2015年3月13日 星期五

Arte Povera, Alberto Burri



Happy 100th birthday to Italian painter and sculptor Alberto Burri—a central figure of post-World War II art who challenged Western pictorial traditions. The most comprehensive survey ever mounted of Burri's work, exploring the beauty and complexity of Burri’s process-based art, opens at the Guggenheim on Oct 9: http://gu.gg/Kfgnr


Category : Arte Povera(アルテポーヴェラ)

arte povera/アルテポーヴェラ
ブランド名である「arte povera」とは、イタリア語で「貧しい芸術」を意味します。これは、日常に溢れる非芸術的なモノ、そのものに自らの身体や思考を結 びつける事によって生み出されたアートである戦後イタリアの芸術運動のことで、その精神のもと、軍モノや古着、端切れ など一つ一つ表情の違う素材を用い、使い込まれた素材から新しいモノを作り出していくことを柱にして、服作りをするブ ランド。1900年代初頭のヨーロッパやアメリカの農夫や労働者をイメージして作られる服達は、そこに現代的解釈を加えられながら、ボ タンや当て布、ステッチワークなどを通して、その背景にあるストーリーを語りかけてくるような気がします。



Term coined by the Genoese critic Germano Celant in 1967 for a group of Italian artists who, from the late 1960s, attempted to break down the 'dichotomy between art and life' (Celant: Flash Art, 1967), mainly through the creation of happenings and sculptures made from everyday materials. Such an attitude was opposed to the conventional role of art merely to reflect reality. The first Arte Povera exhibition was held at the Galleria La Bertesca, Genoa, in 1967. Subsequent shows included those at the Galleria De'Foscherari in Bologna and the Arsenale in Amalfi (both 1968), the latter containing examples of performance art by such figures as MICHELANGELO PISTOLETTO. In general the work is characterized by startling juxtapositions of apparently unconnected objects: for example, in Venus of the Rags (1967; Naples, Di Bennardo col., see 1989 exh. cat., p. 365), Pistoletto created a vivid contrast between the cast of an antique sculpture (used as if it were a ready-made) and a brightly coloured pile of rags. Such combination of Classical and contemporary imagery had been characteristic of Giorgio de Chirico's work from c. 1912 onwards. Furthermore, Arte Povera's choice of unglamorous materials had been anticipated by more recent work, such as that of Emilio Vedova and Alberto Burri in the 1950s and 1960s, while Piero Manzoni had subverted traditional notions of the artist's functions (e.g. Artist's Shit, 1961, see 1989 exh. cat., p. 298). Like Manzoni's innovations, Arte Povera was also linked to contemporary political radicalism, which culminated in the student protests of 1968. This is evident in such works as the ironic Golden Italy (1971; artist's col., see 1993 exh. cat., p. 63) by LUCIANO FABRO, a gilded bronze relief of the map of Italy, hung upside down in a gesture that was literally revolutionary.

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