The exhibition at the Italian Cultural Institute highlights the historical and stylistic continuity between Gard and the art of Vasarely
At the heart of the exhibition “Kinetic Art: A Tribute by Ferruccio Gard to Vasarely” - hosted at the Italian Cultural Institute in Marseille until May 15 - lies an idea of continuity, almost a passing of the torch. It is an encounter between two generations of experimenters and a dual tribute: to the history of Op Art and Kinetic Art, which finds one of its most lucid fathers in Victor Vasarely, and to the research of Gard, a fervent admirer who for over fifty years has renewed the dialogue between color, perception, and movement. Curated by Sarah Mongelli and organized in collaboration with the Vasarely Foundation, the exhibition brings together a selection of works that testify to the vitality, coherence, and evolution of Gard’s language. The display highlights his historical and stylistic connection with Vasarely’s art, bringing Gard’s entire poetic vision to the fore.
A poetic vision founded on geometric rigor: dynamic interweaving that creates visual movement and intense chromaticism
This vision is built on geometric rigor: dynamic textures that create visual effects of movement without ever sacrificing the most intense acrylic shades. “For me, color is not coloration. It is production, not reproduction,” Gard remarks, expressing his hymn to color and the idea of chromatic matter as a living, active force capable of transforming spaces - a concept fully realized in his works. Gard explores both the richness of black and white and the extremes of the chromatic scale, orchestrating shapes and tones with such precision that his canvases are transformed into rhythms, pulsations, and visual dynamics, transporting the observer into another dimension. Born in 1940 and a long-time resident of the Venice Lido, the artist has built an international career of rare intensity: over 180 solo shows, participation in seven editions of the Venice Biennale, an invitation to the 11th Rome Quadrenniale, and a constant presence in major European museums and institutions.
In the 1980s, his participation in the Salon d’Automne at the Grand Palais in Paris helped consolidate his reputation, drawing the interest of leading critics and artists. For many years, he was also a prominent journalist for Rai and a well-known face on television. However, he defines himself as “a painter lent to journalism, and not a journalist lent to painting”, a testament to how art has always represented the prevailing and indispensable value of his life. This tribute to Vasarely is neither imitation nor literal quotation, but rather the celebration of an essential point of reference. The exhibition serves as a dialogue between two visions that share a belief in perception as an active experience. The initiative is part of the broader commitment of the Italian Cultural Institute to promote artistic dialogue between Italy and France, highlighting research that has redefined the relationship between art and perception.
A Rai journalist, he defines himself as "a painter lent to journalism, rather than a journalist lent to painting"
