Storie dell’arte contemporanea

Curatorial studies

Il re-enactment delle mostre

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

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.

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