Marina Apollonio

Marina Apollonio (born 12 November 1940) is an Italian painter and optical artist. She lives and works in Padua.[1]

Marina Apollonio
Born (1940-11-12) 12 November 1940
Trieste, Italy
Known forpainting
MovementOp-art, kinetic art

Work

Apollonio was born in Trieste on 12 November 1940. She and her family moved to Venice when she was eight. In Venice she attended the Accademia di Belle Arti di Venezia.

In 1963 Apollonio produced her first work, Metal Reliefs with Alternate Color Sequences. She shared with other Op-Artists the interest in a depersonalized art, as opposite to Abstract Expressionism. She used industrial material in her process, creating dynamic and fluctuating environments in the user's perception.[2]

In 1965, she became part of the international Op Art movement, meeting and exhibiting with artists such as Gruppo N Padua; Gruppo T Milan; Getulio Alviani; Dadamaino and Azimuth Milan. In the same year she was invited to Nova Tendencija 3,[3] an international group show held at the Galerija Suvremene Umjetnosti in Zagreb, to Aktuel ’65 at the Galerie Aktuel Bern and, together with Getulio Alviani and Paolo Scheggi, the Oeuvres Plastiques et Appliquèes at Galerie Smith in Brussels.[4]

In 1975, Apollonio started making work based on the orthogonal relationship of parallel colored lines. In 1981 she expanded her practice to textiles, showing her works at the Laboratorio Artivisive Foggia and later, in 1983, at the exhibitions Morbide & Trame, at the Civica Galleria d’Arte Contemporanea in Foggia and Testi Tessili, at the Il Monte Analogo Library in Rome.

In 2007, she presented her work Spazio ad attivazione cinetica 1967-1971/2007, a 10-meter rotating disc, in the Schirn Kunsthalle Frankfurt for the international show Op Art,[5] where she was invited to exhibit together with Victor Vasarely, Bridget Riley, François Morellet, Julio Le Parc and Gianni Colombo. Her work has also been included in other Op Art shows such as Optic Nerve: Perceptual Art of the 1960s, at the Columbus Museum of Art and Bit International Nove tendencije - Computer und visuelle Forschung. Zagreb 1961-1973, at the Neue Galerie in Graz.[6]

Her works have been reviewed by major news publications.[7][8][9]

Marina Apollonio immersed in her work - September 2019

Selected solo exhibitions
  • 1966 Centro Arte Viva Feltrinelli, Trieste; Centro d’Arte il Chiodo, Palermo; Galleria 1+1, Padua
  • 1967 Galleria il Cenobio, Milan; Studio 2b, Bergamo
  • 1968 Galleria Sincron, Brescia; Galleria Barozzi, Venice
  • 1969 Studio di Informazione Estetica, Turin
  • 1970 Galerie Historial, Nyon; Galerie 58, Rapperswil, Switzerland
  • 1971 Galleria la Chiocciola, Padua
  • 1972 Galleria dei Mille, Bergamo; Imeges 70, Abano, Italy; Il Segnapassi, Pesaro
  • 1973 Neue Galerie Am Landes Museum Joanneum, Graz
  • 1974 Galleria il Nome, Vigevano, Italy
  • 1975 Galleria Temi, Bari; Galleria Method, Bergamo
  • 1979 Arte Struktura, Milan
  • 1981 Centro ricerche artistiche Verifica 8+1, Venice
  • 2008 Neue Galerie, Graz[10]

Selected group exhibitions
  • 1964 Il Chiodo d’oro, Centro d’Arte il Chiodo, Palermo
  • 1965 Aktuel 65, Galerie Aktuel, Berne; Nova Tendencija 3, Galerija Suvremene Umjetnosti, Zagreb; Oeuvres Plastiques et Appliquées, Galerie Smith, Brussels
  • 1966 Op-pop, Galerie D, Frankfurt; 11° Premio Castello Svevo, Termoli; Premio S. Fedele, Galleria San Fedele, Milan; Sigma 2, Bordeaux - Il gioco degli artisti, Galleria del Naviglio, Milan
  • 1967 La nuova tendenza, Galleria il Cenobio, Milan; Premi Joan Mirò, Barcelona; Museo Sperimentale d’Arte Contemporanea, Turin; Ipotesi linguistiche intersoggettive, travelling exhibition (Florence, Bologna, Naples, Turin)
  • 1968 Dodekaedr, Galerii d, Praha; 2° Miedzynadorowe Biennale Grafiki, Krakov; Arte Internazionale Contemporanea, Studio 2 b, Bergamo; 13° Premio Spoleto, Italy; Public Eye, Kunsthaus, Hamburg; Arte permanente, Galerija 212, Belgrade
  • 1969 Konstruktive kunst: elementen und rinzipien, Biennale 1969, Nűrnberg; Kunst als spiel, spiel als kunst, Kunsthalle, Recklinghausen; Nova tendencija 4, Muzej Za Umjetnosti I obrt, Zagreb; 8° Mednarodna graficna razstava, Moderna Galerija, Ljubljana; El arte cinetico y sus origens, Ateneo de Caracas, Caracas; Nuovi materiali nuove tecniche, Caorle; Meno 31: Rapporto estetico per il 2000, Varese, Italy; Plastic Research, New Goodman Gallery, Johannesburg; Grafica italiana d’oggi, Palazzo Reale, Naples
  • 1970 Achromes, Circolo la Nuova Torretta, Sesto San Giovanni, Italy; Salon des comparaisons, Paris; 3° Miedzynarodowe biennale grafiki, Krakov; Premi Joan Mirò, Barcelona - Screen print 70, Chicago; Kunst als spiel, spiel als kunst, Kunstverein, Wolsburg e. v.; Miniaturen 70 international, Galerie 66, Hofheim; Inostrana grafika iz zbirke, Museja Savramene Umtenosti, Belgrade; Grafica rysunek collage, Muzeum Sztuki W Lodzi, Lodz; La percezione pura, Barozzi-Ricci, Milan; Proposta del piccolo formato, Galleria Vismara, Milan
  • 1971 Serigraphies duo d’art Geneve, Galerie Historial, Nyon; Grafica internazionale 1971, Sincron, Brescia; Panorama di grafica, Galleria la Chiocciola, Padua; 9° mednarodna graficna razstava, Moderna Galerija, Ljubljana; Operazioni estetiche e strutture sperimentali, Ti. Zero, Turin; Senza titolo, Rocca Sforzesca, Soncino; Luglio 1971, Galleria Ferrari, Verona
  • 1972 4° Miedzynarodowe biennale grafiki, Krakov; Faites votre jeu, Galleria del Cavallino, Venice; Premio Burano 1972, Venice; 1° Norske Internasjonale Grafikk, Biennale 1972, Fredrikstad; Continuità, Studio d’Arte Eremitani, Padua; 4° Biennale d’Arte Mario Pettenon, S. Martino di Lupari, Italy
  • 1973 Tendenze attuali, Galleria la Chiocciola, Padua; Xerox, Galerija Studentskog Centra, Zagreb; Grafiska italienska, Italianska Kulturinstitutet, Stockholm; 3° Internationalen Malerwochen, Eisenstadt; Iki 1973, Dűsseldorf
  • 1974 Sull’opera come campo, Centro Culturale Serre Ratti, Como; V miedzynadorowe Biennale Grafiki, Kraków; Arbeiten aus den internationalen malerwochen in der orangerie, Landesgalerie Im Schloss Esterhazy, Eisenstadt; Norske Internasjonale Grafikk Biennale 1974, Fredrikstad; Accrochage, Galerie Seestrasse, Rapperswil; Grafica dei linguaggi non-verbali, Galleria Zen, Milan; Beispiel eisenstadt, Museum des 20 jahrhuderts, Vienna
  • 1975 Raccolta Nikol Art, Saletta della Grafica, Gallerie d’Arte La Chiocciola, Padua; Proposte ’75, Galleria di Arti Visive, Parma; Collezione Nikol Art, MPM Arredamenti, Milan
  • 1976 Grafica delle arti sperimentali, Galleria d’Arte Libera Parini, Como; Grafica delle Arti Sperimentali, Palazzo Strozzi, Florence
  • 1977 Expo Arte 77, Bari; Il Volto Sinistro dell’Arte, Galleria De Amicis, Firenze;Herbert Distel Museum of drawers, Zurich
  • 1979 Graphik in Padua Heute, Tiroler Kunstpavillon, Innsbruck; Sixth British International Print Biennale, Bradford City Art Gallery and Museums, Cartwright Hall, Bradford (Lister Park); 10 protagonisti della plasticità inoggettiva, Arte Struktura, Milan
  • 1981 Arazzi…?, Centro Culturale Laboratorio Artivisive, Foggia
  • 1982 c.c.c.2, Arte Struktura, Milan
  • 1983 Morbide & Trame, Civica Galleria d’Arte Contemporanea, Foggia; Costruttivismo, Concretismo, Cinevisualismo, Galleria Civica, Desenzano del Garda; Testi Tessili, Libreria il Monte Analogo, Rome; Libro Galleria Castello, Milan
  • 1984 Rassegna Internazionale d’Arte Concreta, Cenacolo Cultura, Mestre; Nuevas Adquisiciones 1981-1984, Museo de Arte Moderna, Fundaciòn Soto, Ciudad Bolìvar
  • 1985 Arte Italiana degli anni Sessanta nelle collezioni della Galleria Civica d’Arte Moderna, Castello Di Rivoli, Turin
  • 1988 8+1=10! 10 Anni alla ricerca dell’arte, Verifica 8+1, Venice-Mestre
  • 1989 Black and White, Palazzo dei Diamanti, Ferrara; 51 ideatori inoggettivi della visualità strutturata, Arte Struktura, Milan
  • 1990 51 ideatori inoggettivi della visualità strutturata, Galleria la Polena, Genoa; E’ ancora futuro?, Biblioteca Civica, Noventa Vicentina
  • 1991 30 anni di arte contemporanea alla Chiocciola, La Chiocciola, Padua
  • 1992 Der Kreis, Galerie Blau, Seeheim-Jugenheim
  • 1994 Crno in Belo ( Bianco e Nero), Cankariev Dom, Ljubljana
  • 1995 30 anni 1965-1995, Vismara Arte, Milan
  • 1997 Costruttivismo, concretismo, Cinevisualismo + Nuova Visualità Internazionale, Villa Ormond, San Remo
  • 1998 Nuova visualità internazionale, Centro Internazionale d’arte moderna e contemporanea, Palazzo Ducale, Revere;
  • 1999 8+10= 20! Vent’anni alla ricerca dell’arte, Venice-Mestre
  • 2001 Nuova Visualità internazionale, Forum Omegna, Omegna
  • 2003 Arte Costruita: Dal Museo “Umbro Apollonio”, Biblioteca Comunale, Cadoneghe, Italy; Il mito della Velocità. L’Arte del Movimento. Dal Futurismo alla video-arte, Casa del Mantegna, Mantua
  • 2004 Il Centro Duchamp 1969-1973, Zucca Arte Design, Pesaro
  • 2005 L’oeil Moteur. Art Optique et Cinétique, 1959-1975, Musée d’Art Moderne et Contemporain, Strasbourg; Prague Biennale 2, Karlìn Hall, Prague
  • 2006 Arte Cinetica, Spazio Boccioni, Milan; Die Neuen Tendenzen, Museum fűr kronkrete Kunst, Ingolstadt
  • 2007 Leopold-Hoesch-Museum, Dűren; Op Art, Schirn Kunsthalle, Frankfurt; Optic Nerve. Perceptual Art of the 1960s, Columbus Museum of Art, Columbus; Bit International [Nove] tendencije: Computer und visuelle Forschung. Zagreb 1961-1973, Neue Galerie, Graz; Cinetica. Dalla collezione di Getulio Alviani, Museo Cid, Torviscosa, Udine
  • 2008 Viaggio in Italia: Arte italiana 1960 al 1990, Neue Galerie Graz am Landesmuseum Joanneum, Graz
  • 2010 Donne nell’Arte, Galleria Cavour, Padua; Dix dans la recherche pour l’oeil a partir des années soixante, Espace Meyerzafra, Paris; Women From 60’s & 70’s, Osart Gallery, Milan
  • 2011 Art Paris just Art, Paris Gran Palais; Pinta Artshow, New York City
  • 2012 Arte Cinetica e Programmata, Galleria Nazionale d'Arte Moderna, Rome; Ghosts in the Machine, New Museum of Contemporary Art, New York; Exposicion sobre el Gruppo Enne de Padova, Marion Gallery, Panama
  • 2013 DYNAMO, Gran Palais, Paris; Percezione e Illusione: Arte Programmata e cinetica italiana, MACBA, Buenos Aires
  • 2016 EYE ATTACK, Op Art and Kinetic Art 1950-1970, Louisiana, Denmark; The Illusive Eye, El Museo del Barrio, New York City
  • 2018 Action <> Reaction. 100 Years of Kinetic Art, Kunsthal, Rotterdam
  • 2019 OBRES OBERTES. L'art en moviment, 1955-1975, La Pedrera, Barcelona; VERTIGO. op art and history of deception 1520-1970, MUMOK, Wien; Le diable au corps. Quand l’Op Art électrise le cinéma, MAMAC, Nice; L'ultima Dogaressa, Peggy Guggenheim Collection, Venice

Museums and public collections
  • Galleria d’Arte Moderna, Turin
  • Neue Galerie, Graz
  • Fondazione Vaf – MART, Rovereto
  • Museo Umbro Apollonio, Padua
  • Kunsthalle Recklinghausen Musee Nationale Poznan, Lodz
  • Das Progressive Museum, Basel
  • Musee Cantonal Des Beaux Arts, Lausanne
  • Haus Konstruktiv, Zurich
  • The Museum of Drawers, Zurich
  • Museo de Arte Moderno, Ciudad Bolivar
  • Schirn Kunsthalle, Frankfurt
  • Guggenheim Collection, Venice
  • Hermès Collection, New York City
  • New Museum, New York City
  • Fondation Villa Datris, Provence, France.

Bibliography
  • Giancarlo Illiprandi, "La breve stagione dell’Op", Fotografia Italiana, no. 105, March 1966
  • George Rickey, Constructivism, Origins and evolution, George Braziller, New York, 1967
  • Franco Sossi, Luce spazio strutture, La Cornice, Taranto, 1967
  • Marina Apollonio, "Un’arte fatta di scetticismo", Centroarte, no. 1, November, 1967
  • Filiberto Menna, Arte Cinetica e Visuale, in "L’Arte Moderna", Fratelli Fabbri Editori, Milan, 1967
  • Bruno Munari, Design e comunicazione visiva, Laterza Editori, Bari, 1968
  • Guy Brett, Kinetic Art: The Language of Movement, Studio Vista, London, 1968
  • Udo Kultermann, Nuove Forme della Pittura, Feltrinelli, Milan, 1969
  • Frank Popper, L’Arte Cinetica, l’immagine del movimento nelle arti plastiche dopo il 1860, Einaudi, Turin, 1970
  • Titus Mocanu, "Ambiguitatea sensibilității estetice", Arta, no. 6, 1970
  • Italo Tomassoni, Arte dopo il 1945 in Italia, Cappelli Editore, Bologna, 1971
  • Klaus Groh, If I had a Mind…, DuMont, Cologne, 1971
  • Cyril Barrett, An introduction to Optical Art, Studio Vista, London, 1971
  • Lea Vergine, Qui arte contemporanea, Rome, 1971
  • Lea Vergine, "Arte Programmata", Arte Contemporanea, no. 7, December 1971
  • Ernesto L. Francalanci, "Marina Apollonio", Art International, vol. XV/6, June 1971
  • Gianni Contessi, "La IX biennale della grafica di Lubiana", Gala, no. 49, September 1971
  • Gillo Dorfles, W. Skreiner, exhibition catalogue, Neue Galerie, Graz, 1973
  • Lea Vergine, L’Arte cinetica in Italia; Manfredo Massironi, Ricerche Visuali, Galleria Nazionale d’Arte Moderna, Rome, 1973
  • Alessandro Faré, Le Arti Figurative, Mursia, Milan, 1973
  • Italo Tomassoni, "Lo spontaneo e il programmato", Design, n. 2, June–August 1973
  • Michel Seuphor, "La tendenza alla ripetizione dei segni geometrici semplici nell’arte contemporanea", Arte e Società, no. 10, October 1973
  • Luciano Caramel, Marina Apollonio, Galleria il Nome, Vigevano, Italy, 1974
  • Frank Popper, Art-Action and Participation, Studio Vista, London, 1975
  • Simona Weller, Il complesso di Michelangelo, La Nuova Foglio Editore, Pollenza-Macerata, 1976
  • Carlo Belloli, Marina Apollonio: anticampi cromoformali ottico rotatori/cinestensivi a radiazione progressiva, Arte Struktura, Milan, 1979
  • Karina Tűrr, Op Art – Stil, Ornament oder Experiment, Gebr. Mann Verlag, Berlin, 1986
  • Angela Vettese, Marina Apollonio, Palazzo dei Diamanti, Ferrara, 1989
  • Lea Vergine, L’Arte in trincea, Skira, Milan, 1996
  • Arnauld Pierre, "The Kinetic Eye: Optical and Kinetic Art, 1950–1975", Musée d’Art Moderne et Contemporain, Strasbourg, 2005
  • Tobias Hoffmann, Die Neuen Tendenzen – Eine europäische kűnstlerbewegung 1961 – 1973, Edition Braus, 2006
  • David Rimanelli, "Beautiful Loser: Op Art Revisited"; S. K. Rich, "Allogories of Op", Artforum, May, 2007
  • Martina Weinhart, Max Hollein, Op Art, Schirn Kunsthalle, Frankfurt, 2007
  • Joe Houston, Ugo Savardi, Bianca Maria Menichini, Marina Apollonio, Columbus Museum of Art, New York, 2007
  • Christa Steinle, exhibition catalogue, Neue Galerie, Graz, 2008
  • Margit Rosen, A Little-Known Story about a Movement, in Art: New Tendencies and Bit International, 1961-1973, ZKM, Karlsruhe, 2011
  • Giovanni Granzotto and Mariastella Margozzi, Arte Cinetica e Programmata, Il Cigno GG Edizioni, Rome, 2012
  • Massimiliano Gioni and Gary Carrion–Murayari, Ghost in the Machine, Skira, Milan, 2012

References
  1. "Guggenheim". Archived from the original on 2017-07-09. Retrieved 2020-02-10.
  2. "Arte Programmata: Italian Kinetic Art from the 1960s — review". ft.com. October 11, 2016. Retrieved November 9, 2016.
  3. "bit - Nova tendencija 3". 2.zkm.de. 2006-05-01. Retrieved 2016-11-17.
  4. "Op Art Through a Latin Lens". The New York Times. February 18, 2016. Retrieved November 9, 2016.
  5. "SCHIRN KUNSTHALLE FRANKFURT | Exhibition". Archived from the original on 2014-09-02. Retrieved 2013-05-28.
  6. "Op and Kinetic Art Returns to New York in a Sprawling, Fresh Survey". observer.com. February 10, 2016. Retrieved November 9, 2016.
  7. "Art Sales: can the Italian art market maintain momentum?". telegraph.co.uk. October 4, 2016. Retrieved November 9, 2016.
  8. "Simon's World . . . On Instagram". artnet.comm. March 5, 2015. Retrieved November 9, 2016.
  9. "Dorotheum: Immer noch die Malerei". diepresse.com. May 28, 2016. Retrieved November 9, 2016.
  10. Grundtvig, Brigitte; McLaughlin, Martin L.; Lene, Waage Petersen (2007). Image, Eye and Art in Calvino: Writing Visibility. MHRA. p. 206. ISBN 978-1904350590. Retrieved November 9, 2016.
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