Published on the occasion of her long-deserved retrospective at Muzeum Susch, this book testifies to the singular vision of Italian artist Laura Grisi (1939–2017) within contemporary art history. Born in Greece, educated in Paris and living between New York and Rome, where she died, Grisi spent long periods of her life in Africa, South America and Polynesia. This involvement with non-Western cultures indelibly marked her own search for a cosmic thinking. Although her work is often reduced to Pop art, Grisi always worked within the fundamental motif of the “journey”―from remote locations visited and documented, to the multiplicity of mediums used. Grisi embodied a stateless, nomadic female subject defying the politics of identity, the univocity of representation and the unidirectionality of time. Grisi's work spans from her avant-garde Variable Paintings of the mid-1960s and her 1970s pioneering environmental installations dealing with fog, wind and rain, to her conceptual photo-works of the 1980s.

About the Author

Bien que son œuvre ait �t� le plus souvent � r�duite � au Pop art italien – voire totalement ignor�e –, Laura Grisi a d�s le d�part d�bord� la cat�gorie, �voluant entre diverses lignes de recherche artistique internationale (art conceptuel, art optique et art cin�tique programm�, art minimal) et les int�grant dans sa propre synth�se originale. Dans le cadre d'une activit� dont le motif fondamental est le � voyage � – des lieux �loign�s visit�s et document�s � la multiplicit� des m�diums utilis�s – Grisi incarne un sujet f�minin apatride et nomade qui d�fie les politiques d'identit�, l'univocit� de la repr�sentation et l'unidirectionnalit� du temps.
N�e � Rhodes, en Gr�ce, en 1939, �duqu�e � Paris et vivant entre New York et Rome o� elle est d�c�d�e en 2017, Grisi a pass� de longues p�riodes de sa vie en Afrique, en Am�rique du Sud et en Polyn�sie. Cette implication avec des cultures au-del� de celles du monde occidental devait profond�ment marquer ses propres exp�riences dans la recherche d'une pens�e cosmique ou d'une � science du concret � (Levi-Strauss). Bien qu'elle ait fait de la photographie la m�thode originale de ses recherches au d�but des ann�es 1960, elle passe ensuite aux � peintures variables � au milieu des ann�es 1960 (avec des panneaux coulissants et des tubes au n�on). � la fin des ann�es 1960, elle cr�e des installations environnementales dynamiques dans lesquelles elle reproduit artificiellement des ph�nom�nes naturels tels que le brouillard, le vent et la pluie, avant de parvenir, dans les ann�es 1970 et 1980, � une forme verbale descriptive et � un langage math�matique comme outil conceptuel, afin d'explorer les m�canismes de la perception et de la connaissance humaines. L'ensemble de l'œuvre de Grisi s'efforce de prendre en compte l'ampleur, la multiplicit�, l'imperceptibilit� et la prolif�ration infinie de tous les possibles, mais part de contraintes pr�cises, de lacunes paradoxales, de limites linguistiques et s�miotiques, selon une approche proche du Nouveau Roman, du cin�ma de la Nouvelle Vague et du groupe de l'Oulipo.

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