#revision - GALLIZIO AND INDUSTRIAL PAINTING

Where the neo avant-garde Italian artist Manzoni thought satirically and playfully of consumerist and capitalist society, Guiseppe Pinot-Gallizio thought more deeply and reactionary. After meeting avid Marxist Guy Debord and the International Situationist's, Gallizio became more involved in a Marixst and social type of art making reminiscent of that seen in countries like Russia or Germany during the historic avant-gardes. Through a process of mechanised and collective making, Gallizio's Industrial Paintings were born and aimed to remove themselves from the gallery space and be widely available to the public.

The process of making become important if not absolutely pivotal to the artwork, with the emphasis taken away from the artists hand and put onto that of the machine. Created on a rickety table with rollers covered in varying substances, each roll of mass produced but unique, which Frances Stracey sees as not regressing to the 'unique touch of the artist', but instead emphasising that all that is mechanically produced is not necessarily identical and void of personality, as a commodity culture would have us believe. Further benefits of having a machine create the huge lengths of these paintings is that it can be a cumulative human effort from many people, and therefore the mass of painting produced creates a surplus value that can split between all those involved, creating a social type of art form. The rolls of painting can be cut into desired sizes instead of being one revered art object that is available for only one, privileged person. Furthermore, the traditional notion of the artwork living in the gallery space is subverting, with a preference to existing in the urban streets.

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