Presentation

by Clara Lovisetti

“Once more, through the installations, light presents itself as the indispensable element of the urban landscape for creating or transforming spaces, for giving a new aspect to building, façades, and monuments, for giving security, and for entertaining: light shows a different face of the city, bringing out unknown aspects or radically changing the look with color, an intuitive and immediate language, which anyone can understand”.
So stated Gisella Gellini in the forewords of Light Art in Italy 2010, a collection of temporary works and installations made of light and set up in Italy last year, a book written with Francesco Murano and realised in co-operation with Francesca Dell’Amore.
Light Art in Italy 2010, third issue of the series, is dedicated to Giuseppe Panza di Biumo, the great contemporary art collector who left us, besides a huge collection of works by major international artists, the permanent Light Art installations made in the ’70s in Villa Menafoglio Litta Panza di Biumo (Varese) where he lived […]The book is accompanied by a photo CD featuring either other images of the printed work or other installations by the same artist.

Light Art in Italy 2010, by Gisella Gellini and Francesco Murano, photo CD and book, English text, Maggioli Editore, April 2011.

Ludoscopio

Lucio Fontana – Space and light beyond the cut, Civic Archeological Museum, Bologna

The artist continues his dialogue with architecture, archeology and history. The virtually deep luminous structure of the Ludoscopio fits harmonically in with the funerari finds of the Egyptian collection. On the other hand, the study and the knowledge of light in all forms seem to have been the fundamental science in the ancient Egypt. The language used here is that of geometic rigor, projected on the neon light and based on the linearity of the structure, and on the corresponding perspective effect. The luminous vibrations, given by combination of simple elements, irradiate and flow through the surrounding space, creating new suggestions. The installation becomes a focal point, a trascendental vision that dialogues with the sacred character of the Egyptian art and seems to cast an eye at the abyss and to open a window on the mystery. The sense of the infinite, underlying there, tends to combine with the idea of a continuity of life after death.