The essay opens with a critical examination of «October»’s approach to italian postwar art (Issue 124, 2008) and calls for an extension of both sources and historical narratives. Most art-historical topics relevant for the period are summoned and debated with fresh confrontations with social and political historians of “Resistenza”, “civil war” and “First Republic” and a few commonplaces discussed through a deeper insight of italian postwar historical and cultural context. Genealogical knowledge improves our understanding of historical units and seems far more respectful of speci c di erences than summary assumptions about po- stwar “uniformity”. The author introduces here new interpretative frames for “monochrome”, “Arte povera”, “Arte concettuale” and “Transavanguardia” and solicits for a speci c connoisseurship ready to break up interpretative monopolies and refute exhausted paradigms. Since late 50s’, this is the main thesis, rheto- rics of “identity” increasingly intertwine in Italy with visual research and powerfully contribute to push the most relevant artists to experiment unexpected forms of contemporary visual “syncretism” or maliciously combine “tradition” and “avantgarde” while dismissing the authority of both. Here come “survivals” meant as ruins of a diasporic heritage, displayed through fragmentation, displacement and irony. Local ductile resistance to international standards feeds artistic innovation.

Arte italiana postbellica: Metodi e prospettive

DANTINI, Michele
In corso di stampa

Abstract

The essay opens with a critical examination of «October»’s approach to italian postwar art (Issue 124, 2008) and calls for an extension of both sources and historical narratives. Most art-historical topics relevant for the period are summoned and debated with fresh confrontations with social and political historians of “Resistenza”, “civil war” and “First Republic” and a few commonplaces discussed through a deeper insight of italian postwar historical and cultural context. Genealogical knowledge improves our understanding of historical units and seems far more respectful of speci c di erences than summary assumptions about po- stwar “uniformity”. The author introduces here new interpretative frames for “monochrome”, “Arte povera”, “Arte concettuale” and “Transavanguardia” and solicits for a speci c connoisseurship ready to break up interpretative monopolies and refute exhausted paradigms. Since late 50s’, this is the main thesis, rheto- rics of “identity” increasingly intertwine in Italy with visual research and powerfully contribute to push the most relevant artists to experiment unexpected forms of contemporary visual “syncretism” or maliciously combine “tradition” and “avantgarde” while dismissing the authority of both. Here come “survivals” meant as ruins of a diasporic heritage, displayed through fragmentation, displacement and irony. Local ductile resistance to international standards feeds artistic innovation.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11579/77018
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