17 Sep 2015

Body to body. Poetics from the 20th century to the Contemporaryì

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Where and when







Museo Novecento

On the occasion of the exhibition HUMAN. Antony Gormley currently at Forte di Belvedere, curated by Sergio Risaliti and Arabella Natalini, organized in collaboration with the Museo Novecento, a series of conferences with international guests to deepen the use and representation of the body in art from the twentieth century to the contemporary.

Thursday 17 September at 5.30p.m
at Forte Belvedere

Arabella Natalini
Antony Gormley: from the walls of Derry to the bastions of Forte Belvedere

The protagonist of numerous works for public spaces, Antony Gormley has repeatedly stated that every project requires a great responsibility towards places and people, and, in the case of public commissions, the involvement of administrations and citizens, is an absolutely essential factor. From a theoretical point of view, the wide debate on public art that has developed in the last decades has contributed only partially to answer the many questions that are the basis of well-established and heterogeneous practices. Nevertheless, commissions for public works, temporary or permanent, seem to have become increasingly numerous and have challenged some of the greatest contemporary artists. Among these, Antony Gormley, who, while rejecting the label of public art, has realized during his long career some emblematic projects. Tracing the path from some of the first works to the artist’s solo exhibition in Florence, will highlight its particular characteristics. Human, in its complexity, solicits further reflections, where general questions are intertwined with the artist’s poetics and modus operandi.
Arabella Natalini, art historian, curator and professor of Project Culture at ISIA in Florence, is particularly interested in recent developments in public art, reflection on the renewed role of the contemporary art museum and the complex relationships between the public and private spheres.

Wednesday 23 September 2015 at 3.30p.m
at Museo Novecento

Teresa Macrì
Phenomenology of performance

Within the artistic language, starting from the sixties, the performance becomes a radical attack and a place of transgression; a sort of self-representation linked to cultural and social phenomena. It is able to assert itself as a fundamental node in the history of contemporary art because being in the world is affirmed as the founding praxis of aesthetic making. It is therefore the very existence to assert itself and for the first time art is identified, intersects, becomes a compact body with life. From now on, all traditional roles are canceled and staggered.
The conference will focus on the experience of the body, then on the phenomenology of radical performance that has evolved since the sixties (Vito Acconci, Chris Burden, Eva Hesse, Rebecca Horn, Ana Mendieta) through the extreme nineties (Orlan, Mathew Barney, Marcelì Antunez Roca) to the more socializing and poetic artistic practice of Francis Alÿs, Jeremy Deller and young Italian artists such as Elena Bellantoni.
Teresa Macrí is an art critic, independent curator and writer. He deals with Visual Culture and is a teacher of “Phenomenology of Contemporary Arts” at the Academy of Fine Arts of L’Aquila. He collaborates as an essayist with the Istituto dell’Enciclopedia Italiana Treccani, editing “voices” related to the new processes of redefinition of contemporary art. He collaborates with Il Manifesto and with international magazines. Publications include: Il corpo postorganico, Costa & Nolan, 1996 (new updated edition of Il corpo postorganico, Costlan, 2006); Metamorfosi do sentir, Lisbon, Assirio Y Alvim, 1998; Cinemacchine del desiderio, Milan, Costa & Nolan, 1998; Postculture, Rome, Meltemi, 2002; In the Mood for Show, Rome, Meltemi, 2008 e Politics/ Poetics, Milan, Postmediabook, 2014.


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