{"id":13568,"date":"2024-10-21T10:22:56","date_gmt":"2024-10-21T08:22:56","guid":{"rendered":"https:\/\/www.marsilioarte.it\/?post_type=magazine&p=13568"},"modified":"2024-10-21T10:22:56","modified_gmt":"2024-10-21T08:22:56","slug":"marina-apollonio-exhibition-venice","status":"publish","type":"magazine","link":"https:\/\/www.marsilioarte.it\/en\/magazine\/marina-apollonio-exhibition-venice\/","title":{"rendered":"In Venice, the exhibition on Marina Apollonio, the artist who goes beyond the circle"},"content":{"rendered":"For an Eros <\/em>of Programmed Art<\/strong>
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\r\n\u201cMy artistic investigations seek to be explorations of phenomenological possibilities related to forms and basic structures. Basic form inherently contains total abstraction in that it is made up of a mathematical program. Hence, action takes place with absolute precision, in a direct relationship between intuition, on an optic level, and verification, within a mathematical system. Having selected a primary form, such as a circle, I study its structural possibilities as a means of activating it, aiming for the best results with the maximum economy\u201d [Marina Apollonio, Marina Apollonio<\/em>, exh. Brochure (Trieste: Centro Arte Viva Feltrinelli, 1966)].
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\r\nThus Marina Apollonio described her artistic practice in 1966, on the occasion of her first solo exhibition held at the Centro Arte Viva Feltrinelli in Trieste (fig. 3). From the beginning, she was fascinated with the rational, objective language of geometry and in particular the circle, a shape that would eventually become the artist\u2019s fetish. [\u2026]
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THE ART OF MARINA APOLLONIO<\/h2>
\r\nInfected by the \u201cart virus\u201d, as she likes to remember it, Apollonio started out on her own rigorous path alone, without subscribing to any group and without the support of her father, then Director of the Archivio Storico of the Biennale, the reason for which the family relocated to Venice in 1948. He was worried about the material difficulties of her career choice (\u201cyou\u2019ll go hungry\u201d) and by those who might suspect him of nepotism (she would be systematically excluded from all the exhibitions with which he was involved). Nevertheless, in March 1965 she won the Chiodo d\u2019Oro prize in Palermo\u2014followed a year later by her solo show \u2012 with Rilievo sbarra 04 <\/em>from 1964 (later destroyed), which had been submitted by Getulio Alviani, unknown to her and her father: \u201ca very thin weaving of metal sheets, a visual field with alternating space flickering in angular lights on a path of suggestive intermittency: light + fractions of time and lines,\u201d as the work was described in an article published by L\u2019Ora<\/em> [\u201cIl Chiodo d\u2019Oro,\u201d in L\u2019Ora <\/em>(Palermo), March 12\u201313, 1965; Archivio Marina Apollonio]. In 1965 she was also invited to participate to the third edition of New Tendency<\/em> (Nova Tendencija<\/em>) in Zagreb, where she exhibited her two photographic collages Dinamica circolare 5\/CN <\/em>and Dinamica<\/em> circolare 5\/CP <\/em>(both 1965).<\/em>6 Each work features a circle whose inner area appears structured according to a progressive system of black and white circles of gradually varying thickness around an off-kilter center, which gives depth and instills a sense of estrangement towards its contemplative pull. The inverse coloring of the two works \u2012 one with a white background and the other with a black background \u2012 forms a positive\/negative diptych, a poetics of contrasts the artist adopted as a creative principle and one she fully employed in the following years. Apollonio\u2019s career, well established by now, experienced an acceleration: Zagreb opened her international horizons and marked her introduction to Dadamaino, with whom she would share a close, valuable friendship in an artistic milieu mostly dominated by men. Numerous group and solo shows followed, in Italy and abroad (Dadamaino would initiate, with Alviani, Apollonio\u2019s solo exhibition in 1967 at the Galleria Il Cenobio in Milan, together with a constellation of artists who comprised the Arte programmata and Kinetic art avant-garde.
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\r\nApollonio\u2019s work developed through mathematical planning and technical experimentation along various veins of investigation. She tried different supports in painstaking creations that required time, precision, and, in the case of painting, the application of multiple layers of paint and the peeling-off of stencils. The programming, the search for dynamism, essentiality, dryness, lack of embellishment, and the desire to search further remained constants in her work. [\u2026]
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THE WORKS BY MARINA APOLLONIO<\/h2>
\r\nEver since her first drawings in 1963, the circle has stood out as the artist\u2019s favorite shape: \u201cIf Mondrian\u2019s choice is a straight line, Apollonio\u2019s is a curve,\u201d noted a member of the press in 1967 on the occasion of her exhibition at Il Cenobio in Milan [Gian Franco Arlandi, \u201cApollonio al Cenobio di Milano,\u201d press clipping (1967); Archivio Marina Apollonio]. In 1963 her explorations on activating the circle gave birth to the Dinamiche<\/em> circolari<\/em>, a series of now iconic works the artist continues to make and develop to this day and has continued to innovate in the Fusioni circolari<\/em>, beginning in 2016. The circle is organized in graphic textures primarily in black and white, concentric or eccentric rings of increasing or decreasing width, or reorganized circular arcs.
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\r\nWith spatial perception altered by an \u201cattractive-expansive and fluid-elastic,\u201d the circle emerges from its two dimensionality [Marina Apollonio, \u201cRicerche di attivazione visuale,\u201d Marina Apollonio, <\/em>exh. brochure (Milan: Il Cenobio, 1967), n.p.]. Conceived as either static or dynamic objects, with mechanical or manual rotation influencing the perceptive impact, the Dinamiche circolari<\/em> push the circle beyond the limits of its surface and come to life in the eyes of the viewer. Beginning with the circle, Apollonio\u2019s spatial investigations moved the form toward new dimensions that expanded beyond the frame and found fulfillment in the creation of environmental works, such as Spazio ad attivazione cinetica<\/em> \u2012 planned between 1967 and 1971 and realized in 2007 for the exhibition Op Art <\/em>at the Schirn Kunsthalle in Frankfurt13 \u2012 or Entrare nell\u2019opera <\/em>on view at the Peggy Guggenheim Collection, where viewers are immersed in a vortex activated by a three-screen projection on contiguous walls, each reproducing an undulating circular movement of black-and-white textures that meet and merge into each other. [\u2026]
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\r\nApollonio\u2019s three-dimensional and spatial works based on the circle \u2012 multiplied, neatly assembled \u2012 carried over into sculpture as well, a formal iteration to which her choice of steel added the reflective power of metal. Her Strutture<\/em>, hieratic compositions of superimposed metallic circles, and Spirali<\/em>, created in 1966\u201369, capture and fragment the continuously changing environment around them and merge in space with time itself. When in motion, the motorized rotating Struttura ad anelli 5<\/em>, with five thin circles assembled at right angles, generates new forms in air as the relationship between the angle and the circle is virtually transformed. [\u2026]
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\r\nWhen asked about her obsession with the circle, Apollonio often jokes: \u201cI had a good compass.\u201d This is partly true\u2014her precious compass that helped her trace circumferences up to two meters in diameter is still in her studio today \u2012 but the playfulness of her answer tempers her own very serious artistic convictions. [\u2026]
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\r\nThe circle offers a clean slate and expresses a certain radicality. It is a way of exploring foundations, of affirming a rejection of the known and of established canons. It represents the will to move toward new territories, a desire for ascent. More than tiresome automatism, the circle\u2019s repetition is a fervent impulse to push onward. It expresses the satisfaction that comes from searching and discovering, which is once again reinforced by repetition, and leads forward. [\u2026]
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\r\nMarianna Gelussi<\/strong>
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\r\n\u00a0<\/strong>The text is taken from the catalogue of the exhibition Marina Apollonio. Beyond the Circle<\/em>, Marsilio Arte, Venice 2024","protected":false},"featured_media":0,"template":"","meta":{"inline_featured_image":false,"footnotes":""},"categorie_magazine":[341],"class_list":["post-13568","magazine","type-magazine","status-publish","hentry","categorie_magazine-books-from-marte"],"acf":[],"yoast_head":"\nIn Venice, the exhibition on Marina Apollonio, the artist who goes beyond the circle - Marsilio Arte<\/title>\n<meta name=\"description\" content=\"The Peggy Guggenheim Collection in Venice pays tribute to Marina Apollonio, an international exponent of optical and kinetic art\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.marsilioarte.it\/en\/magazine\/marina-apollonio-exhibition-venice\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"In Venice, the exhibition on Marina Apollonio, the artist who goes beyond the circle\" \/>\n<meta property=\"og:description\" content=\"The Peggy Guggenheim Collection in Venice pays tribute to Marina Apollonio, an international exponent of optical and kinetic art\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.marsilioarte.it\/en\/magazine\/marina-apollonio-exhibition-venice\/\" \/>\n<meta property=\"og:site_name\" content=\"Marsilio Arte\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/MarsilioArte\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.marsilioarte.it\/wp-content\/uploads\/2024\/10\/Ph_MatteoDeFina-11-scaled.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2560\" \/>\n\t<meta property=\"og:image:height\" content=\"1838\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:site\" content=\"@MarsilioArte\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"7 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.marsilioarte.it\/en\/magazine\/marina-apollonio-exhibition-venice\/\",\"url\":\"https:\/\/www.marsilioarte.it\/en\/magazine\/marina-apollonio-exhibition-venice\/\",\"name\":\"In Venice, the exhibition on Marina Apollonio, the artist who goes beyond the circle - 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