Arte italiana postbellica. Prospettive e metodi Michele Dantini 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 forthe period are summoned and debated with fresh confrontations with social and political historians of“Resistenza”, “civil…

<<Il vuoto dietro e il vuoto davanti>>. Oltre l’italianità e l’americanismo: la rotta Roma-New York nell’esperienza di Afro, Alberto Burri e Toti Scialoja Francesco Tedeschi During the Fifties the relationships between Rome and American artistic environment has grew fastly. They were prepared by some individual experience, like that one of Corrado Cagli, that lived in…

Space oddities. Immaginario spaziale e arti visive a Roma, 1957-1969 Laura Lamurri In 1957, the Soviet Union launched the earth’s first artificial satellite, Sputnik I. The launch inaugurated theSpace Age, a new frontier for both scientific explorations and geopolitical stances in the Cold War years. The interest of Lucio Fontana and Yves Klein for the…

Due volte la stessa mostra: “5 Pittori – Roma 60”. Bilancio e sviluppi di un decennio. Roma Galleria La Salita, 1960; Torino, Galleria Christian Stein, 1969 Elisa Francesconi In April 1969 at Christian Stein Gallery in Turin, the exhibition “Anno ‘60: Angeli, Festa, Lo Savio, Schifano,Uncini” repeated, nine years later, the show “5 Pittori –…

“Preponderanza” e “superamento” nelle ricerche artistiche sul linguaggio Giorgio Zanchetti In late 1959, the first issue of «Azimuth» — the artist magazine edited by Enrico Castellani and Piero Manzoni — published a truly radical contribution by Vincenzo Agnetti, titled I: non commettere atti impuri (lit.First: You Shall Not Commit Impure Actions, with reference to the…

Luciano Fabro e il Gruppo T. La neoavanguardia italiana fra sperimentazioni cinetico-programmate e Arte Povera* Riccardo Cuomo Minimal Art is usually considered one of the main reference points for the work of those young Italian artists that Germano Celant, at the end of 1967, gathers under the definition of Arte Povera. This paper tries to…

“Ironizzare direttamente sulla scultura e indirettamente su certe situazioni”. Qualche considerazione sugli esordi di Paolo Icaro Lara Conte The art of Paolo Icaro makes an utterly original contribution to the languages that developed in the1960s and 1970s, such as Arte Povera, Conceptual Art and Process Art, with particular impact on therenewal of contemporary sculpture in…

La Francia e una Fiat 500: I primi esperimenti di Alighiero Boetti Silvia Bottinelli Alighero Boetti (1940-1994) traveled to the French Riviera and Paris regularly from 1962 to 1964. At thattime, the artist was a student in Economics at the University of Turin. His interest in France was initially ofcommercial nature. Boetti visited ceramics studios…

Nomadismo e guerriglia: l’Igloo di Giap di Mario Merz Denis Viva Being a symbol of Arte Povera’s engagement during 1968, Mario Merz’s Igloo di Giap was often discussedas one of the most blatant reference to the guerrilla and the Vietnam War. But how did the Third-worldisttheories or the Italian students’ protests inspire Merz in combining…

Carlo Alfano, o della pittura come (im) possibile necessità Maria De Vivo The enquiry concerning “the terms of painting”, its necessity and the enunciation of the impossibility ofrepresentation, is the thread that binds all the research by Carlo Alfano (1932-1990). This article focuses on some specific moments of an extensive and complex production which is…