Multiplied Works, Open Work

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DC Field	Value
dc.identifier	ECF_article_6643
dc.title	Multiplied Works, Open Work. Seriality and Anonymity in the Cine-visual Research of the 1960s
dc.contributor.author	Previti Marta
dc.publisher	Edizioni Ca’ Foscari - Digital Publishing, Fondazione Università Ca’ Foscari
dc.type	Research Article
dc.language.iso	it
dc.identifier.uri	http://edizionicafoscari.it/en/edizioni4/riviste/venezia-arti/2021/1/opere-moltiplicate-opera-aperta/
dc.description.abstract	In the early 1960s, groups of artists begin to develop collective research in kinetic art and visual perception. By combining art, industrial design and technology, these ‘aesthetic operators’ lay the foundations for a multiplied art, made for everybody. The aim of their work is to open art to a genuine democratization process since the viewer would interact with these manipulable objects. However, this point of view questions the art myth of the ‘unique and unrepeatable’ artwork, which is replaced by the ‘open work’, produced in series by an interdisciplinary team. Moreover, the theory of anonymity and the multiples increase the critical debate concerning the concept of authenticity. The paper proposes a reflection on the diffusion of multiplied art during the 1960s. Through the analysis of the archival documents – some previously unpublished – the study identifies the crucial passages in which the experimentations of programmed Italian artists have embraced the democratic ideology of seriality.
dc.relation.ispartof	Venezia Arti
dc.relation.ispartof	Vol. 30 \| December 2021
dc.issued	2021-12-21
dc.dateAccepted	2021-08-19
dc.dateSubmitted	2021-07-06
dc.identifier.issn
dc.identifier.eissn	2385-2720
dc.rights	Creative Commons Attribution 4.0 International Public License
dc.rights.uri	http://creativecommons.org/licenses/by/4.0/
dc.identifier.doi	10.30687/VA/2385-2720/2021/07/007
dc.peer-review	yes
dc.subject	Collective work
dc.subject	Collective work
dc.subject	Multiples
dc.subject	Multiples
dc.subject	Open work
dc.subject	Open work
dc.subject	Programmed art
dc.subject	Programmed art
dc.subject	Seriality
dc.subject	Seriality

Research Article
open access peer reviewed

Seriality and Anonymity in the Cine-visual Research of the 1960s

Marta Previti Università degli Studi di Padova, Italia

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abstract

In the early 1960s, groups of artists begin to develop collective research in kinetic art and visual perception. By combining art, industrial design and technology, these ‘aesthetic operators’ lay the foundations for a multiplied art, made for everybody. The aim of their work is to open art to a genuine democratization process since the viewer would interact with these manipulable objects. However, this point of view questions the art myth of the ‘unique and unrepeatable’ artwork, which is replaced by the ‘open work’, produced in series by an interdisciplinary team. Moreover, the theory of anonymity and the multiples increase the critical debate concerning the concept of authenticity. The paper proposes a reflection on the diffusion of multiplied art during the 1960s. Through the analysis of the archival documents – some previously unpublished – the study identifies the crucial passages in which the experimentations of programmed Italian artists have embraced the democratic ideology of seriality.

Published

Dec. 21, 2021

Accepted

Aug. 19, 2021

Submitted

July 6, 2021

Language

Keywords: Programmed art • Collective work • Open work • Multiples • Seriality

permalink http://doi.org/10.30687/VA/2385-2720/2021/07/007

Copyright: © 2021 Marta Previti. 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.

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