January 4, 2013

art povera: the great awakening

kunstmuseum basel @ minimal exposition mario merz

kunstmuseum basel @ minimal exposition
giuseppe penone
albero di 230 cm

exhibition at kunstmuseum basel
9.9.2012 - 2.3.2013

kunstmuseum basel @ minimal exposition
michelangelo pistoletto
donna sdraiata

kunstmuseum basel @ minimal exposition
giovanni anselmo
piccola torsione

kunstmuseum basel @ minimal exposition
mario merz

kunstmuseum basel @ minimal exposition
pier paolo calzolari
senza titolo

kunstmuseum basel @ minimal exposition
luciano fabro

kunstmuseum basel @ minimal exposition
gilberto zorio

kunstmuseum basel @ minimal exposition
pino pascali
grande bacino di donne - mons veneris

the 1960s saw the emergence of a new art movement in italy; it included several artists who are now famous, such as alighiero boetti, jannis kounellis, mario merz, and michelangelo pistoletto. the hallmark of their art is the use of simple means and humble materials like soil, glass, tree branches, neon lighting, or wax. their works contrast with, and articulate a critique of, an environment ever more dominated by technology and the production mechanisms of mass culture. in a form of stylistic anarchy, pictures, objects, installations, and performances seek to chart a way back to natural processes and laws. the poor, porous, or fluid nature of the compositional means is intended to open perception to “the basic flux of energy underlying all things” (carolyn christov-bakargiev). works result that emphasize the process and navigate the tensions between nature and culture, between anarchy and order. at the same time, these “visualized perceptual processes” interrogate the grand cultural heritage—of antiquity and the renaissance—in a sensual and poetic manner.

the term “arte povera” first appears in september 1967, as the title of an exhibition held in genoa that featured the works of artists from rome, turin, and milan, among them boetti, fabro, kounellis, pascali, paolini, and prini; pistoletto and merz were not included. the name was coined by the art critic and curator of the genoa show, germano celant. calling this art movement an artists’ group in the strict sense, may quickly lead to misconceptions. however comparable their artistic strategies and their political and social commitments are, each of these artists is also highly individual; their formal means vary widely, and the differences between them grew even more pronounced in the course of the 1970s.

all content © the artists, images courtesy kunstmuseum basel

che fare? arte povera in liechtenstein
jannis kounellis: arte povera

kunstmuseum basel @ minimal exposition
emilio prini
perimetro - misura a studio stanza