1,721,108 research outputs found
Sette appunti su scatole di giochi, artisti e storie dell’arte
Full text linkGiotto e i giocattoli smontabili; LEGO: “gioca bene” e costruisci; A che
cosa giocavano gli artisti da piccoli; Casa di bambola con un Duchamp;
Scatole di Joseph Cornell; Boîtes e “mise-en-boîte”; Storie dell’arte in
scatola: sono i titoli delle sette incursioni nei rapporti fra arte, gioco, giocattoli
e montaggi proposte nell’articolo. All’osservazione di Savinio secondo
cui le scene giottesche della Cappella degli Scrovegni seguano le
istruzioni del “Piccolo architetto” si connettono recenti ricerche sul nesso
fra giochi di costruzioni e formazione artistica, mentre intorno al tema
concettuale della scatola portatile che contiene reperti e miniature si condensano
esperienze importanti dell’arte del Novecento, da Duchamp e
Cornell alla mostra Boîtes. L’arte gioca con il gioco e il gioco si alimenta
dell’arte e della storia dell’arte che - attraverso fenomeni attuali come la
gamification - si offrono come repertorio di opere da smontare e ricombinare,
sequenze di spazi e luoghi da attraversare, palinsesto di tempi e
livelli da risalire.Giotto and construction sets; LEGO: “Play well” and build; What artists played at when they were little; The doll’s house with a Duchamp; Joseph Cornell’s boxes; Boîtes and “mise-en-boîte; The history of art-in-a-box: these are the titles of the seven incursions into the relationships between art, games, toys and assemblage presented in this article. Savinio’s obser- vation that Giotto’s scenes in the Scrovegni Chapel follow the instructions of the “Piccolo Architetto” (a children’s construction set) is tied to recent research on the relationship between construction sets and art educa- tion, while around the conceptual theme of the portable box containing ar- chaeological finds and miniatures are condensed important experiences of 20th-century art, from Duchamp and Cornell to the Boîtes exhibition. Art plays with games and games are fuelled by art and art history which – through current phenomena like gamification – offer themselves as a repertoire of works to be dismantled and reassembled, sequences of spa- ces and places to be crossed, a palimpsest of times and levels to climb
A Wall of Dates: How a Work of Art Can Make the 20th Century Readable, Audible and Traversable
Full text linkThe confrontation between the individual and history is at the heart of a work by the Italian, Berlin based artist, Daniela Comani: It Was Me. Diary 1900-1999, presented also at the LIV Venice Biennale.
Comani’s activity is oriented towards gender stereotypes, cultural habits, memory, and expressed through photographs, drawings, videos, installations, publishing.
It Was Me recounts the 20th century by concentrating a selection of epochal events in a virtual year of 366 days, without listing them in chronological order. The work has three versions: it can be listened to as a radio chronicle, in various languages; it can be read by leafing through a book; it can be looked at, printed on a large canvas, as a wall of dates and words. In the audio version, listening goes from January 1st to December 31st which correspond, respectively, to the foundation of the German Communist Party (1919) and to the escape from Cuba of the dictator Batista (1958).
In the book and in the display, access to data and dates is not necessarily sequential: the reader can go from one date to another, according to personal paths, curiosity, suggestions, checking the year of the event on the chronology provided.
The peculiarity of this selection lies in the fact that all the events reported are told by the author in the first person female: the artist expresses herself as if everything - two world wars, the fall of secular empires, Holocaust, dictatorial regimes, weapons of mass destruction, colonialism, capitalism, feminism, protest, hope for a better world - had happened to her, as if she were Hirohito or Einstein or Woolf or an anonymous survivor to terroristic attacks.
A short-circuit is triggered between the enormity of the facts and the individual, who assumes responsibility and - by means of artistic impact – is led to reflect on crucial issues in history
Tre puntate su Fortuna. Ventagli, libri-oracolo e web
No full textL'articolo analizza l'iconografia della fortuna dai rebus seicenteschi di Della Bella (proponendo una nuova interpretazione per un rigo del Rebus sulla Fortuna) all'immaterialità delle opere digitali, passando per i procedimenti creativi legati al caso nell'arte contemporanea e nei sistemi di ricerca.I. In the 17th century, the Florentine engraver Stefano Della Bella (1610-1664) realized two fans, one dedicated to Love and the other to Fortune. Both are in form of rebus – alternating letters and images – and illustrate Italian proverbs about the two topics. Fortune though, appears on the fan always as a woman with wheel or sail: the name of the goddess must be pronounced entire, whereas the other words are obtained by means of images and upper-case letters. In this paper, the third proverb on the fan is fully explained thanks to an interview with Carlo Lapucci (author of a dictionary of Italian proverbs 2007) who indicated the correct name of the part of the key ("ingegno") represented in the image.
II. A divination game with an old Penguin copy of Wuthering heighst by Emily Brontë, visible in the 1997 Mike Leighs' movie Career Girls, is one of the most recent examples of the tradition of bibliomancy, testified also in fictional literature. Excerpts of significant passages of novels in which books are consulted as oracle are collected and discussed, focusing on the creative aspects of this practice that, in 20th century – with the idea of chance – involves artistic movements such as Dada and Fluxus.
III. New media and the web offer up-to-date versions of bibliomancy: classical sacred books, as well as Tarot cards have been "transferred" into digital, allowing immediate interrogations. Even the 15th century Libro delle Sorti by Lorenzo Spirito Gualtieri can be consulted on line, through virtual dice rolls. The web, nevertheless, enhances the idea of fortune, of chance, of random (see the 'random article' in Wikipedia homepage), of serendipity
Nessun giorno senza un passo. I disegni di Cecilia Capuana per 'Gradiva' di Jensen
No full textLa recensione commenta e contestualizza la nuova edizione del testo Gradiva di Jensen con illustrazioni dell'artista Cecilia Capuana (Donzelli editore).A new Italian edition of Wilhelm Jensen's novel Gradiva. A Pompeian Fantasy (1903) has been published with the illustrations by cartoonist and painter Cecilia Capuana (Donzelli, Rome 2013, translation by A. Lucioni Dal Collo). Capuana's drawings focuses on the central image of the foot of “the woman who walks”, coming from an antique bas-relief (Vatican Museums) and discussed by Freud, who owned a reproduction of this female figure. Butterflies, lizards, poppies and other mythological and symbolic flowers and details are represented by Capuana, with her peculiar style, deriving from her cartoonist career in Italian and French magazines
Date e dati del XX secolo in Ich war's di Daniela Comani
No full textIl testo presenta l'opera dell'artista Daniela Comani "Ich war's", dedicata alla storia del XX secolo, e la discute in relazione all'interesse degli artisti contemporanei per l'archivistica, la catalogazione e l'indicizzazione.The text presents the work by Italian artist Daniela Comani "Ich war's", devoted to 20° Century history, and discusses it in relationship with the deep interest of contemporary artists in archive culture
Musei da leggere
No full textL'articolo presenta, contestualizza e commenta un'antologia di brani letterari in cui si ritrovano citate opere d'arte figurativa, secondo il procedimento dell'ekfrasis (descrizione). Il testo narrativo è in questo modo considerato una fonte documentaria e stilistica per la storia dell'arte
"Storia dell'arte". Passaggi di codici
No full textAntonella Sbrilli comments on Argan’s mentions of the use of computers for sorting and classifying art-historical culture, featured in the opening essay of the first issue of the journal "Storia dell'arte" (1969). Argan’s observations are related to the early applications of information technology to the creation of corpora, in the perspective of dawning Digital Humanities and in the context of the lively discussions on the risks and opportunities of the relation between artistic languages and mechanization in the 1960s and 1970s. Sbrilli dwells on the editorial and graphic history of “Storia dell’arte” within the Florentine publishing house La Nuova Italia that published it thanks to Calvesi’s initiative, and presents the projects undertaken since the 50th anniversary of its founding: a website, a blog, an Instagram account
and the project of digitization of the entire textual corpus of the journal
Marisa Volpi. Legami a doppio filo fra pittura, scrittura, lettura
No full textIl contributo presenta la figura della critica e storica dell'arte Marisa Volpi (1928-2015), personalità di spicco della critica d'arte degli anni Sessanta e Settanta, nonché scrittrice (premio Viareggio 1986) e autrice di racconti ispirati alle vite d'artista. Con alcuni esempi, viene messo in luce lo stretto legame fra l'attività di ricerca storica, l'elaborazione critica e la scrittura di Marisa Volpi.The contribute focuses on the intellectual figure of Marisa Volpi (1928-2015): art historian, professor, art critic, curator and writer (Viareggio Prix 1986). The author of this contribute runs the website www.marisavolpi.it, with the patronage of the Department of Art History and Performing media at Sapienza University, where Marisa Volpi's archive is situated
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