The course aims at acquiring autonomous historical analysis and critical interpretation of the artistic phenomena of the contemporary age, with particular regard to the interactions between artistic production and theoretical and aesthetic reflection.
teacher profile teaching materials
In Italy, between the 1960s and 1970s, the body of artists and poets became fully visible for the first time also thanks to new media (photography, cinema, television) and their mass diffusion. The transformation of the artist into performer is part of a tendency, typical of the same historical period, to dissolve the boundaries between different media, traditions and contexts. The course examines this transformation in a series of cases in which the body, the living presence of the artist, becomes an object acquires its own exemplary value. Texts, films, and photographs of performance in Italy and the broader area of performance experiences in the international field will be examined.
Other texts, essays and books are indicated in the lecture recordings and partly available in PDF on the course Teams channel in the Files section.
Programme
The Expanded Body. Art and Performance in Italy, 1968-1980In Italy, between the 1960s and 1970s, the body of artists and poets became fully visible for the first time also thanks to new media (photography, cinema, television) and their mass diffusion. The transformation of the artist into performer is part of a tendency, typical of the same historical period, to dissolve the boundaries between different media, traditions and contexts. The course examines this transformation in a series of cases in which the body, the living presence of the artist, becomes an object acquires its own exemplary value. Texts, films, and photographs of performance in Italy and the broader area of performance experiences in the international field will be examined.
Core Documentation
Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, Art since 1900, Thames & HudsonOther texts, essays and books are indicated in the lecture recordings and partly available in PDF on the course Teams channel in the Files section.
Type of delivery of the course
traditionalAttendance
Free choiceType of evaluation
The course offers the possibility of being taken in-person, remotely and through recordings. All students are required to attend lectures, in-person or recorded, and to be familiar with the materials explained. Exams are conducted in written mode with oral exposition (see below). Exams 12 CFU: The exam consists of the writing and subsequent discussion of a paper, the topic and specific bibliography of which must be agreed upon with the lecturer (minimum length 24,000 characters, including spaces, notes and bibliography), which must then be sent by e-mail at least ten days before the exam. Thorough knowledge of the course materials (texts, images, films), and the ability to expound and comment in the oral interview of the exam, themes, historical aspects, ideas and works examined in the light of the texts listed in the bibliography is also required. Please note: non-attending in-person students are required to take an oral examination on the course topics in addition to writing the paper. Exams 6 CFU: The exam is written and is taken in the classroom (or online if necessary). The exam is designed to test the ability to present and analyze themes, poetics, movements, and artists addressed in the lectures and covered in the bibliography and to attest the ability to read and interpret works of art, using appropriate critical terminology and relating the work of art to its historical context.