Trame

The artist begins to create the first ‘frames’, that is, networks of parallel lines superimposed in a precise order. Furthermore, determined to find a new means of expression, Morellet began to use neon in his works. In 1972 he participated in the Venice Biennale and began to exhibit his retrospectives throughout Europe, until 1980 when he also exhibited in the United States. He created several exhibitions in recent years, at the Kunstmuseum in Bochum and Düsseldorf in 1972, at the National galerie in Berlin and the Musée d’art moderne in Paris five years later. Between 1970 and 1980, he established and trained a new group of artists under the acronym GRAV (Groppe de Ricerche d’Art Visuelle), with the aim of creating an experimental art based on the scientific knowledge of visual perception. A new period begins for him in which the artist seeks a strong interaction with the space that surrounds him. Between the 80s and 90s, he produced several works including “Disfigurements”, “Declinations de pi Greco” and “Geometrees”. He created new exhibitions, at the Albright-Knox Art Gallery in Buffalo, the Musée d’art contemporain in Montreal and The Brooklyn Museum in New York, in 1984, and at the Center Georges Pompidou and the Stedelijk Museum in Amsterdam two years later late. Among his permanent installations, we remember the square of Grenoble, created in 1988, the Musée des Beaux-Arts of Grenoble, of 1991, the Kunstmuseum of Bonn, year 1997, the Geneva Tunnel in the following year and again, the building of the Daimler-Crysler, on the Potsdamer Platz in Berlin, created by Renzo Piano, the intervention in the Obayashi Corporation building in Tokyo and the Bahnhof Ost in Basel in 1999. In the 2000s it was exhibited at the Galerie Nationale du Jeu de Paume in Paris, the Museum Würth in Kunzelsau and the Haus für Konstruktiv in Zurich. One of his last works dates back to 2010, “The Spirit of Stairs” commissioned by the Louvre.