El arte povera en Italia: primera parte
Serie de notas sobre diferentes movimientos del arte contemporáneo con conceptos claros para todos.
Por Julio Sánchez Baroni ( )
Nació en Villa Ángela, Chaco, es licenciado en Historia del Arte por la Universidad de Buenos Aires, ha sido docente de la Universidad de Nueva York y actualmente de la Universidad Nacional del Nordeste. Escribe crítica de arte en diferentes medios (La Maga, La Nación, Clarín) y es director de la revista digital NAE, Nuestro Arte de Enfrente, editada por la FADyCC (Unne)
Especial para El Litoral
Así como la performance tiene un desarrollo en el tiempo, los artistas del Arte Povera (pobre) trabajaban con elementos que asumían formas y significados a partir de su condición mutable y cambiante. El término arte pobre fue acuñado por el crítico italiano Germano Celant en 1969 para describir el trabajo de Michelangelo Pistoletto (1993-presente), Alighiero Boetti (1940-1994), Giuseppe Penone (1947-prese
Nanushka Gives Poor Art A New Meaning
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Marisa Merz, Luciano Fabro, Steven Parrino: Kunstmuseum Liechtenstein receives important donation
Steven Parrino, Crowbar, 1987, photo: Stefan Altenburger Photography, Zürich © The Parrino Family Estate and Gagosian Gallery.
VADUZ
.- Thanks to a generous donation from the Gerda Techow gemeinnützige Stiftung, Vaduz, Kunstmuseum Liechtenstein has acquired a number of important works for its collection. The gift was prompted by the twentieth anniversary of the Museum, that opened in November 2000. This is the most generous private donation since the Museums foundation.
Thanks to the specific, clear-cut profile of its collection, Kunstmuseum Liechtenstein has succeeded in establishing itself internationally in the past two decades. The collection of Italian Arte Povera in particular has received great international recognition. The acquisition of two historically important works of Marisa Merz and Luciano Fabro has further strengthened this section of the collection.
Living Sculpture, Turin, 1966. Courtesy Fondazione Merz.
As the daughter of this extraordinary woman, I can’t not mention Marisa Merz, both as an artist and also as a mother. I was guided and inspired by her quiet determination and her energy. Often going against what was rational, she lived by her own rules. These are qualities that, in addition to other things, I consider fundamental to be able to achieve one’s goals. Beatrice Merz, president, Fondazione Merz, Torino, Italy
Belgian philosopher Isabelle Stengers in 1997. Photo by Louis MONIER/Gamma-Rapho via Getty Images.
The writing of Belgian philosopher Isabelle Stengers has been really influential in the thinking in my own work. I find her work provocative. It cuts through the illusions of our age to find alternative truths and gives me a sense of purposefulness. I think her concepts and writings are crucial for our time.
Ahead of International Women s Day, the National Gallery of Modern and Contemporary Art in Rome stages
Io dico Io - I say I, an exhibition comprising the work of Italian women artists.The exhibition, running from
1 March until 23 May, features the work of around 50 Italian artists from different generations and social contexts.
The gallery says the show originates from a necessity to take the floor and speak for oneself in order to assert one’s subjectivity, and looks deep into the word we already have, feminism.
The artists whose work is on on display include Carla Accardi, Vanessa Beecroft, Lisetta Carmi, Isabella Ducrot, Marisa Merz, Elisa Montessori, Antonietta Raphaël, Tatiana Trouvé and Francesca Woodman.
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