digital art.[3][4]

Together with Lucia di Luciano, Pizzo participated in the Nove Tendencije 3 exhibition in 1965, in Zagreb, Croatia. He participated in VIII Quadriennale d’Arte di Roma (1960), Esposizione Universale di Montreal (1968), VI Biennale Romana (1968), Biennale Internazionale di Barcellona (1992), etc.[5]

Early life and Education

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Pizzo studied at the Academy of Fine Arts and the French Academy in Rome, where he developed a structured approach to art, influenced by geometric principles and logical processes. He held his first solo exhibition at La Fontanina Gallery in Syracuse in 1958.[3] In 1956, he married Lucia di Luciano, who later became both his wife and artistic collaborator.

Gruppo 63 and Operativo R

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In 1963, Pizzo and di Luciano, in collaboration with Lia Drei and Francesco Guerrieri, co-founded Gruppo 63 - an avant-garde art collective that sought to fuse art, architecture, and scientific research.[6] The group exhibited in Rome, Florence, and Livorno, but dissolved later that year due to internal differences.

After the group's dissolution, Pizzo and di Luciano, along with Carlo Carchietti, Franco Di Vito, and Mario Rulli, formed Operativo R. Their manifesto, the "Theory of Operationalism", published in Marcatré, established their approach to creating art through systematic, logical-mathematical processes.[1][7] Despite their goals, Operativo R eventually disbanded due to differing views, prompting Pizzo to refine his individual approach to programmed art.

  • Gruppo 63, 1963 - Francesco Guerrieri, Lia Drei, Lucia di Luciano, Giovanni Pizzo
    Gruppo 63, 1963 - Francesco Guerrieri, Lia Drei, Lucia di Luciano, Giovanni Pizzo
  • Operativo R, in Rome, 1964. Carlo Carchietti, Franco di Vito, Giovanni Pizzo, Lucia di Luciano
    Operativo R, in Rome, 1964. Carlo Carchietti, Franco di Vito, Giovanni Pizzo, Lucia di Luciano

Arte Programmata

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The 1960s were a time of profound cultural and artistic transformation, characterized by the emergence of movements such as Kinetic Art, Minimalism, and Pop Art. During this period, Arte Programmata arose in Italy as a movement that aimed to integrate art and technology.[8] Known as "programmed art," it emphasized a structured and methodical approach to artistic creation, grounded in logical and mathematical principles.


Giovanni Pizzo and Lucia di Luciano were participants in this movement. They actively participated in the Nove Tendencije 3 exhibition (1965). Their involvement was beneficial for the development and recognition of Arte Programmata, and helped to position their work within a broader context of contemporary artistic exploration.[3]

In 1966, they presented individual installations of programmed art at the Galleria Numero in Rome, accompanied by a sound environment composed by Pietro Grossi. Art critics including Giulio Carlo Argan, Umbro Appolonio, Lea Vergine[9], Palma Bucarelli and Giancarlo Politi have recognized their exploration of the intersection between scientific reasoning and visual perception.[3]

The main goal for Pizzo and di Luciano, was to make the operational processes behind their art visually accessible. They sought to foster an educational dialogue that connected scientific logic with aesthetic experience, ultimately creating a "metalanguage"[1] that enabled viewers to engage with the underlying structures and meanings of their visual compositions.

  • Giovanni Pizzo, Sign Gestalt, 1964, acrylic, indian ink, masonite, 650 × 1300 mm
    Giovanni Pizzo, Sign Gestalt, 1964, acrylic, indian ink, masonite, 650 × 1300 mm
  • Giovanni Pizzo, Sign Gestalt no. 34, 1964, acrylic, indian ink, masonite, 650 × 1300 mm
    Giovanni Pizzo, Sign Gestalt no. 34, 1964, acrylic, indian ink, masonite, 650 × 1300 mm

Operationalism and Visual Perception

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Operationalism, a concept articulated by Percy W. Bridgman in 1926, emphasizes that ideas are defined by the operations associated with them.[10] For Giovanni Pizzo, the operational process leading to the form was more fundamental than the form itself, embodying the principles of operationalism and aiming to establish an interaction between art and cognition.[11]

His artistic exploration unfolded through various phases, each consisting of operational steps that facilitate the movement of images across space and time.[12] Each phase was first documented in his notebooks and featured a distinct perceptual quality designed to enhance viewer engagement through logical and mathematical planning, allowing for precise control over aesthetic operations.[1] He used Morgan's Paint (acrylic) and Indian ink to achieve distinct color variations on canvas.[2] Ultimately, visual perception was shaped by the position and function of elements within the overall structure.

Sign Gestalt

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  • Giovanni Pizzo's notebook page, 1977
    Giovanni Pizzo's notebook page, 1977
  • Giovanni Pizzo's notebook page, 1977
    Giovanni Pizzo's notebook page, 1977

Giovanni Pizzo was using the combinatory method to generate his works, primarily titled "Sign Gestalt". These works explore the gestalt possibilities inherent in modules, phase structures, geometric forms, and mathematical concepts.[7] Each piece features arrangements that demonstrate various potentials of visual elements. The positioning of these elements changes, creating dynamic interactions between visual components and color.[1]

Lucia Di Luciano & Giovanni Pizzo at 62. Annale - New Fundamental Tendencies, 2022, Poreč, Croatia

Contribution and Legacy

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In addition to his artistic endeavors, Pizzo co-founded the Spazio Documento cultural association, which has been active since 1981.[13]

Lucia Di Luciano & Giovanni Pizzo, b-w photo

Similar to his wife, he is currently experiencing a resurgence in interest, leading to increased attention from critics and collectors.[7] This re-emergence highlights their contributions to the art world and prompts discussions about the relevance of their approaches within contemporary artistic practices.

Solo Exhibitions (selection)

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  • 2024: GIOVANNI PIZZO. Works from the 60s to 2022, 10 A.M. ART Gallery, Milano; Lucia Di Luciano, Giovanni Pizzo: Arte Programmata - NFT’s Point Zero, Ras Al Khaimah Art, Ras Al Khaimah (UAE)
  • 2023: Giovanni Pizzo: Sign Gestalt. Riquadrare la storia, Sala 1, Rome
  • 2022: Lucia Di Luciano & Giovanni Pizzo. Programirana umjetnost, “Josip Račić” Studio of the National Museum of Modern Art, Zagreb; Lucia di Luciano, Giovanni Pizzo – Programirana umjetnost 1964. – 1977, Kolekcija Marinko Sudac, Varaždin City Museum, Varaždin
  • 2015: Sistematiche Operazionali, Galleria 10 A.M. ART, Milan; Sistematiche Operazionali, Spectra Konkret, Graz
  • 2013: Sign Gestalt 1961 - 1970, Montrasio Arte, Milan
  • 2007: Combinatorie, Arte Programmata anni ’60, Galleria Nazionale d’Arte Moderna, Rome
  • 2004: Contrappunti, Galleria 8+1, Venice – Mestre
  • 2002: Giovanni Pizzo, MLAC, Museo Laboratorio di Arte Contemporanea - Università "La Sapienza", Rome
  • 1993: Alternanze Cromatiche, Galleria l’Ariete, Rome; Giovanni Pizzo, Studio d’informazione Estetica Concreto, Calasetta
  • 1986: Giovanni Pizzo, Galleria Arte Struktura, Milan
  • 1985: Poetica del Colore nelle Strutture Combinatorie, Centro Culturale Spaziodocumento, Rome
  • 1976: Giovanni Pizzo, Galleria Disque Rouge, Bruxelles
  • 1966: Per una Ricerca Estetico - Operazionale come Metalinguaggio, Galleria Numero, Rome and Florence
  • 1965: Per una Scelta Operativa, Galleria Numero, Rome
  • 1958: Galleria la Fontanina, Syracuse

Collections

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Works by Giovanni Pizzo are held in the following collections:

References

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  1. ^ a b c d e "Giovani Pizzo". Lucia Di Luciano / Giovanni Pizzo – Combinatorie. Arte programmata anni '60. Palombi Editori. 2007. pp. 33–37. ISBN 978-88-6060-080-6.
  2. ^ a b Margozzi, Mariastella (2007). "Lucia Di Luciano e Giovanni Pizzo, dall'arte programmata alle combinatorie.". Lucia Di Luciano / Giovanni Pizzo – Combinatorie. Arte programmata anni '60. Palombi Editori. p. 11. ISBN 978-88-6060-080-6.
  3. ^ a b c d Lucia di Luciano – Giovanni Pizzo: Programirana umjetnost / Arte Programata. National Museum of Modern Art. 2022. pp. 2–5. ISBN 978-953-348-122-7.
  4. ^ Rosen, Margit (2011). A Little-Known Story About a Movement, a Magazine, and the Computer's Arrival in Art: New Tendencies and Bit International, 1961–1973. The MIT Press. pp. 174–176. ISBN 9780262515818.
  5. ^ "Giovanni Pizzo - exhibitiona". Artfacts. Retrieved 11 October 2024.
  6. ^ Bolpagni, Paolo (2015). "Il rigore dell'arte di Lucia Di Luciano e Giovanni Pizzo nel quadro delle ricerche cinetico-programmate degli anni Sessanta in Italia". Sistematiche operazionali, Lucia di Luciano - Giovanni Pizzo. 10 A.M. Art, Milano. pp. 3–4. ISBN 978-88-940648-3-4.
  7. ^ a b c Cherstich, Fabio (2024). Giovanni Pizzo - Selected Woks (1964 - 2022). Apartamento Publishing Studios. pp. 4–7. ISBN 9788409580927.
  8. ^ Bolpagni, Paolo (2015). "Il rigore dell'arte di Lucia Di Luciano e Giovanni Pizzo nel quadro delle ricerche cinetico-programmate degli anni Sessanta in Italia". Sistematiche operazionali, Lucia di Luciano - Giovanni Pizzo. 10 A. M. Art, Milano. p. 3. ISBN 978-88-940648-3-4.
  9. ^ Vergine, Lea (1984). Arte programmata e cinetica 1953-1963. L'ultima avanguardia (catalogo della mostra tenuta nel 1984 a Milano, Palazzo Reale). Gabriele Mazzotta. ISBN 9788820205409.
  10. ^ Bridgman, Percy W. (1927). The Logic of Modern Physics (6th ed.). The Macmillan Company (published 1951). p. 3. ISBN 9780405125942.
  11. ^ "Giovanni Pizzo – Riquadrare la storia". Artribune. 6 December 2023. Retrieved 11 October 2024.
  12. ^ "Lucia Di Luciano - Giovanni Pizzo: "Sistematiche operazionali"". 10 A.M. ART Gallery. Retrieved 11 October 2024.
  13. ^ "Giovanni Pizzo". Avantgarde Gallery. 7 October 2024.
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