(born in Milan 1937 ) Schema luminoso variabile RR 66, 1962, Perspex, neon, electric motor, one of 5 realized objects from the envisaged edition of altogether 50, edited by Galleria Schwarz, Milan, 35 x 35 x 7.5 cm, (PP)

Provenance: Galleria Schwarz, Milan (gallery label on the reverse, signed by the artist)
Galerie Withops, Brussels (gallery label on the reverse, signed by the artist)
Private Collection, Italy Exhibited: Bologna, Gruppo T, P 420 Arte Contemporanea, May – September 2010, exh. cat., p. 83, ill. (a different example)

Literature: M. Meneguzzo/S. von Wien, Zero 1958–1968, Tra Germania e Italia, Siena, Palazzo Papesse, 2004, exh. cat., p. 176, illustration of different example

The two larger versions of this work were presented in the following venues: one (50 by 50 cm) at Galleria Schwarz, Milan (1969) and at the Musée d’Art Moderne et Contemporain in Strasbourg (2005) (L’oeil moteur – Art Cinétique 1950–1975); the second (95 by 95 cm) at Ulmer Museum (2001), the Städtische Kunsthalle in Mannheim (2002), and at Schirn Kunsthalle in Frankfurt (2007). „Planned visual research is based on the assumption that the aesthetic fact does not exist by itself as a value that is inextricably linked to specific objects, or “art objects”, but rather begins to exist with the image that takes shape in the receiving subject through the latter’s perception of certain visual and psychological stimuli. The difference from the traditional relationship between works of art and experiencing subject foremost concerns the source of the stimuli, which is no longer an element with an aesthetic value of its own: in this respect, the currents of visual research are historically linked to the movements of the years after World War I which, with different motivations, abolished the art object: De Stijl and Dada” (Giulio Carlo Argan in arte programmata - arte cinetica - opere moltiplicate, opera aperta, Milan, May 1962)