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Horacio Garcia Rossi (1929 – 2012 AR)

About

Born in 1929 in Buenos Aires. He was living in his hometown until his settlement in Paris in 1959 where he attended the School of Fine arts from 1950 until 1957. In his early works, he was dealing with the issue of black and white in plane, two-dimensional compositions.

Not long after his arrival to Paris (1960), he participated in the foundation of the art group, G.R.A.V. (Groupe de Recherche d’Art Visuel – The Visual Art Research Group). Within the confines of the art group, he cooperated with young artists such as Julio le Parc or Francisco Sobrino with whom he had met while he had still been in Buenos Aires and who had moved to Paris near the end of the 1950s as Garcia-Rossi had done. Besides them, such renowned artists joined the group as François Morellet, Vasarely and his son, and Jean-Pierre Yvaral.

Horacio Garcia-Rossi, like the rest of the group, experimented with the opportunities of real light and movement: their constantly changing nature was presented in his series of light-installations entitled “Boîtes a lumiere instable” (“Unstable Light Boxes”). He also drew the audience directly in with some creations which were moveable by hand (“Cylindres en rotation” – “Rotating Cylinders”).In the 60s, the members of the movement participated at significant events like the 3rd Documenta in 1964 or the “Lumiere et mouvement” (“Light and Movement”) exhibition that was prominent in the history of Kinetic Art and which was organized by the Musée d’Art Moderne de la Ville de Paris in 1967. After the dissolution of G.R.A.V., Garcia-Rossi continued the analytic experiments of an almost scientifically founded art form. Between 1972 and 1974, he returned to two-dimensional artistic approaches, and from 1974 until 1978, he was mainly interested in semiotics as an artistic issue. Accordingly, he attempted to create a dynamic system of letters in which a sign, corresponding to the sound or form that belonged to the letter, was associated with each character.Since the end of the 1970s, Horacio Garcia-Rossi has dedicated himself to the investigation into the interaction of light and color. In a series of paintings entitled “Couleur Lumiere” (“Color-Light”), color and light appear as an organic, undividable unity. In these compositions, the careful combination of different shades and the subtle stripe left uncovered on the white canvas result in light illuminating the whole picture. In the recent years, in his series called “Chaos”, the harmony of “Color-Light” is disrupted here and there and fades on the surface of the painting.