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Piero Gilardi
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Piero Gilardi
Piero Gilardi (3 August 1942 – 5 March 2023) was a visual artist, theorist, art organizer and a catalytic figure in the Arte Povera movement as concentrated in Turin in the late 1960s.
Born in Italy to a Swiss family, he studied at the Liceo Artistico in Turin. In an interview with LeGrace G. Benson, Gilardi stated that his personal encounter with artist Michelangelo Pistoletto and others helped him in the development of his own artwork that developed in parallel with that of U.S.-based Pop Art and French Nouveau réalisme. While trying to comprehend the cybernetic idea of feedback and the scientific rationale behind prefrontal synthesis, his perspective on reality changed and he began to focus on the Fluxus movement and its relationship with banal things.
Gilardi's dedication to connecting neo-avant garde artists across Western Europe and North America made him one of the most influential artistic figures of the period, albeit not the most famous. Gilardi contributed to the birth of Arte Povera, especially working to establish relationships with other similar initiatives that occurred simultaneously outside Italy. Gilardi supported the work of artists such as Richard Long and Jan Dibbets and introduced the work of Bruce Nauman and Eva Hesse to Europe. Gilardi's uncompromising commitment to closer ties between art and life led him to the fields of psychiatry and anthropology. Gilardi experimented with collective forms of political theater, workshops, and activist struggles with the workers of Fiat and against the implementation of TAV (Treni Alta Velocità: High Speed Trains) in the years 1970–80. During the 2000s, Gilardi initiated the outdoor project "Park of Living Art" in Turin, that welcomed artists Dominique Gonzalez-Foerster, Gilles Clément, Almarcegui Lara, and Michel Blazy, as well as scientists. Here the public was invited to participate directly as a form of interactive art.
Gilardi was born in Turin of parents Mario Gilardi and Cecilia Lavelli. In 1963 he made his debut with an exhibition of Neodadaist Macchine per il Futuro at Galleria L'Immagine of Turin. He gained fame with the nature Carpets in 1965: these are works made of polyurethane, which reproduce in a very realistic style fragments of natural environment for recreational purposes, but also to report to a style of life which, with the passage of time becomes more and more artificial (Greto of stream, Gallery of Modern Art, Cagliari). These rugs were exposed to Hamburg, Amsterdam, Brussels, Cologne, Milan, New York City, and Paris. From 1968 Gilardi stopped the production of works to participate in the theoretical development of new artistic trends: Arte Povera, Land Art and Antiform, participating in the years 1967 – 1968 as a contributor to the realization of the first two international shows of the new trend of Stedelijk Museum Amsterdam such as at the Kunsthalle in Bern, Switzerland. The Stedelijk Museum displays date, in the section dedicated to the history of the museum, part of the correspondence between Gilardi and Wim Beeren, one of the curators of the museum.
From 1968 and for all the 1970s his artistic activity was accompanied by the formation of political activism in the so-called New Left (or far left), covering the artistic movements of collective creativity and the spontaneous, and he worked in various social environments, which offered themselves as contributions to the animation's cultural base. Creative experiences not only in Italy but also in Nicaragua, various countries in Africa, and in the territories of Native Americans in the United States of America contributed to the efforts as well.
Gilardi was involved in creating social relations through art. Gilardi was involved with the occurrence of collective and spontaneous creativity by working in many social contexts.
Gilardi experimented with new technological languages and began to create a series of "virtual reality" art works. Gilardi returned to full artistic production in 1981, telling his own artistic and ideological discourse in a text entitled From art to life, from life to art, published that same year as his re-embrace of his own artistic production.
From 1985 he undertook an artistic research project with new technologies through the development of the project "IXIANA" which was presented at the Parc de la Villette in Paris, a technological park in which the general public could experience in an artistic sense, digital technologies. Later in a spurt of intense international activity he developed a series of interactive multimedia. Along with Claude Faure and Piotr Kowalski, he formed the International Association "Ars Technica", association connected to the Cité des Sciences et de l'Industrie uniting philosophers, artists, and scientists such as Jean-Marc Levy-Leblond, Jean-Louis Boissier, Jean-Max Albert, Sara Holt, and Jean-Claude Mocik who reflected on the relationship between art and new technologies.
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Piero Gilardi
Piero Gilardi (3 August 1942 – 5 March 2023) was a visual artist, theorist, art organizer and a catalytic figure in the Arte Povera movement as concentrated in Turin in the late 1960s.
Born in Italy to a Swiss family, he studied at the Liceo Artistico in Turin. In an interview with LeGrace G. Benson, Gilardi stated that his personal encounter with artist Michelangelo Pistoletto and others helped him in the development of his own artwork that developed in parallel with that of U.S.-based Pop Art and French Nouveau réalisme. While trying to comprehend the cybernetic idea of feedback and the scientific rationale behind prefrontal synthesis, his perspective on reality changed and he began to focus on the Fluxus movement and its relationship with banal things.
Gilardi's dedication to connecting neo-avant garde artists across Western Europe and North America made him one of the most influential artistic figures of the period, albeit not the most famous. Gilardi contributed to the birth of Arte Povera, especially working to establish relationships with other similar initiatives that occurred simultaneously outside Italy. Gilardi supported the work of artists such as Richard Long and Jan Dibbets and introduced the work of Bruce Nauman and Eva Hesse to Europe. Gilardi's uncompromising commitment to closer ties between art and life led him to the fields of psychiatry and anthropology. Gilardi experimented with collective forms of political theater, workshops, and activist struggles with the workers of Fiat and against the implementation of TAV (Treni Alta Velocità: High Speed Trains) in the years 1970–80. During the 2000s, Gilardi initiated the outdoor project "Park of Living Art" in Turin, that welcomed artists Dominique Gonzalez-Foerster, Gilles Clément, Almarcegui Lara, and Michel Blazy, as well as scientists. Here the public was invited to participate directly as a form of interactive art.
Gilardi was born in Turin of parents Mario Gilardi and Cecilia Lavelli. In 1963 he made his debut with an exhibition of Neodadaist Macchine per il Futuro at Galleria L'Immagine of Turin. He gained fame with the nature Carpets in 1965: these are works made of polyurethane, which reproduce in a very realistic style fragments of natural environment for recreational purposes, but also to report to a style of life which, with the passage of time becomes more and more artificial (Greto of stream, Gallery of Modern Art, Cagliari). These rugs were exposed to Hamburg, Amsterdam, Brussels, Cologne, Milan, New York City, and Paris. From 1968 Gilardi stopped the production of works to participate in the theoretical development of new artistic trends: Arte Povera, Land Art and Antiform, participating in the years 1967 – 1968 as a contributor to the realization of the first two international shows of the new trend of Stedelijk Museum Amsterdam such as at the Kunsthalle in Bern, Switzerland. The Stedelijk Museum displays date, in the section dedicated to the history of the museum, part of the correspondence between Gilardi and Wim Beeren, one of the curators of the museum.
From 1968 and for all the 1970s his artistic activity was accompanied by the formation of political activism in the so-called New Left (or far left), covering the artistic movements of collective creativity and the spontaneous, and he worked in various social environments, which offered themselves as contributions to the animation's cultural base. Creative experiences not only in Italy but also in Nicaragua, various countries in Africa, and in the territories of Native Americans in the United States of America contributed to the efforts as well.
Gilardi was involved in creating social relations through art. Gilardi was involved with the occurrence of collective and spontaneous creativity by working in many social contexts.
Gilardi experimented with new technological languages and began to create a series of "virtual reality" art works. Gilardi returned to full artistic production in 1981, telling his own artistic and ideological discourse in a text entitled From art to life, from life to art, published that same year as his re-embrace of his own artistic production.
From 1985 he undertook an artistic research project with new technologies through the development of the project "IXIANA" which was presented at the Parc de la Villette in Paris, a technological park in which the general public could experience in an artistic sense, digital technologies. Later in a spurt of intense international activity he developed a series of interactive multimedia. Along with Claude Faure and Piotr Kowalski, he formed the International Association "Ars Technica", association connected to the Cité des Sciences et de l'Industrie uniting philosophers, artists, and scientists such as Jean-Marc Levy-Leblond, Jean-Louis Boissier, Jean-Max Albert, Sara Holt, and Jean-Claude Mocik who reflected on the relationship between art and new technologies.