{"id":4069,"date":"2019-10-21T12:02:32","date_gmt":"2019-10-21T12:02:32","guid":{"rendered":"https:\/\/albertobiasi.it\/biography\/"},"modified":"2023-06-01T08:28:01","modified_gmt":"2023-06-01T08:28:01","slug":"biography","status":"publish","type":"page","link":"https:\/\/albertobiasi.it\/en\/biography\/","title":{"rendered":"Biography"},"content":{"rendered":"

<\/div><\/div>

Alberto Biasi<\/strong> was born in Padua on 2 June 1937<\/strong>. During the war he moved for a short period to his paternal grandmother\u2019s in Carrara San Giorgio, a small village near Padua. A motherless orphan, at the end of the war he returned to Padua where he went to junior and secondary school and later enrolled in the classical high school. His attitude towards art disciplines<\/strong>, however, impelled him to complete his high school art diploma and to enrol, in 1958, in the architecture institute in Venice and, in 1962, the higher industrial design course.<\/span><\/p>\n

In this period he taught drawing and art history<\/strong> in state schools and, from the early 1970s until 1988, he was professor of advertising graphics in the Padua<\/strong> professional institute. His career in art coincided with the formation of the Gruppo Enne<\/strong>, an association of students of architecture with whom Biasi took part in such art events as the IV Biennale Giovanile d\u2019Arte di Cittadella, where he was awarded a prize conferred by Virgilio Guidi. In 1960<\/strong> he took part in the series of exhibitions at the Galleria Azimut in Milan, and with Enrico Castellani, Heinz Mack, Piero Manzoni, and Manfredo Massironi he exhibited in the show <\/span>La nuova concezione artistica<\/i><\/strong> organised at the Circolo del Pozzetto in Padua<\/span><\/p>\n

During his frequent visits to Milan, at the time the crossroad of internationally-knoen artists, Biasi and Massironi developed the idea of founding the Gruppo N<\/strong>, that in a short time was to become a protagonist of the main national and international shows of Kinetic art. Besides opening a gallery in Padua, the Gruppo N joined the movement \u201cNew Tendencies\u201d and exhibited at Zagreb, Paris, and Venice, coming into contact with other European experimenters. In 1962<\/strong> the Gruppo N exhibited in the travelling show Arte Programmata<\/i><\/strong> \u2013 a title referring to computer software \u2013 organised by Bruno Munari and hosted in the Olivetti shops in Milan, Rome, and Venice, and in galleries and museums in London and America. In 1964<\/strong> the Gruppo N was invited to the XXXII Venice Biennale<\/strong> and, in the following year, the MoMA, New York<\/strong>, to take part in the famous show The Responsive Eye<\/i>.<\/p>\n<\/div><\/div><\/div><\/div><\/div>

Alberto Biasi<\/span> works on an ideal material world of pure appearance<\/span> (…). Biasi’s meta-design ideal is scientific, but not scientistic. He does not design things, but examines the methods of designing appearances. che lavora Alberto Biasi (…). L’ideale meta-progettuale di Biasi \u00e8 scientifico, ma non scientista. Progetta non le cose, <\/span> but examines the methods of designing appearances.<\/span>
\nDino Formaggio<\/span> <\/em><\/strong><\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div>

The brief history of the Gruppo N concluded in September 1964<\/strong>, despite the attempt by Biasi to create in the following year, together with Landi and Massironi, the Gruppo Enne 65<\/strong>. In 1967 the Stzuki museum, \u0141o\u0301dz\u0301, devoted an important retrospective show to the Gruppo N, which was presented by critical essays by Giulio Carlo Argan and Umbro Apollonio. After these group experiences, Biasi continued alone with his art, taking up coherently the results already achieved and bringing them up to date with new expressive solutions. His artistic output was constantly turned towards perceptive inquiry<\/strong>, through series of works and investigated problems relative to visual perception and interaction with the work. In 1959<\/strong> Biasi began as an artist<\/strong> with his Trame, the results of his observation of nature and consisting of the superimpositions of perforated paper, cotton gauze, and metallic mesh which, by creating a modulated network, interact with the light to generate an optical-kinetic effect.<\/p>\n

Another result of visual effects were the optical-dynamic Rilievi<\/i><\/strong>, created by superimposing two levels in which the first consisted of bladed structures that, distanced from each other, create segments from which there emerges the image of the second level, often represented by linear or curved forms. Only with the participation of the viewers do these works give up their dynamism and their continuous mutation. The same phenomenon comes about in the Torsioni<\/i><\/strong>, these too studied to \u201cprovoke\u201d the eyes of those who look at them. Made with blades that converge towards the centre, these works create an optical dynamxism that stimulates the viewers to shift their own viewpoint.<\/strong> .<\/p>\n

Again from the early 1960s, Biasi began to plan the Ambienti<\/i>, works that wedded together with the exhibition space to completely enclose the public which became an \u201cactor\u201d and part of the work. If with Light Prisms<\/i><\/strong> the spatial dimension is constituted by rays of coloured light activated by electrical motors, in such other environments as Eco<\/i><\/strong> and the triptych Io sono<\/strong>, tu sei<\/strong>, egli e\u0300<\/strong>,<\/i> the public is called on to take part and to interact directly with the installation.<\/p>\n<\/div><\/div><\/div>

<\/span><\/div><\/div><\/div><\/div><\/div>
<\/span><\/div><\/div><\/div>

Alberto Biasi<\/strong> was born in Padua on 2 June 1937<\/strong>. During the war he moved for a short period to his paternal grandmother\u2019s in Carrara San Giorgio, a small village near Padua. A motherless orphan, at the end of the war he returned to Padua where he went to junior and secondary school and later enrolled in the classical high school. His attitude towards art disciplines<\/strong>, however, impelled him to complete his high school art diploma and to enrol, in 1958, in the architecture institute in Venice and, in 1962, the higher industrial design course.<\/span><\/p>\n

In this period he taught drawing and art history<\/strong> in state schools and, from the early 1970s until 1988, he was professor of advertising graphics in the Padua<\/strong> professional institute. His career in art coincided with the formation of the Gruppo Enne<\/strong>, an association of students of architecture with whom Biasi took part in such art events as the IV Biennale Giovanile d\u2019Arte di Cittadella, where he was awarded a prize conferred by Virgilio Guidi. In 1960<\/strong> he took part in the series of exhibitions at the Galleria Azimut in Milan, and with Enrico Castellani, Heinz Mack, Piero Manzoni, and Manfredo Massironi he exhibited in the show <\/span>La nuova concezione artistica<\/i><\/strong> organised at the Circolo del Pozzetto in Padua<\/span><\/p>\n

During his frequent visits to Milan, at the time the crossroad of internationally-knoen artists, Biasi and Massironi developed the idea of founding the Gruppo N<\/strong>, that in a short time was to become a protagonist of the main national and international shows of Kinetic art. Besides opening a gallery in Padua, the Gruppo N joined the movement \u201cNew Tendencies\u201d and exhibited at Zagreb, Paris, and Venice, coming into contact with other European experimenters. In 1962<\/strong> the Gruppo N exhibited in the travelling show Arte Programmata<\/i><\/strong> \u2013 a title referring to computer software \u2013 organised by Bruno Munari and hosted in the Olivetti shops in Milan, Rome, and Venice, and in galleries and museums in London and America. In 1964<\/strong> the Gruppo N was invited to the XXXII Venice Biennale<\/strong> and, in the following year, the MoMA, New York<\/strong>, to take part in the famous show The Responsive Eye<\/i>.<\/p>\n<\/div><\/div><\/div><\/div><\/div>

Alberto Biasi<\/span> works on an ideal material world of pure appearance<\/span> (…). Biasi’s meta-design ideal is scientific, but not scientistic. He does not design things, but examines the methods of designing appearances. che lavora Alberto Biasi (…). L’ideale meta-progettuale di Biasi \u00e8 scientifico, ma non scientista. Progetta non le cose, <\/span> but examines the methods of designing appearances.<\/span>
\nDino Formaggio<\/span> <\/em><\/strong><\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div>

The brief history of the Gruppo N concluded in September 1964<\/strong>, despite the attempt by Biasi to create in the following year, together with Landi and Massironi, the Gruppo Enne 65<\/strong>. In 1967 the Stzuki museum, \u0141o\u0301dz\u0301, devoted an important retrospective show to the Gruppo N, which was presented by critical essays by Giulio Carlo Argan and Umbro Apollonio. After these group experiences, Biasi continued alone with his art, taking up coherently the results already achieved and bringing them up to date with new expressive solutions. His artistic output was constantly turned towards perceptive inquiry<\/strong>, through series of works and investigated problems relative to visual perception and interaction with the work. In 1959<\/strong> Biasi began as an artist<\/strong> with his Trame, the results of his observation of nature and consisting of the superimpositions of perforated paper, cotton gauze, and metallic mesh which, by creating a modulated network, interact with the light to generate an optical-kinetic effect.<\/p>\n

Another result of visual effects were the optical-dynamic Rilievi<\/i><\/strong>, created by superimposing two levels in which the first consisted of bladed structures that, distanced from each other, create segments from which there emerges the image of the second level, often represented by linear or curved forms. Only with the participation of the viewers do these works give up their dynamism and their continuous mutation. The same phenomenon comes about in the Torsioni<\/i><\/strong>, these too studied to \u201cprovoke\u201d the eyes of those who look at them. Made with blades that converge towards the centre, these works create an optical dynamxism that stimulates the viewers to shift their own viewpoint.<\/strong> . Again from the early 1960s, Biasi began to plan the Ambienti<\/i>, works that wedded together with the exhibition space to completely enclose the public which became an \u201cactor\u201d and part of the work. If with Light Prisms<\/i><\/strong> the spatial dimension is constituted by rays of coloured light activated by electrical motors, in such other environments as Eco<\/i><\/strong> and the triptych Io sono<\/strong>, tu sei<\/strong>, egli e\u0300<\/strong>,<\/i> the public is called on to take part and to interact directly with the installation.<\/p>\n<\/div><\/div><\/div>

<\/span><\/div><\/div><\/div><\/div><\/div>

“Biasi<\/b><\/strong><\/span>“Biasi presents an adventure to the eye, any eye”
\nCaroline Tisdall <\/em><\/span><\/span><\/b><\/strong> <\/p>\n<\/div><\/div><\/div><\/div><\/div>

<\/span><\/div><\/div><\/div><\/div><\/div>

From the 1970s the artist developed a new personal language through<\/span> the Politipi<\/i><\/strong>, characterised by their geometric forms and shimmering colours, to which in the 1990s he juxtaposed painterly inserts with figurative allusions. In about 2000 he began the series <\/span>Assemblages<\/i><\/strong>, in which Biasi juxtaposes and joins various canvases which are then \u201cassembled\u201d together and find a balance in their own \u201cbreaking point\u201d. These three-dimensional works in a dialogue with space, with an apparent rigidity of geometric forms and of a uniform colour, transmit, however, a sensation of irregularity given by the blades that violently enter to become a part of the work, interrupting the homogeneity of the painted part. Alberto Biasi\u2019s art research continues after almost sixty years thanks to the redevelopment of formal solutions that continue to offer new possible readings of his art,<\/strong> <\/span>a visual art that transmits awareness and knowledge through the eyes.<\/i> <\/strong><\/p>\n

He has taken part in numerous group shows and important national and international exhibitions, such as the XXII and XLII Venice Biennales<\/strong>, the X, XI, and XIV Rome Quadrennials<\/strong>, the XI Sao Paolo Biennale<\/strong>, and various well-known graphic biennales, and has received such awards as that of the World Print Competition \u201973 of the California College of Arts and Crafts<\/strong> in collaboration with the San Francisco Museum of Modern Art.<\/strong> Tributes have been made to his artistic activity by Italian and foreign private galleries and public museums, such as the Muzeum Sztuki, \u0141o\u0301dz\u0301<\/strong>, Il Museo Civico agli Eremitani<\/strong>, the He<\/strong><\/span>rmitage, Saint Petersburg<\/strong>, the<\/span>Museu Diocesa\u0300<\/strong>, Barcellona, Palazzo Ducale, Urbino<\/strong>, Palazzo dei Priori<\/strong>, Perugia, MACBA in Buenos Aires<\/strong>, MAC, Santiago in Chile<\/strong>, MARCA, Catanzaro<\/strong>, Palazzo Reale, Genoa<\/strong>, and Palazzo Pretorio, Cittadella<\/strong>. The artworks by Alberto Biasi are part of the most beautiful and authoritative Italian and foreign public and museum collections, among which the Museum of Modern Art, New York, the Galleria Nazionale, Rome<\/strong>, theHermitage, Saint Petersburg<\/strong>the Centre Pompidou<\/strong> , Paris, and the Peggy Guggenheim Collection, Venice,<\/strong> as well as many other prestigious exhibition venues.<\/span><\/p>\n

Curated by Marta Previti<\/span><\/em><\/p>\n<\/div><\/div><\/div><\/div><\/div>

Alberto Biasi<\/strong> was born in Padua on 2 June 1937<\/strong>. During the war he moved for a short period to his paternal grandmother\u2019s in Carrara San Giorgio, a small village near Padua. A motherless orphan, at the end of the war he returned to Padua where he went to junior and secondary school and later enrolled in the classical high school. His attitude towards art disciplines<\/strong>, however, impelled him to complete his high school art diploma and to enrol, in 1958, in the architecture institute in Venice and, in 1962, the higher industrial design course.<\/span><\/p>\n

In this period he taught drawing and art history<\/strong> in state schools and, from the early 1970s until 1988, he was professor of advertising graphics in the Padua<\/strong> professional institute. His career in art coincided with the formation of the Gruppo Enne<\/strong>, an association of students of architecture with whom Biasi took part in such art events as the IV Biennale Giovanile d\u2019Arte di Cittadella, where he was awarded a prize conferred by Virgilio Guidi. In 1960<\/strong> he took part in the series of exhibitions at the Galleria Azimut in Milan, and with Enrico Castellani, Heinz Mack, Piero Manzoni, and Manfredo Massironi he exhibited in the show <\/span>La nuova concezione artistica<\/i><\/strong> organised at the Circolo del Pozzetto in Padua<\/span><\/p>\n

During his frequent visits to Milan, at the time the crossroad of internationally-knoen artists, Biasi and Massironi developed the idea of founding the Gruppo N<\/strong>, that in a short time was to become a protagonist of the main national and international shows of Kinetic art. Besides opening a gallery in Padua, the Gruppo N joined the movement \u201cNew Tendencies\u201d and exhibited at Zagreb, Paris, and Venice, coming into contact with other European experimenters. In 1962<\/strong> the Gruppo N exhibited in the travelling show Arte Programmata<\/i><\/strong> \u2013 a title referring to computer software \u2013 organised by Bruno Munari and hosted in the Olivetti shops in Milan, Rome, and Venice, and in galleries and museums in London and America. In 1964<\/strong> the Gruppo N was invited to the XXXII Venice Biennale<\/strong> and, in the following year, the MoMA, New York<\/strong>, to take part in the famous show The Responsive Eye<\/i>.<\/p>\n<\/div><\/div><\/div>

<\/span><\/div>

Alberto Biasi<\/strong> was born in Padua on 2 June 1937<\/strong>. During the war he moved for a short period to his paternal grandmother\u2019s in Carrara San Giorgio, a small village near Padua. A motherless orphan, at the end of the war he returned to Padua where he went to junior and secondary school and later enrolled in the classical high school. His attitude towards art disciplines<\/strong>, however, impelled him to complete his high school art diploma and to enrol, in 1958, in the architecture institute in Venice and, in 1962, the higher industrial design course.<\/span><\/p>\n

In this period he taught drawing and art history<\/strong> in state schools and, from the early 1970s until 1988, he was professor of advertising graphics in the Padua<\/strong> professional institute. His career in art coincided with the formation of the Gruppo Enne<\/strong>, an association of students of architecture with whom Biasi took part in such art events as the IV Biennale Giovanile d\u2019Arte di Cittadella, where he was awarded a prize conferred by Virgilio Guidi. In 1960<\/strong> he took part in the series of exhibitions at the Galleria Azimut in Milan, and with Enrico Castellani, Heinz Mack, Piero Manzoni, and Manfredo Massironi he exhibited in the show <\/span>La nuova concezione artistica<\/i><\/strong> organised at the Circolo del Pozzetto in Padua<\/span><\/p>\n

During his frequent visits to Milan, at the time the crossroad of internationally-knoen artists, Biasi and Massironi developed the idea of founding the Gruppo N<\/strong>, that in a short time was to become a protagonist of the main national and international shows of Kinetic art. Besides opening a gallery in Padua, the Gruppo N joined the movement \u201cNew Tendencies\u201d and exhibited at Zagreb, Paris, and Venice, coming into contact with other European experimenters. In 1962<\/strong> the Gruppo N exhibited in the travelling show Arte Programmata<\/i><\/strong> \u2013 a title referring to computer software \u2013 organised by Bruno Munari and hosted in the Olivetti shops in Milan, Rome, and Venice, and in galleries and museums in London and America. In 1964<\/strong> the Gruppo N was invited to the XXXII Venice Biennale<\/strong> and, in the following year, the MoMA, New York<\/strong>, to take part in the famous show The Responsive Eye<\/i>.<\/p>\n<\/div><\/div><\/div>

Alberto Biasi<\/strong> was born in Padua on 2 June 1937<\/strong>. During the war he moved for a short period to his paternal grandmother\u2019s in Carrara San Giorgio, a small village near Padua. A motherless orphan, at the end of the war he returned to Padua where he went to junior and secondary school and later enrolled in the classical high school. His attitude towards art disciplines<\/strong>, however, impelled him to complete his high school art diploma and to enrol, in 1958, in the architecture institute in Venice and, in 1962, the higher industrial design course.<\/span><\/p>\n

In this period he taught drawing and art history<\/strong> in state schools and, from the early 1970s until 1988, he was professor of advertising graphics in the Padua<\/strong> professional institute. His career in art coincided with the formation of the Gruppo Enne<\/strong>, an association of students of architecture with whom Biasi took part in such art events as the IV Biennale Giovanile d\u2019Arte di Cittadella, where he was awarded a prize conferred by Virgilio Guidi. In 1960<\/strong> he took part in the series of exhibitions at the Galleria Azimut in Milan, and with Enrico Castellani, Heinz Mack, Piero Manzoni, and Manfredo Massironi he exhibited in the show <\/span>La nuova concezione artistica<\/i><\/strong> organised at the Circolo del Pozzetto in Padua<\/span><\/p>\n

During his frequent visits to Milan, at the time the crossroad of internationally-knoen artists, Biasi and Massironi developed the idea of founding the Gruppo N<\/strong>, that in a short time was to become a protagonist of the main national and international shows of Kinetic art. Besides opening a gallery in Padua, the Gruppo N joined the movement \u201cNew Tendencies\u201d and exhibited at Zagreb, Paris, and Venice, coming into contact with other European experimenters. In 1962<\/strong> the Gruppo N exhibited in the travelling show  Arte Programmata<\/i><\/strong> Arte Programmata \u2013 a title referring to computer software \u2013 organised by Bruno Munari and hosted in the Olivetti shops in Milan, Rome, and Venice, and in galleries and museums in London and America. In 1964 <\/strong>the Gruppo N was invited to the XXXII Venice Biennale<\/strong> and, in the following year, the MoMA<\/strong>, New York, to take part in the famous show  The Responsive Eye<\/i>.<\/p>\n<\/div>

Alberto Biasi<\/strong> was born in Padua on 2 June 1937<\/strong>. During the war he moved for a short period to his paternal grandmother\u2019s in Carrara San Giorgio, a small village near Padua. A motherless orphan, at the end of the war he returned to Padua where he went to junior and secondary school and later enrolled in the classical high school. His attitude towards art disciplines<\/strong>, however, impelled him to complete his high school art diploma and to enrol, in 1958, in the architecture institute in Venice and, in 1962, the higher industrial design course.<\/span><\/p>\n

In this period he taught drawing and art history<\/strong> in state schools and, from the early 1970s until 1988, he was professor of advertising graphics in the Padua<\/strong> professional institute. His career in art coincided with the formation of the Gruppo Enne<\/strong>, an association of students of architecture with whom Biasi took part in such art events as the IV Biennale Giovanile d\u2019Arte di Cittadella, where he was awarded a prize conferred by Virgilio Guidi. In 1960<\/strong> he took part in the series of exhibitions at the Galleria Azimut in Milan, and with Enrico Castellani, Heinz Mack, Piero Manzoni, and Manfredo Massironi he exhibited in the show <\/span>La nuova concezione artistica<\/i><\/strong> organised at the Circolo del Pozzetto in Padua<\/span><\/p>\n

During his frequent visits to Milan, at the time the crossroad of internationally-knoen artists, Biasi and Massironi developed the idea of founding the Gruppo N<\/strong>, that in a short time was to become a protagonist of the main national and international shows of Kinetic art. Besides opening a gallery in Padua, the Gruppo N joined the movement \u201cNew Tendencies\u201d and exhibited at Zagreb, Paris, and Venice, coming into contact with other European experimenters. In 1962<\/strong> the Gruppo N exhibited in the travelling show Arte Programmata<\/i><\/strong> \u2013 a title referring to computer software \u2013 organised by Bruno Munari and hosted in the Olivetti shops in Milan, Rome, and Venice, and in galleries and museums in London and America. In 1964<\/strong> the Gruppo N was invited to the XXXII Venice Biennale<\/strong> and, in the following year, the MoMA, New York<\/strong>, to take part in the famous show The Responsive Eye<\/i>.<\/p>\n<\/div><\/div><\/div><\/div><\/div>

Alberto Biasi<\/span> works on an ideal material world of pure appearance<\/span> (…). Biasi’s meta-design ideal is scientific, but not scientistic. He does not design things, but examines the methods of designing appearances. che lavora Alberto Biasi (…). L’ideale meta-progettuale di Biasi \u00e8 scientifico, ma non scientista. Progetta non le cose, <\/span> but examines the methods of designing appearances.<\/span>
\nDino Formaggio<\/span> <\/em><\/strong><\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div>

The brief history of the Gruppo N concluded in September 1964<\/strong>, despite the attempt by Biasi to create in the following year, together with Landi and Massironi, the Gruppo Enne 65<\/strong>. In 1967 the Stzuki museum, \u0141o\u0301dz\u0301, devoted an important retrospective show to the Gruppo N, which was presented by critical essays by Giulio Carlo Argan and Umbro Apollonio. After these group experiences, Biasi continued alone with his art, taking up coherently the results already achieved and bringing them up to date with new expressive solutions. His artistic output was constantly turned towards perceptive inquiry<\/strong>, through series of works and investigated problems relative to visual perception and interaction with the work. In 1959<\/strong> Biasi began as an artist<\/strong> with his Trame, the results of his observation of nature and consisting of the superimpositions of perforated paper, cotton gauze, and metallic mesh which, by creating a modulated network, interact with the light to generate an optical-kinetic effect.<\/p>\n

Another result of visual effects were the optical-dynamic Rilievi<\/i><\/strong>, created by superimposing two levels in which the first consisted of bladed structures that, distanced from each other, create segments from which there emerges the image of the second level, often represented by linear or curved forms. Only with the participation of the viewers do these works give up their dynamism and their continuous mutation. The same phenomenon comes about in the Torsioni<\/i><\/strong>, these too studied to \u201cprovoke\u201d the eyes of those who look at them. Made with blades that converge towards the centre, these works create an optical dynamxism that stimulates the viewers to shift their own viewpoint<\/strong>. . <\/p>\n

Again from the early 1960s, Biasi began to plan the Ambienti<\/i>, works that wedded together with the exhibition space to completely enclose the public which became an \u201cactor\u201d and part of the work. If with Light Prisms<\/i><\/strong> the spatial dimension is constituted by rays of coloured light activated by electrical motors, in such other environments as Eco<\/i><\/strong> and the triptych Io sono<\/strong>, tu sei<\/strong>, egli e\u0300<\/strong>,<\/i> the public is called on to take part and to interact directly with the installation.<\/p>\n<\/div><\/div><\/div><\/div><\/div>

<\/span><\/div><\/div><\/div><\/div><\/div>
<\/div><\/div><\/div><\/div><\/div>

“Biasi<\/b><\/strong><\/span>“Biasi presents an adventure to the eye, any eye”
\nCaroline Tisdall <\/em><\/span><\/span><\/b><\/strong> <\/p>\n<\/div><\/div><\/div><\/div><\/div>

<\/div><\/div><\/div><\/div><\/div>
<\/span><\/div><\/div><\/div><\/div><\/div>

“Biasi<\/b><\/strong><\/span>“Biasi presents an adventure to the eye, any eye”
\nCaroline Tisdall <\/em><\/span><\/span><\/b><\/strong> <\/p>\n<\/div><\/div><\/div><\/div><\/div>

<\/span><\/div><\/div><\/div>

From the 1970s the artist developed a new personal language through<\/span> the Politipi<\/i><\/strong>, characterised by their geometric forms and shimmering colours, to which in the 1990s he juxtaposed painterly inserts with figurative allusions. In about 2000 he began the series <\/span>Assemblages<\/i><\/strong>, in which Biasi juxtaposes and joins various canvases which are then \u201cassembled\u201d together and find a balance in their own \u201cbreaking point\u201d. These three-dimensional works in a dialogue with space, with an apparent rigidity of geometric forms and of a uniform colour, transmit, however, a sensation of irregularity given by the blades that violently enter to become a part of the work, interrupting the homogeneity of the painted part. Alberto Biasi\u2019s art research continues after almost sixty years thanks to the redevelopment of formal solutions that continue to offer new possible readings of his art,<\/strong> <\/span>a visual art that transmits awareness and knowledge through the eyes.<\/i> <\/strong><\/p>\n

He has taken part in numerous group shows and important national and international exhibitions, such as the XXII and XLII Venice Biennales<\/strong>, the X, XI, and XIV Rome Quadrennials<\/strong>, the XI Sao Paolo Biennale<\/strong>, and various well-known graphic biennales, and has received such awards as that of the World Print Competition \u201973 of the California College of Arts and Crafts<\/strong> in collaboration with the San Francisco Museum of Modern Art.<\/strong> Tributes have been made to his artistic activity by Italian and foreign private galleries and public museums, such as the Muzeum Sztuki, \u0141o\u0301dz\u0301<\/strong>, Il Museo Civico agli Eremitani<\/strong>, the He<\/strong><\/span>rmitage, Saint Petersburg<\/strong>, the<\/span>Museu Diocesa\u0300<\/strong>, Barcellona, Palazzo Ducale, Urbino<\/strong>, Palazzo dei Priori<\/strong>, Perugia, MACBA in Buenos Aires<\/strong>, MAC, Santiago in Chile<\/strong>, MARCA, Catanzaro<\/strong>, Palazzo Reale, Genoa<\/strong>, and Palazzo Pretorio, Cittadella<\/strong>. The artworks by Alberto Biasi are part of the most beautiful and authoritative Italian and foreign public and museum collections, among which the Museum of Modern Art, New York, the Galleria Nazionale, Rome<\/strong>, theHermitage, Saint Petersburg<\/strong>the Centre Pompidou<\/strong> , Paris, and the Peggy Guggenheim Collection, Venice,<\/strong> as well as many other prestigious exhibition venues.<\/span><\/p>\n

Curated by Marta Previti<\/span><\/em><\/p>\n<\/div><\/div><\/div><\/div><\/div>

From the 1970s the artist developed a new personal language through<\/span> the Politipi<\/i><\/strong>, characterised by their geometric forms and shimmering colours, to which in the 1990s he juxtaposed painterly inserts with figurative allusions. In about 2000 he began the series <\/span>Assemblages<\/i><\/strong>, in which Biasi juxtaposes and joins various canvases which are then \u201cassembled\u201d together and find a balance in their own \u201cbreaking point\u201d. These three-dimensional works in a dialogue with space, with an apparent rigidity of geometric forms and of a uniform colour, transmit, however, a sensation of irregularity given by the blades that violently enter to become a part of the work, interrupting the homogeneity of the painted part. Alberto Biasi\u2019s art research continues after almost sixty years thanks to the redevelopment of formal solutions that continue to offer new possible readings of his art,<\/strong> <\/span>a visual art that transmits awareness and knowledge through the eyes.<\/i> <\/strong><\/p>\n

He has taken part in numerous group shows and important national and international exhibitions, such as the XXII and XLII Venice Biennales<\/strong>, the X, XI, and XIV Rome Quadrennials<\/strong>, the XI Sao Paolo Biennale<\/strong>, and various well-known graphic biennales, and has received such awards as that of the World Print Competition \u201973 of the California College of Arts and Crafts<\/strong> in collaboration with the San Francisco Museum of Modern Art.<\/strong> Tributes have been made to his artistic activity by Italian and foreign private galleries and public museums, such as the Muzeum Sztuki, \u0141o\u0301dz\u0301<\/strong>, Il Museo Civico agli Eremitani<\/strong>, the He<\/strong><\/span>rmitage, Saint Petersburg<\/strong>, the<\/span>Museu Diocesa\u0300<\/strong>, Barcellona, Palazzo Ducale, Urbino<\/strong>, Palazzo dei Priori<\/strong>, Perugia, MACBA in Buenos Aires<\/strong>, MAC, Santiago in Chile<\/strong>, MARCA, Catanzaro<\/strong>, Palazzo Reale, Genoa<\/strong>, and Palazzo Pretorio, Cittadella<\/strong>. The artworks by Alberto Biasi are part of the most beautiful and authoritative Italian and foreign public and museum collections, among which the Museum of Modern Art, New York, the Galleria Nazionale, Rome<\/strong>, theHermitage, Saint Petersburg<\/strong>the Centre Pompidou<\/strong> , Paris, and the Peggy Guggenheim Collection, Venice,<\/strong> as well as many other prestigious exhibition venues.<\/span><\/p>\n

Curated by Marta Previti<\/span><\/em><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":3999,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"100-width.php","meta":{"footnotes":""},"class_list":["post-4069","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/albertobiasi.it\/en\/wp-json\/wp\/v2\/pages\/4069","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/albertobiasi.it\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/albertobiasi.it\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/albertobiasi.it\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/albertobiasi.it\/en\/wp-json\/wp\/v2\/comments?post=4069"}],"version-history":[{"count":19,"href":"https:\/\/albertobiasi.it\/en\/wp-json\/wp\/v2\/pages\/4069\/revisions"}],"predecessor-version":[{"id":5014,"href":"https:\/\/albertobiasi.it\/en\/wp-json\/wp\/v2\/pages\/4069\/revisions\/5014"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/albertobiasi.it\/en\/wp-json\/wp\/v2\/media\/3999"}],"wp:attachment":[{"href":"https:\/\/albertobiasi.it\/en\/wp-json\/wp\/v2\/media?parent=4069"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}