Draft:Giovanni Pizzo

Giovanni Pizzo
Giovanni Pizzo
	File:Giovanni Pizzo
Born	1938; Veroli
Died	2022; Rome
Movement	Arte programmata
Spouse	Lucia di Luciano

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Instructions · What links here · Giovanni Pizzo (talk: + · bio) · (log) · Copyvios report · reFill · Citation Bot · (Search: Google, Wikipedia) · Submitted 12 hours ago by Conrad.Teller (talk: D · +) · Last edited 2 seconds ago by Citation bot

Giovanni Pizzo (1938, Veroli – 2022, Rome) was an Italian artist and one of the prominent representatives of the arte programmata movement. His work intersected with scientific methodologies, emphasizing logical-mathematical processes and visual perception. For him, art was a form of research conducted through systematic, programmed processes.^[1] This is why his work was initially formuated and recorded in his notebooks and then transferred on a painted surface. Today, his innovative approach to merging art, science, and technology continues to influence contemporary artists and is becoming a reference point in discussions about the history of computers and digital art.

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

Early life and Education

Pizzo studied at the Academy of Fine Arts and the French Academy in Rome, where he developed a structured approach to art, influenced by geometric principles and logical processes. He held his first solo exhibition at La Fontanina Gallery in Syracuse in 1958.^[2] In 1956, he married Lucia di Luciano, who later became both his wife and artistic collaborator.

Gruppo 63 and Operativo R

In 1963, Pizzo and di Luciano, in collaboration with Lia Drei and Francesco Guerrieri, co-founded Gruppo 63 - an avant-garde art collective that sought to fuse art, architecture, and scientific research.^[3] The group exhibited in Rome, Florence, and Livorno, but dissolved later that year due to internal differences.

After the group's dissolution, Pizzo and di Luciano, along with Carlo Carchietti, Franco Di Vito, and Mario Rulli, formed Operativo R. Their manifesto, the "Theory of Operationalism", published in Marcatré, established their approach to creating art through systematic, logical-mathematical processes.^[4] Despite their ambitious goals, Operativo R eventually disbanded due to differing views, prompting Pizzo to refine his individual approach to programmed art.

Arte Programmata

The 1960s were a time of profound cultural and artistic transformation, characterized by the emergence of movements such as Kinetic Art, Minimalism, and Pop Art. During this period, Arte Programmata arose in Italy as a pioneering movement that aimed to integrate art and technology.^[5] Known as "programmed art," it emphasized a structured and methodical approach to artistic creation, grounded in logical and mathematical principles.

Giovanni Pizzo and Lucia di Luciano were prominent participants in this movement. They actively participated in the Nove Tendencije 3 exhibition (1965). Their involvement was beneficial for the development and recognition of Arte Programmata, and helped to position their work within a broader context of contemporary artistic exploration.^[2] These exhibitions emphasized the intersection of art and science, highlighting how visual perception could be manipulated through programmed processes.

In 1966, they presented individual installations of programmed art at the Galleria Numero in Rome, accompanied by a sound environment composed by Pietro Grossi. Their work garnered critical acclaim from influential figures such as Giulio Carlo Argan, Umbro Appolonio, Lea Vergine^[6], Palma Bucarelli, Giancarlo Politi and others who appreciated its exploration of the intersection between scientific reasoning and visual perception.^[2]

For Pizzo and di Luciano, the main goal was to make the operational processes behind their art visually accessible. They sought to foster an educational dialogue that connected scientific logic with aesthetic experience, ultimately creating a "metalanguage"^[4] that enabled viewers to engage with the underlying structures and meanings of their visual compositions.

Operationalism and Visual Perception

For Giovanni Pizzo, the process of creation was as crucial as the final artwork, reflecting the principles of operationalism — a notion articulated by Percy W. Bridgman in 1926.^[7] Operationalism emphasizes that concepts are defined by the operations associated with them, aiming to establish a dynamic interplay between art and cognition.

Pizzo initially formulated his concepts in a notebook before transferring these ideas to the canvas. His artistic exploration unfolds through various phases, each consisting of operational steps that facilitate the movement of images across space and time. Each phase possesses a distinct perceptual quality designed to enhance viewer engagement through logical and mathematical planning, enabling precise control over aesthetic operations.^[4] In the end, visual perception is shaped by the position and function of elements within the overall structure.

A significant theme in Pizzo's work is the interplay between "sound" and "silence" expressed by two key elements: space and time. His pieces highlight both horizontal (spatial) and vertical (temporal) dimensions, utilizing colors selected for their distinct qualities - all created with Morgan's Paint (acrylic) and Indian ink.^[1] Operational process culminates in the creation of form, with visual elements that shape the unique features of each image.

Sign Gestalt

Giovanni Pizzo was using the combinatory method to generate his works. He explored the gestalt possibilities inherent in modules, phase structures, geometric forms, and mathematical concepts.^[8] That means that each of his works features unique arrangements that demonstrate the potential of visual elements to be perceived as unified wholes rather than merely a collection of individual parts. Elements are changing positions, offering dynamic interaction between visual elements and color, while shaping the viewer's experience.

Contribution and Legacy

In addition to his artistic endeavors, Pizzo co-founded the Spazio Documento cultural association, which has been active since 1981.^[9]

Similar to his wife, he is currently experiencing a resurgence in interest, bringing the works of both artists into the spotlight of critics and international collectors. This renewed appreciation highlights their significant contributions to the art world and sparks discussions about the relevance of their innovative approaches in contemporary artistic practices.

Solo Exhibitions (selection)

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

Group exhibition (selection)

2023: Marina Apollonio, Claudio D’Angelo, Lucia Di Luciano, Helga Philipp, Giovanni Pizzo, Galleria 10 A.M. ART - Vetrina BPM, Pietrasanta
2022: 62. Annale: New Fundamental Tendencies, Istrian Assembly Hall, Poreč; Curva e retta. La linea nelle ricerche astratto-cinetiche italiane, Galleria 10 A.M. ART, Milan
2021: Ed è sempre musica. Luigi Veronesi, Giovanni Pizzo, Lucia Di Luciano, Galleria 10 A.M. ART, Milan; Optical Vibes, Galleria Nazionale d’Arte Moderna, Rome
2020: Collective exhibition, Panarte Gallery, Vienna
2019: Optical Icons Black & White, Panarte Gallery, Vienna
2018: 100% Italia. 1915-2015 Cent’anni di capolavori, Museo Ettore Fico, Turin
2017: Visioni Geometriche, MACRO Museo d’Arte Contemporanea Roma, Rome
2016: Pokrenuto oko, MUO Museum of Arts and Crafts, Zagreb; Olhar em Movimento, Istituto Tomie Othake, Sao Paolo; Kunst in Europa 1945-1968, ZKM I Zentrum fur Kunst und Medientechnologie, Karlsruhe
2015: Occhio Mobile: Lenguajes del arte cinetico italiano anos 50-70, CAC Centro de Arte Contemporáneo, Quito (EC)
2014: Le Nuove Tendenze. Rivelazioni di un’arte percettiva e sensoriale, costruttiva e interattiva, Galleria 10 A.M. ART, Milan; Occhio Mobile: Lenguajes del arte cinetico italiano anos 50-70, Corporacion Cultural Las Condes, Santiago de Chile; Arte Cinetica, Museo di Santa Giulia, Brescia; Occhio Mobile: Lenguajes del arte cinetico italiano anos 50-70, MAC Museo de Arte Contemporáneo, Lima
2013: Percezione e Illusione, Arte Programmata e Cinetica, MACBA Museo de Arte Contemporáneo, Buenos Aires; Percezione e Illusione, Arte Programmata e Cinetica, MACLA Museo de Arte Contemporáneo Latinoamericano, La Plata
2012: Arte Programmata e Cinetica, Galleria Nazionale d'Arte Moderna, Rome
2011: Percorsi Riscoperti dell’arte italiana – VAF-Stiftung 1947-2010, MART Museo d’Arte Moderna e Contemporanea di Trento e Rovereto, Rovereto (Trento)
2004: Incantesimi, scene di arte e poesia a Bomarzo, IV edizione, Treviso
1999: Galleria Monogramma, Rome
1998: Noir et Blanc, Galerie Victor Sfez, Paris; Astrattissimo Anni ‘60 a Roma, MG 2. Arte Contemporanea, Rome
1997: Prova d’Agosto, Studio L. Mazzocchi, Fara Sabina
1996: Ascoltare l’immagine, Palazzo Mediceo, Serravezza
1995: Festival de la Havana, Havana; Arte in corso, Castello di Nocciano, Chieti
1994: Galerie ST. Charles De Rose, Paris; Ricerche sistematiche del colore, Fara Sabina
1992: Biennale Internazionale di Barcellona, Barcelona; Alternanze Cromatiche, Galleria L’Ariete, Rome
1988: Dimensione Europea, Complesso monumentale S. Michele a Ripa, Rome
1987: Le coleur au-de là de Mondrian, Galleria Zografìca di Katia Feijo, Bordeaux
1986: Sistematiche del Colore, Centro Culturale Luigi di Sarro, Rome; II Significante Visivo, XXI Premio Vasto, Vasto
1983: Università degli studi di Pavia - Collegio Cairoli, Pavia
1982: Sistematiche del Colore, Spazio Documento - Centro Culturale, Rome
1977: Galleria Marcon IV, Rome; Galleria Contini, Rome
1976: Grand’s et jeunes d’aujourd ‘hui, Grand Palais, Paris
1975: L’Avanguardia Romana Post – Informale degli anni 60, Galleria Spazio Arte, Rome
1968: Esposizione Universale di Montreal, Montreal; Premio Masaccio, VI Biennale Romana, Rome
1967: 21° Premio Nazionale di pittura Michetti, Francavilla al Mare
1966: Galleria Art Centre, Johannesburg; Suono, 2. Movimento, Colore. Ricerche Sonore nell’Arte Cinetica, Galleria Obelisco, Rome; Nuove Ricerche Visive in Italia, Galleria Milano, Milan
1965: Strutture Visive, Galleria Il Bilico, Rome; Galleria Guida, Naples; Galleria Aquilone, Florence; Galleria La Bussola, Cosenza; Galleria S.I.A.B.A., Terni; La Critica e la Giovane Pittura Italiana Oggi, Galleria Ferrari, Verona; X Premio Castello Svevo, Termoli; IX Quadriennale d’Arte di Roma, Rome; Nova tendencija 3, Gallery of Contemporary Art, Zagreb; Galleria Numero, Florence; V Rassegna di Arti Figurative di Roma e del Lazio, Palazzo delle Esposizioni, Rome
1964: Mostra collettiva presso il Ministero della Pubblica Istruzione, Rome; Musica Elettronica e Concreta, Arte Visiva, Gruppo Operativo R, Palazzo Strozzi, Florence; Strutture di Visione, IX Premio Castello Svevo, Termoli; Gruppo Operativo R, Galleria Nazionale d’Arte Moderna, Rome; Gruppo Operativo R, Galleria Numero, Rome and Florence; Gruppo Operativo R, Libreria delle Messaggerie Musicali, Rome; Strutture Visive, Avezzano
1963: IV Rassegna d’Arti Figurative di Roma e del Lazio, Palazzo delle Esposizioni, Rome; Mostra collettiva presso il Ministero della Pubblica Istruzione, Rome; Gruppo 63, Galleria Nazionale d’Arte Moderna, Rome; Gruppo 63, Galleria Numero, Rome; Mostra Internazionale d’Avanguardia, Galleria Modigliani, Livorno; Mostra Internazionale presso Cinquale Garden House, Ronchi di Massa; XII Convegno Internazionale Artisti Critici e Studiosi d’Arte di Verucchio, Verucchio
1961: III Rassegna d’Arti Figurative di Roma e del Lazio, Palazzo delle Esposizioni, Rome
1960: VIII Quadriennale d’Arte di Roma, Rome

References

^ ^a ^b Margozzi, Mariastella (2007). Lucia Di Luciano e Giovanni Pizzo, dall'arte programmata alle combinatorie. In: Lucia Di Luciano / Giovanni Pizzo – Combinatorie. Arte programmata anni '60. Palombi Editori. p. 11. ISBN 978-88-6060-080-6.
^ ^a ^b ^c Lucia di Luciano – Giovanni Pizzo: Programirana umjetnost / Arte Programata. National Museum of Modern Art. 2022. p. 2. ISBN 978-953-348-122-7.
^ Bolpagni, Paolo (2015). Il rigore dell'arte di Lucia Di Luciano e Giovanni Pizzo nel quadro delle ricerche cinetico-programmate degli anni Sessanta in Italia, In: Sistematiche operazionali, Lucia di Luciano - Giovanni Pizzo. 10 A.M. Art, Milano. pp. 3–4. ISBN 978-88-940648-3-4.
^ ^a ^b ^c Lucia Di Luciano / Giovanni Pizzo – Combinatorie. Arte programmata anni '60. Palombi Editori. 2007. p. 31. ISBN 978-88-6060-080-6.
^ Bolpagni, Paolo (2015). Il rigore dell'arte di Lucia Di Luciano e Giovanni Pizzo nel quadro delle ricerche cinetico-programmate degli anni Sessanta in Italia, In: Sistematiche operazionali, Lucia di Luciano - Giovanni Pizzo. 10 A. M. Art, Milano. p. 3. ISBN 978-88-940648-3-4.
^ Vergine, Lea (1984). Arte programmata e cinetica 1953-1963. L'ultima avanguardia (catalogo della mostra tenuta nel 1984 a Milano, Palazzo Reale). Gabriele Mazzotta. ISBN 9788820205409.
^ Bridgman, Percy W. (1927). The Logic of Modern Physics (6th ed.). The Macmillan Company (published 1951). p. 3. ISBN 9780405125942.
^ Cherstich, Fabio (2024). Giovanni Pizzo - Selected Woks (1964 - 2022). Apartamento Publishing Studios. p. 4. ISBN 9788409580927.
^ "Giovanni Pizzo". Avantgarde Gallery. 7 October 2024.

[:0-1] Margozzi, Mariastella (2007). Lucia Di Luciano e Giovanni Pizzo, dall'arte programmata alle combinatorie. In: Lucia Di Luciano / Giovanni Pizzo – Combinatorie. Arte programmata anni '60. Palombi Editori. p. 11. ISBN 978-88-6060-080-6.

[:1-2] Lucia di Luciano – Giovanni Pizzo: Programirana umjetnost / Arte Programata. National Museum of Modern Art. 2022. p. 2. ISBN 978-953-348-122-7.

[3] Bolpagni, Paolo (2015). Il rigore dell'arte di Lucia Di Luciano e Giovanni Pizzo nel quadro delle ricerche cinetico-programmate degli anni Sessanta in Italia, In: Sistematiche operazionali, Lucia di Luciano - Giovanni Pizzo. 10 A.M. Art, Milano. pp. 3–4. ISBN 978-88-940648-3-4.

[:2-4] Lucia Di Luciano / Giovanni Pizzo – Combinatorie. Arte programmata anni '60. Palombi Editori. 2007. p. 31. ISBN 978-88-6060-080-6.

[5] Bolpagni, Paolo (2015). Il rigore dell'arte di Lucia Di Luciano e Giovanni Pizzo nel quadro delle ricerche cinetico-programmate degli anni Sessanta in Italia, In: Sistematiche operazionali, Lucia di Luciano - Giovanni Pizzo. 10 A. M. Art, Milano. p. 3. ISBN 978-88-940648-3-4.

[6] Vergine, Lea (1984). Arte programmata e cinetica 1953-1963. L'ultima avanguardia (catalogo della mostra tenuta nel 1984 a Milano, Palazzo Reale). Gabriele Mazzotta. ISBN 9788820205409.

[7] Bridgman, Percy W. (1927). The Logic of Modern Physics (6th ed.). The Macmillan Company (published 1951). p. 3. ISBN 9780405125942.

[8] Cherstich, Fabio (2024). Giovanni Pizzo - Selected Woks (1964 - 2022). Apartamento Publishing Studios. p. 4. ISBN 9788409580927.

[9] "Giovanni Pizzo". Avantgarde Gallery. 7 October 2024.

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