Giovanni Anceschi, Struttura Tricroma, 1963, Mixed media and electric motor, 51,5 x 51,5 x 51 cm. MART – Museo di Arte Moderna e Contemporanea di Trento e Rovereto – VAF-Stiftung

FRANKFURT, GERMANY.- The emergence of Op art and kinetic art in the early 1960s evinced a strong interest in objectivity and in scientific experiment. Fascinated by the physical laws of light and optics, a whole generation of artists devoted themselves to exploring visual phenomena and principles of perception. Probing the possibilities of optical illusion, Victor Vasarely, Bridget Riley, François Morellet, Julio Le Parc, Gianni Colombo, and others deliberately aimed at producing visual irritations. In large-format paintings, objects, and environments, they caused more than the observer’s eye to move. Their works immerse their viewers in color, plunge them in the infinity of mirrors, or offer them a poetic play with light. The interaction between the work and the viewer fulfills itself in installations that not only entail physical effects in the form of afterimages, vibrating colors, or flickering light but affect the entire consciousness. (courtesy www.Artdaily.org)

InstaIlation view 1 with art work of Dadamaino, "La Ricerca del Colore", 1966-68. © Photo: Norbert Miguletz