THE COURSE ENCOURAGES THE DEVELOPMENT OF STUDENTS’ CAPACITY FOR AUTONOMOUS INTERPRETATION AND CRITICAL EVUALUATION OF CONTEMPORARY ARTISTIC PRACTICES.
Curriculum
teacher profile teaching materials
The first part of the course will be devoted to an in-depth examination of exhibitions held internationally between 1968 and the early 1970s, with the focus on the renewal of artistic practices (between process, performativity and dematerialization) and the role and methodologies of the critics (from the crisis of interpretation to the emergence of the figure of the curator, with the progressive affirmation of a new dimension of “exhibition writing”).
Subject of reflection will also be the reenactment of the exhibitions, i.e. the revival of historical exhibitions as a curatorial practice at the center of the current debate and curatorial practices.
The second part of the course will focus on the analysis of exhibitions reflecting the social, economic, political and ecological changes of the global era. It will analyze curatorial events and strategies, as well as their contribution in defining new artistic geographies and in decolonizing narratives, with a strong impact on the sociocultural imagery of the contemporary world - starting with "Le magiciens de la terre", to get to curatorial projects of the current artistic scene.
2) R. Pinto, Nuove geografie artistiche. Le mostre al tempo della globalizzazione, Postmedia, Milano 2012
3) S. Zuliani, Esposizioni. Emergenze della critica d’arte contemporanea, Bruno Mondadori, Milano 2012
Not attending
They will integrate with a text or more texts indicated in the bibliography. The texts must be agreed with the Professor.
Programme
The course intends to retrace the art from the Sixties to the present day through the analysis of some exhibitions that have marked crucial moments of renewal, both from the viewpoint of the elaboration of the exhibition formats, and with regard to the critical debate.The first part of the course will be devoted to an in-depth examination of exhibitions held internationally between 1968 and the early 1970s, with the focus on the renewal of artistic practices (between process, performativity and dematerialization) and the role and methodologies of the critics (from the crisis of interpretation to the emergence of the figure of the curator, with the progressive affirmation of a new dimension of “exhibition writing”).
Subject of reflection will also be the reenactment of the exhibitions, i.e. the revival of historical exhibitions as a curatorial practice at the center of the current debate and curatorial practices.
The second part of the course will focus on the analysis of exhibitions reflecting the social, economic, political and ecological changes of the global era. It will analyze curatorial events and strategies, as well as their contribution in defining new artistic geographies and in decolonizing narratives, with a strong impact on the sociocultural imagery of the contemporary world - starting with "Le magiciens de la terre", to get to curatorial projects of the current artistic scene.
Core Documentation
1) B. O’Doherty, Inside the White Cube. L’ideologia dello spazio espositivo, Johan & Levy, Milano 20002) R. Pinto, Nuove geografie artistiche. Le mostre al tempo della globalizzazione, Postmedia, Milano 2012
3) S. Zuliani, Esposizioni. Emergenze della critica d’arte contemporanea, Bruno Mondadori, Milano 2012
Not attending
They will integrate with a text or more texts indicated in the bibliography. The texts must be agreed with the Professor.
Reference Bibliography
- A. Acocella, Avanguardia diffusa. Luoghi di sperimentazione artistica in Italia. 1967-1970, Fondazione Passaré – Quodlibet, Milano – Macerata 2016 - A. Aymonino, I. Tolic (a cura di), La vita delle mostre, Bruno Mondadari, Milano 2007 - B. Altshuler (a cura di), Biennials and Beyond. Exhibition that made art history, Phaidon, London – New York 2013 - F. Belloni, F. Belloni, Approdi e vedette. Amore mio a Montepulciano nel 1970, in “Studi di Memofonte”, n. 9, 2012, pp. 121-165 http://www.memofonte.it/home/files/pdf/IX_2012_STUDI_DI_MEMOFONTE.pdf - I. Bernardi, Teatro delle mostre, Roma, maggio 1968, Scalpendi Editore, Milano 2014 - F. Castellani, E. Charans (a cura di), Crocevia Biennale, Scalpendi Editore, Milano 2017 - F. Castellani, F. Gallo, V. Strukelj, F. Zanella, S. Zuliani, Esposizioni, in “Ricerche si s/confine”, dossier n. 4, 2018 https://www.ricerchedisconfine.info/dossier-4/dossier4-2018.pdf - G. Celant (a cura di), Identitté italienne, Centro Di, Firenze 1981 - G. Celant (a cura di), Arte povera, catalogo della mostra, Electa, Milano 2011 - G. Celant (a cura di), When Attitudes Become Form. Bern 1969 / Venice 2013, catalogo della mostra, Fondazione Prada, Milano 2013 - S. Chiodi (a cura di), Le funzioni del museo. Arte, museo, pubblico nella contemporaneità, Le Lettere, Firenze 2009 https://www.academia.edu/28558579/Le_funzioni_del_museo._Arte_museo_pubblico_nella_contemporaneità_2009_ - S. Chiodi, Ellitica, apodittica, decisiva, in S. Chiodi (a cura di), Alberto Boatto. Ghenos Eros Thanatos e altri scritti sull’arte 1968-1985, L’Orma, Roma 2016, pp. 171-211 https://www.academia.edu/23409080/Ellittica_apodittica_decisiva_Alberto_Boatto_Ghenos_Eros_Thanatos_2016_ - E. Coen, Miti anti miti, in G. Guercio, A. Mattirolo (a cura di), Il confine evanescente. Arte italiana 1960-2010, MAXXI – Electa, Roma – Milano 2010, pp. 197-224 - L. Conte. Le mostre Op Losse Schroeven. Situaties en Cryptostructuren e Live in your head. When attitudes become form. Alcune riflessioni, in L. Conte (a cura di), Nuove modalità della scultura nella seconda metà degli anni sessanta, in “Quaderni di Scultura Contemporanea”, n. 9, 2010, pp. 91-108. https://www.academia.edu/30643041/Le_mostre_Op_Losse_Schroeven._Situaties_en_Cryptostructuren_e_Live_in_your_head._When_attitudes_become_form._Alcune_riflessioni_in_L._Conte_a_cura_di_Nuove_modalità_della_scultura_nella_seconda_metà_degli_anni_sessanta_in_Quaderni_di_Scultura_Contemporanea_n._9_2010_pp._91-108 - L. Conte, V. Fiorino, V. Martini (a cura di), Carla Lonzi: la duplice radicalità. Dalla critica militante al femminismo di Rivolta, collana di Studi Culturali, Edizioni ETS, Pisa 2011 - M. Dantini, Ytalya subjecta. Narrazioni identitarie e critica d’arte 1963-2009, G. Guercio, A. Mattirolo (a cura di), Il confine evanescente. Arte italiana 1960-2010, MAXXI – Electa, Roma – Milano 2010, pp. 263-308 - J. Decter, H. Draxler and others, Exhibition as Social Intervention: “Culture in Action”, Afterall, London 2014 - - J. Glicenstein, L’art: une histoire d’expositions, Press Universitaires de France, Paris 2009 - R. Golan, Vitalità del negativo / Negativo della vitalità, in “October”, n. 150, 2015, pp. 113-132 https://www.academia.edu/10197856/Vitalità_del_Negativo_Negativo_della_Vitalità - R. Greenberg, B. W. Ferguson, S. Nairne (a cura di), Thinking about Exhibitions, Routledge, New York 1996 - D. Lancioni (a cura di). Anni 70. Arte a Roma, catalogo della mostra, Iacobelli Editore, Roma 2013 - L. Leonardelli, Dalla sperimentazione alla crisi. Gli Incontri Internazionali d’Arte a Roma, 1970-1981, Doppiozero, Milano 2016 - C. Rattemeyer (a cura di), Exhibiting the New Art. ‘Op Losse Schroeven and ‘When Attitudes Become Form’ 1969, Afterall, London 2010. - P. Rigolo, La Mamma. Una mostra di Harald Szeemann mai realizzata, Johan & Levy, Milano 2014 - L. Steeds and other authors, Making Art Global (Part 2). Magiciens de la Terre, 1989, Afterall, London 2013 - M. A. Staniszewski, The power of display: a history of exhibition installations at the Museum of Modern Art, MIT Press, Cambridge (MA) 1998Type of delivery of the course
The course is organized in lectures conducted through screened presentations of works, documents and multimedia tools. Some topics are studied in depth through the reading and commentary of critical and programmatic texts. During the course, visits to exhibitions and museums and classroom meetings with professionals of the sector are organized. Students will also be involved in the presentation of seminars in the classroom, which will be the subject of further study in the written assignment for the examination.Attendance
The frequency is strongly recommended.Type of evaluation
For attending students: Paper pertinent to the course content, selected in agreement with the professor. The paper should be 15,000 to 25,000 characters in length, including spaces and footnotes. It should be sent by mail seven days before the final examitation. For non-attending students: Oral exam on texts of the examination program. teacher profile teaching materials
The first part of the course will be devoted to an in-depth examination of exhibitions held internationally between 1968 and the early 1970s, with the focus on the renewal of artistic practices (between process, performativity and dematerialization) and the role and methodologies of the critics (from the crisis of interpretation to the emergence of the figure of the curator, with the progressive affirmation of a new dimension of “exhibition writing”).
Subject of reflection will also be the reenactment of the exhibitions, i.e. the revival of historical exhibitions as a curatorial practice at the center of the current debate and curatorial practices.
The second part of the course will focus on the analysis of exhibitions reflecting the social, economic, political and ecological changes of the global era. It will analyze curatorial events and strategies, as well as their contribution in defining new artistic geographies and in decolonizing narratives, with a strong impact on the sociocultural imagery of the contemporary world - starting with "Le magiciens de la terre", to get to curatorial projects of the current artistic scene.
2) R. Pinto, Nuove geografie artistiche. Le mostre al tempo della globalizzazione, Postmedia, Milano 2012
3) S. Zuliani, Esposizioni. Emergenze della critica d’arte contemporanea, Bruno Mondadori, Milano 2012
Not attending
They will integrate with a text or more texts indicated in the bibliography. The texts must be agreed with the Professor.
Programme
The course intends to retrace the art from the Sixties to the present day through the analysis of some exhibitions that have marked crucial moments of renewal, both from the viewpoint of the elaboration of the exhibition formats, and with regard to the critical debate.The first part of the course will be devoted to an in-depth examination of exhibitions held internationally between 1968 and the early 1970s, with the focus on the renewal of artistic practices (between process, performativity and dematerialization) and the role and methodologies of the critics (from the crisis of interpretation to the emergence of the figure of the curator, with the progressive affirmation of a new dimension of “exhibition writing”).
Subject of reflection will also be the reenactment of the exhibitions, i.e. the revival of historical exhibitions as a curatorial practice at the center of the current debate and curatorial practices.
The second part of the course will focus on the analysis of exhibitions reflecting the social, economic, political and ecological changes of the global era. It will analyze curatorial events and strategies, as well as their contribution in defining new artistic geographies and in decolonizing narratives, with a strong impact on the sociocultural imagery of the contemporary world - starting with "Le magiciens de la terre", to get to curatorial projects of the current artistic scene.
Core Documentation
1) B. O’Doherty, Inside the White Cube. L’ideologia dello spazio espositivo, Johan & Levy, Milano 20002) R. Pinto, Nuove geografie artistiche. Le mostre al tempo della globalizzazione, Postmedia, Milano 2012
3) S. Zuliani, Esposizioni. Emergenze della critica d’arte contemporanea, Bruno Mondadori, Milano 2012
Not attending
They will integrate with a text or more texts indicated in the bibliography. The texts must be agreed with the Professor.
Reference Bibliography
- A. Acocella, Avanguardia diffusa. Luoghi di sperimentazione artistica in Italia. 1967-1970, Fondazione Passaré – Quodlibet, Milano – Macerata 2016 - A. Aymonino, I. Tolic (a cura di), La vita delle mostre, Bruno Mondadari, Milano 2007 - B. Altshuler (a cura di), Biennials and Beyond. Exhibition that made art history, Phaidon, London – New York 2013 - F. Belloni, F. Belloni, Approdi e vedette. Amore mio a Montepulciano nel 1970, in “Studi di Memofonte”, n. 9, 2012, pp. 121-165 http://www.memofonte.it/home/files/pdf/IX_2012_STUDI_DI_MEMOFONTE.pdf - I. Bernardi, Teatro delle mostre, Roma, maggio 1968, Scalpendi Editore, Milano 2014 - F. Castellani, E. Charans (a cura di), Crocevia Biennale, Scalpendi Editore, Milano 2017 - F. Castellani, F. Gallo, V. Strukelj, F. Zanella, S. Zuliani, Esposizioni, in “Ricerche si s/confine”, dossier n. 4, 2018 https://www.ricerchedisconfine.info/dossier-4/dossier4-2018.pdf - G. Celant (a cura di), Identitté italienne, Centro Di, Firenze 1981 - G. Celant (a cura di), Arte povera, catalogo della mostra, Electa, Milano 2011 - G. Celant (a cura di), When Attitudes Become Form. Bern 1969 / Venice 2013, catalogo della mostra, Fondazione Prada, Milano 2013 - S. Chiodi (a cura di), Le funzioni del museo. Arte, museo, pubblico nella contemporaneità, Le Lettere, Firenze 2009 https://www.academia.edu/28558579/Le_funzioni_del_museo._Arte_museo_pubblico_nella_contemporaneità_2009_ - S. Chiodi, Ellitica, apodittica, decisiva, in S. Chiodi (a cura di), Alberto Boatto. Ghenos Eros Thanatos e altri scritti sull’arte 1968-1985, L’Orma, Roma 2016, pp. 171-211 https://www.academia.edu/23409080/Ellittica_apodittica_decisiva_Alberto_Boatto_Ghenos_Eros_Thanatos_2016_ - E. Coen, Miti anti miti, in G. Guercio, A. Mattirolo (a cura di), Il confine evanescente. Arte italiana 1960-2010, MAXXI – Electa, Roma – Milano 2010, pp. 197-224 - L. Conte. Le mostre Op Losse Schroeven. Situaties en Cryptostructuren e Live in your head. When attitudes become form. Alcune riflessioni, in L. Conte (a cura di), Nuove modalità della scultura nella seconda metà degli anni sessanta, in “Quaderni di Scultura Contemporanea”, n. 9, 2010, pp. 91-108. https://www.academia.edu/30643041/Le_mostre_Op_Losse_Schroeven._Situaties_en_Cryptostructuren_e_Live_in_your_head._When_attitudes_become_form._Alcune_riflessioni_in_L._Conte_a_cura_di_Nuove_modalità_della_scultura_nella_seconda_metà_degli_anni_sessanta_in_Quaderni_di_Scultura_Contemporanea_n._9_2010_pp._91-108 - L. Conte, V. Fiorino, V. Martini (a cura di), Carla Lonzi: la duplice radicalità. Dalla critica militante al femminismo di Rivolta, collana di Studi Culturali, Edizioni ETS, Pisa 2011 - M. Dantini, Ytalya subjecta. Narrazioni identitarie e critica d’arte 1963-2009, G. Guercio, A. Mattirolo (a cura di), Il confine evanescente. Arte italiana 1960-2010, MAXXI – Electa, Roma – Milano 2010, pp. 263-308 - J. Decter, H. Draxler and others, Exhibition as Social Intervention: “Culture in Action”, Afterall, London 2014 - - J. Glicenstein, L’art: une histoire d’expositions, Press Universitaires de France, Paris 2009 - R. Golan, Vitalità del negativo / Negativo della vitalità, in “October”, n. 150, 2015, pp. 113-132 https://www.academia.edu/10197856/Vitalità_del_Negativo_Negativo_della_Vitalità - R. Greenberg, B. W. Ferguson, S. Nairne (a cura di), Thinking about Exhibitions, Routledge, New York 1996 - D. Lancioni (a cura di). Anni 70. Arte a Roma, catalogo della mostra, Iacobelli Editore, Roma 2013 - L. Leonardelli, Dalla sperimentazione alla crisi. Gli Incontri Internazionali d’Arte a Roma, 1970-1981, Doppiozero, Milano 2016 - C. Rattemeyer (a cura di), Exhibiting the New Art. ‘Op Losse Schroeven and ‘When Attitudes Become Form’ 1969, Afterall, London 2010. - P. Rigolo, La Mamma. Una mostra di Harald Szeemann mai realizzata, Johan & Levy, Milano 2014 - L. Steeds and other authors, Making Art Global (Part 2). Magiciens de la Terre, 1989, Afterall, London 2013 - M. A. Staniszewski, The power of display: a history of exhibition installations at the Museum of Modern Art, MIT Press, Cambridge (MA) 1998Type of delivery of the course
The course is organized in lectures conducted through screened presentations of works, documents and multimedia tools. Some topics are studied in depth through the reading and commentary of critical and programmatic texts. During the course, visits to exhibitions and museums and classroom meetings with professionals of the sector are organized. Students will also be involved in the presentation of seminars in the classroom, which will be the subject of further study in the written assignment for the examination.Attendance
The frequency is strongly recommended.Type of evaluation
For attending students: Paper pertinent to the course content, selected in agreement with the professor. The paper should be 15,000 to 25,000 characters in length, including spaces and footnotes. It should be sent by mail seven days before the final examitation. For non-attending students: Oral exam on texts of the examination program.