Getulio Alviani was born in Udine on September 5, 1939. In childhood he is attracted by the movement of the waves of the sea for which he performs works, oil and enamel, which are essential in forms, which are abstract or geometric. At the age of fifteen he entered a studio of architects and engineers where he felt attracted by the reflection of light on objects.
Getulio Alviani later showed an interest in the principles of "Bauhaus" and "abstract-concrete" art, focusing his attention on the phenomena of vision. Since the end of the 1950s, Getulio Alviani began researching the dynamics of perception, also collaborating with the industrial world. In a project aimed at expanding the visual intelligence of man and making the observer active in the reception of the work, Getulio Alviani begins to realize autonomously works mostly on aluminum sheets that are treated in various ways, satin or milled and then glued on a wooden stand. The sheets, worked with different methods, are assembled by Getulio Alviani so that they reflect the incident light depending on the angle of incidence, but the reflection of the light varies depending on the position of the spectator. These are therefore works that in addition to be "opticals" are also "dynamics". But the visual result also depends on the sensitivity of the eye that at that moment looks at the work, being able a surface to appear now convecrate now convex, and therefore we also speak of "perception" of the eye. Of course, to achieve the desired effect, we need to study first the type of milling and the arrangement of the sheet on the support and then in this sense we talk about "Programmed Art". There are three types of Alviani's works. One is the one where the artist inserts aluminum elements into the laminated wood; these works are those least sought after by collectors. The other is the one made up of only aluminum with optical effects and the last one is always made up of only aluminum but with optical-dynamic effects. As for the works made up of only aluminum, they are divided according to the type of processing. In fact, some are worked with a 15-20 mm diameter end mill, these works generally have only an optical effect. Others are working with milling boring bar, they are those that give an optical-dynamic effect.

Between December 2018 and January 2019 the Art Gallery l'Incontro organized an exhibition with works from the period 1964 - 1999

Getulio Alviani has a continuous and significant international exhibition activity: since the 1960s he has been present, among other things, at the Venice Biennale (1964), at the "Nouvelle Tendance" exhibition in Paris (1964), at The Responsive Eye exhibition at the Museum of Modern Art in New York (1965) and on several occasions at the Ljubljani Anbienni of Graphics receiving the international award (1973 and 1977). His works can be found at the Museum of Modern Art in New York, the National Gallery of Modern Art in Rome, the Kunstmuseum in Basel, etc.

 

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Getulio Alviani - Programmed Art

Programmed or Kinetic Art is an international art movement that has left an indelible mark on 20th-century art. Umberto Eco uses the term "Programmed Art" to present the historic exhibition at the Olivetti in Milan in 1962, organized by Bruno Munari. The great critic Giulio Carlo Argan calls it "arte gestaltica", while Lea Vergine will definitively establish its importance in Italy by describing it as the Last Vanguard, in the eponymous retrospective at the Royal Palace in Milan in 1984. The Programmed or Kinetic Art but also optical art have a common genesis: they arise from the innovative study, by artists, of the mechanisms of vision, optical and bright phenomena, in line with scientific advances from the post-war period onwards. All over the world, both informal and abstraction in painting no longer satisfy the search for young artists. Looking at Marcel Duchamp, Futurism - or more recent experiences such as the research of Bruno Munari,who already in the 1930s made "Useless Machines", and published the Manifesto of mcchinism in 1952 - we want to be able to create works that really involve the viewer, visually but also psychologically, and definitively overcome the concept of art as representation and expression: finally art becomes experience, and then it will be even environment. No in secondary importance, it is also the push of new artists to work in groups, so aggregations of artists are born who try to overcome the individualism of the figure of the artist: in Italy the first will be the MAC – Concreta Art Movement (formed around Munari himself) and later Group T in Milan and Group N in Padua. Important for Italian artists will be the experience of Azimuth, gallery and magazine animated by Piero Manzoni and Enrico Castellani. Although they are not expressly part of the movement, the innovative, monochrome, anti-figurative works of the two artists – along with those of their neighbours such as Agostino Bonalumi and Dadamaino, will be very important to pave the way for the experimentation of the Programmed Art. The Kinetic or Programmed Art movement is established thanks to contemporary ferments all over the world: Group T in Milan, Group N in Padua, GRAV in Paris, Group Zero in Dusseldorf. In America the trend is called Optical Art or Op-Art (as opposed to Pop-art, which dominated the scene in the 1960s). In Zagreb the movement finds a supporter in the critic Marko Mestrovic, who organizes the international events "Nova Tendencije"(New Tendency),in which all young Italian artists participate. Not only Enzo Mari, Manzoni, Bonalumi and Castellani, but also Getulio Alviani will be among the most active Italians in "Nova Tendencije", which will also become an international movement. Alviani'sworks, using the treated aluminum sheet, look for continuous visual tensions between reflection, visual ambiguity, apparent movement, light and vibration, using as a "motor" the visual interaction of the metal with the viewer's gaze. Marina Apollonio also joined the movement in 1965, encouraged by the encounter with Alviani, and as the latter uses modern industrial materials, to create structured works that transform into dynamic surfaces (metallic reliefs to alternating chromatic sequences) or that seek the apparent movement with optical geometric effects (Circular Dynamics). In Milan, the Arte Programmata is well represented by Group T, founded by Davide Boriani and Gabriele De Vecchi, to which Gianni Colombo, Giovanni Anceschi and finally Grazia Varisco are added. The group's first exhibition , Miriorama 1 , was in 1960 at the Pater Gallery (Gallery where Paolo Scheggi and Vanna Nicolotti will also exhibit at that time, with their three-dimensional canvases of several overlapping floors). Group T presents works in motion, consisting of mechanisms that animate them, without any representative intent. Colombo uses motors to move its surfaces; in those of Anceschi is the colored liquid that flows in tubes that can be moved by the hands of the viewer; while Boriani's magnetic surfaces use magnets and iron dust to get the work moving. Grazia Varisco creates works moved by mechanical motors and internal luminescence (variable light schemes) and structures in mobile industrial materials animated by multifaceted glass that breaks down its shapes. From the idea of work in motion through visual effects we then move to works that actually move on their own, or sometimes - in open break with the past - the viewer is asked to operate them directly with their own hands. Frequent exchanges and co-operations in exhibitions are with the N Group of Padua, formed shortly after Group T, by young people from architectural and industrial design studios: Alberto Biasi,Ennio Chiggio, Toni Costa, Edoardo Landi, Manfredo Massironi. They too embrace the new concept of art and are particularly active in popularizing it (for example, bringing to Padua the exhibition "The new artistic conception", by the Azimuth Gallery, in 1960), and accentuate the importance of the conceptual approach: the exhibition "No one is invited to take part" is a striking example. From Group N, the personality of Alberto Biasi,the group's animator, emerges that addresses in his works the themes of kineticism and visual perception, among the first works the "Trame", in which he studies the interference of the movement of the gaze on layered surfaces, and the "Optical-dynamic reliefs", lamelular structures with contrasting chromaticisms that "activate" thanks to the interaction with the viewer, who moves makes active use of a work in consequent optical movement. Edoardo Landi instead seeks the involvement of the viewer with the optical stimulation given by geometric and elementary forms, excellent examples of Optical compositions for a research that will continue even in the 70s. The Italian painting is complemented by figures who also operate in other cities, such as Franco Costalonga who conducts an in-depth research on optical effects in the work, as in chromokinetic objects in which he will experiment with countless combinations with the use of spherical mirrors. Costalonga participated in the founding of the "Dialettica delle tendenze" and "Verifica 8+1" groups with other Venetian artists in line with the international trend of Programmed Art in the 1960s. The success for the Programmed Art is evidenced by the exhibition of the same name in 1962 at the Olivetti store in Milan, then repeated at the company's headquarters in New York and at the 4th Biennale of San Marino (titled Beyond the Informal) in 1963, and will be definitively sanctioned with the incredible success of the exhibition The Responsive Eye,organized in 1965 by the MoMa in New York (180,000 visitors), in which almost all Italian exponents were exhibited, from Enrico CasteIlani to Getulio Alviani,from Group T to Group N, along with the greatest international artists from Josef Albers to Victor Vasarely. Tags: Programmed Art - Kinetic Art - Optical Art - Agostino Bonalumi - Getulio Alviani - Manfredo Massironi - Alberto Biasi - Franco Costalonga - Vanna Nicolotti - Kinetism - Chromokine Object - Victor Vasarely - The Responsive Eye - Concrete Art Movement - Grav - Group Zero - Bruno Munari  

Getulio Alviani - Analisi di Mercato

April 2017. The market of Getulio Alviani's works was rather asphyxiated until the 2000s, in the sense that the works, despite the rather low prices, 3-4000 euros for size 50x50, were difficult to place on the market. However, it is necessary to make distinctions based on the type of works. The works that have a preponderance of laminate are those that have the lowest values, those that are made of only aluminum have the highest values. Among the latter, those that are at the top of the prices are those that have not only an optical effect but also the optical-dynamic one.  For some years now, prices have been steadily increasing until they have recently soared, reaching and exceeding 100,000 euros for medium-large formats, 60-80 cm on the side.

December 2021. After the death of the artist his prices are suffering suffering a significant decrease. Causes of this are the absence of initiatives to remember the artist and a certain confusion in the certification of the works

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Getulio Alviani - Contributi

In Alviani's works the surface changes continuously depending on the positions of the visual angles and the light incidence, generating always different images. The work, the object of the viewer's gaze, is not inert, it is not a dead thing but alive and escapes the attempts of the eye to reduce it to composition, to an abstract and immobile figure. And so a small displacement of the observer is sufficient that the form changes becoming elusive, free and not imprisonable in a fixed compositional scheme.

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