Arte Povera (pronounced [ˈarte ˈpɔːvera]; literally poor art) is a contemporary art movement. The Arte Povera movement took place between the end of the 1960s and the beginning of the 1970s in major cities throughout Italy and above all in Turin. Other cities where the movement was also important are Milan, Rome, Genoa, Venice, Naples and Bologna. The term was coined by Italian art critic Germano Celant in 1967[1] and introduced in Italy during the period of upheaval at the end of the 1960s, when artists were taking a radical stance.[2] Artists began attacking the values of established institutions of government, industry, and culture.
The exhibition "Im Spazio" (The Space of Thoughts), curated by Celant and held at the Galleria La Bertesca in Genoa, Italy, from September through October 1967, is often considered to be the official starting point of Arte Povera.[2] Celant, who became one of Arte Povera's major proponents, organized two exhibitions in 1967 and 1968, followed by an influential book published by Electa in 1985 called Arte Povera Storie e protagonisti/Arte Povera. Histories and Protagonists, promoting the notion of a revolutionary art, free of convention, the power of structure, and the market place.
Although Celant attempted to encompass the radical elements of the entire international scene, the term properly centered on a group of Italian artists who attacked the corporate mentality with an art of unconventional materials and style. Key figures closely associated with the movement are Giovanni Anselmo, Alighiero Boetti, Enrico Castellani, Pier Paolo Calzolari, Luciano Fabro, Jannis Kounellis, Mario Merz, Marisa Merz, Giulio Paolini, Pino Pascali, Giuseppe Penone, Michelangelo Pistoletto, Emilio Prini, and Gilberto Zorio.[3] They often used found objects in their works. Other early exponents of radical change in the visual arts include proto Arte Povera artists: Antoni Tàpies and the Dau al Set movement, Alberto Burri, Piero Manzoni, and Lucio Fontana and Spatialism. Art dealer Ileana Sonnabend was a champion of the movement.[1]
Arte Povera
Igloo by Mario Merz, an example of Arte Povera
Years active 1967-1980s
Country Italy
Major figures Jannis Kounellis, Mario Merz, Michelangelo Pistoletto
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）
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。
Arte Povera(アルテポーヴェラ）ジャケット・ベスト
Arte Povera(アルテポーヴェラ）シャツ/ブラウス/カーディガン
Arte Povera(アルテポーヴェラ）Tシャツ/タンクトップ
Arte Povera(アルテポーヴェラ）パンツ
Arte Povera(アルテポーヴェラ）ワンピース/スカート
Arte Povera(アルテポーヴェラ）バッグ/小物
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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