Edizioni Ca' Foscari

« capitolo precedente | capitolo successivo »

Iscriviti alla newsletter

Campo DC	Valore
dc.identifier	ECF_chapter_3676
dc.contributor.author	Portinari Stefania
dc.title	Narcissus Garden for Sale: «one piece 2 dollars». Yayoi Kusama alla Biennale di Venezia nel 1966
dc.type	Capitolo
dc.language.iso	it
dc.description.abstract	Things that do not exist or should not exist and ‘ghetto exhibitions’ mark some counterpoints on the presence of female artists and on first performance actions at Venice Biennale in the 1960s and the 1970s. Yayoi Kusama, who created Narcissus Garden without being invited in 1966; Marina Abramović and Ulay, invited for the first time in 1976 but in an external venue; and Paula Claire’s action, between others, at the exhibition Materializzazioni del Linguaggio curated in 1978 by Mirella Bentivoglio, mark two crucial decades of increasingly contemporary trend at the Esposizione Internazionale d’Arte of Venice. This essay connects new relationships between Yayoi Kusama presence, art galleries in New York City, Milan, Venice and other main characters in the art system of the 1960s.
dc.relation.ispartof	Storie dell’arte contemporanea
dc.relation.ispartof	Atlante delle Biennali
dc.publisher	Edizioni Ca’ Foscari - Digital Publishing
dc.issued	2019-12-18
dc.identifier.uri	http://edizionicafoscari.it/it/edizioni4/libri/978-88-6969-367-0/narcissus-garden-for-sale-one-piece-2-dollars/
dc.identifier.doi	10.30687/978-88-6969-366-3/011
dc.identifier.issn	2610-9905
dc.identifier.eissn	2610-9891
dc.identifier.isbn	978-88-6969-367-0
dc.identifier.eisbn	978-88-6969-366-3
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	no
dc.subject	Galleria del Cavallino
dc.subject	Galleria del Cavallino
dc.subject	Gender art
dc.subject	Gender art
dc.subject	Japanese artists
dc.subject	Japanese artists
dc.subject	Lucio Fontana
dc.subject	Lucio Fontana
dc.subject	Narcissus Garden
dc.subject	Narcissus Garden
dc.subject	Padiglione del Libro
dc.subject	Padiglione del Libro
dc.subject	Performance
dc.subject	Performance
dc.subject	Venice Biennale
dc.subject	Venice Biennale
dc.subject	Yayoi Kusama
dc.subject	Yayoi Kusama

Capitolo
open access

Narcissus Garden for Sale: «one piece 2 dollars»

Yayoi Kusama alla Biennale di Venezia nel 1966

Stefania Portinari Università Ca’ Foscari Venezia, Italia

VIEW PDF DOWNLOAD PDF

abstract

Things that do not exist or should not exist and ‘ghetto exhibitions’ mark some counterpoints on the presence of female artists and on first performance actions at Venice Biennale in the 1960s and the 1970s. Yayoi Kusama, who created Narcissus Garden without being invited in 1966; Marina Abramović and Ulay, invited for the first time in 1976 but in an external venue; and Paula Claire’s action, between others, at the exhibition Materializzazioni del Linguaggio curated in 1978 by Mirella Bentivoglio, mark two crucial decades of increasingly contemporary trend at the Esposizione Internazionale d’Arte of Venice. This essay connects new relationships between Yayoi Kusama presence, art galleries in New York City, Milan, Venice and other main characters in the art system of the 1960s.

Pubblicato

18 Dicembre 2019

Lingua

ISBN (PRINT)

978-88-6969-367-0

ISBN (EBOOK)

978-88-6969-366-3

Keywords: Lucio Fontana • Gender art • Performance • Venice Biennale • Narcissus Garden • Galleria del Cavallino • Yayoi Kusama • Padiglione del Libro • Japanese artists

permalink: http://doi.org/10.30687/978-88-6969-366-3/011

Copyright: © 2019 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.

Citazioni verso questo capitolo

How to cite