Alberto Biasi
Artistic currents
Market analysis

Alberto Biasi was born in Padua on June 2, 1937 from Giuseppe and Silvia Zappi Recordati. His family has already given to art a painter, Lavinia Fontana, a well-known name of 17th-century painting and a poet, Tirsi Leucasio, initiator with Metastasio dell'Arcadia. Soon, in the years of the war, Biasi remains orphaned by his mother and is welcomed by his paternal grandmother in Carrara San Giorgio, a small village in the Padua countryside where his grandmother ran an inn. He grew up in contact with the village people, in an extended family atmosphere, until his high school years, when he returned to Padua to attend the Classical High School, then moved to Venice to follow the Institute of Architecture and the Superior Course of Industrial Design, where he won a scholarship established by Paolo Venini. These are years of knowledge and artistic passions, approaching and deepening fundamental moments of the art of the twentieth century: the Neoplastic movement, Futurism, Dadaism enter and root in the training path of the young Biasi.

In 1958 he began teaching design and art history in the public school and in 1969 he was awarded the chair of the arts of advertising graphics (which he maintained continuously until 1988). Meanwhile, the activity of an artist takes shape: in '59 he received from the hands of Virgilio Guidi the first prize at the 4th Youth Biennale of Art of Citadella. It is the first public recognition of an artist who was, albeit very young, filtering out ferments, political ideals, artistic anxieties: the Enne Group was born, in Padua, with which he will work (but Biasi is the soul and the driving force of the historical artistic group) until its final dissolution in '67. Biasi soon extended his contacts to national and international level: he exhibited in 1960 with Manzoni and Castellani and the European artists of the 'New Artistic Conception'. The innovative spirit of those years sees him as the protagonist: in '61 he joined the movement "Nuove Tendenze", in '62, as Group N, with Bruno Munari, Enzo Mari and group T participates in the foundation of the movement of The Programmed Art.

Biasi in these early years articulates his art according to new canons of research: the interaction of the viewer with the work becomes an inescapable foundation, the movement, in its passive sense of virtual motion, apparent effect of movement, leads the artist to address the problems of kineticism and the consequent research on visual perception and individual reaction to the light stimulus. The activity of this period is marked by the "Trame", the first study on the interference of the movement of the gaze and natural light on a static and layered surface, of natural inspiration, the result of the observation of complex and primitive elements such as beehives. Alongside the "Trame" he soon realized the "Rilievi ottico-dinamici": overlays of lamellar structures played on the effect of contrasting chromatisms and activated by the movement of the spectator who becomes with this "actor", jointly responsible for the visual event. Then the "Dynamic Shapes" obtained through the twisting of materials prepared in thin foils and arranged according to strictly calculated geometries applied on different chromatic bottoms, the "Photoreflections" in real motion and the "Environments" with unstable perception, iridescent atmospheres of lights and liquids in motion. To be mentioned, belonging to this last section of creations the "Il grande tuffo nell'arcobaleno", "Eco", and the triptych "I am, you are, he is, so we are".

In the meantime, Group N is dissolved and, abandoned the choral tone, embraced to adhere to a strong political and ideological commitment (at the time of the activity of the 'N' group, Biasi defined himself as an artistic operator, thus meaning a port of social implication), the artistic activity of Biasi continues in "solo" developing those themes that will remain a 'happy obsession' to this day. His civil commitment, however, will remain present over the years, with participation and sharing in city life, until he joined the post of President of the Provincial Tourism Authority of Padua in the late seventies and early eighties when he will develop cultural and artistic projects concerning Padua, its cultural history and its landscape territory.

Meanwhile, his art finds new stages of study and experimentation. Deepening research into the luminous impact of natural light, Biasi develops new solutions with"Politipi", from the sure hypnotic fascination realized by twists,overlapping planes, weaves of foils and slats, thus interacting, in the pursuit of harmonic movement, with depth, third dimension more allusion than really questioned. The Politipi of the seventies, evolved in the following decade acquiring figurative intentions: the perceptual effects become more and more complex, attracted by a figural evidence that encompasses other three-dimensional, deception or real sinkings of light intercepted in the layers of overlapping matter. The game between spectator-actor and work becomes more and more articulate and free, the form is enriched with easily recognizable images of which the eye is confidently certain; in them, however, are opened new optical 'traps' manipulated by the light that varies with the shift of the point of view: it confirms and attests to the absolute variable of perception in the viewer, which interrogated and provoked in the great anthology at the Museum of hermitages in Padua in 1988 responds with an enthusiastic turnout (42000 visitors).

In the 1990s the Politipi are enriched by an element until now partially neglected by Alberto Biasi,painting, in the form of insertions of color, traces, shadows, allusions that support in counterpoint the articulated structure of stratified surfaces; Thus are born the "Assemblaggi" often developed in ditti and triptych that develop, in the most recent years, until today, an increasingly strict and consistent color severity, tending to monochrome. The extreme rigour of monochrome enhances, in the juxtaposition and overlap of surfaces, assembled together, the point of 'breaking', crisis in linear reading, where the planes of color converge in a three-dimensional source, alluding to an energy-generating space. And it is from this space that Biasi's investigation moves into the new, yet underlying in all its production, attention to sculpture. Corten steel, aluminum, metacrilate are the media of Biasi's challenge to three-dimensional space, addressed in the large measurements of works also from outside: totems, slabs with vertical development, as well as interrupted spirals, propellers of dense metal tubols become transpositions, reinventions, outcomes of the 'happy obsession', of the constant search for Biasi in the field of visual perception.

After participating in the twelve exhibitions of group N, Biasi has exhibited more than one hundred solo exhibitions and participated in countless collectives, including the XXXII and the XLII Venice Biennale, the X, XI and XIV Quadriennale in Rome, the XI Biennale of San Paulo and the most well-known international galleries of graphics, obtaining numerous and important awards, in particular that obtained with the multiple "I am" at the World Print Competition '73 in collaboration with the San Francisco Museum of Art. In 2006, thirty of his historical works were exhibited in the halls of the Hermitage in St. Petersburg and in 2009 his anthology "Kaleidoscope: from plots to assemblages" at the Museum of the Royal Palace in Genoa. His works can be found at the Modern Art Museum in New York, at the National Gallery in Rome, at the Hermitage of St. Petersburg, in the Museums of Belgrade, Bolzano, Bratislava, Buenos Aires, Ciudad Bolivar, Epinal, Gallarate, Guayaquil, Livorno, Lodz, Ljubljana, Middletown, Padua, Prague, San Francisco, St. Louis, Tokyo, Turin, Ulm, Venice, Waldenbuch, Wroclaw, Zagreb, to the Ministry of Foreign Affairs.

Tags: Alberto Biasi - Biasi - Groupo N - Nuove tendenze - Programmed Art - Kinetic - Rilievi ottico-dinamici - Politipi- Assemblaggio- Torsione