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    Wyświetlanie 1-2 z 2
    Tytuł:
    Coincidentia oppositorum: The Works of Giovanni Anselmo between the Visible and the Invisible
    Autorzy:
    Tiberi, Barbara
    Powiązania:
    https://bibliotekanauki.pl/articles/485518.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
    Tematy:
    Giovanni Anselmo
    Arte Povera
    Germano Celant
    Italian Art
    Contemporary Art
    Infinite
    projection
    visible
    invisible
    light
    Art Press
    Beatrice Merz
    Jean-François Lyotard
    Friedrich W. Nietzsche
    Achille Bonito Oliva
    Massimo Carboni
    Michel Foucault
    Opis:
    The Italian artist Giovanni Anselmo (b. Borgofranco d’Ivrea, 1934) was a member of Arte Povera group, which was put together by Germano Celant back in 1967. Anselmo has addressed the invisible in art since the beginning of his activity, mainly with projections ofwords that play with the idea of the visible and the invisible, with the true (or multiple) meanings of language, and with the very nature of art. He refers to universal and eternal concepts and opposite pairs, such as the visible and the invisible, the finite and the infinite, the close and the open, the clear and the blurred, the being and the non-being. In the works discussed in the paper, the intangible element of the light beam is made visible only through the projection. It is always the projection of something immaterial on something material, an entity that participates in the dimension of non-being that is projected onto the world of being.
    Źródło:
    Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione; 2018, 13; 66-67
    2081-3325
    2300-5912
    Pojawia się w:
    Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Na nowo patrzeć i dotykać? Znaczenie tradycyjnych materiałów w plastyce współczesnej na przykładzie użycia alabastru w XX i XXI w. (cz. II).
    To look and touch anew? The meaning of traditional materials in the modern sculpture. On the example of alabaster in the 20th and 21st centuries (part II)
    Autorzy:
    Lipińska, Aleksandra
    Powiązania:
    https://bibliotekanauki.pl/articles/560106.pdf
    Data publikacji:
    2009
    Wydawca:
    Uniwersytet Wrocławski. Instytut Historii Sztuki
    Tematy:
    rzeźba XX i XXI wieku
    Arte povera
    Eduardo Chillida
    Cristina Iglesias
    Tacita Dean
    Anish Kapoor
    Opis:
    The text makes up the second part of the paper presented in the previous issue of ‘Quart’ quarterly. While there the usage of alabaster in the sculpture of the 1st half of the 20th century has been demonstrated, in the current issue the development in the following decades of the 20th century as well as of the early 21st century has been sketched. In the opening part of the paper it has been emphasised that in the time when countless new materials have been introduced into the fine arts and the borders between art genres became vague, alabaster was even more marginalised. Although it did not disappear for good, it had to compete with synthetic materials as polyester, in which comparable effects could have been achieved but they had advantage over traditional materials as they were easier to work with and cheaper. The case of the late oeuvre of the Polish sculptress Alina Szapocznikow (1926-1973) provides perfect illustration for this phenomenon. In her ‘fetish-lamps’, combining polyester with electric light, the artist broached the issues previously often realised in alabaster: female body, light, fragility and impermanence. In the following the position of alabaster in the time of the triumph of arte povera and its new attitude towards art material have been considered. The author noticed that, even though this artistic movement has originated in Italy where alabaster has been discredited by the Volterran mass production, the material has apparently not been critically demythologized as it was the case of marble. Their roots in arte povera have the contemporary works of Marisa Merz or Ettorre Spalletti who have succeeded in retrieving in their abstract works rudimental properties of alabaster. Such interpretation of traditional material is rather exceptional. Most of the important sculptures in alabaster realised since the 1960s relate somehow to the tradition, if not formally then at least thematically. Eduardo Chillida in his extraordinary ‘architectural’ works as Homage to Kandinsky or Homage to the sea exploited the translucency of alabaster, its ability to let light inside and in this way to give shape to the inner space. The other traditional motif reinterpreted by contemporary artists are alabaster windows. It has been taken up by Cristina Iglesias (Untitled – Alabaster room) and Tacita Dean (Alabaster drawings). British artist Alison Wilding combines alabaster with synthetic materials as resin to look into the problem of duality of objects (Alabastros). She pursues in reinterpretation of old meanings, as in her alabaster work Harbour which stands for Entombment in the series of works being contemporary interpretation of the Passion of Christ in the abstract language. The last discussed artist – Anish Kapoor discovered alabaster for him in 1999 (Untitled). For him as well fundamental is the duality of the form, however in this case derived from the properties of the stone itself. Rough crust of alabaster block contrasts with its glowing polished inner core. Common for most of these artists is undoubtedly an attempt to regain the spirituality in art. They consciously use for this purpose the material for ages regarded as mystic. Summarising the author considers the reasons of the mystic interpretation of alabaster.
    Źródło:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2009, 4(14); 3-17
    1896-4133
    Pojawia się w:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-2 z 2

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