His initiation into the artistic world is very precocious, in fact, at only twelve years of age Luciano Ori is already involved in the production of sketches for the operetta La Gran Via, for La Pergola Theatre. After an initial artistic training where he moved from post-metaphysical to geometric painting in the style of Piet Mondrian, in the 1960s, he began to develop a type of work that blended well with that of Group 70, which he joined in 1964 when Miccini and Pignotti organised the Second Conference on Art and Technology, where the concept of “technological poetry” - of which Ori was one of the promoters - was born.
From technological poetics, Ori elaborated technological painting (let us recall the 1966 text Poesia Visiva, Pittura Tecnologica) and also a type of collage that he defined as “total” based entirely on a reworking of pre-existing material taken from magazines and newspapers, and which therefore places him among the initiators of Visual Poetry.
Together with Eugenio Miccini, Lamberto Pignotti, Lucia Marcucci, Ketty La Rocca, Antonio Bueno and Giuseppe Chiari, he became one of the protagonists of Group 70: in 1965, he took part in the Terzo Festival of Group 70 at the Galleria La Vigna Nuova, and later became part of the International Group of Visual Poetry, whose most memorable event took place at the Fiumalbo Festival, with Parole sui muri in 1967.
In the 1970s, his interest was mainly in visual theatre – for example Spartiti Teatrali 1964-1971 (1973) - and visual music, for which he edited the anthology Musica Visiva, with contributions by Sylvano Bussotti, John Cage, Daniele Lombardi and Luciano Berio. In 1966, he produced Teatro Visivo, a series of panels that Marshal Mac Luhan believes are the basis for a genre of global theatre; in 1967, he published Io c'era, a visual story dedicated to the tragedy of the Florence flood. In 1975, he produced a series of books of International Visual Poetry published by Carucci (Rome), which was followed in 1979 by a historical exhibition of International Visual Poetry, which he curated for the City of Florence, held in the Sala D'Arme of Palazzo Vecchio.
In 1996, he presented 7 Mondrian by Luciano Ori at the Centro d'Arte Spaziotempo in Florence: a series of works that represented a homage and, at the same time, a transgression towards the Dutch master, as they reproduced his works through a different technique: the collage.
The Centro per l'arte contemporanea Luigi Pecci in Prato dedicated an extensive retrospective to him entitled Luciano Ori. Visita al museo in 2009, two years after his death.
Remarkable were his participations in exhibitions such as V Documenta in Kassel; the XXXVI Venice Biennale, Il libro come luogo di ricerca, 1972. Moreover in 1981 he took part in the exhibition Linea della ricerca artistica in Italia, 1960-1980, at the Palazzo delle Esposizioni, Rome; in 1988 he realized, for Giuliano Gori's art spaces at the Fattoria di Celle (Santomato di Pistoia) an installation (9 x 7 m) of Visual Music entitled Quadri di una esposizione; in 1991 he participated at the 16th edition of the Premio Nazionale Arti Visive città di Gallarate.
He is present in the international Nuova Scrittura section of the Bolzano and Gallarate museums, in the collections of the MART in Rovereto, the Banca Commerciale in Milan and New York and the Museo Pecci in Prato.
