ARTITUDE is visiting the exhibition on the works of Arte Povera, open at the Milan Triennale until next January 29, 2012
Arte Povera has invaded Italy...with the collective exhibition Arte Povera 2011, which is taking place in seven cities and eight national museums - Bari, Bergamo, Bologna, Naples, Rome, Turin.
And why not? In the Milan Triennale from October 25.
Germano Celant is the curator of the event: He chooses, therefore, to follow the path of this movement from its origins in 1967 - it was he who coined the term, in Genoa, with the exhibition "Arte Povera + Imspazio" - until now.
And he does so by creating a network, by trying to put together a great museum, an institution widely spread from the territorial point of view. Utopia, of course, but also an impending need for language.
It is the critic himself, during the press conference, who stressed the importance of an event like this: Firstly, the aim is to try to initiate a dialogue (not by chance in the 150th anniversary of the Unit of Italy) among the different town realities, while secondly, a growing hunger in space is undeniable.
From the sixties/seventies, in fact, the work of art loses its traditional format and increases its dimensions, approaching the site-specific and the happening. For this reason it is often no longer containable in the small museum spaces.
So, what happens inside the Triennale? The exhibition spans two floors, featuring on the ground floor split spaces, more suited to the presentation of small monographs, while there is a collective exhibition on the first floor.
Nobody is absent at the roll-call.
The Maps by Alighiero Boetti (in the sixties and seventies), which are flags carefully woven on the corresponding state on the map. The Inept Rhapsodies (Infinity, 1969) by Pier Paolo Calzolari - tobacco leaves and neon that weave up to compose some words in italics; some Untitled by Jannis Kounellis, which are nothing but dirty, worn jute bags, hanging on the wall.
And again, the about 32 sq. m of sea (1967) and the Easel by Pino Pascali - installations created respectively with colored zinc tanks and a easel on which are disposed raffia and coat of acrylic, in line with his works dedicated to land and agriculture. A Tree of 3.50 meters (1970) by Giuseppe Penone and the Glowing Star (1972) by Gilberto Zorio which shines, discreet and located at the top of the room.
The Orchestra of Rags - Quartet (1968) brings the recognizable signature of Michelangelo Pistoletto and generates a centripetal focus in the room where it is placed. To see the rest...you must visit it.
Only thanks to a direct engagement with the environment, you can understand the terse, concise, yet complete language of artists who decided to speak to the public with a primary alphabet - madeof poor materials and based on an elementary vocabulary.
To read all the details and information about the exhibition, please read:
questa scheda.
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