Omaggio a Strzemiński was made by the artist in 1974 and fully reflects the key characteristics of Alberto Biasi’s work in the 1970s.
The artwork dynamically engages the viewer, making his or her experience an integral part of the work.
The work is accompanied by a Certificate of Authenticity by Archivio Alberto Biasi and is regis- tered under POL 295.
One of the founders of the Padua-based collective Gruppo N, Biasi is a major figure in the field of European Op Art and Kinetic Art. His participation in Gruppo N and his individual path as an artist were mutually influential, to such a degree that his individual development was also essential to the group during the years of its most frenetic activity (1960–1965).
Born in 1937 in Padua, where he still lives today, Alberto Biasi was one of the leading Italian artists of the postwar period, as well as one of the founders of the historic collective Gruppo N. After the death of his mother, he spent part of his childhood with his paternal grandmother in Carrara San Giorgio, a small town in the province of Padua. After the war, he returned to Padua, where he attended liceo classico (secondary school with an emphasis on humanities). He then enrolled in the School of Architecture in Venice and a course in Industrial Design. After completing his studies, in 1958 he began teaching Drawing and Art History in the public schools. In 1969, he was appointed professor of Commercial Art at the Professional Institute in Padua, a post that he held until 1988.
In 1959, he participated in various artistic initiatives and founded the collective Gruppo Enne-A with some of his fellow architecture students. In 1960, he displayed his work alongside Enrico Castellani, Piero Manzoni, Agostino Bonalumi and other European artists at the Galleria Azimut, Milan. Also in 1960, a period strongly marked by innovation and experimentation, he founded the collective Gruppo N with Manfredo Massironi. The following year, he joined the movement Nuove tendenze and, in 1962, the artists of Gruppo N presented work along with Bruno Munari, Enzo Mari and the Milan-based collective Gruppo T in the first exhibition of Arte Programmata (Programmed Art) at the Olivetti store in Milan.
It was during this period (and especially between 1959 and 1960) that he created the Trame, net-like, permeable objects in which the relationship between light and the movement of the eye creates optical-kinetic effects. The Trame series was soon joined by that of the Rilievi ottico-dinamici, comprising overlapping strips in contrasting hues that create particular visual effects. Two other series begun in the 1960s are the Torsioni, made using strips, for the most part in two colours, that generate optical dynamism through the viewer’s different points of view, and the Ambienti, including the Light prisms (designed in 1962 and transferred to a room-size scale in 1969).
After the dissolution of Gruppo N, Biasi “rediscovered himself as a solo artist” and began working on changing forms and spatiality as well as on harmonic movement, creating a large body of work titled Politipo. This was followed by works that pair twisted strips and components that are actually moving and others with forms and hues that evoke figural imagery. More recently, Biasi has developed this latter work and, through the contrast between the plasticity of the mini-relief and the two-dimensionality of the painting, creates images that are activated by the viewer and appear to conjure a world in continuous becoming. Over his sixty-year career, Alberto Biasi has participated in many international exhibitions, including the 32nd and 42nd Venice Biennales, the 10th, 11th and 14th Rome Quadriennales and the 11th São Paulo Biennale, and has displayed his work in various print Biennials, receiving important awards, including at the 1973 World Print Competition of the California College of Arts and Crafts in collaboration with the San Francisco Museum of Modern Art. He has held numerous solo exhibitions in public and private spaces, including the Muzeum Sztuki, Lodz (Poland), the Museo Civico agli Eremitani, Padua, the Museu Diocesà, Barcelona, Palazzo Ducale, Urbino, Palazzo dei Priori, Perugia, MACBA, Buenos Aires, MAC, Santiago (Chile), MARCA, Catanzaro, Palazzo Reale, Genoa and Palazzo Pretorio, Cittadella. His work is found at MoMA, New York, the Galleria Nazionale, Rome and museums in Belgrade, Bolzano, Bratislava, Buenos Aires, Ciudad Bolivar, Epinal, Gallarate, Guayaquil, Livorno, Lodz, Ljubljana, Middletown, Prague, San Francisco, Saint Louis, Tokyo, Turin, Ulm, Venice, Wroclaw and Zagreb as well as in numerous collections in Italy and abroad.