/ Getulio Alviani: extraordinary as a guide in life and art

Diora Fraglica Alviani


“Art, a kind of expression of a point of arrival of current knowledge, is aware of its limitations. Being is in-itself, following a continuous proposal, ascertainment and check, but never a means manipulated in relation to something else, as art is something constantly operating within the artwork itself.” — Getulio Alviani

Getulio Alviani was one of the major exponents of international abstract and kinetic art, had his unremitting commitment to his art and his colleagues.
He taught me that art is hard, very hard, which only few people, very few people know how to do it. Cleverly constructed, valid for the unprecedented solution of structural, architectural, chromatic or graphic problems, designed above individual conditions to achieve the utmost objectivity. Art, which the world identifies as such, is often bizarre, eccentric, buffoonish, provocative, perverse, mystifying and with a strong impact. Getulio Alviani is an outstanding individual, unique in every sense of the world, at least for the exceptional nature of his entire existence.

cerchi virtuali ortogonali steel. 1967-68 50x50x10 cm © Centro Studi e Ricerche Getulio Alviani

Alviani's creative process develops “polydirectionally,” starting from the assumption about identifying very specific research, “but not periods of time, by measuring himself, he exacerbated his search for perfection until he became more accurate than exact art, because even totally different research can be carried out and developed at the same time.
He has always operated according to an artistic praxis by which he intended to design the entire concepts of contemporary life and aesthetics, acting not only in the field of visual arts, but expanding his creativity to the fields of design, architecture and fashion.

In 1963 the fashion designer Germana Marucelli was flanked by him for the design of fabrics, with his artistic production adopting a specific visual kinetic criterion; ‘Cerchio + quadrato’, a dress of an extremely rigorous synthesis dating back to 1965, whereas the swimsuit ‘Bath Tape’ was made with the help of Rudi Gernreich dating back to 1966.
In 1967 his participation was fundamental to the crucial exhibition 'Lo spazio dell’immagine’, held in the halls of Palazzo Trinci in Foligno, which subverted the relationship that bound the work of art with the space that contained it, presenting a set composed solely of environments designed by artists for the first time in the world. From that moment on, the old parameters, that until then set the artistic events, were going to disappear, marking the new directions of modern art.

monorecchio,1965 © Centro Studi e Ricerche Getulio Alviani

Alviani, who on this occasion presented the setting ‘Interpretazione speculare’ , was involved as an exponent of those young artists that were considered “the greatest artists in Italy” at that time by the curators of the exhibition, by art critics such as Umbro Apollonio, Giulio Carlo Argan, Palma Bucarelli, Maurizio Calvesi, Germano Celant, Gillo Dorfles, Christopher Finch, Udo Kultermann, Giuseppe Marchiori, Lara Vinca Masini who offered to young exponents the possibility of “creating a set of independent halls , but all linked by a common thread which is time perception, something that no longer belongs to the culture of the past, but it is the proposal of a new culture”.

Riflessione trasparente © Centro Studi e Ricerche Getulio Alviani

Over the years, Alviani was the animator of the art movement of ‘New Tendencies’, collecting the art works of his colleagues, organizing many exhibitions in the most important museums of the world and becoming a key reference point.
He was clearly an attentive and participatory protagonist in conducting Italian and international artistic research, his artistic heritage is now duly valorized by the Archive Getulio Alviani, created on his and my idea in 2003, thanks to the same love for art. Many documents, that are stored and studied for research and exhibitions, are an inexhaustible source to talk about his work, but, above all, to remember a founding element of Italian art.

« 1, 2, 3, 4,5 » , « 1, 2, 3, 4,5,6 »inscritto nel cerchio © Centro Studi e Ricerche Getulio Alviani

Responsive Vision: Getulio Alviani

Period|2023/12/02 ~ 2024/10/27
Artist|Getulio Alviani
Curators|Yaman Shao、Diora Fraglica Alviani、Jerome Neutres、Richard Chang
Academics Collaboration|Felix Kwok, Sotheby's、T.N Liu, CANS Publisher Group
Curatorial Team|ALIEN Art、ALIEN Art Centre
Museum Collaboration|Centro Studi e Ricerche Getulio Alviani
Special thanks to|YUIMOM Group、SS Bar、Bon Masion

Yaman Shao|Responsive Vision: Getulio Alviani
Diora Fraglica Alviani| Getulio Alviani: extraordinary as a guide in life and art
Jérôme Neutres|Getulio Alviani: In search of a responsive vision
Richard Chang|Responsive Vision: Getulio Alviani

environment, interrelazione cromospeculare, 1969, 210x420x420 cm © Centro Studi e Ricerche Getulio Alviani

environment, rilievo a riflessione con incidenza ortogonale, praticabile steel. 1967, 5x480x960 cm, modules 5x80x80 cm © Centro Studi e Ricerche Getulio Alviani

environment cubo a testura grafica slabs of opalescent pvc, serigraphy and light. 1964-69, 330x330x300 cm © Centro Studi e Ricerche Getu

infilo contro-natura 80s © Centro Studi e Ricerche Getulio Alviani

ifty-fifty a e b serigraphy. 1962, 42x84 cm © Centro Studi e Ricerche Getulio Alviani

tensione/x 3 colori serigraphy. 1964-75, 64x44 cm © Centro Studi e Ricerche Getulio Alviani

fashion, bat(h)tape, 1966 © Centro Studi e Ricerche Getulio Alviani

positivo-negativo dress by germana marucelli and getulio alviani. 1964 © Centro Studi e Ricerche Getulio Alviani

forma alluminum, 1960-61 © Centro Studi e Ricerche Getulio Alviani

superficie a testura vibratile 1.2.4 alluminum. 1962, 70x70 cm © Centro Studi e Ricerche Getulio Alviani

disco turned steel. 1965 © Centro Studi e Ricerche Getulio Alviani