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Forum MARE NOSTRUM – IV
Forum MARE NOSTRUM – IV Trieste 26-27 October 2007 Trieste, its Macro-region and Europe: a Multicultural Tradition and a Contribution to an Intercultural European Future 28 October 2007 XXI Congress EWC and EWC-FAEE a.i.s.b.l. ANNUAL GENERAL ASSEMBLY Aula Magna - SSLMIT SCUOLA SUPERIORE DI LINGUE MODERNE PER INTERPRETI E TRADUTTORI (Advanced School of Modern Languages for Interpreters and Translators) “Mare Nostrum IV” conference papers. We gratefully acknowledge the financial support granted by European Commission- DG Education and Culture - Culture Programme; The Italian Ministry of Culture; The Regional Institution of Friuli Venezia Giulia; the Provincial Institution of FVG; the Trieste University. Edited and published by the EUROPEAN WRITERS’ CONGRESS EWC/FAEE AISBL Rue du Prince Royal 87, B-1050 Brussels Office Tel. +32 (0)2 5510 893 & 894 www.european-writers-congress.org in collaboration with SINDACATO NAZIONALE SCRITTORI Via Buonarroti 12 I-00185 Rome ITALY Tel.: +39-06-485601 Fax: +39-06-48901252 www.sindacatoscrittori.net © 2007 by the authors Editor: Tiziana Colusso Thanks to Myriam Diocaretz Translations EN-IT Brigitte Ciaramella; IT-EN Brigitte Ciaramella and Marina Rullo. The texts are printed first in the original language and then in the translated version. Cover design: Graham Lester George Cover photo front: © Bernie Kravitz Cover photo back: © 2007 Graham Lester George Inside photos: © 2007 Graham Lester George and Franco Falasca, as indicated Printed in June 2008 by Grafica 891, Via Melbourne 10, 00139 Rome (Italy) The European Writer Series: ISSN: 1560-4217 4 TABLE OF CONTENTS PAPERS OF MARE NOSTRUM IV - 2007 OPENING SECTION/ SEZIONE DI APERTURA Trond Andreassen Opening address - Intercultural dialogue and the need for straight talk . -
Export / Import: the Promotion of Contemporary Italian Art in the United States, 1935–1969
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 Export / Import: The Promotion of Contemporary Italian Art in the United States, 1935–1969 Raffaele Bedarida Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/736 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by RAFFAELE BEDARIDA A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 RAFFAELE BEDARIDA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy ___________________________________________________________ Date Professor Emily Braun Chair of Examining Committee ___________________________________________________________ Date Professor Rachel Kousser Executive Officer ________________________________ Professor Romy Golan ________________________________ Professor Antonella Pelizzari ________________________________ Professor Lucia Re THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by Raffaele Bedarida Advisor: Professor Emily Braun Export / Import examines the exportation of contemporary Italian art to the United States from 1935 to 1969 and how it refashioned Italian national identity in the process. -
Art in Europe 1945 — 1968 the Continent That the EU Does Not Know
Art in Europe 1945 Art in — 1968 The Continent EU Does that the Not Know 1968 The The Continent that the EU Does Not Know Art in Europe 1945 — 1968 Supplement to the exhibition catalogue Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Phase 1: Phase 2: Phase 3: Trauma and Remembrance Abstraction The Crisis of Easel Painting Trauma and Remembrance Art Informel and Tachism – Material Painting – 33 Gestures of Abstraction The Painting as an Object 43 49 The Cold War 39 Arte Povera as an Artistic Guerilla Tactic 53 Phase 6: Phase 7: Phase 8: New Visions and Tendencies New Forms of Interactivity Action Art Kinetic, Optical, and Light Art – The Audience as Performer The Artist as Performer The Reality of Movement, 101 105 the Viewer, and Light 73 New Visions 81 Neo-Constructivism 85 New Tendencies 89 Cybernetics and Computer Art – From Design to Programming 94 Visionary Architecture 97 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Introduction Praga Magica PETER WEIBEL MICHAEL BIELICKY 5 29 Phase 4: Phase 5: The Destruction of the From Representation Means of Representation to Reality The Destruction of the Means Nouveau Réalisme – of Representation A Dialog with the Real Things 57 61 Pop Art in the East and West 68 Phase 9: Phase 10: Conceptual Art Media Art The Concept of Image as From Space-based Concept Script to Time-based Imagery 115 121 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know ZKM_Atria 1+2 October 22, 2016 – January 29, 2017 4 At the initiative of the State Museum Exhibition Introduction Center ROSIZO and the Pushkin State Museum of Fine Arts in Moscow, the institutions of the Center for Fine Arts Brussels (BOZAR), the Pushkin Museum, and ROSIZIO planned and organized the major exhibition Art in Europe 1945–1968 in collaboration with the ZKM | Center for Art and Media Karlsruhe. -
Rome – Milan: Space and Colour, Rhythm and Matter 1 October
Press Release Rome – Milan: Space and Colour, Rhythm and Matter 1 October – 28 November 2020 Private View: 1 October 2020, 12-8pm by appointment Mazzoleni is delighted to announce the launch of the new exhibition season in its London gallery on 1 October 2020, with the group show Rome – Milan: Space and Colour, Rhythm and Matter. The show brings together a number of the leading figures of the Italian art scene that were operating in these two major Italian cities with works realised mainly between the 1950s and 1960s. Acclaimed for their artistic revolutions, pioneers Lucio Fontana (1899-1968) and Alberto Burri (1915-1995) were the points of departure and reference for the experimentation later conducted by the artists born in the 1930s such as Agostino Bonalumi (1935-2013), Enrico Castellani (1930-2017), Dadamaino (1930-2004), Jannis Kounellis (1936-2017), Piero Manzoni (1933-1963) and Mario Schifano (1934-1998). They were to explore new and further strands of research as their artistic careers evolved. Fontana’s innovative reflections on space and Burri’s in-depth experimentation with materials were to be the driving forces behind the development of new artistic idioms. In parallel, predominantly through painting, Giulio Turcato (1912-1995), Piero Dorazio (1927-2005) and Carla Accardi (1924 -2014) (already members of the group Forma 1) combined a skilled use of shapes and colours with new “painterly” materials such as, foam rubber, enamels and casein. Meanwhile Giuseppe Capogrossi (1900-1972), the founder with Burri of the Origine group, developed a personal sign alphabet. In sculpture, from his debut alongside Lucio Fontana, Fausto Melotti (1901-1986) developed a lyrical and poetic dimension that led him to a truly unique artistic path of the Italian art scene. -
Catherine Ingrams
HTTPS://DOI.ORG/10.14324/111.2396-9008.034 ‘A KIND OF FISSURE’: FORMA (1947-1949) Catherine Ingrams We declare ourselves to be Formalists and Marxists, convinced that the terms Marxism and Formalism are not irreconcilable, especially today when the progressive elements of our society must maintain a revolutionary avant-garde position and not give over to a spent and conformist realism that in its most recent examples have demonstrated what a limited and narrow road it is on.1 hese are the opening lines of Forma’s manifesto, signed in Rome in March 1947 by eight young artists: Carla Accardi, Ugo Attardi, Pietro TConsagra, Piero Dorazio, Mino Guerrini, Achille Perilli, Antonio Sanfilippo and Giulio Turcato. They had met during the previous year through the realist painter, Renato Guttuso, a fellow member of the Italian Communist Party (the PCI) and a would-be mentor to them. Guttuso was on a trip to Paris when Forma signed their manifesto in his studio, a place where he had been letting many of them stay. With its contemptuous dismissal of realism, together with the method of its execution, Forma’s manifesto came as a compound rejection of Guttuso’s art, his hospitality and his network of connections, and it acted as a deliberate gesture of rupture, one which announced Forma’s ambitions to belong to ‘a revolutionary avant-garde’. In the discussion that follows, I connect Forma’s rhetoric of rupture with a more complex socio-political context, and I move to engage their art as a gesture of historical resistance worked through their reimagined return to the theories of Russian Formalism. -
Press Release
Press Release LIGHT IN MOTION: Balla, Dorazio, Zappettini 30 September – 9 December 2017 Private View: Friday 29 September, 6–8pm Mazzoleni is pleased to announce its autumn exhibition ‘LIGHT IN MOTION: Balla, Dorazio, Zappettini’, whicH will explore shared tHemes in tHe work of three major Italian artists working througHout the 20th century, Giacomo Balla (1871–1958), Piero Dorazio (1927–2005) and Gianfranco Zappettini (b. 1939). The exhibition will bring together key works by each artist to demonstrate their shared mastery of ligHt, colour and perception during three pivotal moments in Post-War Italian art, Futurism, Lyrical Abstraction and Pittura Analitica. The exhibition will include over a dozen works on loan from private collections, never before exhibited in tHe UK. It is curated by Elena Gigli. Giacomo Balla, whose work was recently tHe subject of a major exHibition at tHe Estorick Collection, was a key proponent of Futurism. An original co-signatory of Marinetti’s Futurist Manifesto, signed in Milan in 1910, Balla was a pioneering figure of European Modernism. His work influenced many artists between tHe late 19tH and early 20tH centuries, with its characteristic preoccupation with new technology, speed, movement and light. He and his Futurist contemporaries were interested in abstract explorations of the rapidly evolving tecHnological advances of the time. The geometric style Balla developed, often composed of intersecting colourful bands, was cHampioned for its evocation of movement. BotH tHese Futurist works and tHe earlier Divisionist works that Balla produced at the start of his career were hugely influential on the development of younger artists, including subsequent collaborators and Futurist contemporaries. -
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Josef Albers Max Bill Piero Dorazio Manuel Espinosa Friedrich Vordemberge-Gildewart Manuel Espinosa in Europe Josef Albers Max Bill Piero Dorazio Manuel Espinosa Friedrich Vordemberge-Gildewart Frieze Masters 2019 - Stand E7 Manuel Espinosa and his European Grand Tour Dr. Flavia Frigeri Once upon a time, it was fashionable among young members of the British and northern European upper classes to embark on what came to be known as the Grand Tour. A rite of passage of sorts, the Grand Tour was predicated on the exploration of classical antiquity and Renaissance masterpieces encountered on a pilgrimage extending from France all the way to Greece. Underpinning this journey of discovery was a sense of cultural elevation, which in turn fostered a revival of classical ideals and gave birth to an international network of artists and thinkers. The Grand Tour reached its apex in the seventeenth and eighteenth centuries, after which interest in the great classical beauties of France, Italy and Greece slowly waned.1 Fast-forward to 1951, the year in which the Argentine artist Manuel Espinosa left his native Buenos Aires to embark on his own Grand Tour of Europe. Unlike his cultural forefathers, Espinosa was not lured by 4 Fig. 1 Founding members of the Concrete-Invention Art Association pictured in 1946. Espinosa is third from the right, back row. Photo: Saderman. the qualities of classical and Renaissance Europe, but what propelled him to cross an ocean and spend an extended period of time away from home was the need to establish a dialogue with his abstract-concrete European peers. -
8 Nov. 2014 Inizia La Stagione Di Ana Thema Con : Innamorati-Opera Rock
8 NOV. 2014 INIZIA LA STAGIONE DI ANA THEMA CON : INNAMORATI-OPERA ROCK Uno spettacolo giovane e dinamico ispirato al testo de “Gli innamorati” di C. Goldoni. I dialoghi sono adattati per creare un linguaggio più diretto e vicino alla realtà contemporanea. I costumi ricordano i gli abiti dell’epoca ma completamente rivisitati e modernizzati. Sul palcoscenico una scenografia di tubi innocenti accoglierà, oltre agli attori, una giovane rock band che sulla voce di una cantante lirica, suonerà dal vivo la colonna sonora dello spettacolo. Un evento unico ed adatto a tutta le età con un occhio di riguardo alle giovani generazioni. Lo spettacolo si presta anche al pubblico più anziano grazie alla vivacità della commedia ed alla classicità dell’opera Goldoniana. INNAMORATI-OPERA ROCK regia Luca Ferri con Luca Ferri, Luca Marchioro, Claudio del Toro, Stefania Maffeis, Fabio Bonora, Miriam Scalmana con la Band Rock Evenfall e la soprano Elena Pontini costumi Emmanuela Cossar produzione Anà-Thema Teatro e Teatro della Corte assistenti alla regia Tizziana Guidetti, Massimiliano Kodric Enrico Liotti OGGI 22 OTT. Nel foyer Vittorio Gassman del Politeama Rossetti alle ore 19, viene presentato lo “Strehler”di Bruno Chersicla L’opera, doppio omaggio al grande regista triestino e al geniale pittore, disegnatore e scultore, sarà esposta nel foyer del Politeama Rossetti grazie alla Fondazione CRTrieste che ha voluto donarla al Teatro. Presenti alla cerimonia Adalberto Donaggio Vicepresidente del Consiglio Generale della Fondazione CRTrieste, il presidente e il direttore dello Stabile regionale e Maria Masau Dan direttore del Servizio Museo Arte Moderna Revoltella e dei Musei Civici di Trieste“. -
Risveglio Musicale 2017 02
Rivista Ufficiale dell’Anbima - Via Cipro, 110 int. 2 - 00136 ROMA POSTE ITALIANE - Spedizione in Abbonamento Postale M R M R D.L. 353/2003 (Conv.in L. 27/02/2004, n.46) Art. 1 Comma 1 - DCB Roma i i u u s s s s v v i i e e n c c . 2 w g - g w M a a a w r z . l l a o / n l A i l i b p i r m i e o e l o e a 2 0 . i 1 t 7 Edizioni Musicali Eufonia Via Trento, 5 - 25055 Pisogne (BS) Tel. 0364 87069 www.edizionieufonia Tel. 0364 87069 1650 titoli pubblicati Libretti Finalmente basta con le pagine che si sporcano! un libretto di 15 pagine (30 facciate) ora pesa gr. 100 Metodi per solfeggio NEW e per tutti gli strumenti Metodo per solfeggio per una formazione completo ad uso delle bande completa degli allievi e delle scuole medie ad indirizzo musicale Disponibile anche in biclavio BANDA GIOVANILE W Sul sito è a disposizione una sezione E 90 composizioni “MUSICA GRATIS” con numerose N dedicate alle marce RELIGIOSE e BRILLANTI Junior Band NEW EUFONIA è distributore per l’Italia delle ance VAR Le foto, i curriculum le opere dei più importanti compositori di musica per banda italiani CONCORSO INTERNAZIONALE DI CLARINETTO “G. MENSI” 2017 Breno (BS) 31 maggio - 3 giugno - Concerto finale con orchestra - premi per € 7.000,00 www.concorsomensi.it Nuovo software per la completa gestione della Banda Risveglio Musicale 2° Concorso Nazionale di Composizione "Musica nella Città" ANBIMA - Opera di Firenze Ringraziando tutti i Maestri che hanno partecipato inviando le loro composizioni, si annuncia con piacere che il M° Enrico Tiso è il vincitore di questa seconda edizione con il brano dal titolo Tigre di Pietra. -
The Responsive Eye by William C
The responsive eye By William C. Seitz. The Museum of Modern Art, New York, in collaboration with the City Art Museum of St. Louis [and others Author Museum of Modern Art (New York, N.Y.) Date 1965 Publisher [publisher not identified] Exhibition URL www.moma.org/calendar/exhibitions/2914 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art MoMA 757 c.2 r//////////i LIBRARY Museumof ModernArt ARCHIVE wHgeugft. TheResponsive Eye BY WILLIAM C. SEITZ THE MUSEUM OF MODERN ART, NEW YORK IN COLLABORATION WITH THE CITY ART MUSEUM OF ST. LOUIS, THE CONTEMPORARY ART COUNCIL OF THE SEATTLE ART MUSEUM, THE PASADENA ART MUSEUM AND THE BALTIMORE MUSEUM OF ART /4/t z /w^- V TRUSTEES OF THE MUSEUM OF MODERN ART David Rockefeller, Chairman of the Board; Henry Allen Moe, Vice-Chairman;William S. Paley, Vice-Chairman; Mrs. Bliss Parkinson, Vice-Chairman;William A. M. Burden, President; James Thrall Soby, Vice-President;Ralph F. Colin, Vice-President;Gardner Cowles, Vice-President;Wa l ter Bareiss, Alfred H. Barr, Jr., *Mrs. Robert Woods Bliss, Willard C. Butcher, *Mrs. W. Murray Crane, John de Menil, Rene d'Harnoncourt, Mrs. C. Douglas Dillon, Mrs. Edsel B. Ford, *Mrs. Simon Guggenheim, Wallace K. Harrison, Mrs. Walter Hochschild, "James W. Husted, Philip Johnson, Mrs. Albert D. Lasker,John L. Loeb, Ranald H. Macdonald, Porter A. McCray, *Mrs. G. Macculloch Miller, Mrs. Charles S. -
The Transition of New Tendencies from Neo-Avant- Garde Subculture to Institutional Mainstream Culture
The Transition of New Tendencies from Neo-Avant- Garde Subculture to Institutional Mainstream Culture. An Example of Network Analysis. Kolešnik, Ljiljana Source / Izvornik: Modern and Contemporary Artists' Networks. An Inquiry into Digital History of Art and Architecture, 2018, 84 - 122 Book chapter / Poglavlje u knjizi Publication status / Verzija rada: Published version / Objavljena verzija rada (izdavačev PDF) https://doi.org/10.31664/9789537875596.05 Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:254:605097 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-06 Repository / Repozitorij: PODEST - Institute of Art History Repository The Transition of New Tendencies from Neo-Avant-Garde Subculture INTRODUCTION in the canon of new media art history.156 to Institutional Mainstream Culture. An Example of Network Analysis. In the course of that process – lasting from History of international art movement New 2005 to, approximately, 2010 – archival Tendencies, attracted researchers attention documents on New Tendencies earlier his- DOI: https://doi.org/10.31664/9789537875596.05 just recently, following a (re)discovery of tory, on the events and exhibitions held be- the series of discursive events (seminars, tween 1961 and 1965, were also carefully conferences, colloquia), and exhibitions explored, and explained, but in a manner (Computers and Visual Arts, Tendencije 4, which downplayed, or outright neglected Art and Computers, Tendencije 5), held in the ideological presumptions of the move- Zagreb, at -
Alberto Burri: the Art of the Matter
Alberto Burri: The Art of the Matter Judith Rozner A thesis submitted in total fulfillment of the requirements of the degree of Doctor of Philosophy Volume I – Text Volume II - Illustration March 2015 School of Culture and Communication. The University of Melbourne. Produced on archival quality paper i VOLUME I ii For Avraham and Malka Ur iii iv ABSTRACT "Alberto Burri, an Italian artist of the immediate post WWII period, introduced common, everyday materials into his art. In so doing material became both the subject of his work as well as the object out of which the work was made. This thesis argues that the primary purpose of Burri's work throughout his career was to provoke a tactile, sensuous response in the viewer, a response which can best be understood through the lens of phenomenology." v vi DECLARATION This is to certify that: I. The thesis comprises only my original work. II. Due acknowledgment has been made in the text to all other material used. III. The thesis is less than 100.000 words in length exclusive of tables, maps, bibliography and appendices. Judith Rozner vii viii Preface In 1999, following an introduction by a mutual friend, I was invited by Minsa Craig- Burri, the widow of the artist Alberto Burri, to help her compile a biography of her life with her husband.1 I stayed and worked on the manuscript at their home at 59, Blvd. Eduard VII, in Beaulieu-sur-Mar, in the South of France for about six weeks. I had not seen the artist’s work before my arrival, and on my first encounter with it I just shrugged my shoulders and raised my eyebrows at the high prices it commanded in the market.