Background
Horacio Garcia-Rossi was born on July 24, 1929, in Buenos Aires, Distrito Federal, Argentina, into the family of Margarita Rossi and Juan Manuel Garcia. In 1937 his brother Juan Carlos was born.
Horacio Garcia-Rossi was born on July 24, 1929, in Buenos Aires, Distrito Federal, Argentina, into the family of Margarita Rossi and Juan Manuel Garcia. In 1937 his brother Juan Carlos was born.
In 1948 - 1949 Horacio Garcia Rossi studied at Buenos Aires Advertising School, where he discovers oil painting with a Hungarian teacher. From 1950 to 1957 Horacio studied at the National School of Fine Arts in his hometown.
From 1945 to 1958, Horacio Garcia-Rossi participated in numerous group exhibitions in Argentina and Latin America. From 1959 he settled and worked in Paris. His first works were based on two-dimensional research through the use of black and white, on the problem of anonymity, multiplication of form, virtual movement, programming and finally on the problems of overlapping colors. In 1960 he was a co-founder of the Center de Recherches d'Art Visuel CRAV, a group created by a dozen of artists who narrowed to six members in 1961, becoming best known as GRAV, Groupe de Recherches d'Art Visuel.
Interested in the analysis of visual phenomena, starting from 1962, when he came into contact with the N Group of Padua, he introduced in his works the real movement and light, through the projection of geometric shapes on the screen. At the same time he realized works that could be manipulated by the public, including "Rotating Cylinders", and began an evolving research on the problems of instability through light and movement, visible in works such as the "Boîte à la lumière instable" with colors and motifs to be handled, or in bright structures with changing colors. In 1964 Horaçio Garçia-Rossi and members of the GRAV took part in the "Third Dokumenta" and, in 1967, the important exhibition entitled "Lumiere et mouvement", of particular importance in the panorama of kinetic art.
Beginning in 1966, the artist created first works that developed around the theme of visual identification of writing, which led him to a moving book of letters, ambiguous portrait of the members of the GRAV. That research had already begun since 1960 when Horaçio Garçia-Rossi created an "ambiguous" alphabet where each letter was endowed with movement attributed to it according to its shape and its meaning. On that path of research, the artist arrived to propose a visual image, where word and meaning were found in a relationship sometimes of opposition, sometimes of identification.
The relationship between word, meaning, and form pushed the artist towards portraits of the name of artist-painters, based on the analysis and observation of the works of the artist himself, as in the case of "Portrait of the name of Mondrian" and "Portrait of the name of Malevich." That research went further, up to the realization of a person's portrait by means of the letters that made up his name, using the psychological data of the character and his preferences regarding shapes and colors. In that last line of research, Rossi made the visual and plastic aspect prevail, without forgetting the characteristics of the personality of the characters he portrays.
From 1972 to 1974 Horacio returned to the two-dimensional plastic problems and to the search for a simple structure with analytical means, that time introducing the use of new materials. From the end of the '70s his artistic work proceeded deepening his studies on color and its possibilities, joined after the problem of color-light, which lasted until 1999. From that moment the artist introduced a new energy into his work, creating, from 1999 to 2002, chromatically more aggressive works, or as Rossi himself stated, more "angry" and that extended on relief, on sculpture, and on objects. That trend also invaded light-color research until 2003.
In 2006 the art of Horaçio Garçia-Rossi joined the musical component, thanks to the composer Federico Gozzelino, who dedicated a collection of four musical pieces inspired by the artist and his works; of the same music, performed on the piano by Yunko Watanabe, a CD was released by the Civic Gallery of Modern Art of Ljubljana and the National Institute of Contemporary Art. The artist continued his studies and his insights on color-light with renewed creative energy and thus arrived at the new cycle entitled "Khaos Program." It was on those latest works that, specifically, the latest exhibitions in January 2007 were set up at the National Library and the Galleria Marano of Cosenza, curated by Giovanni Granzotto and Giovanna Barbero. The artist died in Paris on September 5, 2012.
unknown title
Couleur lumière - Electrique transparence
Couleur electrique lumière
Couleur lumière
Vibration des adjacents rouge-bleu, fond violet
Couleur lumière
Couleur non lumière
Progression
Couleur lumière
unknown title
Mouvement
Untitled
Untitled
unknown title
Structure Couleur-Lumière Changeante
Composizione Cinetica
Couleur lumière r-ve trasparence
Couleur electrique lumière
Espace cinétique
Couleur lumière
"In 1978, I tried, in two-dimensional works, to imbricate color with light as an indissoluble unit. In these experiences the color is not manifested either as a decorative element itself, or as a variety of different colors juxtaposed, but as a conglomerate of base elements designed to create a new structure of visualization: the "light color."
Not long after his arrival in Paris in 1960, Horacio participated in the foundation of the art group, Groupe de Recherche d'Art Visuel - The Visual Art Research Group.
In 1967 Horacio married Susana Fernandez. In 1973 his daughter Barbara was born.
