THE COURSE ENCOURAGES THE DEVELOPMENT OF STUDENTS’ CAPACITY FOR AUTONOMOUS INTERPRETATION AND CRITICAL EVUALUATION OF CONTEMPORARY ARTISTIC PRACTICES.
teacher profile teaching materials
The course focuses on the renewal of sculpture from the second half of the 1960s to today, following the passage from the object, as a self-contained, immutable form, to the environment and the action, as a self-contained, immutable form, to the environment and the action, taken as a new relationship established between the sculptural project and the body, nature and public space. In the first part of the course, parallel to the analysis of procedural, antiform and poverist artistic practices, attention will be focused on some paradigmatic exhibition events held in the second half of the 1960s; international exchanges and contacts between the European and American artistic context will be outlined; the contemporary critical debate will be analyzed, in order to outline the main moments of discussion in which the very definition of sculpture is put in crisis, between processuality and dematerialization. In the second part, attention will also be paid to the problems concerning the installation and the relationship between the sculptural gesture, new media and feminist instances.
2) C. Zambianchi, “Oltre l’oggetto”. Qualche considerazione su arte povera e performance, in “Ricerche di storia dell’arte”, n. 114, 2014, pp. 35-45 [PDF fornito dalla docente]
3) S. Zuliani, Senza cornice. Spazi e tempi dell’installazione, Critical Ground #4, Arshake, Roma 2015, pp. 13-75
http://www.arshake.com/wp-content/uploads/2015/07/Critical-Grounds-04-Stefania-Zuliani-Senza-Cornice.pdf
4) A text selected:
- F. Stevanin, Fotografia, film e video nella Land Art, CLEUP, Padova 2017
- A. Acocella, Avanguardia diffusa. Luoghi di sperimentazione artistica in Italia 1967-1970, Quodlibet, Macerata 2016
- L. Conte, F. Gallo (a cura di), Artiste italiane e immagini in movimento. Identità, sguardi, sperimentazioni, Mimesis, Milano 2021
- M.R. Sullivan, Sculptural Materiality in the Age of Conceptualism. International Experiments in Italy, Routledge, New York 2017
- C. Baldacci, C. Ricci, Quando è scultura, et al edizioni, Milano 2010
5) Monographic text on an artist analyzed and to to be agreed with the Professor.
Mutuazione: 20710267 FORME E LINGUAGGI DELL’ARTE CONTEMPORANEA in Cinema, televisione e produzione multimediale LM-65 CONTE LARA
Programme
Deconstructing and reconstructing narratives: sculpture in contemporary eraThe course focuses on the renewal of sculpture from the second half of the 1960s to today, following the passage from the object, as a self-contained, immutable form, to the environment and the action, as a self-contained, immutable form, to the environment and the action, taken as a new relationship established between the sculptural project and the body, nature and public space. In the first part of the course, parallel to the analysis of procedural, antiform and poverist artistic practices, attention will be focused on some paradigmatic exhibition events held in the second half of the 1960s; international exchanges and contacts between the European and American artistic context will be outlined; the contemporary critical debate will be analyzed, in order to outline the main moments of discussion in which the very definition of sculpture is put in crisis, between processuality and dematerialization. In the second part, attention will also be paid to the problems concerning the installation and the relationship between the sculptural gesture, new media and feminist instances.
Core Documentation
1) R. Krauss, Passaggi. Storia della scultura da Rodin alla Land Art, Postmedia, Milano 20202) C. Zambianchi, “Oltre l’oggetto”. Qualche considerazione su arte povera e performance, in “Ricerche di storia dell’arte”, n. 114, 2014, pp. 35-45 [PDF fornito dalla docente]
3) S. Zuliani, Senza cornice. Spazi e tempi dell’installazione, Critical Ground #4, Arshake, Roma 2015, pp. 13-75
http://www.arshake.com/wp-content/uploads/2015/07/Critical-Grounds-04-Stefania-Zuliani-Senza-Cornice.pdf
4) A text selected:
- F. Stevanin, Fotografia, film e video nella Land Art, CLEUP, Padova 2017
- A. Acocella, Avanguardia diffusa. Luoghi di sperimentazione artistica in Italia 1967-1970, Quodlibet, Macerata 2016
- L. Conte, F. Gallo (a cura di), Artiste italiane e immagini in movimento. Identità, sguardi, sperimentazioni, Mimesis, Milano 2021
- M.R. Sullivan, Sculptural Materiality in the Age of Conceptualism. International Experiments in Italy, Routledge, New York 2017
- C. Baldacci, C. Ricci, Quando è scultura, et al edizioni, Milano 2010
5) Monographic text on an artist analyzed and to to be agreed with the Professor.
Type 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. In the event of an extension of the health emergency from COVID-19, all the provisions that regulate the methods of carrying out the teaching activities and student assessment will be implemented. In particular, the course will be delivered remotely.Attendance
The frequency is strongly recommended.Type of evaluation
The examination is a written assignment. The examination aims to verify the ability to present and analyze thmes analzied by the course and texts. Three Open questions will be proposed.