Until 11 November 2017
Works from the 50’s to the 2000

Granelli Gallery, in Castiglioncello has the pleasure to introduce, a retrospective dedicated to Horacio Garcia Rossi.Few interesting, chosen works will be featured: oils and acrylics on canvas, temperas on cardboard, covering a period from 1959 to 2000.Therefore the first kinetic passage together group GRAV, crossing then the years '70 with the elaboration of the theory light-color in indissoluble unity, up to the years 2000.


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Born in 1929 in Buenos Aires, from 1950 to 1957 he studied at the school of fine arts in his home city where, later on, he was also to teach. It was during his first period at the school that he met Demarco, Le Parc, and Sobrino while, from 1945 to 1958, he took part in numerous group shows in Argentina and Latin America.

  • In 1959 he settled and worked in Paris. His first works were based on a two-dimensional research with the use of black and white, on the problem of anonymity, the multiplication of form, virtual movement, programming and, lastly, on problems of the superimposition of colours.
  • In 1960 he co-founded the Centre de Recherches d’Art Visuel CRAV, a group created by some ten artists; in 1961 it was reduced to six members and became the better known GRAV, Groupe de Recherches d’Art Visuel.
  • Interested in visual phenomena, from 1962 onwards, a period in which he came into contact with the Gruppo N in Padua, he began to introduce into his work real movement and light through the projection of geometric forms onto a screen. At the same time he was making works that could be manipulated by the public (“Cilindri in rotazione”) and he began a research into the problems of instability with the use of light and movement; this can be seen in such works as “Boîte à la lumière instable”, with manoeuvrable structures and changeable colours. In 1964 Horaçio Garçia Rossi and the other members of GRAV took part in the third Documenta, in Kassel and, in 1967, in the important exhibition “Lumiere et movement”, a show of particular importance for Kinetic Art.
  • In 1966 the artist began to make his first works based on the idea of the visual identification of writing (“Mouvement”) which was to lead him towards a moving alphabet (in an ambiguous portrait of the members of GRAV). This particular research had been begun in 1960 when Horaçio Garçia Rossi created an “ambiguous” alphabet where each letter was given a movement according to its form and meaning. Following this path, the artist arrived at proposing a visual image where the word and its meaning at times were in opposition, at others in harmony. The relationship between words, meaning, and form pushed the artist towards making portraits of the names of artists/painters based on an analysis and observation of each particular artist’s work, as in the case of “Ritratto del nome di Mondrian” and “Ritratto del nome di Malevich”. He developed this research further, to the point of realizing a portrait of people with the letters of their name, and also making use of their psychological data and their form and colour preferences. In this field of his research Rossi favoured the visual and sculptural aspect without, however, forgetting the characteristics of the people he was portraying.
  • From 1972 to 1974 he returned to plastic two-dimensional problems and to a search for a simple structure using analytical means, though now using new materials. From the end of the 1970s his art developed by deepening his studies of colour and its possibilities; later this was joined by the problems of colour-light, a research that lasted until 1999. From this moment on the artist injected a new energy into his work and created, from 1999 to 2002, more aggressive or, as Rossi himself said, more “angry” works which then began to include reliefs, sculptures, and objects. This tendency was to occupy his inquiries into colour-light until 2003.
  • In 2006 Horaçio Garçia Rossi’s art was linked to a musical component, thanks to the composer Federico Gozzelino who completed a collection of four musical pieces inspired by the artist and his works. A CD of this music, played on the piano by Yunko Watanabe, has been edited and published by the Ljubljana City Gallery of Modern Art and by the National Contemporary Art Institute. The artist continued with his in-depth studies of light and colour with renewed creative energy and thus arrived at a new series called “Khaos Programme”. These final works were the basis of his last shows (January 2007) in the National Library and the Galleria Marano, Cosenza.