Aldo Boschin: Jewellery - Metal Structures -Paintings - 1970-2009

This monographic exhibition dedicated to Aldo Boschin, a representative of Kinetic art, may be associated with other events on Programmata and Kinetic art held in Padua in the cultural season 2008-2009. Among them, the Fioretto Arte gallery displayed Alberto Biasi’s sculptures and Grazia Varisco’s compositions, the Daniele gallery exhibited the works of Getulio Alviani and of the French group GRAV, and the Cavour City Gallery held an anthological exhibition on Manfredo Massironi.
In 1962, Boschin completed his training at the Istituto Statale d’Arte of Venice, where he later taught mural painting. He soon became closely associated with Kinetic artists who were inspired by the great artist and theorist Bruno Munari who, in the 1960s, coordinated international experimentations at the Sincron gallery in Brescia.
In 1974, at the presentation of a monographic exhibition on


Boschin at the Galleria del Cavallino (Venice), Munari himself provided the clearest and most insightful description of Boschin’s work, “Aldo Boschin’sinterest in the structuring of cubic spaces derives from the problems he had to cope with when teaching visual subjects. When he had to show his students how to obtain new shapes and volumes by logically sectioning the inner spaces of cubes, he was presented with an infinite range of structural possibilities. Similar research has long been done by other artists, and we may even mention some of them: Max Bill, Jean Slothouber, William Graatsma, Mary Vieria, Enzo Mari, Nicola Carrino, Charles Perry, Giorgio Scarpa, David Leverett, Edilio Petrocelli, Giorgio Crippa and Walter Kuhn… However, within this trend, Boschin has provided his own personal interpretation, both in structuring cubic spaces and in variously combining these shapes viewed as modules. The orderly accumulation of these modules actually produces very complex and varied groups according to the combinatorial possibilities of the six sides of cubes in which modules are obtained. Another aspect of Boschin’s research is his use of semi-reflecting surfaces that alter optical space, giving viewers the perception of illusionary spaces which mingle with the true ones outlined by semi-reflective surfaces. In Kinetic works, inside these true and illusionary spaces, programmed groups of colours move on rotating surfaces. We can therefore say that although Boschin’s works derive from the logical disassembly of cubic spaces, they actually form, become complex and reveal all their intensity through the orderly accumulation and the Kinetic colour application of light…”

Graziella Folchini Grassetto