Arte Povera. Dialogues
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Product Details
Author:
Bernard Blistène, Agata Boetti, Valérie Costa, Sébastien Delos, Marc Donnadieu, Elena Geuna, Sébastien Gokalp
Format:
Paperback
Pages:
216
Publisher:
Unified Publishing Group (May 27, 2025)
Imprint:
Forma Edizioni
Language:
English
Audience:
General/trade
ISBN-13:
9788855211819
ISBN-10:
8855211811
Weight:
41.6oz
Dimensions:
11.811" x 9.449" x 0.8"
File:
Eloquence-SimonSchuster_03032026_P9790483_onix30_Complete-20260303.xml
Folder:
Eloquence
List Price:
$49.00
Pub Discount:
65
As low as:
$46.55
Publisher Identifier:
P-SS
Discount Code:
D
Case Pack:
10
Overview
One of the traits that Arte Povera artists have in common is to deconstruct things and not to privilege the material as an end in itself. It is likely that, among the artists of the movement, there is also a distinction between material and materiality. Text in English and French.
One of the traits that Arte Povera artists have in common is to deconstruct things and not to privilege the material as an end in itself. It is likely that, among the artists of the movement, there is also a distinction between material and materiality. Arte povera artists, for example, do not have sculpture as their goal.
Rather, they seek the process, the experience; rather, they have a critical look at aesthetic production. To borrow the word, they are rather ‘anaesthetic’. As in a certain way, moreover, Celant recognize in the intuition of his exhibition ‘IM spatio, image, space’ the search for a different dimension.
Besides questioning the material, the primacy of experience, which seems to me absolutely fundamental, the duality between man and nature, there is the refutation of the concept of stability, the impermanence of things. This analytical and conceptual dimension is in Italy a way of positioning itself in relation to the dominance of a model that would come from America.
Text in English and French.
One of the traits that Arte Povera artists have in common is to deconstruct things and not to privilege the material as an end in itself. It is likely that, among the artists of the movement, there is also a distinction between material and materiality. Arte povera artists, for example, do not have sculpture as their goal.
Rather, they seek the process, the experience; rather, they have a critical look at aesthetic production. To borrow the word, they are rather ‘anaesthetic’. As in a certain way, moreover, Celant recognize in the intuition of his exhibition ‘IM spatio, image, space’ the search for a different dimension.
Besides questioning the material, the primacy of experience, which seems to me absolutely fundamental, the duality between man and nature, there is the refutation of the concept of stability, the impermanence of things. This analytical and conceptual dimension is in Italy a way of positioning itself in relation to the dominance of a model that would come from America.
Text in English and French.
