Nino Calos, born Antonio Calogero in 1926, was an Italian artist who became a significant figure in the lumino-kinetic art movement. His work, characterized by the integration of light, movement, and architecture, sought to create immersive experiences that engaged the viewer's perception in novel ways. Calos's artistic journey was marked by a deep interest in the dynamic interplay between electricity and light, which he harnessed to produce artworks that were in constant motion, creating a dance of colors and shapes that resonated with the viewer's retinal perception. Calos's early fascination with the temporal nature of physical movement laid the foundation for his aesthetic explorations. He was intrigued by how time could prompt movement and used this concept to create artworks that were alive with the dynamism of electricity and light. His pieces often featured infinite variations of color in a perpetual state of revolution or scintillating vertical surfaces animated by micro-motors. The rhythmic harmonies of these pieces changed according to the nature of their movement, producing engaging retinal vibrations in a regulated, orderly geometrical ballet. The artist once described his brain as "partly intuitive, partly mathematical," a statement that reflects the apparent contradiction in his work, which was both spontaneous and meticulously constructed. Calos's art offered its own symbolism through geometrical shapes, with spheres representing man or even the cosmos, and vertical lines symbolizing days or hours, thereby placing the being directly in time. He identified as a constructivist, expressing himself through well-ordered constructions. Calos's journey into lumino-kinetic art began with his paintings, which utilized flakes and flashing spotlights to create a sensation of movement within the static medium. His travels to Paris introduced him to similar artworks and the work of Frank Josef Malina, an artist-engineer who had started his career as an aeronautical engineer and was involved in the American space race of the 1940s. Malina's influence on Calos was profound, and the two quickly became friends. Malina's "electropaintings," which suggested the movement of stars, resonated with Calos, who began his own experimentations with different compositions, colors, and shapes. Throughout his career, Calos was invited to participate in numerous exhibitions, showcasing his work alongside other pioneers of kinetic and lumino-kinetic art. His exhibitions spanned the globe, from Venice to Paris, Basel to Cambridge, Tel Aviv to Tokyo, and many other cities. Notable exhibitions included his solo shows at Galleria del Cavallino in Venice and Galerie Pierre Belfond in Paris, as well as group exhibitions such as "L'Objet" at the Musée des Arts Décoratifs in Paris and "Kinetics" at the Hayward Gallery in London. Calos's interest in the integration of art and architecture led him to explore the creation of immersive environments and architectural integrations, such as mural panels and kinetic environments. In the late 1970s, he returned to Italy and experimented with kinetic paintings on paper, although he continued to create mobiles until his death in 1990. The restoration of Calos's works, particularly his "Mobiles Lumineux," has been a subject of interest in the art conservation community. The challenge of preserving the original intent and functionality of artworks that rely on obsolete lighting systems has led to innovative solutions, such as the substitution of original fluorescent bulbs with LED technology, ensuring that Calos's legacy continues to illuminate the art world. Calos's work is a testament to the power of interdisciplinary approaches in art, blending science, technology, and aesthetics to create experiences that transcend traditional boundaries. His contributions to the lumino-kinetic art movement have left an indelible mark on the history of art, and his works continue to inspire and captivate audiences with their poetic interplay of light and movement.

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