PRESS
04 Nov 2017

Felipe Pantone

Wall Street International

“Planned Iridescence” aims to exhibit the artistic output of the internationally known and brilliant talent that is reinventing and bringing to another level the Optical and Kinetic Art tradition. Felipe Pantone’s body of work spans from graffiti to installations to “traditional” paintings.

Strong contrasts, vivid colors, effects, and the use of mixed medium and varied technique combine to impact strongly on the viewer. What really intrigues it’s not the striking nature of his work, but the artist’s journey to discover this aesthetic, that leads him to never stop experimenting in order to maintain his artistic research always bright and to bring it to the next level. In particular, symbolizing the attitude of the artist, this exhibition is a revelation, showing an advanced full experience, impossible to explain with words.

For his first Solo show in NYC Felipe Pantone is arranging an astonishing design planning, uncovering for the first time a new series of works, in fact “Planned Iridescence” is the title of these new works which are the product of years of research in his quest to evoke digital experiences through inanimate objects. Made with a unique iridescent material that allows the artist to regulate light spectrum gradients in every aspect of color, repetition, directional displacement and rotation.

Movement is activated by the viewer’s position in front of the work, creating an individual interactive participation that he perceives as cyber encounters. In order to maximize this experience, Pantone is also relying on new technologic supports and different spaces dimension, able to expand the exhibition out from the traditional boundaries.

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01 Nov 2017

Felipe Pantone

Graffiti Street

Felipe Pantone Leaves his Graffiti Tag in New York City, 2017

Felipe Pantone has just left his tag in New York City, his bright creations are influenced by the internet and the technology hungry world we live in today. Glitchs and computer generated graphics are the sign of the times and Pantone uses this concept in his art. His style is characterised by the use of bold colours, geometrical patterns and Op Art elements.

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01 Nov 2017

Planned Iridescence

Sold Magazine NY

Retro-Futurism with Felipe Pantone

October 30, 2017

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Words by Sarah Sansom, Photos by Spectator and Sarah Sansom

Since seeing Argentinian-Spanish artist Felipe Pantone painting in Miami 3 years ago, I’ve followed his progress avidly. From Wynwood to Detroit to New York City, his work has an electric, retro-futuristic energy that draws you in.

Here at SOLD, we’re thrilled to see him back for his first solo show here at GR Gallery, and witness him leave his mark on the streets.

Retro-Futurism with Felipe Pantone

October 30, 2017

|

Words by Sarah Sansom, Photos by Spectator and Sarah Sansom

Since seeing Argentinian-Spanish artist Felipe Pantone painting in Miami 3 years ago, I’ve followed his progress avidly. From Wynwood to Detroit to New York City, his work has an electric, retro-futuristic energy that draws you in.

Here at SOLD, we’re thrilled to see him back for his first solo show here at GR Gallery, and witness him leave his mark on the streets.

Come see “PLANNED IRIDESCENCE”, featuring 20 Felipe Pantone pieces including paintings, projections, interactive installations and murals; focused on the interaction between the displacement of the light spectrum and shape-color dynamism.

It’s fascinating to see Felipe’s energy, usually in fluorescent colors, transformed into light and movement.

Open daily 12:00pm – 7:00pm until November 25. 

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27 Oct 2017

Planned iridescence

"Hip Hop Grind TV"

Best Art Shows Exhibits October 2017 Week One

Felipe Pantone’s “Planned Iridescence” Exhibit in NYC

Innovative artist Felipe Pantone will be making his way into New York City this fall to launch a new solo exhibit called “Planned Iridescence.” The digitally-inclined presentation will see approximately 20 new artworks that explore “the interaction between the displacement of the light spectrum and the color dynamism,” said Pantone in a statement.

“Planned Iridescence” will open at the GR gallery in New York City from October 19 up until November 25.

GR Gallery
255 Bowery
New York, NY 10002

KAWS to Debut New Artwork at Frieze Art Fair in London

  • Galerie Perrotin

The prestigious Frieze Art Fair in London is set to commence on October 17. Cocktails will be served, suits will be donned, and fine contemporary art will be available to peruse. One participating artist is KAWS who will display a handful of new pieces at Galerie Perrotin’s solo booth (A17) at the event. Accompanying the paintings is a new outdoor Companion sculpture at Regent’s Park which made its debut this past July.

Visit the Frieze Art Fair’s official website to learn more and find the address below.

Regent’s Park
Chester Rd
London, UK NW1 4NR,

Takashi Murakami’s “Under the Radiation Falls” Exhibit in Moscow

Takashi Murakami has opened a major retrospective at the Garage Museum of Contemporary Art in Moscow, Russia. Titled “Under the Radiation Falls,” the new exhibit is split into five parts and spotlights a slew of archival as well as new prints, paintings, sculptures and installations. Murakami’s signature Flowers, Mr. DOB, Kai Kai Kiki and even Miss ko2 characters are featured in the extensive presentation.

The exhibit is currently open to the public up until February 4, 2018. Visit Garage MCA’s official website to learn more.

Jenny Holzer Takes Over the Blenheim Palace in England

Jenny Holzer has launched a new exhibition at the historic Blenheim Palace in England. The presentation features a wide array of text-based artwork and stonework pieces alongside Holzer’s iconic LED light installations. Additionally, she has created a virtual reality mobile app for the showcase. The text highlighted in the pieces are culled from The Not Forgotten Association—a charity organization that provides assistance for military veterans in the UK.

The exhibit is currently open to the public up until December 31. Head over to the Blenheim Art Foundation’s official website to learn more.

Blenheim Palace
Woodstock OX20 1PP, UK

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24 Oct 2017

Felipe Pantone

Hamptons Art Hub

“Planned Iridescence” features 20 new works—including paintings, projections, interactive installations and murals—that are the product of years of research into ways of evoking digital experiences through inanimate objects. Pantone, who works in the optical and kinetic tradition, uses strong contrasts, vivid colors, mixed medium and varied techniques to focus on the interaction between the displacement of the light spectrum and shape-color dynamism. The exhibition, featuring iridescent material that allowed Pantone to regulate the light spectrum gradients in color, repetition and directional displacement, symbolizes the attitude and experimentation of the artist, according to the gallery release, and expands the exhibition beyond traditional boundaries.

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23 Oct 2017

Felipe Pantone

BK Street Art Magazine

Street Artist Felipe Pantone opens a new show tonight and gifts two new outside walls to NYC. BSA talks to him and GR gallery director Alberto Pasini about the exhibition.


An established studio in the north-eastern Italian town of Sacile since the late 1970s, the Studio d’Arte GR has specialized in Kinetic, Op, and Programmed art for decades. Curating what they estimate to be over 300 shows worldwide over that time, their GR Gallery is relatively new to New York, opening in 2016 with a 40 piece group show spanning the most unusual and dynamic techniques of the genres.

As it turns out, they are here just in time to offer a show to Argentinian/Spanish Street Artist Felipe Pantone, who has been expanding upon a geometric graffuturism vocabulary that the last decade has set free on the streets in cities around the world.

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30 Sep 2017

Hypebeast

Felipe Pantone

The bold Argentinian street artist known for bringing bringing digital aesthetics into the real world, Felipe Pantone is opening his first New York solo show “Planned Iridescence” this month at GR Gallery. According to the gallery, 20 pieces are expected to be featured including paintings, murals, projections and interactive pieces exploring the “interaction between the displacement of the light spectrum and the color dynamism.” Fans can catch the show’s opening on October 19 at GR Gallery, 255 Bowery, New York. Planned Iridescence will run until November 25.

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17 Sep 2017

Arte In World Magazine

ALBERTO BIASI SARA CAMPESAN BRUNO MUNARI E ALTRI AMICI DEL GRUPPO “VERIFICA 8+1”

THE PLURALISM OF EXPERIENCES
STILL MARKS THE EXHIBITION, OPEN UNTIL OCTOBER, 28 AS A BIENNALE SIDE EVENT

Sara Campesan, Franco Costalonga, Nadia Costan ni, Mariapia Fanna Roncoroni, Maria Teresa Onofri, Nino Ovan, Rolando Stra ), and where the ‘+1’ hints to So a Gobbo who, though being not an ar st, became the mainstay of Veri ca and coordinated its team ac vi es.

Promoted by Ars Now Seragio o and curated by Giovanni Granzo o, the exhibi on “Alberto Biasi, Sara Campesan, Bruno Munari e altri amici di Veri ca 8+1”, [“Alberto Biasi, Sara Campesan, Bruno Munari and other friends of Veri ca 8+1”] brings about a mee ng between the Fondazione Bevilacqua La Masa in Piazza San Marco and the works created by the founders of “Veri ca 8+1” and

other ar sts taking part in its ac vi es. The show takes place in the same rooms where the exhibi on “Arte come ricerca” introduced the protagonists of that ar s c experience to the public in 1981.

Since its onset, the group has never focused on a single ideology, poe cs, or language. “Veri ca 8+1” was not established as a place where art is bought and sold; members do not belong to a speci c school or line-up, but they par cipate in a collec ve experience, united by the same desire to share a

physical space that catalyzes contemporary art research and where image, sign, word, sound language, gesture, performance and all the new instruments made available by

developing technological progress are in dialogue with one another.
Up un l 2008, the centre had been performing some “veri ca on” (hence
the name “veri ca”), focusing on abstract, concrete, geometric, structuralist, construc vist, and kine c art, as well as on communica on structures, visual and not. Located in Via Mazzini 5, the small space devoted to experimenta on have become an interna onally acknowledged research centre on contemporary art and, in Bruno Munari’s words, “a bridgehead for cultural achievements”. Become a “symbol and ag” of the didac c-recrea onal structuralism informing the ac vi es of the centre, it was {…}

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14 Sep 2017

GR Gallery exhibits works by artists from the 57th Venice Biennale

Art Daily

NEW YORK, NY.- GR Gallery is presenting a group show featuring five artists, represented by the gallery, who are now participating at the 57th Venice Biennale: Alberto Biasi, Franco Costalonga, Nadia Costantini, Sandi Renko, Claudio Rotta Loria.

This exhibition aims to underline the international relevance and attention that is now pointing at five outstanding artists represented by GR gallery, that are simultaneously attending the most important art event in the world: the Venice Biennale. All Italian, these artists are among the founders or prime representative of the Optical Art and Kinetic Art. An movement emerged in the early 50s in Europe and South America that rose quickly in the early 60s also in the U.S., peaked with “The Responsive Eye” exhibition at New York MOMA in 1965, and then faded within a few years. On both sides of the ocean, it has had a long and outsized influence on visual art, architecture and design. In the last few years, the art world has witnessed a deluge of Op and Kinetic art centered exhibitions by major international museums and galleries and the markets took notice.

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05 Aug 2017

Verifica 8+1

Ars Now

Un articolo firmato da Enzo di Martino per “Il Gazzettino” ci riporta agli anni ’60 per raccontare di un gruppo di artisti talvolta non valorizzati come avrebbero meritato. Alla Fondazione Bevilacqua La Masa, un evento collaterale alla Biennale di Venezia, promosso dall’Associazione culturale Arsnow Seragiotto.

La ricerca espressiva dell’ arte del Novecento ha percorso numerosi sentieri, spesso non tutti opportunamente registrati e valorizzati. Si assiste allora, negli anni più recenti, alla lodevole riscoperta di gruppi e movimenti che al loro apparire, forse perché troppo innovativi da un punto di vista formale, non avevano avuto l’ attenzione critica che certamente meritavano. L’ ultima ondata di queste riproposizioni storiche riguarda in particolare l’ arte italiana più rigorosamente astratta, emersa tra la fine degli anni Cinquanta e gli inizi del Sessanta, definita in parte arte programmata, in altre declinazioni ricerche ottico-cinetiche.

I loro protagonisti, penso in particolare ad alcuni nomi quali Enrico Castellani (1930) ed Agostino Bonalumi (1935 -2013)  – entrambi partecipi nel 1956 del Gruppo Azimut a Milano – hanno ormai raggiunto quotazioni di grande rilievo e interessato un mercato di vastità internazionale.

E’ dunque in questa prospettiva che va letta la mostra che, a cura di Giovanni Granzotto, viene inaugurata alla Fondazione Bevilacqua La Masa di Venezia, dove resterà aperta fino all’ 8 ottobre. Ha per titolo Alberto Biasi, Sara Campesan, Bruno Munari e altri amici di Verifica 8+1, facendo perciò espressamente riferimento alla straordinaria esperienza promossa a Mestre nel 1978, quella di un centro di documentazione e informazione di nuovi linguaggi, rimasto attivo per trent’ anni.

La mostra è incentrata sull’ opera di tre figure di rilievo perché Bruno Munari (1907-1998) – al quale in marzo è stata dedicata una antologica nel Palazzo Pretorio di Cittadella – è in effetti una delle personalità più complesse ed interessanti dell’ arte italiana del XX secolo, sebbene abbia operato,sempre con grande rigore, non solo come pittore, ma anche quale grafico e designer. Alberto Biasi (nella foto una sua opera) ha ormai assunto la figura di un autentico protagonista dell’ arte programmata e non a caso è stato nel 1960 tra i fondatori dello storico Gruppo N di Padova. Le sue opere risultano sempre emotivamente e visivamente coinvolgenti, stabilendo un rapporto nuovo ed armonioso con lo spazio, spesso anche con l’ intervento del movimento e della luce.

Più intrigante perché misconosciuta la figura di Sara Campesan (1924-2016) alla quale viene opportunamente dedicata una sala – che è stata come artista la vera animatrice dell’ esperienza del Gruppo 8+1 a Mestre che ha tra gli altri ospitato grandi personaggi quali Horacio Garcia Rossi, e in particolare l’ argentino Julio Le Parc (1928) che nel 1966, l’ anno di Lucio Fontana, ha ottenuto il Gran Premio per la pittura alla Biennale di Venezia.

La rassegna risulta in effetti vasta ed esauriente perché ospita anche opere di artisti che sono stati vicini a Verifica 8+1, quali, tra gli altri, Edoer Agostini, Marina Apollonio, Ferruccio Gard, Nino Ovan, Mariapia Fanna Roncoroni, Claudio Rotta Loria e Sandi Renko. Ne risulta infine una mostra stimolante e ricca di suggestioni, per molti versi sorprendente rispetto alla visione tradizionale dell’ arte.

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13 Jul 2017

Alberto Biasi, Sara Campesan, Bruno Munari e altri amici di Verifica 8+1

Fondazione Bevilacqua La Masa

On the occasion of the 57th Venice Biennale, Fondazione Bevilacqua La Masapresents as Collateral Event “Alberto Biasi, Sara Campesan, Bruno Munari e altri amici di Verifica 8+1”, an exhibition curated by Giovanni Granzotto.

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13 Jul 2017

Interstellaris

WSJ

The exhibition puts together 15 recent artworks, including paintings on canvas and wood, works on paper and sculptors, executed between 2012 and 2017, engaging in a conversation about the infinite possibilities through which the power of astral nature interacts with one another. In addition to these, it is going to be particularly remarkable the execution of one mighty wall painting by Alberto Di Fabio and a mesmerizing wall drawing by Andrea Bianconi that will pep up GR gallery’s environment, throwing the visitors in a parallel universe distinguished by the immensity of the interstellar emptiness, populated by dynamic, aliens like, arcane signs.

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13 Jul 2017

ICI New York

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GR Gallery is proud to present “INTERSTELLARIS”, a group show featuring three artists whose works investigate the discourse around the world’s and human energy through dynamic & perceptual abstract painting.

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13 Jul 2017

Residency Unlimited

focus on Andrea Bianconi

RU alum Andrea Bianco will be featured in the group exhibition  “Intersetellaris” at the GR gallery with artists Alberto Di Fabio and Felipe Pantone.  The three artists works investigate the discoyrse around the worlds and himan energy through dynamic & perceptual abstract painting.

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06 May 2017

Incandescent Chromophilia

The Quiet Lunch

SPRING IS IN THE AIR: RON AGAM AND MARCO CASENTINI AT GR GALLERY

winter’s snow fades from memory and flowers now blossom all over town, come celebrate spring in New York City with works by Ron Agam and Marco Casentini at GR gallery.

GR gallery’s current exhibition, Incandescent Chromophilia, by Ron Agam and Marco Casentini perfectly encapsulates the spirit of spring. Vibrant, exhilarating hues seem to explode from reassuringly geometric shapes—a visual sampling of longer days and warmer temperatures, reminding us of what power positivity, hope, and faith yield in these uncertain times. The exhibition, curated by Alberto Pasini and Eva Zanardi, will feature 25 recent works by the two artists, engaging in a conversation about the infinite possibilities through which quadrilaterals—fixed on canvas through an exhilarating palette comparable to that of pop art—interact with one another. The show is not to be missed!

On view until May 28, 2017 at GR Gallery, 255 Bowery (btwn Houston & Stanton) New York, NY 10002.

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06 May 2017

Incandescent Chromophilia

Voice of New York

L’arte ottica e astratto-geometrica di Ron Agam e Marco Casenti è protagonista della mostra “Incandescent Chromophilia”. L’esposizione, organizzata da GR Gallery, raccoglie i lavori recenti dei due pittori tra influenze rinascimentali e colori californiani………

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23 Apr 2017

Hollywood Reporter

Ron Agam

“It’s not Machiavellian, it’s just practical. I try to do what’s best for the movie,” says Weinstein of TWC’s frequent release-date changes. He was photographed March 27 in front of a Ron Agam piece in his office.

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22 Apr 2017

Incandescent Chromophilia

French Culture Magazine

From April 20-May 28, 2017, GR Gallery presents the exhibition “Incandescent Chromophilia” by Ron Agam and Marco Casentini.

Both Agam and Casentini are invested in researching and experimenting with hard-edged color field painting and geometry. The exhibition will feature 25 recent works by the two artists, engaging in a conversation about the infinite possibilities through which quadrilaterals—fixed on canvas through an exhilarating palette comparable to that of pop art—interact with one another. “Incandescent Chromophilia” aims to investigate the artistic output of two international, contemporary artists who not only share an affinity for geometry and kinetic shades, but also a deep connection with Italy, the country GR Gallery hails from.

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21 Apr 2017

Ron Agam - Marco Casentini

Avenue Magazine

With his Steve Zissou beard and cap, painter Ron Agam cuts quite a figure. But he’s more than just a pretty face—his works have ended up on the walls of bigwigs like Harvey Weinstein.
An exhibition of paintings by Agam and Marco Casentini will open tonight at the GR Gallery on 255 Bowery. Featuring 25 works by the artists, it situates the two in a conversation “about the infinite possibilities through which quadrilaterals—fixed on canvas through an exhilarating palette comparable to that of pop art—interact with one another.”
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15 Mar 2017

Interferences

la voce di New York

La Op-Art torna a New York fino al 16 aprile con un’esposizione collettiva alla GR Gallery. In mostra le opere di diverse generazioni di artisti innovativi provenienti da Europa e America: Felipe Pantone, Gilbert Hsiao, Nadia Costantini e Sandi Renko

Corrente d’arte astratta nata negli USA intorno agli anni ’60, l’Optical Art, anche conosciuta come Op-Art, affonda le sue radici nei movimenti europei tra le due guerre, come De Stijl, e si ispira alle esperienze condotte all’interno del Bauhaus, motivo per cui fu all’inizio fortemente criticata per mancanza di originalità. Il suo scopo principale è lo studio e la ricerca dell’illusione ottica e dell’impressione plastica del movimento. Il coinvolgimento dell’osservatore nell’opera d’arte viene stimolato dall’uso di linee collocate in griglie modulari e strutturali diverse, accostate in modo opportuno ai colori o a particolari soggetti astratti: il risultato è un effetto bidimensionale in cui si assiste a uno spettacolo di immagini che sembrano lampeggiare, nascondersi, gonfiarsi o deformarsi.

Nel 1965, dopo la mostra The Responsive Eye, che ebbe luogo al MoMA di New York, la critica cambiò posizione in merito ai lavori esposti, riconoscendo ufficialmente la nascita di una nuova forma d’arte che ben presto divenne famosa sia in America che in Europa, arrivando a contaminare il mondo del design, della moda (con Courrèges), del cinema (Henri-Georges Clouzot tra i primi), dell’architettura e della visual art, fino a poi cadere nell’oblio nell’arco di soli tre anni.

Il 2013  ha segnato la rinascita della Op-Art grazie alla mostra Dynamo, organizzata al Grand Palais di Parigi e divisa in varie sezioni, in cui 150 artisti (tra cui Frank Stella, Anish Kapoor, Dan Flavin, Kenneth Noland) hanno contribuito con la loro interpretazione dell’immateriale, della monocromia, del vuoto, della distorsione, dell’instabilità e dell’interferenza. Ed è proprio la capacità di produrre interferenze tra le superfici delle opere e gli effetti illusori che provocano nello spettatore ad aver riportato alla luce questa corrente artistica e a decretarne nuovamente il successo. […]

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11 Mar 2017

Arrested Motion

Interferences

Currently at the GR Gallery location in New York, a group show featuring Felipe Pantone, Gilbert Hsiao, Nadia Costantini, and Sandi Renko is on view thru April 16th. The exhibition entitled Interferences: Contemporary Op and Kinetic Art brings together four artists from Europe and America who draw their influence from the long history of a visual artform that uses elements of optical illusion. Their modern takes on the style see them also master form, color, and linework while putting their own unique take on the aesthetic.

Photo credit: Todd Mazer.

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07 Mar 2017

MUST-SEE ART GUIDE: NEW YORK

ARTNET NEWS

255 Bowery 
New York, NY 10002, USA 

New York, December 1st, 2016- GR Gallery is proud to present “Interferences: Contemporary Op and Kinetic Art”, a group show featuring several generations of artists whose works investigate & advance the discourse around pattern, optical & perceptual abstract painting. The exhibition will feature recent works by four innovative artists from Europe and America, including Felipe Pantone, Gilbert Hsiao, Nadia Costantini, and Sandi Renko.

Opening reception: Thursday February 23, 6:00pm – 9:00pm (Exhibition Dates: Feb 23–April 16, 2017). Members of the press can contact GR gallery in advance to schedule a private viewing and/or an interview with the artists.

As an art movement in the United States, Op-Art (a branch of Kinetic Art) rose quickly in the early 1960s, peaked with “The Responsive Eye”exhibition at MOMA in 1965, and then faded within three years. Despite this, Op-Art has had a long afterlife and an outsized influence on visual art, architecture & design. In Europe and South America, it emerged in the early 1950s, and has enjoyed an uninterrupted, if at times understated life since that time. On both sides of the ocean, it has had a long and outsized influence on visual art, architecture & design. In the last few years, exhibitions featuring Op-Art have been appearing in museums & galleries with increasing frequency.

Its ability to have a successful afterlife is due to its ability to produce interference between the physical presence of its surface and the illusory effects its patterns create. The ‘Interference’ art form of Op-Art is an effect of synergy between the alignment of the shape & graphic that merges and affects both. Since 2013, the art world has witnessed a deluge of Op-Art and Kinetic-Art centered exhibitions by major international museums and galleries. The markets took notice: from 2000 to 2016 kinetic art prices at international auctions went up by 128% due to demand. In industrial & graphic design, in fashion, architecture, in décor objects and in a myriad of other places, Op-Art is back!

The “Interferences” exhibition investigates Op-Art through the artistic output of four American & European artists and their mastery of the line and the exploration of pure color and form to create canvases of intense vibrancy and life out of simple geometric shapes. The exhibition’s primary compositional units are focused on line interference, geometrical shapes, reversible perspective and chromatic vibration. The 25 works on view derive their power from the way in which the artists are able to create dynamic variations by altering the width, color & direction of their stripes and shapes, often with infinitesimal slightness, to create arrangements that pulsate with a serene rhythm as reflected in Hsiao’s work, or frantic energy as in Pantone’s work.

Felipe Pantone (Argentina)’s work is at the cutting edge of street art. Straddling conventional graffiti, typography and abstraction, his work fuses bold elements of graphic design with highly evolved geometric shapes.

Gilbert Hsiao (U.S.) has been exploring the mechanics of visual perception since the 1980s. The viewer perceives oscillation through the illusion of a continuous wave produced by the physiological experience of space and movement. Meticulously layered stripes in tightly woven structures create a musical rhythm and repose.

Sandi Renko (1949, Italy) is known for his contributions to industrial design, optical and kinetic art (Arte Programmata). By using undulated cardboard surfaces painted with acrylic colors, Renko creates tridimensional geometric structures that can be read from several angles, giving the impression of movement.

Nadia Costantini (1944, Italy) Nadia Costantini’s works as a painter and a sculptor is focused on the dialogue between negative & positive space to create the illusion of movement & depth. In her paintings, colorful geometric & modulated striped structures emerge from backgrounds of pure black thus emphasizing the painter’s choice of vivid, vibrant colors.

GR gallery: Founded in the mid-seventies by Italian art critic Giovanni Granzotto in Sacile, Italy, Studio d’Arte GR has been specializing in Kinetic, Op and Programmed Art; its US branch, GR gallery, continues its mission in North America.

 

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07 Mar 2017

OP ART IS BACK! INTERFERENCES: CONTEMPORARY OP AND KINETIC ART AT GR GALLERY

QUITE LUNCH MAGAZINE

Last week, GR gallery unveiled its fourth exhibition dedicated entirely to Op and Kinetic art. The exhibition, Interferences: Contemporary Op and Kinetic Art, pulsates as its artworks electrify the gallery’s atmosphere. The show’s opening night brought together an eclectic array of artists, curators, and art lovers, including the likes of rock photographer Bob Gruen, his wife, artist Elizabeth Gregory Gruen, and internationally renowned creators such as Ron Agam and Harif Guzman, among others. Interferences, on view at GR gallery until April 16, 2017, features recent works by four innovative artists from Europe and America: Felipe PantoneGilbert HsiaoNadia Costantini, and Sandi Renko.

An Op art immersion, the exhibition sets the output of these four artists in conversation with one another, sparking a dialogue between their distinct masteries of line and explorations of pure color and form. Across intensely vibrant canvases, the exhibition breathes life through the simplest geometric shapes, its focal points grounded in the line interferences of Nadia Costantini’s Modulazioni di Superficie, the geometrical shapes of Sandi Renko’s Stripe316, the reversible perspective of Gilbert Hsiao’s Gyro, and the chromatic vibrations of Felipe Pantone’s Optichromie 85.

The 25 works on view derive their power from the ways in which their makers dynamically alter the width, color, and direction of their stripes and shapes, often with infinitesimal slightness, to create arrangements that pulsate with a serene rhythm—something especially felt through the oscillations of Hsiao’s paintings and frantic energy of Pantone’s work. Remaining true to its founding mission, GR gallery continues to push the envelope within the panorama of New York’s contemporary art galleries by bravely presenting artists whose works investigate and advance the discourse around pattern, optical, and perceptual abstract painting.

As an art movement in the United States, Op art was borne through Kinetic art, and rose quickly in the early 1960s. After peaking at The Responsive Eye exhibition at the MoMA in 1965, it seemed to subsequently fade within three years. Despite this, Op art has maintained a lengthy afterlife, yielding an outsized influence on visual art, architecture, and design. GR gallery, entrusting that this movement would undoubtedly see a revival, has promoted and supported artists of these two often-overlooked movements since its inception in Italy, and thereafter in New York.

Without fail, the last few years have seen a deluge of Op and Kinetic art featured in museum and gallery exhibitions around the world. From industrial and graphic design to fashion, architecture, décor, and a myriad of other places, Op art is back! However, Interferences at GR gallery is by far the finest comprehensive survey of contemporary Op and Kinetic art in New York City—an optical feast not to be missed.

Felipe Pantone (Argentina)’s work is at the cutting edge of street art. Straddling conventional graffiti, typography and abstraction, his work fuses bold elements of graphic design with highly evolved geometric shapes.

Gilbert Hsiao (U.S.) has been exploring the mechanics of visual perception since the 1980s. The viewer perceives oscillation through the illusion of a continuous wave produced by the physiological experience of space and movement. Meticulously layered stripes in tightly woven structures create a musical rhythm and repose.

Sandi Renko (1949, Italy) is known for his contributions to industrial design, optical and kinetic art (Arte Programmata). By using undulated cardboard surfaces painted with acrylic colors, Renko creates tridimensional geometric structures that can be read from several angles, giving the impression of movement.

Nadia Costantini (1944, Italy) Nadia Costantini’s works as a painter and a sculptor is focused on the dialogue between negative & positive space to create the illusion of movement & depth. In her paintings, colorful geometric & modulated striped structures emerge from backgrounds of pure black thus emphasizing the painter’s choice of vivid, vibrant colors.

GR gallery: Founded in the mid-seventies by Italian art critic Giovanni Granzotto in Sacile, Italy, Studio d’Arte GR has been specializing in Kinetic, Op and Programmed Art; its US branch, GR gallery, continues its mission in North America.

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07 Mar 2017

Pantone Opens Collective Exhibition in New York

All City Canvas

International artists inaugurate exhibition in New York gallery

Text by Cristina Ochoa; Translation by Briana Prieto

Photos by Briana Prieto

Optical art is a creative movement that began to take shape in the 1960s. The GR Gallery of New York presents an exhibition that shows how much there is to be explored in the field of visual perception: Interferences: Contemporary Op and Kinetic Art.

Kinetic and optical art are currents that seek to explore through the aesthetics of movement, prioritizing the viewer’s visual experience.

The exhibition includes Gilbert Hsiao, Sandi Renko, Nadia Costantini and Felipe Pantone, artists who use the line as a fundamental element in their work.

The work of Felipe Pantone is recognized for his approach to graffiti, the colors that remind us of video games or any image of the digital era through abstract creations.

Nadia Costantini, Italian painter and sculptor who works with the positive-negative contrast to create the illusion of movement in her work, presents a series of work with geometric figures that give us the feeling of depth.

Because not everything is said in the exploration of optical art, until April 16th GR Gallery will present to us the most outstanding creators so far in this subject.

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10 Mar 2017

Ron Agam on ArtViews

Incandescent Chromophilia

Ron Agam: Incandescent Chromophilia

It’s a cold and rainy winter morning in New York City. I’m in a taxi crossing the Queensboro Bridge on route to Ron Agam’s studio. I know that as soon as I arrive, my blue, wintry mood is bound to be uplifted. The French-Israeli artist’s kinetic, mood-enhancing paintings exact on the viewer a feeling of euphoria mixed with awe. As compositions of concentric squares, his lenticular and polymorphic paintings are exhilarating and hypnotic.

As I enter Ron’s Long Island City studio, I am greeted by Rusky, the artist’s tiny white Maltese. Rusky happily strolls next to the stunning, large-scale optical relief paintings on display, his lively movements accentuating the paintings’ magnitude and perfect dynamism. Ron Agam approaches, smiling. His expressive hazel eyes are soft-spoken, exuding a radiant aura of positive, serene energy.

Talent runs in the family; as the son of world-renowned Israeli kinetic artist Yaacov Agam, Ron only began painting after he turned 52 (he is now 59 years old). “I began this work as a leap, without knowing where it would go,” Ron explains. “And I don’t think about it now; I just paint.”

Following his long and successful career as a fine art photographer, Ron had an epiphany after he turned down one of the largest and most lucrative job opportunities of his career—a photo book for luxury group LVMH. “Everybody criticized me and I went into a deep depression,” Agam explains, describing how he retreated to his studio, reemerging only several months later as the artist he is today. “I saw a crayon [in the studio] and I started to draw.” From that point onward, Ron never looked back. In a short, nine-year span, he has created an impressive body of work, embracing a dizzying array of techniques from lenticular, optical experiments to distilled, saturated color fields.

His use of color is unique; through juxtaposing power-saturated hues, every color reverberates, simultaneously igniting the vibrancy of its counterparts. Ron Agam’s paintings are incandescent. He explains, “My inspiration and colors came from watching my father painting in his studio in Paris which had previously been Gauguin’s atelier. As a child I witnessed how my father was working. He would use 200–300 shades of a color, a mesmerizing process to witness.” In his three-dimensional, large-scale optical reliefs, the artist’s stunning dexterity with lenticular/stereoscopic technology dazzles. The perfect dynamism of Agam’s Homage to Newton and Ein Sof resonated with me. Homage to Newton features approximately one hundred black and white concentric squares that appear, at times, to be both a tunnel and a pyramid through their spellbinding, illusory movement. Ein Sof—the Kabbalistic term for “God’s Infinite Light”—consists of a large, irregularly sided red hexagon that seems to be extruding from its core countless concentric, twisting white hexagons. The effect is astounding, leaving me to wonder if my sight is cast upon a mountain’s peak, an all-knowing eye, or a cosmic vortex.

As Josef Albers said, “Abstraction is real, probably more real than nature.”

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05 Mar 2017

"Interferences" on ArteIn

Nadia Costantini and Sandi Renko

Sandi, a er your solo exhibi on at Studio GR in Sacile, for you the year 2017 opens with the exhibi on called “Interferences: Contemporary Op Art”, running from February to April. Together with your works, the exhibi on gathers art works
by Nadia Costan ni, Felipe Pantone and Gilbert Hsiao. How do you think the American public will receive your work? Given the present general increase in value of geometric abstrac on, I would say that the American palate has now learned to taste this kind of art; many young people take on this language, interpre ng it di erently; they recover and modulate it using informa on technologies.

I already know that you know Nadia very well; what do you think of your American

adventuring companions?

I will not conceal the fact that I was charmed by Felipe Pantone’s expressive energy; I even envy his transgressive immodesty, which takes me back a few years.

In Gilbert Hsiao, instead, I nd a heart breaking minimalism and a rigour somehow closer to my/our language.
How do you interpret the curator’s choice of ar sts and subjects? How does your work assimilate into this context?
The common ground is clearly a sort of shared alphabet that each of us uses
and combines di erently, expressing his own personality. Interest stems from the comparability provided by the creators and curators of the exhibi on.

Are there any a ni es with Nadia Costan ni’s work?
Nadia and I somehow belong to the same school. As in the case of my ar s c research, there is a close connec on between Costan ni’s three-dimensional and graphic works.

This is an extraordinarily happy me for you. How do you interpret this period and what would you expect from year 2017?
I believe apprecia on stems mainly from the outcomes of the turn my chroma c researches recently took. Then, I met gallerists who believe in my work enough to include it in their 2017 exhibi ons

in Vienna, Milan, Verona, and on other pres gious occasions I dare not men on for good luck.

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29 Nov 2016

La GR Gallery canta la grande bellezza di Venezia

In mostra fino al 5 febbraio le opere del gruppo di artisti dello Spazialismo italiano

di Sara Fruner

Emilio Vedova, Riccardo Licata, Gino Morandis, Valerio Guidi, Ennio Finzi: sono gli artisti che portarono in auge lo Spazialismo veneziano, facendolo uscire dall’ombra di quello milanese. A loro è dedicata la mostra appena inaugurata alla GR Gallery di Manhattan

Basterebbe lo splendido tondo di Riccardo Licata, quei segni arcani di chissà quale mitologico alfabeto, a spingere qualsiasi appassionato di arte del secondo Novecento alla GR Gallery, su Bowery. Se a quello aggiungete le tele di Gino Morandis, Valerio Guidi, Ennio Finzi e, dulcis in fundo, del Maestro Emilio Vedova, è probabile che l’appassionato torni e ritorni più volte a vedere The Great Beauty of Venice, la mostra inaugurata venerdì 18 novembre e aperta fino al 5 febbraio 2017.

Filiale americana dello Studio D’Arte GR ― veneziano d’origine e sacilese di ricollocazione ― la GR Gallery è presente a New York da un anno, e celebra, con questa mostra, il sodalizio con il gruppo di artisti dello Spazialismo italiano.

Propaggine artistica dell’Arte Informale, il Movimento Spazialista rifiuta l’immagine naturalistica e indaga la relazione tra l’uomo e lo spazio che lo circonda, ergendo quest’ultimo a vero e proprio luogo della creazione artistica. Allo Spazialismo, che ebbe in Lucio Fontana il suo fondatore e teorico, aderirono pittori come Gino Morandis e Virgilio Guidi, mentre Ennio Finzi, Riccardo Licata e Carmelo Zotti rimasero ufficialmente slegati dalla corrente, ma ufficiosamente molto vicini allo stile adottato.

gr galleryEmilio Vedova, dal canto suo, si muove sempre nel mare magnum dell’Arte Informale, nell’area del segnico, pur nutrendo un grande interesse verso il ruolo esercitato dallo spazio nell’opera ― ricordiamo i suoi famosi Plurimi, opere in cui l’artista stacca il quadro dalla parete e lo installa nello spazio facendolo diventare una creazione ibrida fra pittura, scultura e architettura.

È un piacere quasi fisico, scivolare fuori dal caos della città ed entrare in un luogo dove le pareti parlano la lingua familiare di un artista come Vedova: le pennellate convulse, nere e grigie scure, tra le quali affiora una presenza gialla, oppure una serie di sprazzi rossi, dove domina la forza emotiva, quasi primitiva, del segno.

Alberto Pasini, direttore della Galleria, ci racconta di come Giovanni Granzotto, il fondatore storico dello Studio D’Arte GR, sia stato grande amico e sostenitore di tutti questi artisti gravitanti attorno alla città di Venezia, e di come si sia sempre speso, dagli anni ’70 fino a oggi, per portare in auge lo Spazialismo veneziano, facendolo uscire dall’ombra di quello milanese.

“Ci sarebbe piaciuto aggiungere anche qualche opera di Bacci, DeLuigi e Vianello, ma non volevamo allargare troppo la mostra né svelare tutto subito…”, aggiunge il Direttore, alludendo al fondo di opere a cui GR Gallery può attingere e facendomi pregustare future mostre. Il direttore ci confessa che esporre Vedova in America, oltre ad essere un onore, dato il rapporto di stima e amicizia che legava l’artista allo Studio D’Arte, significa molto, in modo particolare quest’anno, in cui il decennale dalla sua morte potrebbe riavviare il mercato, dopo un momento non facile attraversato dalla Fondazione Vedova.

gr galleryLa mostra contempla anche alcune tele di Massimo d’Orta, un artista che, per nascita ― Napoli ― ed età è successivo rispetto agli Spazialisti presenti nella mostra, nonché vivente: sembrerebbe una presenza decontestualizzata. Quando chiedo al Direttore quale rapporto leghi il pittore partenopeo alle opere degli Spazialisti, la risposta mi soddisfa, e mi rivela anche una scelta di strategia logistica della Galleria: “Ci siamo ritagliati una piccola stanzetta all’interno della Galleria come una specie di divertissement, un piccolo spazio in cui ospitiamo opere di mostre precedenti, anticipazioni di mostre future, piccole personali, eccetera. Abbiamo trovato che Massimo d’Orta, che conosco personalmente e apprezzo molto, avesse una certa assonanza dal punto di vista stilistico e gestuale con lo Spazialismo, e abbiamo deciso di inserirlo, con una sua piccola personale, all’interno della collettiva”.

La grande bellezza del titolo della mostra rinvia a quella immortalata da Paolo Sorrentino nell’omonimo film del 2013. “Volevamo un titolo accattivante, riconoscibile, che riconducesse al nostro passato, al nostro heritage, e abbiamo sostituito a Roma Venezia, dacché tutti gli artisti presenti nella galleria, per nascita (Vedova, Morandis) o adozione (Licata, Zoppi, Guidi), hanno orbitato attorno alla città lagunare”.

gr gallery

Guardando all’istintività delle tele di Vedova, ai simboli misteriosi di Licata ― caratteri geroglifici? Rune depositarie di memorie antiche? ― alle composizioni astratte, cromaticamente luminose, di Morandis, o alle figure mitiche, tra l’umano e l’animale, di Carmelo Zotti, credo che la riconoscibilità di questi artisti non potrebbe essere mai messa in discussione, neppure volendolo.

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25 Nov 2016

The Great Beauty of Venice in ARTEin

The Great Beauty of Venice in ARTEin

At about a year from its opening, GR Gallery brings another crucial piece of its history – inextricably connected with Venice – to New York; GR Gallery explores different derivations of Optical art and Arte Programmata. The exhibition runs until 5 February 2017 at number 255 in Bowery and is curated by Giovanni Granzotto. It is a tribute to the relationship between the gallery and the art scene in Venice over the last forty years. Since the Fifties, and for about three decades, Venice has been a real hotbed for creativity, an international catalyser of clever minds and the co-creator of a unique moment in art history, taking its first steps from the Spatialist movement. Being aware that that was not the place to outline a complete background of the incommensurate events involving post-war Venetian art, the organisers chose six painters as protagonists of this exhibition; they are all Venetian by birth or adoption, and their personal and professional lives are interestingly intertwined in close relationships with the Gallery, in a close cooperation that led to their mutual growth. The artists chosen are the signatories of the manifestoes of Spatialism: Gino Morandis (1915-1994) and Virgilio Guidi (1891-1984); those artists who shared their inspirations and creative impulse with the movement, without ever formally joining it: Ennio Finzi (1930) and Riccardo Licata (1929-2014); the symbolist-surrealist painter Carmelo Zotti (1933-2007), gravitating towards the movement; and the Venetian master Emilio Vedova (1919- 2006), front and centre of post-war European formal art.On display six works by each painter, leading the visitor on an ideal path through different styles spanning from impetuous, informal signs and gestures, to synthetic, minimal perspectives, in a dimension where creativity is made possible by the extraordinary influence

of the famous city on the lagoon.

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25 Nov 2016

The Great Beauty of Venice in The Crazy Mind- Interviews with Interesting People

OPENING EXHIBITION "THE GREAT BEAUTY of Venice" Interview with Alberto Pasini, Director of GR gallery

Interview with Alberto Pasini, Director of GR gallery
How many artists’ work are featured in the exhibition “The Great Beauty of Venice”?
35 paintings from artists:
Emilio Vedova, Riccardo Licata, Virgilio Guidi, Gino Morandis, Ennio Finzi, Massimo d’Orta, Carmelo Zotti
 
Which are the key highlights of this exhibition?

It’s hard to point out just a few pieces, but the most important is “Del Nostro tempo”, 1976, a very iconic black red and white abstract painting by the Master Emilio Vedova, following this another fundamental piece is “Untitled”, 2007, a representative large golden canvas that features the magic alphabet of artist Riccardo Licata and, Last but not the least, there is the minimal painting featuring an abstract landscape of the Venice lagoon “Marina con Balaustra”, 1971, by Virgilio Guidi.

Here is the final speech of the gallery owner during the opening exhibition:

“The reason for “The great Beauty of Venice”
We have decided to entitle this exhibition “the great beauty of Venice” to celebrate Venice in the States, but also to offer New York’s public an authentic, true vision of what happened in the world of Art in the after war.
 
Beyond the cinematographic suggestions, the global Art system has not passed through Rome, but through Venice, as well as through Paris: first of all through the Biennale, then even through the many public institutions such as Ca’ Pesaro, the Bevilacqua, the Masa, the Correr Museum, etc. Besides, innumerable private structures stimulated and cultivated for some decades the cultural ferments of the Venetian lagoon, first among everything the Guggenheim Foundation.
 
Peggy Guggenheim came ashore in Venice and the town became the true laboratory of contemporary art.
 
And so, trying to represent her, we have chosen six artists who were extremely important in the ‘50s and ‘60s and who continued to work with undiminished creativity through all their career, some of them even until nowadays.
 
Emilio Vedova’s powerful gesture, Riccardo Licata’s arcane and narrative sign, Virgilio Guidi’s plastic brightness, Ennio Finzi’s thunderous colour, Carmelo Zotti’s embrace with myth and Gino Morandis’s spatial atmospheres will guide the spectator to rediscover the magic of the lagoon town.
 
Giovanni Granzotto”

 

Why is the history and the artistic developments of the lagoon city so unique and influential to the curator?
Venice and Paris have been the true cultural hubs in Europe: events such the Venice Biennale, but also many other public institutions such as Ca’ Pesaro, the Bevilacqua, the Masa, the Correr Museum, and many other public institutions have cultivated for some decades the cultural ferments of the Venetian lagoon, first among everything the Guggenheim Foundation. Peggy Guggenheim came ashore in Venice and the town became the true laboratory of contemporary art. This is so influential to the curator, Giovanni Granzotto, because he established himself, over the last 45 years, intense relationship, both personal and professional with many venetian artists that created this unique art scene.
Who are some of the protagonists of this exhibition?
Emilio Vedova, Riccardo Licata, Virgilio Guidi, Gino Morandis, Ennio Finzi, Massimo d’Orta, Carmelo Zotti
 
When and where will this exhibition be held?
The exhibition will run from November 19 to February 5, 2017, and be open Tuesday-Saturday through that period from noon 12:00 to 7:00 p.m. at GR Gallery, 255 Bowery, New York, NY 10002. GR Gallery, born almost forty years ago in the mid-1970s, soon focused its activities on the enhancement and promotion of the European (mostly Latin) post-war avant-garde, giving priority to those artists who have produced special and personal propulsive thrusts during the so-called Informel period, especially focused on the Spatialism movement of Venetian matrix and the artists who have gravitated to this city or made this their muse.
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05 Nov 2016

Lo "Spazialismo" in mostra a NY

NEW YORK. Venerdì 18 Novembre, dalle ore diciotto alle ore venti,presso la GR Gallery di New York, verranno aperte le porte di ” THE GREAT BE- AUTY of Venice”, esposizione artistica incentrata sul movimento spazialista Veneziano, stile sviluppatosi negli anni cinquanta che impressionò Peggy Guggeneheim. Il movimento spazialista, fu fondato nel 1946 a Buenos Aires da Lucio Fontana, con il suo “Manifesto Bianco”, in cui esortava il superamento di un arte ormai considerata “stagnante”, confinata alla semplice pittura su tela, in favore di un’innovativo stile pittorico che sfonda i confini del dipinto, dando agli occhi degli spettatori l’idea che esistano spazio e tempo anche in campo puramente pittorico.I pittori spazialisti infatti, superano il limite della superficie del quadro, creando su di esso una tridimensionalità in grado di dare forma artistica a quella presa di coscienza caratteristica del dopo guerra, dell’esistenza di nuove forme di forza naturale, quali elettroni, particelle e raggi.  Tali forze naturali troveranno definitivo sfogo nell’iconico gesto di Fontana, che, tagliando la superficie della tela segnò definitivamente la fine di un’arte piatta in favore di una nuova arte spaziale, fortemente rappresentata da altri rivoluzionari atti artistici, da quello di Mario Deluigi, che graffiando la superficie della tela diede vita alle fantasmagoriche nuvole prefiguranti i movimenti delle particelle di luce, alle vertiginose spirali di Roberto Crippa, che richiamano l’energia degli elettroni attorno all’atomo.

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02 Nov 2016

David R. Prentice exhibition

"Veils Clouds and Stardust"

GR gallery is proud to announce a solo exhibition of the American artist David R. Prentice, featuring 25 of his minimalist abstract paintings from the past 5 years. On view will be paintings from his “Veils”, “Clouds”, and “Stardust” series with one painting from his early Minimalist phase in the 60s. In addition to this, Prentice will be unveiling his latest series “Out Of The Blue,” inspired by his late wife. This exhibition focuses on the artist’s expert and subtle use of color in his paintings. Curated by GR gallery’s director Alberto Pasini and Lanny Powers, the exhibition’s fully illustrated catalogue presents an essay by Lanny Powers. Beginning in 1964 with his first artistic output, the “White Series”, David R. Prentice started his career with abstract Minimalist paintings that “operated on the edge of perception”. Switching gears, the artist dove into realistic landscape paintings in the 80s. After a long and successful career with landscapes, he has revisited Minimalism with the colorful yet subtly moving pieces on view at GR gallery. These most recent works invite the viewer to contemplate how the colors move and blend seamlessly to create a dreamlike composition. The artist’s use of fundamental colors reduced to their palest tone lends the paintings an air of mystery and iridescence, rendering the dynamic effect of changing hues relative to light. David R. Prentice’s return to abstract Minimalism, manifested in his Veils, Clouds and Stardust series, offers a meditative and engaging experience

19 Oct 2016
01 Nov 2016

Veils, Clouds and Stardust - A David R. prentice exhibit at GR gallery

GR Gallery hosts yet another spectacular contemporary art exhibit: One that hypnotizes and heals.

GR Gallery hosts yet another spectacular contemporary art exhibit: One that hypnotizes and heals. A re-visitation of work he created almost 50 years ago, 25 of David R. Prentice’s minimalist abstract paintings from the past 5 years attempt and succeed to elevate abstract-minimalist to a new avant-garde. Resembling his earlier works, from before he transitioned to landscape painting, the show exhibits Prentice’s confrontation with “unfinished business”. Relaxing colors, reminiscent of early spring or dreamlike environments evoke introspection. “Art heals people like music heals. When we’re sad or tired or lonely, we turn to music we like. Painting should nourish in the same way; it should make you feel better. It is an adjunct to healing. It helps you overcome trauma and sadness. It helps you lead a richer life, and that’s the job. That’s what an artist is supposed to do,” notes the artist. Subtle palettes hereby mesmerize viewers, inspire reflection and soothe.

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19 Oct 2016

David R. Prentice in NY ART BEAT

David R. Prentice in NY ART BEAT

GR gallery is proud to announce a solo exhibition of the American artist David R. Prentice, featuring 25 of his minimalist abstract paintings from the past 5 years. On view will be paintings from his “Veils”, “Clouds”, and “Stardust” series with one painting from his early Minimalist phase in the 60s. In addition to this, Prentice will be unveiling his latest series “Out Of The Blue,” inspired by his late wife. This exhibition focuses on the artist’s expert and subtle use of color in his paintings.

Curated by GR gallery’s director Alberto Pasini and Lanny Powers, the exhibition’s fully illustrated catalogue presents an essay by Lanny Powers.

Beginning in 1964 with his first artistic output, the “White Series”, David R. Prentice started his career with abstract Minimalist paintings that “operated on the edge of perception”. Switching gears, the artist dove into realistic landscape paintings in the 80s. After a long and successful career with landscapes, he has revisited Minimalism with the colorful yet subtly moving pieces on view at GR gallery. These most recent works invite the viewer to contemplate how the colors move and blend seamlessly to create a dreamlike composition. The artist’s use of fundamental colors reduced to their palest tone lends the paintings an air of mystery and iridescence, rendering the dynamic effect of changing hues relative to light. David R. Prentice’s return to abstract Minimalism, manifested in his Veils, Clouds and Stardust series, offers a meditative and engaging experience

19 Oct 2016

David R. Prentice in Artillery Magazine

David R. Prentice in Artillery Magazine

GR gallery is proud to announce a solo exhibition of the American artist David R. Prentice, featuring 25 of his minimalist abstract paintings from the past 5 years. On view will be paintings from his “Veils”, “Clouds”, and “Stardust” series with one painting from his early Minimalist phase in the 60s. In addition to this, Prentice will be unveiling his latest series “Out Of The Blue,” inspired by his late wife. This exhibition focuses on the artist’s expert and subtle use of color in his paintings.

Curated by GR gallery’s director Alberto Pasini and Lanny Powers, the exhibition’s fully illustrated catalogue presents an essay by Lanny Powers.

Beginning in 1964 with his first artistic output, the “White Series”, David R. Prentice started his career with abstract Minimalist paintings that “operated on the edge of perception”. Switching gears, the artist dove into realistic landscape paintings in the 80s. After a long and successful career with landscapes, he has revisited Minimalism with the colorful yet subtly moving pieces on view at GR gallery. These most recent works invite the viewer to contemplate how the colors move and blend seamlessly to create a dreamlike composition. The artist’s use of fundamental colors reduced to their palest tone lends the paintings an air of mystery and iridescence, rendering the dynamic effect of changing hues relative to light. David R. Prentice’s return to abstract Minimalism, manifested in his Veils, Clouds and Stardust series, offers a meditative and engaging experience

Opening reception: Thursday October 13, 2016, 6:00pm – 9:00pm
Location: GR gallery, 255 Bowery, New York, NY 10002 –

19 Oct 2016

David R. Prentice in Artnet

David R. Prentice in Artnet

(NEW YORK, 9/1/16) – GR gallery is proud to announce a solo exhibition of the American artist David R. Prentice, featuring 25 of his Minimalist abstract paintings from the past 5 years. On view will be paintings from his “Veils”, “Clouds”, and “Stardust” series with one painting from his earliest Minimalist career in the 60s. In addition to this, Prentice will be unveiling his latest series “Out Of The Blue,” inspired by his late wife. This exhibition focuses on the artist’s expert and subtle use of color in his paintings.

Beginning in the late 50s, David R. Prentice started out his career with abstract Minimalist paintings that “operated on the edge of perception. The “White Series” from the 60s were his first artistic output at the time. Switching gears, the artist dove into realistic landscape paintings in the 80s. After a long and successful career with landscapes, he has revisited the Minimalist ideas with the colorful yet subtly moving pieces on view at GR gallery. These most recent works of his draw the viewer in to contemplate how the colors move and blend seamlessly creating a dreamlike composition. The use of fundamental colors pushed down to their palest tone makes the paintings appear to change hues in different lights, making Prentice’s paintings feel mysterious and iridescent. David R. Prentice’s return to abstract Minimalism offers a meditative experience with his engaging manifestation of veils, clouds and stardust.

About the artist: David R. Prentice (b. 1943) is an American artist. Prentice was born in Hartford, Connecticut and studied at the Art School of the University of Hartford from 1962 to 1964, after which he worked as a studio assistant to Jasper Johns, Robert Motherwell, Helen Frankenthaler, Alexander Liberman and Malcolm Morley. Prentice started his artistic career in the late 50’s as a Minimalist painter. In the 60’s, he had solo shows in some of the most renowned galleries like New York’s Teuscher Gallery and Sonnabend Gallery. Later in the 80’s, he became an accomplished and internationally known landscape painter. Just in the last period, he decided to recapture abstractminimalist art bringing it towards a new avant-garde. He has exhibited his work in several exhibitions all over the world and he now lives between Manhattan and Ashikawa City in Japan. His work can be found in several internationally known museums and public art institutions permanent collections like the Museum of Modern Art, Yale University Art Gallery, Corcoran Gallery, Asahikawa, Japan, Royce Confect, Sapporo, Japan.

20 Dec 2016

Emilio Cavallini e le calze che fanno impazzire le star

Intervista a Emilio Cavallini, l’inventore delle calze più indossate e celebri del mondo amate dai vip, prima tra tutti Madonna

È l’inventore delle calze più indossate e celebri del mondo, le prime ad essere portate dalle ragazze dopo l’invenzione della minigonna nonché le preferite da decine di vip, prima tra tutti Madonna.
Emilio Cavallini, toscano doc, si è ricavato un ruolo nella storia della moda internazionale partendo da zero, forte soltanto di talento e tenacia.

Oggi vive tra Firenze e New York, e se le calze restano ancora la sua attività commerciale principale, i suoi interessi si sono gradualmente spostati verso l’arte: ormai da diversi anni ha infatti cominciato a realizzare opere proprio con il tessuto della calza, originalissime nel loro genere. Esposte nelle gallarie più prestigiose in Europa e in America, le sue creazioni raccontano molto di lui, del suo essere imprenditore, artista, artigiano e ovviamente uomo.

Luxgallery ha incontrato e intervistato Emilio Cavallini per farvi scoprire “l’altro lato” della moda, oltre a regalarvi un prezioso suggerimento per gli acquisti di Natale.

È da poco terminata con successo la tua mostra alla GR Gallery di Manhattan, con 25 opere rappresentati tre decenni di lavoro. Un qualcosa di molto particolare…
Credo di sì. È vero che le calze sono state introdotte nella storia dell’arte a partire dagli anni ’60-’70, però nessuno prima di me ne aveva cambiato l’utilizzo, “tornando indietro” nel processo di produzione dal capo finito alla materia prima. Io uso il tessuto delle calze per realizzare opere che prendono origine dalla matematica e dagli algoritmi, una mia grande passione.

Concretamente come lavora?
Prima vengono disegnate le opere che ho in mente, seguendo appunto delle coordinate specifiche; solo in un secondo momento di passa al lavoro “artigianale” vero e proprio.
È iniziato tutto un po’ per caso, quando negli anni Settanta intendevo creare un archivio della mia produzione; a poco a poco sono diventate delle creazioni artistiche autonome, distaccate dall’altra parte del mio mestiere. Nel 2000 ho pubblicato un libro al riguardo edito da Rizzoli e rivestito di una calza a rete nera, un qualcosa a metà tra la mia storia e le immagini che rappresentano i miei lavori. Nel frattempo, la richiesta di mostre personali è andata sempre più aumentando, nonostante alle grandi gallerie io preferisca quelle di nicchia specializzate, come il circuito dell’Opera Gallery di Parigi.

Ci racconta la sua originale ascesa nel mondo della moda?
Negli anni ’90 facevo collezioni e sfilate a Milano per l’uomo, a Parigi per la donna: ero un po’ lo stilista di tutto, sempre però proponendo capi particolari, all’avanguardia.
Ma la storia delle mie calze inizia in realtà molto prima, quando avevo appena diciotto anni e adoravo la beat generation, frequentavo Londra, ero già un grande appassionato di moda – soprattutto quella di strada – e passavo parecchio tempo dietro alla contemplazione e allo studio dell’arte antica (a tal proposito ricordo che fin da piccolo venivo appositamente a Firenze da San Miniato per visitare le chiese).
Un giorno mi ritrovai nello studio di Mary Quant, l’inventrice della minigonna, cercando di fare uno stage perché allora non esistevano neppure le scuole di moda. A un certo punto lei disse: “Ho bisogno di qualcuno che si occupi delle calze”; nessuno si fece avanti, e allora mi proposi io, conscio del fatto che in Toscana, nella zona in cui sono nato, c’erano all’epoca ben tre calzifici storici.
Senza perdere tempo le presentai dei disegni semplici, geometrici, regolari, il cui tema portante erano le righe bianche e nere, o bianche e blu, bianche e rosse, orizzontali e verticali. Beh, le piacquero tantissimo, perciò mi misi subito all’opera per cercare di farle realizzare da una delle aziende che avevo in mente. Nessuno tuttavia credette troppo nel mio progetto, così nel 1970 aprii un’azienda in proprio per la produzione di calze, e in seguito anche di collant.

Qual è stata l’invenzione che le ha regalato la vera fama?
Sono passato alla storia come promotore delle calze a rete, che fino a quel momento venivano fatte solo attraverso un tessuto con cuciture dietro; io ho inventato nello specifico le reti tubolari, spingendomi sino all’audacia di calze che vestivano l’intero corpo, le quali fecero impazzire Madonna e non pochi altri vip.

Tutta la sua produzione, tanto artistica quanto legata alla moda, si caratterizza perché innovativa e all’avanguardia. Secondo lei esiste un limite a ciò che si può definire arte, o il concetto è ormai completamente aleatorio?
In realtà tutta la natura è arte. Io penso che l’occhio debba abituarsi a vedere le cose di ogni giorno emozionandosi come se le osservasse per la prima volta. Fare ricerca artistica oggi come oggi significa soprattutto riuscire a far vivere al tuo interlocutore l’esperienza della sopresa di fronte alla quotidianità.
Il mio unico “limite”, se così lo vogliamo chiamare, è che per me l’arte deve essere bella ora, riuscendo tuttavia a durare nel tempo; non apprezzo le creazioni estemporanee che scompaiono o finiscono nel dimenticatoio dopo appena qualche decennio.

Se dovesse mettere Firenze e New York a confronto?
Se devo essere onesto quando sono a Firenze vorrei trovarmi a New York e viceversa. Sono due città completamente diverse: Firenze mi regala emozioni indescrivibili quando passeggio, entro ad esempio nella Chiesa di Santo Spirito e vedo il Giotto restaurato, ma dopo un po’ comincio ad annoiarmi, perché l’offerta di cose da fare e gli stimoli non sono paragonabili all’America.
New York invece è la modernità, la grandezza, l’architettura, il rinascimento attuale nella ricostruzione più che nelle opere vere e proprie. È anche multiculturalità, un incrocio di persone di ogni genere arrivate lì negli ultimi cento anni che si dimostrano aperte agli stranieri e sempre pronte a darsi una mano l’un l’altro.

Chiudiamo con un consiglio per un giovane artista.
Viaggiare più che si può! Nei Paesi nordici, in Europa, in Russia. È fondamentale conoscere il mondo e la gente che lo abita, cosa che non si può imparare a scuola, ma solo attraverso il viaggio. E se questo debba implicare un po’ di sacrificio perché le risorse economiche scarseggiano, ben venga: aiuterà ancora di più a crescere.

Info: www.emiliocavallini.com

Chiara Giacobelli

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20 Sep 2016

Harmony Runs On A Thread, Emilio Cavallini at GR gallery by Farrah Sarafa

Harmony Runs On A Thread, Emilio Cavallini at GR gallery

Curated by Giovanni Granzotto and Alberto Pasini is a sublime exhibit of twenty-five works by Emilio Cavallini—a designer, weaver, and mathematician, who never leaves his masterpieces to chance. In the manner of Da-Vinci, Emilio sketches, plans, and locks precision into a program prior to launching into a three-dimensional frenzy. Very much like Karl Lagerfield, Cavellini weaves nylon hosiery into sensational fractals, whose every angle-to-space convex enact a precise mathematical formula; Chanel does the same but through tweed. Rigorously organized grids supply potential momentums with vertigo effects that mesmerize.Emilio began with stockings in the 60’s. ‘The stocking is the frozen image of a body that moves or could move; it is a fragment, synecdoche, a part of a whole’ (Barzini 68)*. Erecting bifurcated images on the side, hosiery remained the primary canvas through which his affinity for mathematics flourish. He would only later make his magnificent tapestries accessible to the public.

For more information on kinetic and op art, please check http://www.theresponsivei.com/ (http://www.theresponsivei.com/),

Full article attached

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15 Sep 2016

EMILIO CAVALLINI talks to Eva Zanardi about kinetic and op art and exhibtion at GR gallery

EMILIO CAVALLINI talks to Eva Zanardi about his art and exhibtion at GR gallery

by Eva Zanardi

I have known Emilio Cavallini for over 20 years and I consider him a dear friend but you have my word that I will stay utterly objective. After all these years, I still marvel at Emilio’s boundless, irradiating energy and positivity.Always ready to praise someone, always ready to forgive, no matter what. We met in Milan in the early nineties and we immediately bonded. I instantly felt drawn in by his exuberant and gregarious personality. At that point, Emilio was at his peak fame as a fashion designer and he hired me as a model for many of his whimsically original fashion shows. Needless to say we had a ball. I have always known that he personally created and designed his groundbreaking pantyhose patterns, something that set him apart from all the other fashion designers. One day, I had the privilege of observing him at work, in his studio/laboratory. Emilio, with the help of applied mathematics, was creating perfectly interlocking patterns out of stubborn lines and shapes that didn’t want to collaborate. Like a mad scientist, Cavallini was guiding and submitting chaos into order. The resulting art works are at once muscular yet ethereal, their beauty lies both in their objective elegance and grace and in their deeper conceptual strive of trapping the infinite in the finite. It was then that I understood how he channeled his peculiarly boundless energy. When talking about Emilio’s work, it’s simply unchallenging to find analogies with the great mythological weavers like Penelope, wife of Odysseus and her genial ruse, the Three Parcae, the personifications of destiny, Ariadne’s thread and the Minotaur labyrinth, etc.… In those ancient myths the thread always appears as a metaphor for the act of connecting and disconnecting, a tool to control and release chaos. In continuing this narrative, Emilio Cavallini uses his threads as a leash to connect with, trap, tame and finally crystallize chaos/energy. Simply put, Emilio makes energy tangible.

  1. EZ) I would like to start our conversation by asking about the title of your exhibition at GR gallery New York: Harmony Runs On A Thread” Could you tell us how this title came about and what you mean by it?
  2. EC) The title of the show derives from the idea that the thread  represents  the  quest  for harmony, beauty and symmetry which, according to the laws of mathematics  that  govern  shapes  and  patterns, materializes beyond time and reality. I see my works as the materialization of an abstract music symphony transformed  into  an  actual object.
  1. EZ) In the past 10 years we have seen a worldwide comeback of Kinetic and Op art, do you have an explanation for this phenomenon? Having experimented for years with both, do you have an “insider view” on why lately the public seems to be receptive and responsive to these movements?
  2. EC) Kinetic and Optical art are not really coming back: they never went away. They exist as the visual outcome of the prolific conversation between art and science. They both focus on the direct observation of nature and the geometric principle of optics and perspective and on the latter’s evolution through time. In my Optical work, by creating a sort of perceptive instability, I stress the infinite combinations of reality and how our observation of them shapes my artwork. I try to distract the focal point from the objects themselves to the complex relationship between them.

Read more, attachment below:

 

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05 Aug 2016

Emilio Cavallini and the resurgence of Op and Kinetic art by Gregory de la Haba

The Resurgence of Op and Kinetic Art

Since 2013, the art world has witnessed a deluge of Op and Kinetic art centered exhibitions by major international museums and galleries and the markets took notice: from 2000 to 2010 kinetic art prices at international auctions went up a whopping 128%. We asked Eva Zanardi, a New York based Art Advisor, blogger and Director of Communications at GR gallery on the Lower East Side, which specializes in Kinetic and Op art, to provide some context.

Gregory de la Haba: Why in your opinion are we witnessing an Op Art and Kinetic art resurgence?

Eva Zanardi: Op and Kinetic art can be both contemplative and instinctual, evoking potent reactions which can be as tranquil as raindrops slowly falling and dispersing in a body of water (such as in Italian artist Alberto Biasi’s “Gocce”) or as mesmerizing as a lightning strike (such as in British painter Bridget Riley’s “Blaze”). I personally find the fact that these two art movements are introspective and void of any political, religious or social commentary immensely refreshing.

First and foremost, Kinetic art and Op art are not the same: Kinetic art or kineticism (from the greek word “kinesis” meaning motion) is an international movement that refers to art of both real and apparent motion, created between 1920 and 1970. The term “kinetic art” was coined by artist Naum Gabo and his brother Antoine Pevsner in 1920 but popularized by the mobiles of artist Alexander Calder and the kinetic sculptures of George Rickey. Inspired by such iconoclastic movements such as Dada and Constructivism, Kinetic art, or, as some prefer, Dynamic Art, in the ’60s spawned a new movement, Op art, mostly interested in optical effects, the illusion of movement and the perception of the visual (among many others Bridget Riley, Getulio Alviani,Victor Vasarely, Julian Stanczak). Many of the Op and Kinetic artists were fascinated by mathematical puzzles, and scientific experiments in phenomena such as the parallax effect, in which objects appear to move in relation to things around them. They combined science and art but, at the same time, explored the philosophical depth and intellectual aspirations of Geometric Abstraction and its spiritual overtones. Works by artists such as Argentine painter Eduardo Mac Entyre and Omar Rayo(Colombia), among others, suggest a higher, meditative purpose.

Read the full article attached

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16 Sep 2016

Emilio Cavallini Taps Into Beautiful Chaos

by Clarissa Hamlin

Can you imagine an artist weaving together vibrantly radiant spools of yarn and thread into intricate patterns?

Emilio Cavallini, who is a renowned avant-garde fashion maven, structures his artwork on a palette of geometric arrangements. Dizzying in the most exhilarating ways, his collection – featuring in a “Harmony Runs On A Threat” exhibit at GR Gallery in New York City starting Thursday Sept. 8 – demonstrates an artistic fluency. Unsparing in color and vision, viewers can treat their eyes to wonder.

His imaginations are a beautiful ecosystem of threads: carefully constructed labyrinths. Unsurprisingly, Cavallini’s work reflects the delicate spirit illuminating his fashion creations.

He expounds on weaving elaborate designs, which speak to the synergy between chaos, organization and placement. “I was breaking down barriers, going beyond the limits of censorship,” said Cavallini about his collection, which draws energies from spatialism and constructivism.

See Cavallini’s work during the “Harmony Runs On A Threat” exhibit at GR Gallery, 255 Bowery until Oct. 9.

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08 Sep 2016

L’armonia corre sul filo. Intervista a Emilio Cavallini

Harmony Runs on a Thread: an interview with Emilio Cavallini

di Petra Cason

Incontrastato “signore delle calze” della moda internazionale, ha affiancato l’ininterrotta produzione industriale alla realizzazione di un cospicuo numero di opere innovative, dove la cifra stilistica mutuava elementi e suggestioni dal mondo della moda, della matematica, dell’architettura. Lui è Emilio Cavallini e noi l’abbiamo intervistato.L’accessorio che Emilio Cavallini (San Miniato, 1945) ha innalzato a indumento da quando la minigonna “rivelò” le gambe delle donne, affiancando una caleidoscopica Mary Quant nella Londra degli Anni Settanta, e in seguito dando vita a prestigiose collaborazioni con le maggiori griffe di moda (Dior, Celine, Balenciaga, Alexander McQueen e Gucci) è diventato quasi da subito il supporto e il medium attraverso il quale Cavallini ha portato avanti un’instancabile ricerca artistica. Harmony Runs On A Thread è il titolo della nuova personale dell’artista, ospitata a New York, a partire dall’8 settembre, presso la GR Gallery: un cospicuo nucleo di opere realizzate tra gli Anni Ottanta e i primi Duemila, attraversando stili e linguaggi differenti, affrontati dall’artista in un importante arco temporale. Lo spazio espositivo newyorkese, fondato dal critico Giovanni Granzotto, curatore dell’esposizione insieme ad Alberto Pasini, è dedicato all’Arte Cinetica, Op e Programmata, e in questo contesto storico, nel cuore dell’East Village, la personale di Cavallini si colloca perfettamente.

Read more below:

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20 Sep 2016

"Emilio Cavallini: faccio arte delle calze" di Maurita Cardone

Intervista allo stilista che lanciò i collant e che da sempre fa opere con le sue creazioni

In corso fino all’8 ottobre alla GR Gallery di Manhattan, la mostra “Harmony Runs on a Thread”: 25 opere optical realizzate con filo di calza. La retrospettiva copre tre decenni del lavoro di Emilio Cavallini, lo stilista che disegnò le prime calze per Mary Quant e inventò i collant a righe e pois.

di Maurita Cardone

Calze bianche da sposa, calze colorate, calze decorate, calze a righe, a pois, lucide e opache. Calze che compongono geometrie, formule, movimenti, effetti ottici. È l’universo di Emilio Cavallini, l’uomo che dagli anni ’60 ha trasformato le calze in qualcosa di più di un accessorio. A lui è dedicata la mostra, Harmony Runs on a Thread, in corso fino all’8 ottobre alla GR Gallery di Manhattan, spazio newyorchese dedicato all’arte cinetica italiana.

Cavallini ha fatto delle calze un’arte o, meglio, ha fatto arte delle calze. Il designer italiano che per primo intuì le potenzialità di un capo d’abbigliamento destinato a diventare simbolo dell’emancipazione femminile non fa calze perché è appassionato di moda, di gambe o di donne, ma perché nelle calze ha trovato la sua propria espressione artistica, una tela ideale su cui e con cui dare vita alle composizioni che abitano la sua mente. Le sue calze sono opere d’arte: letteralmente.

Inaugurata in coincidenza con la Fashion Week, la retrospettiva composta da 25 opere copre tre decenni del lavoro di Cavallini ed è la prima personale dell’artista  a New York. D’altra parte è solo di recente che il designer ha iniziato a esporre queste sue opere: la prima volta è stata alla Triennale di Milano nel 2011 dopo aver preso, l’anno precedente, la decisione di dedicarsi esclusivamente all’arte. Prima di allora, queste eleganti ed elaborate composizioni geometriche che Cavallini aveva cominciato a realizzare con le calze che faceva produrre fin dagli anni ’60, erano rimaste sulle pareti della casa-studio dell’artista a San Miniato. Ma è proprio in queste opere, rimaste a lungo nascoste come un prezioso segreto, che sta la vera essenza del lavoro di Emilio Cavallini, come ci ha spiegato lui stesso durante una chiacchierata alla GR Gallery.

Full article attached

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06 Sep 2016

EMILIO CAVALLINI EXHIBITS AT GR GALLERY IN NEW YORK

FROM FASHION TO EXPERIMENTATION, AN EXCURSUS FROM THE SEVENTIES TO 2014

“Emilio Cavallini, harmony runs on a thread” is the title of a retrospective dedicated to the Tuscan artist at the New York branch of GR gallery. Curated by Giovanni Granzotto and Alberto Pasini and on view from September 8 to October 9, the show presents an excursus through the creative career of the master designer in 25 works dating from the early Seventies until 2014, which represent the various phases of a career spanning over 40 years, such as the series entitled “optical”, “biforcazioni” (bifurcations), “infnito attuale” (the infnite now) e “frattali” (fractals).

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01 Sep 2016

Sul Filo dell'Armonia

Harmony Runs on a Thread at GR gallery

di Eva Zanardi

Sul filo dell’armonia sarà inaugurata l’8 settembre, in concomitanza con la prima serata di NY Fashion 7 Week, la mostra antologica dedicata all’artista toscano Emilio Cavallini, intitolata “Harmony Runs On A Thread”. L’esposizione, che chiuderà i battenti il 9 ottobre presso la prestigiosa sede newyorkse di GR Gallery, è a cura di Giovanni Granzotto e Alberto Pasini. Le opere dell’artista, esposte presso la galleria sita al civico 255 della Bowery, presenteranno un excursus nella carriera creativa del maestro, attraverso 25 lavori, datati tra i primi anni ’70 e il 2014, che esplorano con la medesima attenzione i vari cicli, percorsi in oltre 40 anni di lavoro: “Optical”, “Biforcazioni”, “Infinito attuale” e “Frattali”.

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06 Sep 2016

Italiani in Tour: i nostri artisti nelle gallerie del mondo - Collezione da Tiffany

Italiani in Tour: i nostri artisti nelle gallerie del mondo - Collezione da Tiffany

Continua ad essere altissima l’attenzione del collezionismo internazionale per l’arte italiana. A confermarlo il gran numero di mostre dedicate ai nostri artisti presenti nei programmi autunnali delle gallerie di mezzo mondo.

L’8 settembre prossimo inaugurerà, a New York, la mostra Emilio Cavallini: Harmony Runs On A Thread, prima personale dell’artista italiano presso la GR Gallery.

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17 Jun 2016

Destabilizing visual codes with logical outcome: interview with Franco Costalonga on his kinetic art at GR Gallery, New York

“Revolution”, running until 17 July 2016, is the solo show of Italian Kinetic artist Franco Costalonga at New York’s GR Gallery, a commercial space focused on Kinetic and Optical Art. Detecting a recent comeback of these two movements on the art market—from this year’s edition of Miart 2016 exhibiting a large body of work by Alberto Biasi, to museum exhibitions across the US presenting masterpieces by Bridget Ridley, Victor Vasarely and Edwin Mieczkowski—Where’s Art catches up with the Italian artist about his research on movement and the interaction between shapes and colors.

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28 Jun 2016

Franco Costalonga and the Perception Revolution

Franco Costalonga and the Perception Revolution

Until July 17 at the GR gallery, an exhibit of the kinetic and optical art of Franco Costalonga

Objects of art activated by a spectator’s movement, spherical mirrored caps, lights that morph to create rainbow compositions. From the Seventies until today, this Italian artist never stopped experimenting: the exhibition Revolution is a unique opportunity to see his work live.
By Maurita Cardone June 26 2016
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21 Jul 2016

Casualità, talento e grande purezza. Intervista a Franco Costalonga, in mostra a New York

Revolution: Franco Costalonga in mostra a New York fino al 17 luglio

“Devi assolutamente incontrare il Maestro. È un’occasione imperdibile, avrai accesso al suo mitico studio e potrai osservare da vicino il luogo in cui le sue straordinarie opere d’arte prendono forma”. Così Eva Zanardi, art advisor e direttore della comunicazione per GR Gallery New York, mi ha incuriosita ad approfondire quella che altrimenti sarebbe stata la classica recensione sull’ultima mostra presente in galleria. Presso la GR Gallery di New York, infatti, il 17 luglio si concluderà Revolution, esposizione che ripercorre la carriera dalla fine degli anni ’60 ad oggi, di uno dei più significativi artisti dell’arte cinetica e programmata in Italia, Franco Costalonga.

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03 Jun 2016

Art Exhibition by Franco Costalonga "Revolution"

A solo exhibition of the Italian artist and kinetic and op art innovator Franco Costalonga at the GR gallery. On view, thirty of his works from the Seventies until today, including his best known series “Oggetti Cromocinetici”, “Riflex”, “Gradienti di Luminosità” and “Mokubi”.

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03 Jun 2016

"Franco Costalonga: Revolution" in ArtNet

“Just opened, make sure to catch GR Gallery’s fantastic new Franco Costalonga show.”

03 Jun 2016

On tour: l'arte italiana nel mondo

“New York, è stata inaugurata ieri (27 maggio) alla GR gallery la mostra Franco Costalonga REVOLUTION, prima retrospettiva newyorchese dedicata all’artista veneziano, esponente di spicco dell’arte cinetica e programmata già presente, con a Sfera (1969), opera realizzata in plexiglas e metallo cromato, nella collezione Peggy Guggenheim. La mostra ripercorre la carriera dell’artista dalla fine degli anni ’60 fino ai giorni nostri e sviluppa un itinerario espositivo che, pur comprendendo alcuni esempi dei cicli più importanti del maestro, si incentra sul tema delle opere prettamente cinetiche, e quindi sulle “Boites”, con motore incorporato. La mostra quindi sarà un’autentica esplosione di luce e movimento, con una presenza massiccia di Oggetti Cromocinetici,Gradienti di Luminosità, MokubiRiflex, concretamente animati da elettromotori e lampade colorate. Sono inoltre presentate, per la prima volta, opere appartenenti all’ultimissima serie creativa di Costalonga: le Onde Gravitazionali.”

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07 Jun 2016

La "Revolution" di Franco Costalonga

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05 May 2016

“Must-see Art Guide: New York” on artnet News

Must-See Art Guide: New York. It’s only been two months since New York City was inundated with art fairs, and this week we’re back at it all over again and we’re already wiped from wading through the crowds. The big kahuna, Frieze New York, opens to the public today, returning to Randall’s Island for the fifth time and bringing with it plenty for you to see (and hear) with talks, site-specific works, and of course uber-cool things to eat. Your cultural intake shouldn’t stop in the white tents, however, because there is plenty to see the old-fashioned way. From Skarstedt and Michael Werner Gallery to Bortolami and Leslie Feely, we’ve exhausted your list of unmissable shows. Good luck out there.

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05 May 2016

ALBERTO BIASI: THE ARTIST OF THE INVISIBLE at GR gallery New York

Alberto Biasi: The Artist of the Invisible

When I met with Alberto Biasi in New York at GR gallery to promote his upcoming exhibition, I also rekindled an old friendship. Mr. Biasi and his family were my neighbors in Padua (Italy) in the ‘80s and we use to share a beautiful garden with bountiful persimmon trees. I hadn’t seen the Master in over 20 years but, at 79, Alberto Biasi is as lively and friendly as I remember him. Best known as being the founder and leading spokesperson of Gruppo N, we talked about his relationship to Kinetic Art and “A Dynamic Meditation,” his first retrospective in New York, which spans 40 years’ worth of work.

By EVA ZANARDI, MAY 2016

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29 Apr 2016

Alberto Biasi "A Dynamic Meditation" in The Art Newspaper

Three to See, New York, May 2016 Issue

Alberto Biasi “A Dynamic Meditation” in The Art Newspaper

“Hypnotic show of kinetic works from the 1960s until today and an interactive phosphorescent installation that you can touch, Trippy.”

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22 Apr 2016

"Alberto Biasi: Dynamic Stillness" at GR Gallery

So generously imparting a retrospective of Kinetic Art pioneer, Alberto Biasi, GR Gallery anchors its core theme. Showcasing over 20 of his most famous works since the 1960’s, including his “Optico-Dynamic Reliefs”, “Torsions” and “Assemblages” series, viewers can experience the evolution of the art at its finest. His interactive “Eco” is also on view, for the first time in the U.S.

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21 Apr 2016

ARTNET Asks: Alberto Biasi Fills in the Blanks

You might not have heard of Alberto Biasi, but you should. A pioneer of Kinetic and Op Art, he founded the groundbreaking avant-garde collective Gruppo N in 1960, leading the way for a generation of artistic experiments into the optical and physical possibilities of art. The good news is you have a chance to catch up, because his current exhibition “A Dynamic Meditation” at GR Gallery in New York is on view through May 22, and offers viewers the chance to experience a variety of dizzying artworks in person, ranging from the 1960s to the present.

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21 Apr 2016

Intervista ad Alberto Biasi, a New York con la sua Dynamic Meditation

Tutto ebbe inizio con un party grandioso a Venezia, e un premio mancato, dice qualcuno, per colpa della CIA. Tutto questo raccontato da Alberto Biasi, l’artista che “riesce a far vedere ciò che non è visibile”. Le opere di Alberto Biasi, come sempre, catturano immediatamente l’attenzione dello spettatore, non appena si varca la soglia della nuova GR Gallery di New York. Ad accogliermi Eva Zanardi, Direttore-Comunicazione di GR gallery ed Art Advisor che mi accompagna ad incontrare il maestro. “Alberto Biasi è un uomo che ama raccontare il proprio percorso artistico e il proprio passato” mi suggerisce, e lo intuisco non appena gli stringo la mano e notando quel suo sguardo divertito e pronto per una chiacchierata che durerà quasi un’ora.

 

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09 Apr 2016

MOSTRE: GIACOMELLI A TOLOSA, BIASI A NY E BONALUMI A LONDRA

La GR Gallery, sede newyorchese dello Studio d’Arte GR di Sacile, tra le prime realtà in Italia ed in Europa a trattare l’arte Cinetica, Programmata e Optical, ha inaugurato il 31 marzo scorso la mostra A Dynamic Meditation, la prima vera antologica di Alberto Biasi negli Stati Uniti. Tra i fondatori delGruppo Enne, Biasi è uno tra i più importanti esponenti italiani dell’arte cinetica. In mostra sono presenti opere rare che dagli anni Sessanta arrivano fino ad oggi, accuratamente selezionate nel ricco percorso dell’artista iniziato nel 1959. 
In tutto sono 26 i lavori esposti nella galleria al numero 255 della Bowery a New York, tra le quali alcuni Rilievi Ottico – Dinamici, Torsioni, Assemblaggi e la sua unica installazione interattiva: Eco – ombre  (1974-2014), esposta per la prima volta negli Stati Uniti.

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05 Apr 2016

Alberto Biasi "A Dynamic Meditation" In La Voce Di New York

Alberto Biasi and the Art of Inebriating the Eye

Interview with Italian artist, Alberto Biasi. At GR Gallery in Manhattan on show three of his series.He gets his inspiration from the fire and the rain, h creates movement out of stillness, and he finally feels understood. At the opening of Alberto Biasi – A Dynamic Meditation, we interviewed the Italian artist who founded the Gruppo N and who now claims: “Mine is not kinetic art, rather dynamic”

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26 Mar 2016

Alberto Biasi "A Dynamic Meditation" in i-Italy

At GR gallery a retrospective of Italian artist and kinetic art pioneer Alberto Biasi, featuring over thirty of his most famous works from the late Sixties until today, from his best known series “Rilievi Ottico- Dinamici”, “Torsioni”, Assemblaggi and his interactive installation “Eco-ombre” 1974-2014, for the first time on view in the US. The exhibition is curated by GR gallery’s founder Giovanni Granzotto and its Director Alberto Pasini.

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26 Mar 2016

"Alberto Biasi's kinetic art in NYC"

Apre giovedì 31 prossimo, nel cuore degli States, l’esposizio-ne “A dynamic meditation”, la prima mostra newyorkese in-teramente dedicata all’artista padovano Alberto Biasi. Un evento unico nel quale, oltre ad incontrare personalmente il pittore – riconosciuto in tut-to il mondo come uno dei maestri dell’arte cinetica – il pubblico americano avrà modo di ammirare un’antologica com-posta da ben ventisei opere.

 

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26 Mar 2016

Alberto Biasi: "A Dynamic Meditation"

Alla GR Gallery di New York, Alberto Biasi è il protagonista di un’antologica composta da ben 26 opere.
Opere tra cui “Rilievi Ottico – Dinamici”, “Torsioni”, “Assemblaggi” e la sua unica installazione interattiva “Eco – Ombre”, presentata per la prima volta negli Stati Uniti. Tra i fondatori del Gruppo Enne, Biasi è uno tra i più importanti esponenti italiani dell’arte cinetica. In mostra presenti opere rare dell’artista, dagli anni Sessanta fino ad oggi, scelte tra il ricco percorso dell’artista, avviato nel 1959 con le prime esposizioni del nascente Gruppo Enne, contraltare padovano del milanese Gruppo T.

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17 Mar 2016

Alberto Biasi's retrospective "A Dynamic Meditation"

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27 Jan 2016

A PRESTIGIOUS EXHIBITION SPACE ON THE BOWERY

THE OTHER COVER STORY

ARTEiN by Michele Beraldo

On Thursday January 14, 2016, Studio d’Arte GR inaugurated the “GR Gallery” its New York location,with the exhibition, “The Sharper Perception. Kinetic Art, Optical and beyond”, curated by founder Giovanni Granzotto. The new exhibition space, covering more than 160 square meters on the ground floor at 255 Bowery, features 40 works by a collection of artists who reflect the most unusual, dynamic experiments on themes of perception and movement that have in influenced contemporary art since the Sixties.

 

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27 Jan 2016

THE SHARPER PERCEPTION @ GR GALLERY - NY Arts Magazine

NY Arts Magazine

NEW YORK, NY (December 4, 2015)- On Thursday, January 14th, 2016 GR Gallery will inaugurate its New

York headquarter with the exhibition “The Sharper Perception, Kinetic Art, Optical and Beyond”, by curator

and founder Giovanni Granzotto. The exhibition will run from January 14 through March 12, 2016.

The opening reception will begin at 6:00p.m. at GR Gallery, located at 255 Bowery, New York, NY 10002.

In the new space, which covers over 1,600 square feet, on the ground floor of 255 Bowery, will be displayed

40 artworks of various artists, reflecting the most unusual and dynamic techniques.

The exhibition will focus on the themes of perception and movement, as well as the Optical, dynamic and

three-dimensional structuring of the artwork; all features that have strongly influenced contemporary art

from the sixties until today. About 20 artists will be the protagonists of this event, which, starting from the

masters, Vasarely and Schaffer, plus some of the masters of the most important Optical currents such as

Biasi, Cruz-Diez and Julio Le Pare and those who have circled around the Azimuth project, such as

Bonalumi and Castellani. Finally, featuring younger artists such as Marcello DeAngelis and Gabriele Grossi.

On the occasion of this inaugural event, a representative catalog will be available.

05 Feb 2016

The Sharper Perception Dynamic Art, Optical and Beyond

On Thursday, January 14th, 2016 , GR Gallery inaugurated its New York headquarter with the exhibition “The Sharper Perception, Kinetic Art, Optical and Beyond”, by curator and founder Giovanni Granzotto. The exhibition will run through March 12, 2016.Established almost 40 years ago in the late 1970s, Studio d’Arte GR quickly focused its activity on the promotion and valorization of postwar avante­garde artwork of clear Latin matrix, favoring those artists who had created a special, personal propulsion and thrust during the triumph and eclipse of “Informale”.

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27 Jan 2016

GR gallery’ Debuts at Karl Fischer’s 255 Bowery

BOWERY BOOGIE January 15th, 2016 at 5:11 am by Elie

Hot Karl Fischer’s drab-looking condo building at 255 Bowery finally welcomed its first ground-floor occupant. Studio d’Arte GR is the commercial tenant of note for the 1,600 square-foot space (surprise surprise), entering the Bowery arts scene with an American-specific affiliate. It’s called GR Gallery, and it opened last night with the inaugural exhibition by gallery founder Giovannin Granzotto, “The Sharper Perception.” The show runs through March 12.

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27 Jan 2016

“The Sharper Perception”: a New York l’arte cinetica e programmata

LA STAMPA CULTURA 22/01/2016

La Stampa Cultura  di Francesco Semprini

NEW YORK  22/01/2016

L’appuntamento, il primo del genere per il 2016, è stato sulla Bowery, in uno dei tratti più iconici della grande strada che attraversa l’East Village. Un appuntamento per certi da non perdere, almeno a sentire le tante persone intervenute, e che ha visto protagonista un pezzo dell’Italia artistica, Parliamo di «GR gallery» che ha inaugurato la sua sede newyorkese con la mostra “The Sharper Perception, Kinetic Art, Optical and beyond», a cura del critico d’arte e fondatore Giovanni Granzotto.

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27 Jan 2016

The Sharper Perception inaugura la Gr Gallery

America Oggi 13-01-2016

Lo Studio GR, nato quasi quaranta anni or sono, nella seconda metà degli settanta, molto presto ha incentrato la propria attività nella valorizzazione e nella promozione delle avanguardie europee del dopoguerra di chiara matrice latina; privilegiando nel suo percorso tutti quegli artisti che hanno prodotto particolari e personali spinte propulsive durante il periodo dei trionfi e dell’eclisse dell’Informel. Dagli anni ’90 si dedica alla riscoperta ed al rilancio dell’ultima avanguardia: il movimento dell’Arte Cinetica e Programmata. Un’attività spesso portata avanti in profonda solitudine, anticipando certamente i tempi, e proponendo artisti che nel terzo millennio la critica e il mercato hanno invece entusiasticamente riconosciuto.

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22 Jan 2016

La GR Gallery a New York inizia dall'arte cinetica

La Voce di New York, 18 Jan 2016

di Laura Gamberini

A più di 40 anni dalla fondazione dello storico Studio d’arte G.R. da parte di Giovanni Granzotto a Sacile, la GR Gallery approda anche a New York nel place to be della scena artistica, il Lower East Side, e lo fa con una mostra,  tesa a rilanciare l’arte cinetica, un genere artistico in cui crede dagli anni Novanta. Al 255 di Bowery Street, nel cuore del Lower East Side, si trova la sede newyorchese della GR Gallery, che inaugura la sua attività negli Stati Uniti con una mostra che è quasi una sorta di sfida: The Sharper Perception, Kinetic Art, Optical and Beyond.

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27 Jan 2016

Da piazza del Popolo a NY apre GR Gallery

Il Gazzettino, Mercoledì 13 Gennaio 2016

Un sacilese sulla piazza artistica di New York. Giovanni Granzotto, critico d’arte e organizzatore di mostre, inaugurerà domani la “GR Gallery”, nel nuovissimo spazio che si sviluppa su oltre 160 metri quadrati al piano terra del civico 255 di Bowery Street a Manhattan. In esposizione per la prima una quarantina di opere di vari autori, realizzate attraverso tecniche diverse. La mostra si intitola “The Sharper Perception, dynamic art, optical and beyond” e rimarrà aperta fino al 12 marzo. Un concentrato di optical, strutturazione dinamica e…

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27 Jan 2016

La galleria d’arte sacilese “GR” apre una sede a New York

Il Messaggero Veneto di Chiara Benotti – 8 gennaio, 2016

Da Sacile a New York con l’arte “cinetica e programmata” che seduce gli americani: “GR gallery” aprirà la sede nella Grande Mela il 14 gennaio con la mostra “The sharper perception, kinetic art, optical and beyond”.Curatore è il critico d’arte sacilese e fondatore Giovanni Granzotto, in collaborazione con Alberto Pasini, Ugo Granzotto e Giovanna Zuddas. Nel nuovo spazio che si sviluppa su oltre 160 metri quadri, al piano terra del civico 255 sulla Bowery, saranno esposte una quarantina di opere realizzate attraverso i media più insoliti e dinamici da vari artisti e giovani talenti friulani come Mara Fabbro e Marcello de Angelis, Sandi Renko. I grandi artisti che hanno consacrato la corrente internazionale sono Alberto Biasi, Jarrit Tomquist, Le Parc e altri.

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2017 ® GR gallery