Biography
Aitiani works in the visual sectors of painting, sculpture, environmental works, such as the rose window of the Collegiate Church of San Gimignano, the sculptures and stained glass windows in the complex of Koningsoord, Arnhem-Paesi Bassi, and in music.[citation needed]
At the end of the eighties, Aitiani joined the Florentine artistic current, which has been active since the end of World War II up to the present, including Sylvano Bussotti, Giuseppe Chiari, Giancarlo Cardini, Albert Mayr, Sergio Maltagliati, Daniele Lombardi, Pietro Grossi. These artists have experimented the interaction among sound, sign and vision, a synaesthetics of art derived from historical avant-gardes, from Kandinskij to futurism, to Scrjabin and Schoenberg, all the way to Bauhaus.[2]
His work has been exhibited in festivals, galleries and even international institutions, including: Academy of fine arts of Catanzaro; Museum of Modern Art-Rio de Janeiro; National Museum of Buenos Aires; Triennale of Milan; Museum of the twentieth century -Florence, Logge Vasari-Arezzo; Museo Mart-Rovereto; Palazzo Vecchio-Florence; Palazzo Ducale-Mantova; Corte degli Spedalinghi-Pisa; Museo- Luigi Pecci-Prato; National Central Library-Florence, MAXXI - National Museum of 21st Century Arts-Roma.
In painting and in the plastic arts, in music, in writing, he worked by putting these individual disciplines in mutual interaction.[3]
Starting from 1984, he became interested in the nascent phenomenon of new digital technologies, sensing the extent of the practical and thought revolution that they would soon bring about, and came into contact with musicians like Pietro Grossi, Albert Mayr, Francesco Giomi. Alongside his artistic commitment, Aitiani has carried out theoretical activities: he has taught at the University, has organized conferences and took part as a speaker.[citation needed] He has created object-books and published numerous articles, essays and books.[citation needed]