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H-France Review Volume 11 (2011) Page 1
H-France Review Volume 11 (2011) Page 1 H-France Review Vol. 11 (October 2011), No. 220 Jill Carrick, Nouveau Réalisme, 1960s France, and the Neo-avant-garde. Topographies of Chance and Return. Aldershot and Burlington: Ashgate Publishing, 2010. xii + 184 pp. B&w illustrations, facsimilies, plan, bibliography and index. $104.95 U.S. (hb). ISBN 978-0-7546-6141-2 Review by Sarah Wilson, Courtauld Institute of Art This is a fascinating book: the first critical exposé in English of French critic Pierre Restany’s Nouveau réalisme movement, baptised in 1960, which ran parallel to American Pop but was ambivalent about Americanisation, a highly political issue. It was only in 2007 that a major exhibition at the Grand Palais did justice to the group as a whole, following a retrospective at the Musée de la Ville de Paris in 1986; the Centre Pompidou has recently staged a series of superb monographic shows of Nouveau Réaliste artists: Yves Klein, Jacques Villeglé and Arman. Like Pop, this movement broke from traditional School of Paris painting or sculpture which kept to traditional materials and modernist aesthetics of representation and abstraction. It introduced what Restany called la prise sociologique du réel: a ‘sociological’ engagement with real life into art, in the living presence of Marcel Duchamp, dada inventor of the ‘readymade’ before the First World War. Restany’s show ‘40 degrees above Dada’ of May 1961 acknowledges this paternity. To visual art one can add the new emphasis on ‘things’ in the French novel or the writings of Georges Perec, and the theoretical emphasis of ‘everyday life’ in Henri Lefebvre or the young Pierre Bourdieu; a heady ambient discourse that distinguishes Nouveau Réalisme from the pragmatic relations with objects of contemporary American artists such as Robert Rauschenburg. -
Joseph Beuys and the Reincarnation of German Romanticism
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work Spring 5-2003 Postwar Landscapes: Joseph Beuys and the Reincarnation of German Romanticism Lauren Elizabeth Smith University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Recommended Citation Smith, Lauren Elizabeth, "Postwar Landscapes: Joseph Beuys and the Reincarnation of German Romanticism" (2003). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/601 This is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. ----------------~~------~--------------------- Postwar Landscapes: Joseph Beuys and the Reincarnation of German Romanticism Lauren E. Smith College Scholars Senior Thesis University of Tennessee May 1,2003 Dr. Dorothy Habel, Dr. Tim Hiles, and Dr. Peter Hoyng, presiding committee Contents I. Introduction 3 II. Beuys' Germany: The 'Inability to Mourn' 3 III. Showman, Shaman, or Postwar Savoir? 5 IV. Beuys and Romanticism: Similia similibus curantur 9 V. Romanticism in Action: Celtic (Kinloch Rannoch) 12 VI. Celtic+ ---: Germany's symbolic salvation in Basel 22 VII. Conclusion 27 Notes Bibliography Figures Germany, 1952 o Germany, you're torn asunder And not just from within! Abandoned in cold and darkness The one leaves the other alone. And you've got such lovely valleys And plenty of thriving towns; If only you'd trust yourself now, Then all would be just fine. -
A Work for the Ara Pacis Mimmo Paladino Music By
Press release A WORK FOR THE ARA PACIS MIMMO PALADINO MUSIC BY BRIAN ENO Two great protagonists of contemporary art and music together again in Rome for a site-specific event designed for the Ara Pacis Museum managed by Achille Bonito Oliva, James Putnam e Federica Pirani Rome March 10th, 2008 From March 11th to May 11th 2008, the first site-specific event organised for the Ara Pacis Museum, the exhibition/event “A work for the Ara Pacis. Mimmo Paladino | Music by Brian Eno” – managed by Achille Bonito Oliva, James Putnam and Federica Pirani, under the auspices of Comune di Roma, Assessorato alle Politiche Culturali Sovraintendenza ai Beni Culturali and organised by Zètema Progetto Cultura in line with Valentina Bonomo’s project – will be an opportunity for the two unquestioned protagonists of contemporary culture to meet again and work together after almost 10 years since their first joint project at the London Round House in 1999. The idea for “A Work for the Ara Pacis” is to create a single installation reconciling two different forms of art – Paladino’s figurative art and Eno’s music – and have it specifically designed for the Ara Pacis Musem. The project is further completed by the catalogue for the event edited by Gli Ori, Prato, and also titled: “A Work for the Ara Pacis. Mimmo Paladino | Music by Brian Eno”. More than 160 pages (in English and in Italian alike) of critical essays and pictures, including some extraordinary photographs taken by Ferdinando Scianna, who personally documented and followed every step of the exhibition. The critical essays include Ara Artis by Achille Bonito Oliva and Paladino/Eno at Ara Pacis by James Putnam. -
Bibliography
SELECTED bibliOgraPhy “Komentó: Gendai bijutsu no dōkō ten” [Comment: “Sakkazō no gakai: Chikaku wa kyobō nanoka” “Kiki ni tatsu gendai bijutsu: henkaku no fūka Trends in contemporary art exhibitions]. Kyoto [The collapse of the artist portrait: Is perception a aratana nihirizumu no tōrai ga” [The crisis of Compiled by Mika Yoshitake National Museum of Art, 1969. delusion?]. Yomiuri Newspaper, Dec. 21, 1969. contemporary art: The erosion of change, the coming of a new nihilism]. Yomiuri Newspaper, “Happening no nai Happening” [A Happening “Soku no sekai” [The world as it is]. In Ba So Ji OPEN July 17, 1971. without a Happening]. Interia, no. 122 (May 1969): (Place-Phase-Time), edited by Sekine Nobuo. Tokyo: pp. 44–45. privately printed, 1970. “Obŭje sasang ŭi chŏngch’ewa kŭ haengbang” [The identity and place of objet ideology]. Hongik Misul “Sekai to kōzō: Taishō no gakai (gendai bijutsu “Ningen no kaitai” [Dismantling the human being]. (1972). ronkō)” [World and structure: Collapse of the object SD, no. 63 (Jan. 1970): pp. 83–87. (Theory on contemporary art)]. Design hihyō, no. 9 “Hyōgen ni okeru riaritī no yōsei” [The call for the Publication information has been provided to the greatest extent available. (June 1969): pp. 121–33. “Deai o motomete” (Tokushū: Hatsugen suru reality of expression]. Bijutsu techō 24, no. 351 shinjin tachi: Higeijutsu no chihei kara) [In search of (Jan. 1972): pp. 70–74. “Sonzai to mu o koete: Sekine Nobuo-ron” [Beyond encounter (Special issue: Voices of new artists: From being and nothingness: On Sekine Nobuo]. Sansai, the realm of nonart)]. Bijutsu techō, no. -
The Body in Art
THE BODY IN ART MEDIATION FORM INTRODUCTION First subjected to aesthetic canons, the represented body gradually freed itself from classical values. The modern era marks a challenge to the ideal of beauty, even freeing itself from representation. From then on, the body was distorted, dislocated, stylized, transformed, shaking up the pictorial and sculptural representation of the 20th century. Beyond the representation itself, the body becomes a tool, a trace and an imprint, the artist puts his own body into play. This visit through the works in the permanent collection allows us to follow the changes in this major subject of 20th century art. Duration of the tour • Primary School 1H • Middle School 1H • High School / College 1H Objectives • To discover the different representations of the human body • Discover color as a component of the 2 artwork • Learn to understand an artwork • Familiarization with the specific vocabulary of art A STEPSA OF THE VISIT Based on this information, the teacher will have to make a choice of steps according to the level of the class and the availability of the artworks in the room. The stages can be adjusted at the convenience of the teachers. The arrival preparation form must be completed. Step 1: Representation of the body Step 2: emancipation of the body Step 3: the body at work B RELATEDA KNOWLEDGE A STEPSA OF THE VISIT STEP 1: REPRESENTATION OF THE BODY With modernity, artists are trying to shake up the traditional codes of representation of the body. Attacking figurative codes, beauty, proportion and ideas of likelihood, the artists propose a completely different range of images based on industrial and modern production techniques. -
The Ideology and Praxis of Nouveau Réalisme, RIHA Journal 0051
RIHA Journal 0051 | 10 August 2012 Poetic Recuperations: The Ideology and Praxis of Nouveau Réalisme Wood Roberdeau Editing and peer review managed by: Caroline Arscott, The Courtauld Institute of Art, London Reviewers: Jill Carrick, Anthony Gardner Abstract Taking previously un-translated writings of critic Pierre Restany as a primary source, this article demonstrates how his vision for the Nouveau Réaliste movement of the 1950s and 1960s demands a detailed and theoretical (rather than historically contextual) exploration of its attempt to reconcile visual art with the quotidian. Accordingly, Bürger's criticism of the historical and neo-avant-gardes is weighed against theories of aesthetics and politics from Adorno to Rancière. In addition, Heidegger's work on the art object, alongside Benjamin's interest in Hölderlin, serves to inform an analysis of Restany's investment in a concept of the 'poetry of the real'. Individual works by Niki de Saint- Phalle, Daniel Spoerri and Yves Klein are also investigated as exemplars of the Nouveau Réaliste ideology. My interest in Restany's life and work stems from recent art world concentrations on the banal or 'infra-ordinary' and its relation to similar concerns within sociology. Contents Introduction Revaluating the Neo-avant-garde Aesthetics and Politics Countertopographies Mining the Poetic Intuitive Gestures Everyday Deviance Introduction [1] The subject of the everyday is a popular one in many fields, and one that is so expansive that it is nearly impossible to pinpoint any definitive characteristic for its long-time incorporation within the visual arts. If viewed through a sociological lens however, it becomes less difficult to understand the potential for reciprocity between high culture and the mundane. -
Pierre Restany: Para Além Do Real Um Estudo Sobre O Novo Realismo E Sua Conexão Com a X Bienal De São Paulo (1969)
UNIVERSIDADE FEDERAL DE JUIZ DE FORA INSTITUTO DE ARTES E DESIGN – IAD PROGRAMA DE PÓS-GRADUAÇÃO EM ARTES, CULTURA E LINGUAGENS CLAUDIO DE MELO FILHO Pierre Restany: para além do real Um estudo sobre o Novo Realismo e sua conexão com a X Bienal de São Paulo (1969) JUIZ DE FORA 2019 Claudio de Melo Filho Pierre Restany: para além do real Um estudo sobre o Novo Realismo e sua conexão com a X Bienal de São Paulo (1969) Dissertação apresentada ao Programa de Pós- Graduação em Artes, Cultura e Linguagens (PPG/ACL). Linha de Pesquisa: Arte, Moda: História e Cultura. no Instituto de Artes e Design (IAD) da Universidade Federal de Juiz de Fora. Orientadora: Profª Drª Renata Cristina de Oliveira Maia Zago JUIZ DE FORA 2019 Pierre Restany AGRADECIMENTOS À minha orientadora, Renata Cristina de Oliveira Maia Zago, cujo encontro de almas proporcionou alegrias que irão durar por muitos e muitos anos; À banca de qualificação e defesa: Maria Lúcia Bueno Ramos, que além das contribuições pertinentes e amizade, me proporcionou ensinamentos pessoais durantes os anos de graduação e à Caroline Saut Schroeder, cuja pesquisa sobre à X Bienal foi inspiradora para a construção dessa dissertação; À professora Raquel Quinet Pifano, quem me nutriu de todo pensamento acerca da estética e crítica das artes, além de profundas alegrias e carinho durante todos os meus anos nesta instituição; Aos meus incomparáveis amigos: Daniela Lima, Thamara Venâncio - a pós-graduação nos uniu em um caminho cheio de alegrias, tristezas, risadas e muitos abraços, Fabiana Panini, Mariana Reis e todos os amigos de Juiz de Fora; Aos meus pais e irmãos, Cláudio, Rozária, Ícaro e Iara, que iluminam meu caminho; À todos os professores e às secretárias Lara Velloso e Flaviana Polisseni, do Programa de Pós-Graduação em Artes, Cultura e Linguagens; À Rose, da cantina, por me proporcionar incontáveis risadas regadas a cafézinhos; Aos Funcionários do Arquivo Histórico Wanda Svevo, da Fundação Bienal de São Paulo; À bolsa concedida pela UFJF durante um ano deste percursso; E a muitos outros.. -
Clarissa Ricci Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition
Journal On Biennials Why Venice? Vol. I, No. 1 (2020) and Other Exhibitions Clarissa Ricci Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition Abstract This paper argues that Cardinal Points of Art, directed by Achille Bonito Oliva has been decisive in the formation of the contemporary Venice Biennale. The 45th Venice Biennale, (1993) was memorable for many reasons: the first exhibi- tion of Chinese painters in Venice, its transnational approach, and because it was the last time the Aperto exhibition was shown. Nevertheless, this was a complex and much criticised Biennale whose specific characteristics are also connected to the process of reform that the institution had been undergoing since the 1970s. The analysis of the exhibition starts with the examination of this legacy and continues by questioning Bonito Oliva’s curatorial contribution in order to define the specific features which helped to shape the contemporary Venice Biennale. Keywords Venice Biennale, Aperto, 1993, Achille Bonito Oliva, Nomadism, Coexistence, Contemporaneity OBOE Published online: September 16, 2020 Journal On Biennials and Other Exhibitions To cite this article: Clarissa Ricci, “Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition”, OBOE Journal I, no. 1 (2020): ISSN 2724-086X 78-98. oboejournal.com To link to this article: https://doi.org/10.25432/2724-086X/1.1.0007 Journal On Biennials Why Venice? Vol. I, No. 1 (2020) and Other Exhibitions Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition¹ Clarissa Ricci Introduction The format of today’s Venice Biennale is the result of a long intellectual and polit- ical negotiation. -
GERMANO CELANT: PRESENT and CONTINGENT Stefano Chiodi
GERMANO CELANT: PRESENT AND CONTINGENT Stefano Chiodi Glasses on, pen in hand, glancing at the papers resting on his thighs with the serious air of a young intellectual. This is how Germano Celant appears in a photograph taken in the early days of October 1968 at the Antichi Arsenali in Amalfi. Celant – who died at the age of eighty on 29 April in Milan – had just inaugurated one of the fundamental exhibitions in the artistic landscape, Arte povera + Azioni povere. The exhibition, the “meeting” (an open-ended discussion between critics, artists and the audience which included the other four men in the photograph; Tommaso Trini, Achille Bonito Oliva, Filiberto Menna, and Marcello Rumma), and the actions performed by the artists under the gothic vaults of the Arsenali, in the streets of the coastal town or by the sea, represented the eruption of a spirit of radical novelty in which works and performances gave life to an anarchic mixture of materials, images, bodies, and thoughts. An unconventional and exemplary event, Amalfi initiated a model of the exhibition as a place where art “happens” in continuity with life. Alongside other new names in the international art scene, most of the artists exhibited in Amalfi were part of the Arte Povera group launched by Celant in an exhibition at La Bertesca in Genoa the year before. In Celant’s manifesto Arte povera. Appunti per una guerriglia, (“Arte Povera. Notes for a guerrilla war”) published in November 1967 in Flash Art, he drew a map of the most recent Italian artistic research which underscored its revolutionary impulse against the expressive languages, ideas and institutions of art. -
SPERONE WESTWATER 257 Bowery New York 10002 T + 1 212 999 7337 F + 1 212 999 7338
SPERONE WESTWATER 257 Bowery New York 10002 T + 1 212 999 7337 F + 1 212 999 7338 www.speronewestwater.com Mario Merz Mario Merz (1925-2003) was born in Milan. During World War II he abandoned pursuit of a degree in medicine to join the anti-fascist movement “Giustizia e Libertà” (Justice and Freedom). In 1945 he was arrested while leafleting and spent a year in Turin’s prison where he executed numerous experimental drawings, made without ever removing the pencil point from the paper. He had his first solo exhibition in 1954, at the Galleria La Bussola in Turin. Beginning in the mid- 1960s his desire to work with the idea of the transmission of energy from the organic to the inorganic led him to create works where neon pierces objects of everyday use, such as an umbrella, a glass, a bone or his own raincoat. In 1967, critic Germano Celant coined the term “Arte Povera” and included Merz among the proponents of the new language. Merz’s first solo museum show in the United States was at the Walker Art Center in 1972, followed by a retrospective at the Guggenheim Museum in 1989, and a survey at MoCA, Los Angeles, also in 1989. Major exhibitions of the artist’s work include Museum Folkwang, Essen (1979), Stedelijk van Abbemuseum, Eindhoven (1979), Whitechapel, London (1980), Kunsthalle, Basel (1975, 1981), Palazzo dei Congressi, San Marino (1983), Kunsthaus, Zurich (1985), Castello di Rivoli Museum of Contemporary Art (1990), and the Gallerie dell’Academia, Venice (2015). Merz’s numerous honors included the Laurea honoris causa (2001) and the Praemium Imperiale (2003). -
Pdf / Version Française
Keitelman Gallery NAM JUNE PAIK Biographie Nam June Paik est un artiste américain d’origine coréenne né en 1932 à Séoul et mort en 2006 à Miami. Avant de venir aux arts plastiques, il s’intéresse à la musique et suit une formation de pianiste classique. Contraint à l’exil lors de la guerre de Corée dans les années cinquante, il quitte son pays natal avec sa famille pour s’installer à Hong Kong puis au Japon où il poursuit des études musicales à l’Université de Tokyo qu’il conclut par une thèse sur Arnold Schönberg. Il part ensuite pour l’Allemagne, s’inscrit à l’Université de Munich où enseigne notamment Karlheinz Stockhausen. C’est sous son influence qu’il s’intéresse à la musique électronique et qu’il réalise de premières installations associant le son à l’image. Emmené dans la vague avant-gardiste de l’époque, il fréquente des personnalités associées à la mouvance Fluxus comme John Cage ou Joseph Beuys. En 1964, il s’installe à New York et débute une collaboration avec la violoncelliste Charlotte Moorman. Ensemble, il créent des oeuvres qui mêlent sculpture, musique et performance, telles que les célèbres pièces intitulées Opera sextronique (1967) ou TV Bra for living sculpture (1969). Son usage de la vidéo est facilité, à partir de la moitié des années soixante, par l’introduction des premières caméras vidéo portatives. Paik se met ainsi à réaliser un grand nombre de courtes séquences qu’il associe en des montages filmiques complexes, marqués par des principes de répétition, de scansion. -
I N T E R V I E W W I T H a C H I L L E B O N I T O O L I V a I N I T a L I a N M I N I
INTERVIEW W I T H A CHILL E B O N I T O O L I V A ROME, 2 3 J U N E 2 0 1 5 Achille Bonito Oliva is a critic of contemporary art and curator With Mannerism we get this very interesting pause—citation of important exhibitions including the 45th edition of the Venice instead of invention. No fetishising of the new, but a cultural Biennale in 1993 Punti Cardinali dell’Arte (Art’s Cardinal Points). memory which recovers languages of the past and re-elaborates In 1997 he coordinated the influential exhibitionMinimalia: them in the present. An Italian Vision in 20th Century Art presented in Venice All this progresses in Italian art, as we know, until we reach at the Fondazione Querini Stampalia and then subsequently the great moment of the movement of the vanguard which at MoMA PS1 from 1999–2000. Bonito Oliva’s Minimalia was is Futurism. In spite of the deathly embrace of Fascism, over the inspiration for this sale. time it shed its ideological and political skin and revealed itself On July 23rd 2015, Elisabeth Del Prete, Wright’s consulting to be a very advanced movement crossing art throughout the specialist based in Milan and curator of this exhibition world. Filippo Tommaso Marinetti’s manifestos are a synthesis and auction, interviewed the venerable Achille Bonito Oliva. of artistic intervention in every field. While GiacomoB alla, I would say, represents a salient moment of an art that has found ELISABETH DEL PRETE: To what does the term its equilibrium between French Post-Impressionism and this Minimalia refer? Italian tradition.