Tag Archives: アルテ・ポーヴェラ

Giuseppe Penone: Spazio di Luce @ Whitechapel Gallery

友人に誘われて、Whitechapel Galleryで展示中のイタリア人アーティスト・Giuseppe Penone(ジュゼッペ・ペノーネ)の作品「Spazio di Luce (Space of Light/光の空間)」を見に行った。

イタリアの芸術運動・アルテ・ポーヴェラのメンバーであるペノーネは、45年以上に渡り、人間と自然との関係を追求。今年のBloomberg Commissionのために、空洞になっている内部が金箔で覆われた、12mもの長さのブロンズ製の木「Spazio di Luce」を制作した。この作品は、本物の木に薄くワックスを塗った彼の1969年の作品「All the Years of the tree plus one」を元に、木の代わりにブロンズを使用。自身が山で見つけてきた木を、ブロンズの型取りをしやすいような大きさにカットし、動物のように木が自身で立つように、余分な枝も取り除いた。最初のレイヤーは筆で、そしてその上から手でワックスを塗ることで、表面には制作に関わった人たちの多くの指紋が、記念のように残っている。内部は、いにしえより、生命の源と考えられていた太陽の光と連想されていた金で彩られていて、入口から見ると、中全体が見渡せるようになっている。


I went to see a work by an Italian artist Giuseppe Penone, “Spazio di Luce (Space of Light)” (September 4, 2012 – August 11, 2013), at Whitechapel Gallery.

Penone, a member of the Italian art movement “Arte Povera“, has examined our relationship to nature over the past 45 years. For the latest Bloomberg Commission, he has created a 12-metre bronze cast of a tree with a gleaming gold-leaf interior. This work is a recollection of his work in 1969, “All the Years of the tree plus one“, a tree covered by a thin layer of wax, but this time he has created with bronze instead of a real tree. He found a tree in a mountain, and cut it in pieces in good size for making a cast. He also removed some branches so that the tree can stand by itself, like an animal. He first put a layer of wax with the brush and then by hands over the first layer, so you can see many fingerprints of whom involved in the sculpture’s making like a memory. Void spaces inside of the bronze cast are painted in gold, historically associated with the life-giving forces of light of the sun, and you can see through the entire tree from the entrance of the gallery.

If you have no knowledge about this work, you may mistakenly believe that this is a real tree. You can even feel life force that trees possess. One cheerful visitor was singing into the tree and enjoying the echo of his singing. A truly dynamic work that gives us a life force, and makes us all liven up. Two thumbs up!

In Astratto: Abstraction in Italy 1930-1980 @ Estorick Collection

エンジェルにあるEstorick Collection(エストリック・コレクション)で開催中の「In Astratto: Abstraction in Italy 1930-1980」展(6月27日〜9月9日)は、リグーリア州にある3つの現代美術館のコレクションを元に、1930年代から80年代までの50年に渡るイタリア抽象美術の発展を紹介している。この展覧会では、歴史における抽象アート、 Movimento Arte Concreta(具体芸術運動)、Concreteコンクリート・アート)、アンフォルメルコンセプチュアル・アートオプ・アート、Analytical Painting(分析的画法?)という、6つのテーマ毎に作品が展示されている。

イタリアにおける抽象美術は、ジャコモ・バッラといった未来派アーティストたちの試みから始まった。第一次から第二次世界大戦にかけて、Mario Radice(マリオ・ラディーチェ)、Manlio Rho(マンリオ・ロー)、Osvaldo Licini(オズヴァルド・リチーニ)、Enrico Prampolini(エンリコ・プランポリーニ)といった多くのアーティストたちが抽象美術を発展させ、Forma(フォルマ)などのアート・グループに属したGiulio Turcato(ジュリオ・トゥルカート)、Piero Dorazio(ピエロ・ドラーツィオ)、Achille Perilli(アキーレ・ペリッリ)等、戦後アーティストたちに影響を与えた。1948年には、ブルーノ・ムナーリAtanasio Soldati(アタナシオ・ソルダーティ)が、厳密な幾何学的アプローチが特徴のMovimento Arte Concreta(具体芸術運動)を設立。これに対し、Renato Birolli(レナート・ビロッリ)、Giuseppe Capogrossi(ジュゼッペ・カポグロッシ)、Emilio Vedova(エミリオ・ヴェドバ)は、より表現的なアンフォルメル的アプローチを取った。

1960年代を通じ、イタリア抽象美術の立役者たちは、コンセプチュアル・アートへの道を開き、ルーチョ・フォンタナの切り裂いたキャンバス、ピエロ・マンゾーニの「Achromes(アクローム:無色)のような新しい絵画的アプローチを生み出した。エンリコ・カステラーニAgostino Bonalumi(アゴスティーノ・ボナルミ)、Paolo Scheggi(パオロ・シェッギ)の作品は、絵画の制約を超え、キャンバスを成形、伸張、階層化させ2次元と3次元の境界を曖昧にし、Franco Grignaniフランコ・グリニャーニ)やDadamaino(ダダマイーノ)は、オプ・アートに傾倒。コンセプチュアル・アートアルテ・ポーヴェラといった実験的アートの隆盛の後は、古臭いと思われていた純粋な形や色彩の審美的クォリティが再評価され、「Analytical Painting(分析的画法?)」が取り入れられた。


Latest exhibition at Estorick Collection in Angel,  In Astratto: Abstraction in Italy 1930-1980 (June 27 – September 9) explores 50 years of innovation in Italian abstraction. This exhibition draws on the collections of the Liguria‘s three modern and contemporary art museums. The installation is arranged in six thematic and chronological sections: Historical Abstraction; MAC (Movimento Arte Concreta) and ‘Concrete’ Research; Art Informel; Towards the Conceptual; Optical-perceptual Research and Analytical Painting-New Painting.

Abstraction developed in Italy out of the experiments of Futurist artists such as Giacomo Balla. It evolved during the inter-war years by many artists such as Mario RadiceManlio Rho, Osvaldo Licini and Enrico Prampolini, and influenced post-war artists belonging to groups such as Forma, including Giulio Turcato, Piero Dorazio and Achille Perilli. A rigorously geometric approach characterised the work of the Movimento Arte Concreta, founded in 1948 by Bruno Munari and Atanasio Soldati. Reacting against this, artists such as Renato Birolli, Giuseppe Capogrossi and Emilio Vedova adopted a more painterly approach during the 1950s in accordance with the more expressive Art Informel.

Certain key figures of Italian abstraction paved the way for the innovations of conceptualism and pioneered novel approaches that developed throughout the 1960s. Like Lucio Fontana’s slashed canvases and Piero Manzoni’s Achromes, the work of artists such as Enrico Castellani, Agostino Bonalumi and Paolo Scheggi transcended the restrictions of painting, blurring the boundaries between two and three dimensions by shaping, stretching and layering of their canvases. On the other hand, Franco Grignani and Dadamaino attempted the perceptual experiments of Op Art. During the following decade, the ‘Analytical Painting’ was brought to Italian abstraction, rediscovering the aesthetic qualities of pure form and colour, following the conceptual art and Arte Povera.

In compare to famous Italian Renaissance art, Italian abstraction is rather modest and may not be considered a masterpiece, but it is interesting enough for me to see how abstract art is developed and manifested in different culture other than more known French, Russian and American counterparts. I think Evening Standard review is a bit too harsh on them… I don’t think it is bad.

Alighiero Boetti: Game Plan @ Tate Modern

イタリア人コンセプチュアル・アーティスト、アリギエロ・ボエッティの回顧展「Alighiero Boetti: Game Plan」が、テート・モダンで5月27日まで開催されている。ボエッティは、1960年代後半に既成の芸術に反抗し、工業素材や石や木など単純素材を用いた、イタリアの前衛的美術運動・アルテ・ポーヴェラ(「貧しい芸術」)の一員として活躍。この展覧会が、テート・モダンで開催される、アルテ・ポーヴェラ系アーティストの初の個展となる。



Italian conceptual artist, Alighiero E Boetti‘s retrospective, “Alighiero Boetti: Game Plan” is currently running at Tate Modern until May 27th. Boetti is a key member of Arte Povera group of young Italian artists in the late 1960s, which was working in radically new ways using simple materials. This is the first solo show by an Arte Povera artist at Tate Modern.

Turin-born Boetti used industrial materials associated with Turin, Italy’s automotive manufacturer centre, and later made works using postage stamps, ballpoint pens, and magazine covers. His work in the exhibition includes constructions made with building materials, biro drawings, watercolour paintings of aeroplanes, lists of rivers,and woven kilims made by Afghans with patterns based on numeric systems, as well as a series of embroidered world maps in which each country features the design of its national flag, Mappa, which is his most renown work. Boetti was interested in faraway places and made a trip to places such as Ethiopia, Guatemala and Afghanistan. After travelled to Kabul in 1971, he set up a hotel in Kabul between 1971 – 79 as an art project and created large colourful embroideries such as Mappa. He was also fascinated by esoteric and mystical thought, and was responsive to everyday conditions in Italy and to its politics in the 60s-70s. 

I’ve never heard of Boetti before I saw this exhibition. Though  Boetti’s work is not attention-grabbing or glitzy, but I quite enjoyed the show and his work with his attention to details and methodical approach.

Mappa (Maps)” room

Aerei, 1978

Tutto,  Afghan embroidery on fabric