Vizzini Andrea is an expert in artistic techniques. Ranging from photography to computer art, was one of the founders of the pre-transavantgarde movement of the 1960s and 1970s. Which sought both a conceptual approach and a return to painting.
In the initial stages of his career, Vizzini Andrea produced conceptualized paintings that incorporated figurativity in heterogeneous contexts. Together with the main representatives of the historical core of the new figurativity of the 70s, contributed to the gradual implementation of this movement.
Following a pivotal experience in Paris in 1974, where he visited the Louvre and drew inspiration from the Greek statues, Vizzini Andrea shifted his focus to the representation of Greek mythology. Subsequently he will visit the Pergamon Altar and paint on canvas a series of projects. They reconstruct the meaning of mythology and art history with a visionary eye.
The works of the cycles “Interni Teoretici” 1980, “Places of Eternity” 1986 and “Iconico Anonico” 1994 are characterized by a symbolic structure. They reveal a vision of the world as a dichotomy of two opposing principles. The main motifs of his works increasingly take on a combination of figurative values and informal plans. Immediately after the period of denial (1995-1998) he increasingly dedicates himself to painting and sculpture, adopting an intimate and minimalist attitude.
Vizzini Andrea after using acrylic paint and collage, he experimented with different materials. Such as earth, iron and light, and began using almost Caravaggio-esque forms of light that allow spatial depth and a very personal impact.
Since 2000 he has integrated his language through the creation of sculptures and the exhibition of large-scale paintings in public spaces. Some of his works are found in the Farnesina collection.
In 2008 he exhibited at the Beijing Biennial on the occasion of the Olympic Games and his works were collected at the National Art Museum.
He was always fascinated by the architecture and impossible perspectives of Maurits Cornelis Escher. The artist organized a major exhibition on the theme of “Eternal Places” at the Italian Cultural Institute in London.
In 2011 he set up the Codice Perpetuo exhibition in Naples, at the Castel Nuovo Museum – Maschio Angioino, where for the first time the dialogue between painting and sculpture becomes closer and more interactive.
He completed the cycle “The Fine of Art” which became the title of an exhibition he held at the Ravagnan Gallery in Venice in July 2017, during the 57th Venice Biennale and the great exhibition “Treasures from the Wreck of the Unbelievable” by Damien Hirst at Palazzo Grassi and Punta della Dogana.
Vizzini Andrea creates a cycle of exhibitions starting in 2019, in Paris, Galleria Bartoux, then in 2023 at the ARCOS Museum in Benevento and at the Historical Archaeological Museum of Nola-Naples and then at the Casa del Rigoletto in Mantua (OmniaBook and Mondadori catalogues).
Important critics have written about him, such as: Achille Bonito Oliva, Luciano Caramel, Eugen Gomringer, Alberto Moravia, Pierre Restany, Klaus Honnef, Alberto Fiz, Boris Brollo, Lucio Barbera, Floriano de Santi, Enrico Crispolti, Luigi Carluccio, Leonardo Sciascia, Domenico Rea, Mario Penelope, Marco Goldin, Umberto Eco, Demetrio Paparoni and more.
He collaborated with Al Di Meola (Jazz Guitarist and Author) on the cover of the album “The Infinite Desire” (1998), and with Karl Jenkins (Composer and Director “Adiemus”) on the covers of the albums “Adiemus Live” (2001) and ” Motes” (2014).
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