Scheda libro
Non-Fiction

L'arte nello spazio urbano

L'esperienza italiana dal 1968 a oggi

  • Author: Alessandra Pioselli
  • Year: 2015
  • Language: Italian
  • Pages: 220
  • Price: 21.00 €
  • ISBN: 978-88-6010-163-1
  • Size: 15.5 x 23
  • Illustrations: 50 b/w

The term Public art is a term that refers to a wide range of experiences, including political or playful operations, ephemeral projects to transform places and landscapes, participatory actions, small everyday activities brought out into the open, and forms of active exploration of a given area. But what has been Italy’s experience with this artistic practice?

Italian artists have followed many distinct paths, in their reinvention of the relationship between space and the public within the urban dimension. Alessandra Pioselli, with her unique critical and expressive experience, chooses to begin in 1968, setting public art against the background of the political and economic context of Italy at the time. Artists came into the city streets, challenging and lampooning authorities, highlighting social problems and giving voice to an insistent collective energy. Given their focus on the struggle for jobs and housing, their work appeared in outlying but critical areas, often in the form of militant acts or alternative interpretations of the concept of cultural assets. Then, through the 70s, the proactive role of Enrico Crispolti, Riccardo Dalisi, Ugo La Pietra, and others counterpointed groups like Collettivo Autonomo di Porta Ticinese and Laboratorio di Comunicazione Militante in Milan, which addressed the issue of protest and militancy in a non-authorial manner. As a result, environmental sculpture multiplied and gained a renewed civic function.

With the waning of popular participation in the 80s, the front crumbled and differentiated. Art parks began to appear; works increasingly were set in highly problematic contexts and dealt with collective memory in increasingly emotional and subjective ways. Gestures, signs and relations assumed a symbolic, semantic value. While Maria Lai orchestrated poetic yet effective collective actions in her native Sardinia, Maurizio Cattelan playfully used intelligent provocation to expose the contradictions of an increasingly complex multi-cultural society. Today, new patrons and players acting in the context of a gentrified city hard put to recognize itself as a community call for a critical reinterpretation of the concept of participation, which is at the heart of this book.

  • About the author
  • Contents

Alessandra Pioselli is an art critic and curator of contemporary art. Since 2010, she has been the director of the Accademia di Belle Arti G. Carrara in Bergamo, where she also teaches History of Contemporary Art in the Sole24Ore (Milan) Master in Economics and Management of Art and Cultural Heritage. She contributes to the magazine Artforum (New York).

Premessa

 

Parte prima – 1968-1979

 

Capitolo 1

1. La crisi della città negli anni sessanta

2. Modelli di mostre e happening nello spazio urbano

3. Posizioni militanti tra arte e politica

4. Azioni effimere, mappature, derive, antropologie

 

Capitolo 2

1. Partecipazione popolare e decentramento amministrativo

2. Il principio della cooperazione. Enrico Crispolti e l’area campana

3. Riccardo Dalisi: architettura d’animazione

4. Il caso Piazzetta, Sesto San Giovanni, 1973-1976

 

Capitolo 3

1. La stagione dei collettivi

2. «Non c’è significato, c’è solo significato politico»: il Collettivo Autonomo di Porta Ticinese

3. «Frutta, stelle, tracchi, pesci, buste colorate, grandi ali bianche»: gli Ambulanti

4. «Nuovi segni per un riscatto della cultura urbana»: il Gruppo Salerno 75

5. Socializzare i media: il Laboratorio di Comunicazione Militante e la Fabbrica di Comunicazione

 

Capitolo 4

1. I centri storici: una questione aperta

2. Decorazione e democrazia: le mostre di “sculture in città”

3. Oltre la scultura: “Volterra 73”

4. Scultura e contesto storico: il segno critico

5. Pietro Consagra a Matera

6. Gibellina, Friuli, Vesuvio

 

 

Parte seconda – 1979-2014

 

Capitolo 5

1. L’epilogo dei collettivi e della partecipazione popolare

2. Non c’è arte senza politica: Maria Lai, Legarsi alla montagna, 1981 

3. Il gruppo di Piombino: le origini

4. Gli esordi di Wurmkos

 

Capitolo 6

1. Da “Politica” alla “pratica del luogo”

2. Destabilizzazioni semantiche: affissioni e segni urbani

3. Sconfinamenti: i precursori, 1988-1992

4. Soggettività aperte

5. Relazioni, deambulazioni e identità nella/della città postindustriale

6. Linee della committenza pubblica e privata

 

Conclusioni