GRUPPO T: Miriorama, le opere, i documenti
On the fiftieth anniversary of their first group exhibition Miriorama, held at the Pater gallery in Milan in January 1960, the P420 CONTEMPORARY ART gallery is paying homage to the artists who bravely managed to write an important page in art history, despite criticism explicitly opposing them, systematically introducing into artwork the concept of becoming, from the plurality of forms and the concept of time (note, T for Time). “We see reality as the constant becoming of phenomenon that we perceive in variation” are the words that the group’s founders published in their theoretical manifesto in 1960. From that moment they devoted themselves to kinetic and visual experiments, to creating ‘space-time’ objects which actively involved the audience through superimposed sensorial perceptions, the intrinsic movement of the artwork caused by a motor or a light source or direct interaction with them. This is how Anceschi, Boriani, Colombo, De Vecchi and Varisco so brilliantly materialised the formal change that the times required, an overcoming of static and subjective art which by the end of the Fifties was inevitable and was appearing to a certain extent all over Europe with the artists from Zero in Dusseldorf, GRAV in Paris and Equipo57 in Spain, to name some of the main expressions. Kinetic Art as the creation of a movement, Programmed Art as accurate programming of that movement. This is the brilliant intuition with which the exhibiting artists responded to the then extremely dynamic industrial civilisation and to the rapid acceleration of the processes of perception of reality, so they ended up facing this reality, as Filberto Menna wrote in 1965, “not facing a static form, like a subject contemplating an object, but rather an extremely dynamic complex of relationships.” The artist could only accept, without denying it, the fight with this new reality, characterised by technological development in its fundamental forms of industrial production and mass consumption. The artists continue in their theoretical manifesto of 1960, “considering the artwork as a reality made of the same elements that constitute that reality which surrounds us, it is necessary that the artwork itself be in constant change.” The artist of kinetic and programmed research intends to work not on form as much as on methods, technical tools, the design phase, with the pressing need to insert a humanistic perspective into the development of modern technology.