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1970-Art-Of-The-Space-Age-Catalogue
Yaacov Agam Lucia di Luciano Vjenceslav Richter Israeli-French b/928 Italian bi933 Yugoslavian bi917 All 'I 1. HOMAGE TO J. S. BACH 1965 18 STRUCTURE No. 155 1965 35 RITMIZIRANA CENTRA 1964 Josef Albers Juraj Dobrovic Nicolas Schoffer German-American bl888 Yugoslavian bi935 Hungarian-French bl9I2 OFTRt. 2 HOMAGE TO THE SQUARE 1964 19 SPATIAL CONSTRUCTION 1965 36 MICROTEMPS No 6 1964 Richard Allen Marcel Duchamp Peter Sedgley British bl933 French I887-I968 British bi930 SPACE 3 BLACK AND WHITE COMPOSITION 1965 20 ROTORELIEF 1934 37 SOFTLY 1965 A COLLECTION LOANED BY THE PETER STUYVESANT ART FOUNDATION Alviani (Getulio) Equipo 57 Francisco Sobrino AGE Italian bl939 (anonymous group of Spanish artists) Spanish bi932 4 25 SQUARES 1964 21 V 25 B 1964 38 UNSTABLE TRANSFORMATION 1964 Vojin Bakic Karl Gerstner Jesu- Raphael Soto Yugoslavian b 1915 Swiss b/930 Venezuelan bi923 5 LUMINOUS FORMS 1964 22 LENS PICTURE No 101962-64 39 VIBRATION WITH A BLUE SQUARE 1962 40 SOTOMAGIE 1967 Since the Second World War mankind has entered into a new phase of Artists like Agam with his "Polyphonic picture with nine themes" (which· Alberto Biasi Gruppo Mid its history, the Space Age. Today we move at speeds former generations he calls "Homage to J. S. Bach") use pure primary colours and create Italian b/937 (anonymous group of artists in Milan) Jeffrey Steele did not dream of even in their fairy tales; we are taming the frightening pleasing eye-music- composing complicated fugues of interwoven 6 GRANDE CINERETICOLO SPETIRALE 1965 23 STROBOSCOPE 1965 British bi93I 41 POLACCA power of the atom. -
Jperna Tesid.Pdf
DIPARTIMENTO DI SCIENZE DEI BENI CULTURALI DOTTORATO DI RICERCA Memoria e materia dell’opera d’arte attraverso i processi di produzione, storicizzazione, conservazione e musealizzazione -XXVII CICLO- ARTE PROTO-FEMINIST Una rilettura delle neoavanguardie italiane degli anni Sessanta (L-ART/03) Coordinatore: Prof.ssa Elisabetta Cristallini Tutor: Prof.ssa Elisabetta Cristallini Tutor esterno: Prof.ssa Maria Antonietta Trasforini Dottoranda: Jessica Perna DATA DELLA DISCUSSIONE: 27 NOVEMBRE 2015 INDICE INTRODUZIONE 7 I PARTE LA GENERAZIONE DI NEOAVANGUARDIA 1 Campo d’indagine 1.1 Sotto la lente: analisi della neoavanguardia 17 1.1.1 Una rilettura eccentrica 22 1.2 La feminist art tra dibattito nazionale e anglosassone 24 1.3 Metodologia critica 28 2 Neoavanguardiste: che genere di donne? 2.1 La prima emancipazione 33 2.2 Famiglia e cultura 39 2.3 Percorsi di formazione e identità 47 2.4 Sotto la maschera 53 2.5 Traiettorie di emancipazione 64 2.5.1 Tendenze e controtendenze 65 2.5.2 Il risveglio delle coscienze 70 1 3 Donne degli anni Sessanta: che genere di artiste? 3.1 Gli effetti dei ruoli di genere 76 3.1.1 Il dilettantismo colto 76 3.1.2 Stereotipi d’artista 80 3.1.3. Il complesso di Michelangelo 90 3.2. Artiste e gruppi di neoavanguardia 94 3.2.1 Casi di studio: Gruppo T; Gruppo Punto; Gruppo 70; Gruppo 63, 98 Sperimentale p. e Operativo “r”; Scuola di Piazza del Popolo 3.2.2 Strategie d’affermazione 120 3.3 Le donne nel circuito espositivo istituzionale e privato 124 II PARTE TEMI E MODI DELLA CORRENTE PROTO-FEMINIST 1 Ricerca identitaria 1.1 La costruzione dell’immagine femminile nei media 137 1.2 Temi di ricerca 149 1.2.1 Il corpo 150 1.2.2 L’infanzia 159 1.2.3 Maternità e ruoli sociali 165 2. -
Postmodernism
Black POSTMODERNISM STYLE AND SUBVERSION, 1970–1990 TJ254-3-2011 IMUK VLX0270 Postmodernism W:247mmXH:287mm 175L 130 Stora Enso M/A Magenta(V) 130 Stora Enso M/A 175L IMUK VLX0270 Postmodernism W:247mmXH:287mm TJ254-3-2011 1 Black Black POSTMODERNISM STYLE AND SUBVERSION, 1970–1990 TJ254-3-2011 IMUK VLX0270 Postmodernism W:247mmXH:287mm 175L 130 Stora Enso M/A Magenta(V) 130 Stora Enso M/A 175L IMUK VLX0270 Postmodernism W:247mmXH:287mm TJ254-3-2011 Edited by Glenn Adamson and Jane Pavitt V&A Publishing TJ254-3-2011 IMUK VLX0270 Postmodernism W:247mmXH:287mm 175L 130 Stora Enso M/A Magenta(V) 130 Stora Enso M/A 175L IMUK VLX0270 Postmodernism W:247mmXH:287mm TJ254-3-2011 2 3 Black Black Exhibition supporters Published to accompany the exhibition Postmodernism: Style and Subversion, 1970 –1990 Founded in 1976, the Friends of the V&A encourage, foster, at the Victoria and Albert Museum, London assist and promote the charitable work and activities of 24 September 2011 – 15 January 2012 the Victoria and Albert Museum. Our constantly growing membership now numbers 27,000, and we are delighted that the success of the Friends has enabled us to support First published by V&A Publishing, 2011 Postmodernism: Style and Subversion, 1970–1990. Victoria and Albert Museum South Kensington Lady Vaizey of Greenwich CBE London SW7 2RL Chairman of the Friends of the V&A www.vandabooks.com Distributed in North America by Harry N. Abrams Inc., New York The exhibition is also supported by © The Board of Trustees of the Victoria and Albert Museum, 2011 The moral right of the authors has been asserted. -
Arte Programmata E Cinetica: Origini, Successo, Declino, Rinascita
ARTE PROGRAMMATA E CINETICA: ORIGINI, SUCCESSO, DECLINO, RINASCITA È stata denominata come “l’ultima avanguardia”, ma non vi è stata avanguardia, nella seconda parte del secolo scorso, più abbarbicata e compenetrata con il nuovo che avanzava e soprattutto che sarebbe avanzato e che avanzerà, del movimento dell’Arte Programmata e Cinetica. E allo stesso tempo, pochi movimenti come questo, e poche espressioni artistiche hanno avuto tanti precedenti e tanti padri nobili: Tinguely, Schöffer, Moholy-Nagy, forse lo stesso Albers, e andando ancora più indietro, il movimento futurista, sospinto dallo slancio del dinamismo. Insomma, non si trattò di qualcosa di inconcludente e velleitario, sia pur mosso da possenti fremiti rivoluzionari, bensì di una fase dello sviluppo delle arti visive e delle arti applicate profondamente collegato e radicato con la storia stessa delle arti, e formidabilmente proiettato verso le avventure del futuro e della modernità. Qualcosa che ha permeato di sé buona parte dell’arte contemporanea, e di cui ancor oggi ritroviamo testimonianze massicce nei video, nelle installazioni, negli ambienti. L’ultima avanguardia, dunque, colma di lasciti non rigettati, ma anche la prima avanguardia fondante l’arte nuova. Per restare ai periodi, alle epoche più prossime, certamente uno dei padri del- l’arte programmata è stato Victor Vasarely, l’inventore solitario dell’Op Art, e cu- stode integralista di una religione dell’illusività formale dell’immagine. Sul piano, però, puramente teorico, concettuale, e perfino ideologico, alcuni -
Vertigo Op Art and a History of Deception 1520–1970
Vertigo Op Art and a History of Deception 1520–1970 May 25 to October 27, 2019 Of all the pioneering art movements of the 1960s, Op art and kinetic art seem to Press conference: have been accorded the least recognition. Often they were depreciatingly seen as Friday, May 24, 2019, 10 am too spectacular and thus superficial. Wrongly so, since Op art and kinetic art sharpen our awareness of the ambiguous nature of reality. They quite literally show us that Opening: perception is not objective but dependent on volatile parameters relating to context Friday, May 24, 2019, 7 pm and to the beholder, with all the epistemological consequences that this has. The exhibition Vertigo. Op Art and a History of Deception 1520–1970 presents a puzzling world of sensory illusion, comprising a broad spectrum of works including paintings, reliefs, and objects, installations and experiential spaces, and film and computer generated art. The exhibition title is taken from Alfred Hitchcock’s famous 1958 film, in which Hitchcock—just like our exhibition—worked with the concept of vertigo in both senses: as a physical phenomenon and as a sensual and optical illusion. The “vertigo effect” of the cinematography in Hitchcock’s film marked a legendary juncture in the history of cinema, in which a view into the abyss was shown as a spectacularly destabilizing spiral draw that leads to a physical reaction in both the character in the Richard Anuszkiewicz film, Scottie, and the audience. The opening credits of this film were also Convex & Concave, 1966 groundbreaking, with a total view of an eye in which a spiral begins to turn, and then Courtesy D. -
The Animate Object of Kinetic Art, 1955-1968
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 The Animate Object Of Kinetic Art, 1955-1968 Marina C. Isgro University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Isgro, Marina C., "The Animate Object Of Kinetic Art, 1955-1968" (2017). Publicly Accessible Penn Dissertations. 2353. https://repository.upenn.edu/edissertations/2353 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2353 For more information, please contact [email protected]. The Animate Object Of Kinetic Art, 1955-1968 Abstract This dissertation examines the development of kinetic art—a genre comprising motorized, manipulable, and otherwise transformable objects—in Europe and the United States from 1955 to 1968. Despite kinetic art’s popularity in its moment, existing scholarly narratives often treat the movement as a positivist affirmation of postwar technology or an art of mere entertainment. This dissertation is the first comprehensive scholarly project to resituate the movement within the history of performance and “live” art forms, by looking closely at how artists created objects that behaved in complex, often unpredictable ways in real time. It argues that the critical debates concerning agency and intention that surrounded moving artworks should be understood within broader aesthetic and social concerns in the postwar period—from artists’ attempts to grapple with the legacy of modernist abstraction, to popular attitudes toward the rise of automated labor and cybernetics. It further draws from contemporaneous phenomenological discourses to consider the ways kinetic artworks modulated viewers’ experiences of artistic duration. -
C V - Curator / Researcher Darko Fritz
C V - curator / researcher Darko Fritz Darko Fritz is artist and independent curator and researcher. He studied architecture at the University of Zagreb [1986 - 1989] and media art at Rijksakademie van Beeldende Kunsten in Amsterdam [1990 - 1992]. He has curated numerous exhibitions of contemporary and media art and edited companion exhibition catalogues for print and web publication. His research on histories of international computer-generated art resulted in several publications and exhibitons that went public since 2000, when he curated the worldʼs first historic retrospective exhibition of the field. As editor for media art at net portal Culturenet (since 2002), he edited related database and published "A Brief Overview of Media Art in Croatia (Since the 1960s)". Fritz directed documentary film Hong Kong Contemporary and Media Art, 2001. Since 2005 he is mentor at the Transart Institute MFA art program. Fritz is founder and programmer of the grey) (area – space of contemporary and media art since 2006. He is member of AICA -International Association of Art Critics, In 2010 he start the research on the beginning of computer-generated art in the Netherlands, awarded by the grant by the Fonds BKVB, Amsterdam. curatorial work - exhbitions 2010 Dmitry Gelfand and Evelina Domnitch: Sonolevitaton, grey) (area, Korčula 2010 Dalibor Martinis: TV news 04. 09. 1974., grey) (area, Korčula 2010 Andreja Kulunčić: interventions in public space, grey) (area, Korčula 2010 Mihovil Pansini: How space remembers?, grey) (area, Korčula 2010 Okno (Brussels), COL-ME (Bratislava), ESC (Graz): TIK - Time Inventor's Kabinet: Windclocks, grey) (area, Korčula 2009 Angles and Intersections, 3rd Biennale Quadrilaterale, artistic director: Christiane Paul, co-curatated with Nina Czegledy, Peter Tomaž Dobrila and Elena Rossi, Museum of Modern and Contemporary Art, Rijeka 2009 Reconstructions: private=public=private=public=, REX, Belgrade. -
Bespoke and Limited Edition Pieces Are All the Rage
Design round-up: bespoke and limited edition pieces are all the rage The unique works and objects of desire that are making waves in Brussels and soon at Tefaf By Emma Crichton-Miller February 27, 2020 Steel bottles by Lukasz Friedrich at Galerie Philia The Brussels-based Collectible fair, dedicated to bespoke and limited edition contemporary design, has become a firm fixture in the calendar. Founded in 2018 and based in the city’s vast 1930s Vanderborght building, it opens its third edition just before Tefaf, hoping to catch collectors on their way to Maastricht. Emma Crichton-Miller, “Design round-up: bespoke and limited edition pieces are all the rage,” Financial Times, February 27, 2020. Founders Clélie Debehault and Liv Vaisberg, both originally collectors themselves, established Collectible to support young designers as well as galleries showing ambitious “functional art” from Belgium and beyond. “There is a whole world between art and design that is as exciting as art,” Vaisberg says. Debehault agrees: “We wanted to show collectors that they can collect design the same way they already collect art.” Unique pieces and very limited editions are a speciality here, and the fair is supported by all three major Belgian design museums — Design Museum Gent, CID Grand-Hornu and ADAM in Brussels. Brussels itself, which had no existing design fair but a profusion of collectors, was an ideal location. Ceramic sculpture by Merete Rasmussen at Puls Ceramics Emma Crichton-Miller, “Design round-up: bespoke and limited edition pieces are all the rage,” Financial Times, February 27, 2020. Although many of Collectible’s leading design galleries are based in London, Paris, New York or further afield, there is a strong concentration from Belgium: “We have Maniera, we have Victor Hunt and Valerie Traan in Antwerp,” Vaisberg says. -
Ghosts in the Machine
GHOSTS IN THE MACHINE GHOSTS IN THE MACHINE “Ghosts in the Machine” surveys the constantly shifting relationship between humans, machines, and art. Together, the works in this volume trace the complex journey from the mechanical to the optical to the virtual, looking at the GIONI / CARRION-MURAYARI ways in which humans have projected anthropomorphic behaviors onto machines and how machines have become progressively more human. This exhibition catalogue features works by over seventy artists, including Thomas Bayrle, Robert Breer, Richard Hamilton, Mark Leckey, Jakob Mohr, Henrik Olesen, Otto Piene, Bridget Riley, Robert Smithson, Stan VanDerBeek, and Johanna Wintsch, as well as an anthology of historical texts by key authors such as J.G. Ballard, Michel Carrouges, Umberto Eco, Marshall McLuhan, and a number of participating artists. ISBN: 978-0-8478-3948-3 US $55.00US $55.00 CAN CAN $57.50 $57.50 ISBN 978-0-8478-3948-3 55500> 9 780847 839483 OF GHOSTS AND MACHINES MASSIMILIANO GIONI 8 190556_guts_E.indd 8 6/18/12 12:50 PM The more impalpable and invisible, user-friendly and com- that have explored the relationship between art, humanity, municative the machines around us become, the more press- and technology. Among them, we should at least cite “The ing is the need to reinvestigate the prehistory of our digital Machine as Seen at the End of the Mechanical Age” (1968), era. Examining how the image of the machine evolved in the first kinetic art shows held in America (especially “Kinetic the twentieth century—especially after the fifties, when the and Programmed Art” at the Rhode Island School of Design mechanical paradigm began to be replaced by a digital one— in 1966, which we have tried to reconstruct in part), “Arte is ever more critical. -
Op Art and Kinetic Art Timeline
Galerie The German-born theorist Denise René and psychologist of percep- tion Rudolf Arnheim publishes Denise René (1913-2012) was Art and Visual Perception: a central figure in the kinetic Soto makes his first A Psychology of the Creative and optical art movements, silkscreen prints on Eye, in which he uses psychol- and her gallery in Paris layers of Plexiglas ogy to reach a better under- standing of art. became a rallying point for In Paris the Hungarian artist Nicolas plates which have a dynamic optical effect the artists. René wanted to Schöffer presents a series of works, where The Swiss artist Jean Tinguely when one moves in promote the new art and the the viewer can manually make parts of the presents reliefs at Galerie front of them. work rotate. Arnaud in Paris in a series techniques that had either Hungarian Victor Vasarely creates his first Photogra- titled Méta-Malevich. The been sidelined during World Venezuelan architect Carlos Raúl The Israeli artist Yaacov phisme works and exhibits them at Galerie Denise René. works consist of geometrical War II or that represented Villanueva incorporates decorations by Agam exhibits his first They consist of black-and-white patterns on acrylic plates forms that move on the black among others Alexander Calder, Vasarely kinetic works in Paris, a new chapter for art. In one laid over another which seem to vibrate and change background with the aid of and Soto at the new university in Caracas. as well as reliefs whose 1944 she opened her first with the movements of the viewer in front of the work. -
Automation, Cybernation and the Art of New Tendencies (1961-1973)
Armin Medosch Automation, Cybernation and the Art of New Tendencies (1961-1973) This thesis is submitted to Goldsmiths, University of London, UK, as part of the requirements of the award of the PhD in Arts and Computational Technology 1 The work presented in this thesis is the candidate’s own. Armin Medosch 2 Acknowledgements I am grateful to my main supervisor Professor Janis Jefferies for her invaluable support throughout this undertaking. I would also like to thank my second supervisor, Professor Michael Keith. I am deeply indebted to Matko Meštrović for his continued and generous support; I am grateful for the continuing support of my friend and colleague Darko Fritz and the important supply of a Croatian perspective by Ljiljana Kolešnik. I would like to thank the people and institutions who supported my practice, Rasa Šmite, Raitis Šmits and the whole team of RIXC in Riga; and Inke Arns and Susanne Ackers and the team at HMKV Dortmund; the Austrian Cultural Forum London and Zagreb; the Austrian Embassy in Riga; Laboral, Centre for Art and Industrial Creation, Gijon, Asturias, Spain. I am grateful for the generous support of Museum of Contemporary Arts, Zagreb, its director, Snježana Pintarić, head of documentation, Jadranka Vinterhalter, and the late Marija Gattin, Ivna Jelčić, Jasna Jakšić, Lela Topić and Vesna Meštrić. I would like to thank the institutions that allowed me to access their archives and/or allowed me to use material in their possession, especially Branka Ćurčić, Zoran Pantelić of Kuda.org, and Kristian Lukić; Van Abbemuseum, Eindhoven; V&A Graphical Cabinet, London; Tate Gallery, London; Moderna Galerija, Ljubljana; Generali Foundation study room, Vienna; Collection Marinko Sudac, Avantgarde-Museum; and Neue Galerie, Graz. -
Press Release
GIANNI COLOMBO The Body and the Space 1959-1980 2 October – 20 November 2015 Private View – Monday 12 October, 6-9pm ROBILANT+VOENA, 38 Dover Street, London W1S 4NL, Mon – Fri 10am-6pm, Admission FREE Gianni Colombo, Topoestesia - tre zone contigue (itinerario Gianni Colombo, Spazio elastico (Elastic programmato), 1965-1970, Elastic wire, wood, iron, red light on Space), 1975, Shaped wood, nails, oil and extendable fluorescent and non-fluorescent colours (green, red and metal wire, 101 x 101 cm / 39.8 x 39.8 in fluorescent green), 325 x 465 x 614 cm / 128 x 183.1 x 241.7 in First solo UK exhibition Curated by Francesca Pola and Marco Scotini Organised in cooperation with the Archivio Gianni Colombo Featuring 30 pieces by Gianni Colombo First international exhibition of seminal environment Topoestesia – tre zone contigue (itinerario programmato) [Topoesthesia – three contiguous zones (programmed itinerary)], 1965-1970 In October ROBILANT+VOENA will present the first solo exhibition of Gianni Colombo in the UK, organised with the Archivio Gianni Colombo. Curated by Francesca Pola and Marco Scotini, the show will celebrate the work of Colombo during the1960s and 1970s: the first two crucial creative decades of his activity, which saw his affirmation as one of the pioneers of contemporary environmental practices and installations. Colombo’s revolutionary work first developed in Post-war Milan, an international and vibrant artistic context, enriched by the significant presence of Lucio Fontana and of experimental artists from the new Italian generation, such as those around the Azimuth/Azimut gallery and magazine (Piero Manzoni, Enrico Castellani, Agostino Bonalumi, Dadamaino, Paolo Scheggi).