Italian modern artwork from France • Journal Studio

June 25, 1981. The Heart Pompidou in Paris opens an exhibition curated by Germano Celant devoted to Italian post-war artwork. The works of Piero Manzoni, Enrico Castellani and all of the advocates of Arte Povera are ambassadors of what the title – very pretentious – defines Italian identification. The Italian identification. As of this weekend, over forty years later, again in France however within the glittering greens and blues of Good, we face the identical query: what’s the identification of Italian artwork?

are to be answered New life e The future behind us, two exhibitions that may be visited at MAMAC (Musée d’Artwork Trendy et d’Artwork Contemporain) and at Villa Arson. The primary, curated by Valérie Da Costa, covers the Sixties and ends in 1975 with the dying of Pier Paolo Pasolini; the second, curated by Marco Scotini, begins within the Nineties and extends again to us. It’s apparent that in an try and replace the properties of the Phantom Italian identificationwe’re confronted with a void left by the eighties, the years of the trans-avant-garde and the return to figurative portray, however above all by neoliberal economics and conservative politics. The explosive years of economic tv and the leisure business.

New life he responds to this vacancy by drawing inspiration from Dante’s concept of ​​rebirth. The transition from the prosperity of the sixties to the tensions of the next decade is portrayed by sixty artists (together with many ladies and a few “forgotten” by the official chronicles of the time) who focus on three themes: the ability of pictures, the connection between nature and industrialization, physique reminiscence. Fairly totally different and extra convincing is the discourse I’m addressing The longer term behind us. Already from the phrases of the title we perceive that the principle drawback in coping with the historical past of yesterday and immediately is the data of time. The longer term isn’t in entrance of us, however behind us. And possibly, Scotini suggests, it is nonetheless dumped within the Nineteen Seventies. Now let’s attempt to perceive why.

The three exhibition areas (ex, exodus workouts, We nonetheless need all the things) positioned inside and outdoors the Villa Arson, Michel Marot’s brutalist jewel, and definitely worth the journey to Good alone, overlap, as is the case with the three generations of artists concerned, twenty between those that, within the nineties years, and those who have arisen extra not too long ago. What unites them is their method of digging into historical past and a common disorientation brought on by the counter-revolution that has been happening because the Nineteen Eighties. Subsequently, the works don’t enter right into a dialogue by way of formal affinities, the video isn’t with the video, the set up with the set up and so forth, however are intertwined in area. They evoke the identical themes. The doorway to the exhibition is a chief instance. There’s a above an enlargement of a black and white photograph by Uliano Lucas depicting a sit-in in Piazzale Loreto in 1971 Atopic Map by Luca Vitone from 1992. The {photograph} of a whole lot of individuals sitting within the sq. is the background of a geographical map that exhibits us cities and streets, water basins and mountain ranges, however doesn’t inform us their names. It is a silent card. Now, the superimposition of two works produced by totally different artists in numerous many years might appear to be a stretch, a ruthless operation; and as an alternative, because of this bodily affiliation, we are able to perceive how the disorientation, the cognitive vacuum of the Nineties has taken over the social fullness of the Nineteen Seventies. So it isn’t merely a query of coming into an exhibition, of going past its entrance, reasonably, earlier than the works of Lucas and Vitone one has to cross a conceptual and temporal threshold; accepting the concept that historical past isn’t at all times to be declined within the singular – maybe it might make extra sense to talk of it tales – and above all that his path doesn’t at all times run in a straight line.

Marco Cavallo by Claire Fontaine

I additionally consider the comparability between Marco Cavalloa 10-foot-tall blue papier-mâché horse signed by Claire Fontaine, and Franco Basaglia Museum by Stefano Graziani. On the one hand we’ve got the revival of the well-known icon created in 1973 within the Psychiatric Clinic of Trieste, an actual Trojan Horse that allowed the goals and needs of sufferers to set sail; on the opposite, a photograph of a stack of books by Basaglia holding a vase of roses from the backyard of the identical hospital. Two totally different views on the idea of alienation.

This type of consonance, of rigidity, echoes right here in the remainder of the exhibition. Clearly it is inconceivable to call all of them right here, because the comparability is not simply between visible artists, however personalities like Nanni Balestrini, Giuseppe Pinelli, Carla Lonzi, Enzo Mari and plenty of others come into play, broadening horizons and messing up the deck . Nonetheless, by the top of the go to, each really feel how little it’s to speak about Italian identification. Or reasonably, the Italian artwork scene. Strictly talking, it makes little sense to undertake out of date classes resembling language or technique of expression, aesthetics, type, age or geographical origin. The longer term behind us it means that with a purpose to attempt to perceive one thing greater than what is occurring with modern artwork in our nation immediately, we’re compelled to hint the explanation why one thing has stopped, and consequently we’ve got our appointment with the previous misplaced. Wanting again is one potential approach to choose up the place we left off.

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