Curatorial studies
Il re-enactment delle mostre
open access | peer reviewed
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edited by
- Guido Bartorelli - Università degli Studi di Padova, Italia - email
- Stefania Portinari - Università Ca’ Foscari Venezia, Italia - email orcid profile
Abstract
This collection of essays raises a new critical reflection on a controversial and exciting topic that has brought historiographical, philological, and ethical reflections on the reenactment and the study of the history of exhibitions and performances since the 1990s. The issue of exhibition reenactment has led to a reflection in two areas: on the one hand, the reenactment not only of those auroral exhibitions of the 1970s in which performative acts were grafted onto a terrain of process art/‘arte povera’ or of those underground contexts or festivals that made a significant part of art history, but also with respect to early twentieth-century exhibitions. On the other hand, video art has to be addressed by considering its complex issues of preservation, as well as its possible transmutation into other media, when it should be defined as a document of a performance and when it should instead be considered a video-work to all intents and purposes even by the artist-creator. This book therefore covers topics ranging from the dialogue on the protagonists of the International Exhibitions of the Roman Secession between 1913 and 1916 to the establishment of the Milanese group Nuove Tendenze and their 1914 exhibition reenacted in 1980; from the reenactment of a section of the 1972 Venice Biennale in Comportamento. Venice Biennale 1972. Padiglione Italia 2017 set up at the Centro per l’arte contemporanea “Luigi Pecci di Prato” in 2017 to didactic experiences by Bruno Munari, to the performances by Tania Bruguera or Marina Abramović. The multiple lives of contemporary artistic practices are therefore analysed and enhanced through specific case studies and multiple voices.
Keywords Mestre • Magiciens de la Terre • Exhibition Gennnaio 70 • Luciano Fabro • Franco Vaccari • Authorship • Gino De Dominicis • Marina Abramović • Performance • Preservation • Venice Biennale • Famiglia Artistica • Ferrara • Ferrara 1973-1979/ 2015 • Venice Biennale 1972 • Collection • Yoko Ono • Venezia • Gerry Schum • Impressionism • Paolo Thea • Secessionism • Postmodernism • Verifica 8+1 • Germano Olivotto • Digital Videoarte a Palazzo dei Diamanti • Cuban art • Tania Bruguera • Centro per l’Arte Contemporanea Luigi Pecci di Pra • Germano Celant • Neo-Avantgarde • Ana Mendieta • Harald Szeemann • PAC Milano • Avant-garde • Analogue • When Attitudes Become Form • Mario Merz • Archive • Fondazione Giorgio Marconi • Francesco Arcangeli • Exhibitions • Nuove Tendenze • Philology • Reenactment • Fondo Verifica 8+1 • Renato Barilli • Secession • Futurism • Video Art • Modernism
Permalink http://doi.org/10.30687/978-88-6969-760-9 | e-ISBN 978-88-6969-760-9 | Dimensions 17x25.5cm | Published Dec. 5, 2023 | Language it
Copyright © 2023 Guido Bartorelli, Stefania Portinari. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.