Curatorial studies

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DC Field	Value
dc.identifier	ECF_book_657
dc.creator	Bartorelli Guido
dc.creator	Portinari Stefania
dc.title	Curatorial studies. Il re-enactment delle mostre
dc.type	Edited book
dc.language.iso	it
dc.description.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.
dc.relation.ispartof	Storie dell’arte contemporanea
dc.identifier.doi	10.30687/978-88-6969-760-9
dc.publisher	Edizioni Ca’ Foscari - Venice University Press, Fondazione Università Ca’ Foscari
dc.issued	2023-12-05
dc.identifier.uri	http://edizionicafoscari.it/en/edizioni4/libri/978-88-6969-760-9/
dc.identifier.issn	2610-9905
dc.identifier.eissn	2610-9891
dc.identifier.isbn
dc.identifier.eisbn	978-88-6969-760-9
dc.rights	Creative Commons Attribution 4.0 International Public License
dc.rights.uri	http://creativecommons.org/licenses/by/4.0/
item.fulltext	with fulltext
item.grantfulltext	open
dc.peer-review	yes
dc.subject	Ana Mendieta
dc.subject	Analogue
dc.subject	Archive
dc.subject	Authorship
dc.subject	Avant-garde
dc.subject	Centro per l’Arte Contemporanea Luigi Pecci di Pra
dc.subject	Collection
dc.subject	Cuban art
dc.subject	Digital Videoarte a Palazzo dei Diamanti
dc.subject	Exhibition Gennnaio 70
dc.subject	Exhibitions
dc.subject	Famiglia Artistica
dc.subject	Ferrara
dc.subject	Ferrara 1973-1979/ 2015
dc.subject	Fondazione Giorgio Marconi
dc.subject	Fondo Verifica 8+1
dc.subject	Francesco Arcangeli
dc.subject	Franco Vaccari
dc.subject	Franco Vaccari
dc.subject	Futurism
dc.subject	Germano Celant
dc.subject	Germano Olivotto
dc.subject	Germano Olivotto
dc.subject	Gerry Schum
dc.subject	Gino De Dominicis
dc.subject	Gino De Dominicis
dc.subject	Harald Szeemann
dc.subject	Impressionism
dc.subject	Luciano Fabro
dc.subject	Luciano Fabro
dc.subject	Magiciens de la Terre
dc.subject	Marina Abramović
dc.subject	Mario Merz
dc.subject	Mario Merz
dc.subject	Mestre
dc.subject	Modernism
dc.subject	Neo-Avantgarde
dc.subject	Nuove Tendenze
dc.subject	PAC Milano
dc.subject	Paolo Thea
dc.subject	Performance
dc.subject	Performance
dc.subject	Philology
dc.subject	Postmodernism
dc.subject	Preservation
dc.subject	Reenactment
dc.subject	Reenactment
dc.subject	Reenactment
dc.subject	Reenactment
dc.subject	Reenactment
dc.subject	Reenactment
dc.subject	Reenactment
dc.subject	Renato Barilli
dc.subject	Secession
dc.subject	Secessionism
dc.subject	Tania Bruguera
dc.subject	Venezia
dc.subject	Venice Biennale
dc.subject	Venice Biennale 1972
dc.subject	Verifica 8+1
dc.subject	Video Art
dc.subject	When Attitudes Become Form
dc.subject	Yoko Ono

Edited book
open access peer reviewed

Curatorial studies

Il re-enactment delle mostre

edited by

Guido Bartorelli Università degli Studi di Padova, Italia

Stefania Portinari Università Ca’ Foscari Venezia, Italia

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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.

Published

Dec. 5, 2023

Language

ISBN (EBOOK)

978-88-6969-760-9

Dimensions

17x25.5 cm

Keywords

Harald Szeemann • Magiciens de la Terre • Philology • Fondo Verifica 8+1 • Preservation • Ana Mendieta • Futurism • Postmodernism • Neo-Avantgarde • Fondazione Giorgio Marconi • Venice Biennale 1972 • Francesco Arcangeli • Gerry Schum • Cuban art • Digital Videoarte a Palazzo dei Diamanti • Nuove Tendenze • Verifica 8+1 • Analogue • Exhibition Gennnaio 70 • Performance • Secession • Germano Olivotto • Famiglia Artistica • Renato Barilli • Impressionism • Video Art • Archive • Avant-garde • Germano Celant • When Attitudes Become Form • Marina Abramović • Yoko Ono • Mestre • Modernism • Paolo Thea • Exhibitions • Authorship • Collection • Gino De Dominicis • PAC Milano • Venezia • Venice Biennale • Luciano Fabro • Ferrara 1973-1979/ 2015 • Centro per l’Arte Contemporanea Luigi Pecci di Pra • Mario Merz • Secessionism • Ferrara • Reenactment • Tania Bruguera • Franco Vaccari

permalink http://doi.org/10.30687/978-88-6969-760-9

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.