Horacio Garcia Rossi
biography

Born in 1929 in Buenos Aires, from 1950 to 1957 he studied at the school of fine arts in his home city where, later on, he was also to teach. It was during his first period at the school that he met Demarco, Le Parc, and Sobrino while, from 1945 to 1958, he took part in numerous group shows in Argentina and Latin America.

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biography

Born in 1929 in Buenos Aires, from 1950 to 1957 he studied at the school of fine arts in his home city where, later on, he was also to teach. It was during his first period at the school that he met Demarco, Le Parc, and Sobrino while, from 1945 to 1958, he took part in numerous group shows in Argentina and Latin America.

In 1959 he settled and worked in Paris. His first works were based on a two-dimensional research with the use of black and white, on the problem of anonymity, the multiplication of form, virtual movement, programming and, lastly, on problems of the superimposition of colours.

In 1960 he co-founded the Centre de Recherches d’Art Visuel CRAV, a group created by some ten artists; in 1961 it was reduced to six members and became the better known GRAV, Groupe de Recherches d’Art Visuel.

Interested in visual phenomena, from 1962 onwards, a period in which he came into contact with the Gruppo N in Padua, he began to introduce into his work real movement and light through the projection of geometric forms onto a screen. At the same time he was making works that could be manipulated by the public (“Cilindri in rotazione”) and he began a research into the problems of instability with the use of light and movement; this can be seen in such works as “Boîte à la lumière instable”, with manoeuvrable structures and changeable colours. In 1964 Horaçio Garçia Rossi and the other members of GRAV took part in the third Documenta, in Kassel and, in 1967, in the important exhibition “Lumiere et movement”, a show of particular importance for Kinetic Art.

In 1966 the artist began to make his first works based on the idea of the visual identification of writing (“Mouvement”) which was to lead him towards a moving alphabet (in an ambiguous portrait of the members of GRAV). This particular research had been begun in 1960 when Horaçio Garçia Rossi created an “ambiguous” alphabet where each letter was given a movement  according to its form and meaning. Following this path, the artist arrived at proposing a visual image where the word and its meaning at times were in opposition, at others in harmony. The relationship between words, meaning, and form pushed the artist towards making portraits of the names of artists/painters based on an analysis and observation of each particular artist’s work, as in the case of “Ritratto del nome di Mondrian” and “Ritratto del nome di Malevich”. He developed this research further, to the point of realizing a portrait of people with the letters of their name, and also making use of their psychological data and their form and colour preferences. In this field of his research Rossi favoured the visual and sculptural aspect without, however, forgetting the characteristics of the people he was portraying.

From 1972 to 1974 he returned to plastic two-dimensional problems and to a search for a simple structure using analytical means, though now using new materials. From the end of the 1970s his art developed by deepening his studies of colour and its possibilities; later this was joined by the problems of colour-light, a research that lasted until 1999. From this moment on the artist injected a new energy into his work and created, from 1999 to 2002, more aggressive or, as Rossi himself said, more “angry” works which then began to include reliefs, sculptures, and objects. This tendency was to occupy his inquiries into colour-light until 2003.

In 2006 Horaçio Garçia Rossi’s art was linked to a musical component, thanks to the composer Federico Gozzelino who completed a collection of four musical pieces inspired by the artist and his works. A CD of this music, played on the piano by Yunko Watanabe, has been edited and published by the Ljubljana City Gallery of Modern Art and by the National Contemporary Art Institute. The artist continued with his in-depth studies of light and colour with renewed creative energy and thus arrived at a new series called “Khaos Programme”. These final works were the basis of his last shows (January 2007) in the National Library and the Galleria Marano, Cosenza, curated by Giovanni Granzotto and Giovanna Barbero.

He died in Paris on 5 September 2012.

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exhibitions

2013

Brescia, AAB – Associazione Artisti Bresciani

 

2011

Padova, Maab studio d'arte

Paris, Ambassade d’Argentine

 

2010

Brescia, Studio F22

Paris, Galerie Lélia Mordoch

 

2009

Treviso, Casa Cillo, Cappella Maggiore

 

2008

Saint Petersburg, Musée de l’Hermitage

 

2007

Roma, Museo nazionale, Castel Sant’Angelo

Perugia, Galleria Nazionale dell’Umbria

Houston, Galerie Siccardi

Erice, Fondazione Ettore Majorana

 

2006

Ljubljana, Galleria Civica d’Arte Moderna

Palazzolo sull'Oglio (BS), Studio F22

Cosenza, Biblioteca Nazionale

Cosenza, Galleria Marano

 

2005

Paris, Galerie Lélia Mordoch

Strà (VE), Museo Nazionale Villa Pisani

Cervia (RA), Museo della Civiltà Salinara

 

2004

Pordenone, Galleria d’Arte Tarozzi

 

2003

Venezia, Galleria Fidesarte

Palazzolo sull’Oglio (BS), Studio F22

Lecco, Galleria Melesi

Milano,Palazzo del Senato

Milano, Studio PoliArt

 

2002

Vicenza, Valmore Studio d’Arte

 

2001

Bergamo, Galleria Fumagalli

 

2000

Paris, Centre Culturel Jacques Prèvert

 

1999

Brescia, Galleria Lo Spazio e P4

Paris, Galerie Lélia Mordoch

 

1997

Caracas, Galerìa Graphic CB

 

1996

Nanterre, Galerie les Lumières

Paris, Galerie Lélia Mordoch

 

1995

Paris, Galerie Claude Dorval, Paris

 

1994

Paris, Galerie Lélia Mordoch, Paris

 

1993

Paris, Galerie St. Charles de Rose

Calais, Galerie Hélios

Zurich, Galerie Suzanne Bollag

 

1992

Paris, Galerie Alexandre De La Salle, Grand Palais

Paris, Galerie Lélia Mordoch

Paris, Galerie St. Charles de Rose

Palazzolo sull'Oglio (BS), Studio F22

Lecco, Galleria Melesi

 

1991

Buenos Aires, Banque National de Paris

Paris, Espace Latino-Américain

Paris, Galerie St. Charles de Rose

Paris, La Défence

Calais, Galerie Hélios

 

1990

Paris, Galerie St. Charles de Rose

Buenos Aires, Galeria Van Eyck

 

1989

Brescia, Galleria Sincron

Palazzolo sull'Oglio (BS), Studio F22

Como, Galleria Nuovo Spazio

 

1988

St. Paul de Vence, Galerie Alexandre De La Salle

 

1987

Milano, Galleria Vismara

Lecco, Galleria Ariete

 

1986

Orly, La Galerie d’Art

 

1985

Tokyo, Moris Gallery

Matera, Galleria S. Biagio

Brescia, Galleria Sincron

 

1984

Parma, Centro Steccata - with Agostini

Paris, Espace Latino-Américain

 

1983

Vigevano (PV), Galleria Il Nome - with Morisson

 

1982

Leidschendam, Galleria de Sluis

Bassano del Grappa (VI), Galleria La Tavolozza - with Agostini

Brescia, Galleria Sincron - with Morisson

Amsterdam, Art Stable - with Demarco, Fabra, Sobrino

Épinal, Musée Départemental des Vosges - with Agostini, Biasi, Gard

 

1981

Ottendorf, Studio A

Sassoferrato (AN), Palazzo Oliva

Fano (PU), Galleria Una Arte

 

1980

Venezia, Fondazione Bevilacqua La Masa

Brescia, Galleria Sincron

 

1979

Feanza (RA), Galleria Voltone della Molinella

Roma, Studio AM 16

Genova, Galleria Centro del Portello

 

1978

Padova, Galleria La Chiocciola

Venezia, Galleria 8+1

 

1977

Como, Galleria Il Salotto

Cagliari, Galleria Duchamp

 

1976

Imola (BO), Galleria del Centro

Cesenatico (FC), Hotel Internazionale

 

1975

Milano, Galleria Zen

Zurich, Galerie Suzanne Bollag

Brescia, Galleria Sincron

Genova, Galleria Centro del Portello

Lecco, Galleria Giuli - with Demarco

 

1974

Parma, Galleria A

Neuchâtel, Galerie Media

Vigevano (PV), Galleria Il Nome

 

1973

Brescia, Galleria Sincron

Pescara, Galleria Nuova Dimensione

Milano, Galleria Zen

Como, Galleria Sant’Elia

 

1969

Bilbao, Galleria Grises

 

1967

Buenos Aires, Galleria Rubbers

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