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LIVING ART AND THE ART OF LIVING: REMAKING HOME IN ITALY IN THE 1960s Teresa Kittler PhD Thesis History of Art University College London 2014 1 DECLARATION I, Teresa Kittler, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 ABSTRACT This thesis focuses on the social, material, and aesthetic engagement with the image of home by artists in Italy in the 1960s to offer new perspectives on this period that have not been accounted for in the literature. It considers the way in which the shift toward environment, installation and process-based practices mapped onto the domestic at a time when Italy had become synonymous with the design of environments. Over four chapters I explore the idea of living-space as the mise-en-scène, and conceptual framework, for a range of artists working across Italy in ways that both anticipate and shift attention away from accounts that foreground the radical architectural experiments enshrined in MoMA’s landmark exhibition Italy: the New Domestic Landscape (1972). I begin by examining the way in which the group of temporary homes made by Carla Accardi between 1965 and 1972 combines the familiar utopian rhetoric of alternative living with attempts to redefine artistic practice at this moment. I then go on to look in turn at the sculptural practice of artists Marisa Merz and Piero Gilardi in relation to the everyday lived experience of home. This question is first considered in relation to the material and psychic challenges Merz poses to the gendering of homemaking with Untitled (Living Sculpture) 1966. I then go on to explore the home, as it might be understood in ecological terms, through an examination of the polyurethane microhabitats made by Gilardi. These themes are finally drawn together by looking at a radically different type of work, Carla Lonzi’s book Autoritratto (1969). By examining the images interspersed throughout Autoritratto I consider how this book plays out the lives of fourteen prominent artists to create the semblance of an everyday shared lived experience. 3 TABLE OF CONTENTS Declaration p.2 Abstract p.3 Table of Contents p.4 Acknowledgements p.5 List of Illustrations p.6 Introduction p.22 Chapter One Living Differently Seeing Differently: Carla Accardi’s Temporary Dwellings, 1965-1972 p.59 Chapter Two Outgrowing the Kitchen: Marisa Merz’s Untitled (Living Sculpture) (1966) p.118 Chapter Three Home as Habitat: Piero Gilardi’s Nature Carpets (1967) p.161 Chapter Four Picturing Home: Carla Lonzi’s Autoritratto (1969) p.199 Conclusion p.243 Bibliography p.251 Illustrations p.275 4 ACKNOWLEDGEMENTS I would like to thank the many individuals and organizations that have contributed to my research. In the first instance, I am grateful to the AHRC for generously providing the funds to complete this thesis and a travel grant for research in Italy. I would like to thank the following archives and art institutions for making their materials available: Fondazione Merz; Archivio Gilardi; Archivi Centri Documentazione delle Donne, Rome: Archivio Galleria Civica D’Arte Moderna, Turin: Fondo De Micheli, Milan; Galleria Nationale D’Arte Moderna, Rome; Archivio Biblioteca, Fondazione Quadriennale di Roma; Tate Archives. During the course of my research there have been many people whose assistance and generosity have enriched the project immeasurably: I thank Mariano Boggia at the Fondazione Merz; Piero Gilardi for his advice and expertise; Tonino De Bernardi for his assistance; Alessandra Bonomi for welcoming me in Rome; Tommaso Trini for his kindness, expertise and conversation; Luisa Mensi and Ruben Levi for their support with my research on Carla Accardi; Mark Godfrey for the wonderful experience of working on Alighiero Boetti’s Game Plan (2011) and Jo Applin for her advice and for the opportunity to share the early stages of my research on Marisa Merz. My experience as a research student within the History of Art department at UCL has been extremely rich and rewarding. I am grateful to the entire faculty. Friends and colleagues at UCL and beyond have shaped this thesis through their thoughtful insight, helpful suggestions and conversation: I thank Giulia Smith, Stephanie Straine, Emilia Terracciano, Flavia Frigeri, Larne Abse-Gogarty, Cadence Kinsey, Christoph Schuringa and Andrew Witt. To my dearest friends Hermione and Natalia Calvocoressi and Chiara Marchini, I thank for their support and encouragement. Above all, I am most grateful to my supervisor, Briony Fer, for her generosity, intelligence, and inspiration over the years. Without her, this thesis would not have been what it is, and I owe her my deepest thanks. Finally to my family, for their generosity and unswerving support, I thank my parents Antonia and Josef Kittler and my siblings, Tony, Catherine, Josef and Marie. 5 LIST OF ILLUSTRATIONS Introduction i Photograph of the installation: Gilardi, Piacentino, Pistoletto. Arte Abitabile, Galleria Sperone, Turin, June-July 1966 © Gian Enzo Sperone, Courtesy Sperone Westwater, New York ii Nanni Longobardi with Michelangelo Pistoletto’s Quadro Da Pranzo (Lunch Painting), 1965. Photograph: Mimmo Jodice, Modern Art Agency, Naples, 1970. Reproduced in Walter Guadagnini, Storie dell’Occhio/1 Fotografi ed Eventi Artistici in Italia dal ’60 all’80, catalogue of the exhibition held at Museo d’Arte Moderna di Bolzano (14 October–27 November 1988) (Bolzano, Edizioni Cooptip: 1988), p.147. iii Michelangelo Pistoletto, Donna seduta di spalle (Seated Woman from Behind) in Pistoletto’s house on via Cibrario in Turin, 1963. Photograph: Paolo Bressano. Courtesy Cittadellarte–Pistoletto Foundation, Biella, Italy iv La Casa Abitata, Florence, Palazzo Strozzi, 1965. Photograph of Achille and Pier Giacomo Castiglioni, stanza da pranzo (dining room), 1965. Reproduced in Comune di Padova, Assessorato alla Cultura, La Grande Svolta: Anni ’60 (Milan: Skira, 2003), p.33. v Installation Photographs: Lo Spazio Dell’Immagine, Palazzo Trinci, 1967. Reproduced in Almanacco Letterario Bompiani, Dieci anni di mode culturali, Bompiani, Milan, 1968, pp.156–163. Chapter One: Living Differently Seeing Differently: Carla Accardi’s Temporary Structures 1965–1972 1.1 From left: Carla Lonzi, Carla Accardi, Giulio Paolini and Luciano Fabro and Luciano Pistoi in Alba, 1965. Photograph: Studio Accardi Rome. Reproduced in Carla Accardi and Germano Celant, Carla Accardi (Milan: Charta, 1999), p.332. 6 1.2 From Left: Carla Accardi, Giulio Paolini and Luciano Fabro in Alba, 1965. Photograph: Studio Accardi Rome. Reproduced in Luca Massimo Barbero (ed), Carla Accardi, Segno e Trasparenza (Milan: Silvana Editoriale, 2011), p.22. 1.3 Carla Accardi, Tenda, 1965–1966. Paint on Sicofoil, 215 x 220 x 140cm. Private Collection, Turin 1.4 Carla Accardi, Ambiente Arancio, 1966–68 (Installation comprising stretchers, mattress, sun visor, parasol, Rotolo). Paint on Sicofoil and mixed media, 251 x 337 x 441 cm. Musée d’Art moderne et contemporaine, Strasbourg. Reproduced in Luca Massimo Barbero (ed), Carla Accardi, Segno e Trasparenza (Milan: Silvana Editoriale, 2011), p.39. 1.5 Carla Accardi, Triplice Tenda, 1969–1971. Paint on Sicofoil, 550 cm (diameter). Photograph: Giorgio Colombo, Milan 1.6 Carla Accardi, Cilindrocono, 1972. Paint on Sicofoil mounted on Perspex, 120 x 130 cm. Courtesy Studio Accardi, Rome. Reproduced in Luca Massimo Barbero (ed), Carla Accardi, Segno e Trasparenza (Milan: Silvana Editoriale, 2011), p.165. 1.7 Carla Accardi, Untitled (Maquettes), 1968 (now lost). Paint on Sicofoil and wood, variable dimensions. Photograph from installation at Galleria Marlborough, Rome. Reproduced in Corrado Levi, ‘Carla Accardi’, Una Diversa Tradizion (Milan: Clup, 1985), p.151. 1.8 Carla Accardi, Untitled, 1970. Pencil on paper, unknown dimension. Reproduced in Corrado Levi, ‘Carla Accardi’, Una Diversa Tradizion, (Milan: Club, 1985) p.150. 1.9 Tendopolis, via Ripamonti, Milan, 1967. Press cutting. Reproduced in Gianni De Martino, Capelloni & Ninfette: Mondo Beat, 1966–1967 (Milan: Costa & Nolan, 2008), pp. 223. 7 1.10 Superstudio (Piero Frassinelli, Alessandro Magris, Roberto Magris, Adolfo Natalini, Alessandro Poli, Cristiano Toraldo di Francia), Environment project for Italy: New Domestic Landscape, 1972. Reproduced in the catalogue to the exhibition, p.242. 1.11 Piero Gilardi, Igloo, 1964. Vinyl and Polyurethane, 200 x 200 x 120cm. Photograph: Marco Torello. Reproduced in Claudio Spadoni (ed) Piero Gilardi, (Milan: Mazzotta, 1999) p.85. 1.12 Emilio Prini, Camping (Amsterdam), 1969. Installation photograph from Op Losse Schroeven (Situations and Cryptostructures) held at Stedelijk Museum Amsterdam, 15 March–27 April 1969. Courtesy the artist and Stedelijk Museum, Amsterdam 1.13 Mario Merz, Igloo di Giap–Se il nemico si concentra perde terreno, se si disperde perde forza (Giap’s Igloo–If the enemy masses his forces he loses ground, if he scatters he loses strength), 1968. Metal tubing, wire mesh, neon tubing, dirt in bags, batteries, accumulators, 120 x 200 x 200 cm. Collection Centre Georges Pompidou, Musée national d’art moderne, Paris 1.14 Luciano Fabro, In Cubo, 1966. Wood, canvas, linking angle bars of stainless steel, Velco, dimensions variable. Reproduced in Silvia Fabro and Rudi Fuchs (eds.), Fabro (Milan: Electa, 2007) pp.199. 1.15a–b Carla Accardi, Tenda (detail single panel), 1965–1966. Paint on Sicofoil, dimensions unknown. Private Collection, Turin. Courtesy Ruben Levi and Luisa Mensi. Photograph: my own 1.16 Carla Accardi, Tenda, 1965–1966. Paint on Sicofoil, 215 x 220 x 140cm. Photograph of the work installed at Galleria Notizie, 21 May 1966. Private Collection, Turin 1.17 Carla Accardi, Tenda, 1965–1966. Paint on Sicofoil, 215 x 220 x 140cm. Private Collection, Turin. Reproduced in ‘Discorsi: Carla Lonzi e Carla Accardi’ in Marcatrè, 23–25, June 1966, pp.193. 8 1.18 Carla Accardi, Verde-argento, 1965. Paint on Perspex on canvas, 200 x 300 cm. Venice, Collection INAIL. Courtesy Studio Accardi, Rome 1.19 Carla Accardi, Rotoli, 1965–1990. Paint on Sicofoil, variable dimensions. Courtesy Studio Accardi, Rome 1.20 Carla Accardi, 1966.
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    LE MUSE INQUIETE WHEN LA BIENNALE DI VENEZIA MEETS HISTORY CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale di Venezia La Biennale di Venezia President presents Roberto Cicutto Board The Disquieted Muses. Luigi Brugnaro Vicepresidente When La Biennale di Venezia Meets History Claudia Ferrazzi Luca Zaia Auditors’ Committee Jair Lorenco Presidente Stefania Bortoletti Anna Maria Como in collaboration with Director General Istituto Luce-Cinecittà e Rai Teche Andrea Del Mercato and with AAMOD-Fondazione Archivio Audiovisivo del Movimento Operaio e Democratico Archivio Centrale dello Stato Archivio Ugo Mulas Bianconero Archivio Cameraphoto Epoche Fondazione Modena Arti Visive Galleria Nazionale d’Arte Moderna e Contemporanea IVESER Istituto Veneziano per la Storia della Resistenza e della Società Contemporanea LIMA Amsterdam Peggy Guggenheim Collection Tate Modern THE DISQUIETED MUSES… The title of the exhibition The Disquieted Muses. When La Biennale di Venezia Meets History does not just convey the content that visitors to the Central Pavilion in the Giardini della Biennale will encounter, but also a vision. Disquiet serves as a driving force behind research, which requires dialogue to verify its theories and needs history to absorb knowledge. This is what La Biennale does and will continue to do as it seeks to reinforce a methodology that creates even stronger bonds between its own disciplines. There are six Muses at the Biennale: Art, Architecture, Cinema, Theatre, Music and Dance, given a voice through the great events that fill Venice and the world every year. There are the places that serve as venues for all of La Biennale’s activities: the Giardini, the Arsenale, the Palazzo del Cinema and other cinemas on the Lido, the theatres, the city of Venice itself.
  • W E St K U N St O St K U N St

    W E St K U N St O St K U N St

    Válogatás a gyűjteményből KUNST The Collection OST on Display KUNST Ludwig Múzeum – Kortárs Művészeti Múzeum WEST Ludwig Museum – Museum of Contemporary Art WESTKUNST – OSTKUNST Válogatás a gyűjteményből The Collection on Display Válogatás a gyűjteményből The Collection OSTKUNST on Display Ludwig Múzeum – Kortárs Művészeti Múzeum Ludwig Museum – Museum of Contemporary Art 2018 WESTKUNST Tartalomjegyzék | Contents FABÉNYI Julia előszava | Foreword by Julia FABÉNYI 9 Idővonal | Timeline 14 1 A gyűjtő portréja | A Portrait of the Art Collector 22 2 Az ellenállás művészete | The Art of Opposition 34 2a Koncept és fluxus | Concept Art and Fluxus 38 2b Pop art – Fotórealizmus | Pop Art – Photorealism 64 3 A neoavantgárd művészei | The Artists of the Neo-Avant-Garde 106 3a Az Iparterv-generáció | The Iparterv Generation 112 3b Konceptuális és akció-fotográfia | Conceptual and Action Photography 134 4 Picasso For Ever 1 5 4 5 Rituálék | Rituals 172 6 Idő-kép | The Image of Time 190 7 Hétköznapi rögeszmék – Új szerzemények | Everyday Obsessions – New Acquisitions 208 Műtárgyindex | Artwork Index 236 Rövidítések feloldása | Abbreviation Key 240 ELŐSZŐ FOREWORD Westkunst – Ostkunst Westkunst – Ostkunst Az 1989-ben Budapesten alapított Ludwig The Ludwig Museum, founded in Budapest in Múzeum az első olyan intézmény volt az egy- 1989, was the first institution in the former Social- kori szocialista táborban, amely a kortárs nem- ist bloc to present universal Western art beside zeti művészet mellett az egyetemes, nyugati contemporary national art. The founders, Peter művészetet is bemutatta. Az alapítók, Peter és and Irene Ludwig – after whom the institution is Irene Ludwig – kiknek nevét az intézmény viseli – named – have laid the foundations of the Buda- kiemelkedő, ma már emblematikusnak számító pest Museum with outstanding, emblematic művekkel tették le a budapesti múzeum alapjait.