Giancarlo Battisti was born in Rome on September 11th, 1942.
The artistic preparation was born from a course of studies that between the’ 60s and’ 80s led the artist to obtain two diplomas, the Master of Art diploma and the diploma of Artistic Maturity, and then a Degree in Architecture at the University La Sapienza in Rome. He has always been interested in celestial phenomena and has always taken inspiration from it for his paintings and three-dimensional works. He realized the first graphic works and the first “spatial views”, which he will re-proposed later in 2001, making various sculptures, including models of armillary spheres and astronomical instruments. In the 1960s the artist made a friendship with Claudio Del Sole, an astralist artist and a great astronomy enthusiast, and Giuseppe Vittorio Parisi, his teacher. The great conquests of the cosmos together with mathematical and abstract geometric models, already present in their works, will be re-proposed elements in a new key of interpretation by the artist.
These friendships introduced him in that period to the astralist current, so the artist decided from 2008 to propose himself iin a new personal key the artistic experiments of the Astralists, calling the new current of which he is founder NEOASTRALISM. This artistic current finds its expression in collages techniques (also three-dimensional), works on metal supports, tempera, etc..
He lives and works in Rome
Giancarlo Battisti nasce a Roma l’11 settembre 1942.
La preparazione artistica nasce da un percorso di studi che tra gli anni ’60 e ’80 portano l’artista al conseguimento di due diplomi, il diploma di Maestro d’Arte e il diploma di Maturità Artistica, e successivamente di una Laurea in Architettura presso l’Università La Sapienza di Roma. Da sempre interessato ai fenomeni celesti ne trae spunto per le sue opere pittoriche e tridimensionali. Realizza le prime opere grafiche e le le prime “viste spaziali”, che riproporrà più avanti a partire dal 2001, realizza varie sculture, tra le quali modelli di sfere armillari e strumenti astronomici. Negli anni ’60 l’artista stringe un’amicizia con Claudio Del Sole, artista astralista e grande appassionato di astronomia, e Giuseppe Vittorio Parisi, suo insegnante. Le grandi conquiste del cosmo assieme a modelli matematici e geometrici astratti, già presenti nelle loro opere, saranno elementi riproposti in una nuova chiave di lettura dall’artista.
Tali amicizie lo introducono in quel periodo alla corrente astralista, per cui l’artista a partire dal 2008 decide di riproporre in una nuova chiave personale le sperimentazioni artistiche degli Astralisti, denominando la nuova corrente di cui è fondatore NEOASTRALISMO. Tale corrente artistica trova la sua espressione in tecniche di collages (anche tridimensionali), opere su supporti metallici, tempere, etc.
Vive e lavora a Roma
n e o A S T R A L I S M
On October 4th, 1957 Sputnik 1 was the first artificial satellite in orbit around the earth. On January 3rd 1959 Lunik1 was launched to the Moon. On July 20th, 1969 Apollo 11 transports the first man to the Moon. A decade or so. This is the period of time within which the initial stages of a technological and scientific adventure that inaugurates the era of so-called space conquests take place. The unprecedented dilatation of the physical and ideal perspective given by the conquest of the cosmos that is unlocked before mankind reverberates enormously on the limbs. The desire to explore the future and the unknown already practiced in the workshops and laboratories of the avant-garde and in the ateliers of modernity concerns music, literature and visual arts, creating real thematic-expressive trends.
It is in the euphoric climate, from the updated formulation of the… “Magnifiche sorti e progressive”…tipical of those years, that in Italy a group of artists published, between 1957 and 1959 the Poster of ASTRALISM. A programm affirmed with apodictic peremptoriness and organized around the theoretical fulcrum of the necessary adherence of artistic activity to the existential condition of the times and aimed, on the expressive level, at overcoming abstractionism, evaluated as a formal dimension that has become emptyly self-referential.
Today that design mortgage, lost every categorical and distilled characterization of the naively utopian embellishments, is renewed in the name of NEOASTRALISM thanks to the solicitations of its mentor Giancarlo Battisti. More than an arid aesthetic-theoretical formulation, Neoastralism is conceived rather as a representative sub facies spiritual attitude. The Schillerian idea of art as a free and liberating activity is reiterated. The neo-astralist artist is meant to investigate the possibilities that his formal realizations have of dialoguing with the structures of the universe: temporal space coordinates, physical laws, but also the new iconic models of cosmic space constitute the referential field within which the formal and symbolic constructs of neo-astralism are measured. The result is works that present a habitus substantially antiscenographic and in which the imaginary involved is decidedly antimimetic. Yet the representative modernity of neo-astralist works is not extraneous to an evocative force that seems deeply imbued with a decisive romantic vocation, certainly necessarily updated to the nature of our time. An expressive energy gives life to them, animated by a sensucht in which, once the sense of limit is relativised and the weight of human inadequacy is serenely accepted, the tension towards what is far and unattainable persists overbearingly. Neo-astralism therefore as contemporary humanism, a process of knowledge and reflection on the universe tempered by an exploratory inclination where technical-expressive variations, formal inventions are stimulated by a tension towards what is far and unattainable. The artist in his unexhausted work of reconnaissance and mapping now appears to us in the likeness of a new Odyssey, now in the role of a replicant. A prophet who beats us with the staff of emotion every time he tells us… I HAVE SEEN THINGS THAT YOU HUMANS COULD NOT EVEN IMAGINE ………..
Giancarlo Battisti’s pictorial and sculptural activity is in the wake of a vocation to abstraction matured during his apprenticeship with the artists Giuseppe Vittorio Parisi and Claudio del Sole. It is in the context of these initial training experiences that he develops a reflection on the theoretical reference points of his masters, which he cultivates and refines, at the same time as his studies in art and architecture.
This speculative and formal background is intertwined individually with a strong interest in astronomical sciences. True passion, which translates into an activity of observation from which he deduces the sense of an experience characterized by a strong VISIVE ALTERITY: the exploration of the celestial vault – the knowledge of mathematical and geometric models through which the representation of the universe is constructed – the custom with the instrumental aspects of the investigation of sidereal spaces contribute to define the physiognomy of a peculiar world of perceptions and visions, which act on his artistic sensibility orienting, in a distinctive way, the concept and expression of his work.
In the early’ 60s, this statute of reflections and operations identifies ASTRALISM, as the artistic association created in the euphoric climate of human conquest of space, the environment of choice within which to raise one’s own personal figure. It is from that design mortgage that Battisti derives, in fact, the definition of an orientation and an operational path based on the close relationship between formal imagination and the ethical philosophy that binds the artist to his time, and knots the work to the utopian substratum that legitimates it.
An approach that today comes to clarify under the label of NEOASTRALIST the ideal matrix and the direction of its activity.
The sign of Giancarlo Battisti is distinguished by an operative coherence alien to expressive raptus. His work is a CARTESIANISM PLAYFULNESS that combines the preference for a lively chromatic connotation with a geometric approach understood as spatial constructivity. A rational structuring process declined through an inexhaustible combination and recombination of forms that the artist has on the surface of the potential semantic field of the painting with limpid compositional happiness. Whether he assembles his collages or engraves and colors his metallic, the artist carries out the plots of his language and his favourite themes, giving rise to the concrete sedimentations of his creative imagination. NEOTECNICAL Visions, now of unprecedented sidereal perspectives and cosmic maps, now of intergalactic harbourlans and space machines, of planks and airborne circuits, offer themselves to the gaze of the concerning, always represented according to the ways and forms of a “… rigorous and magnificent wise game…”.