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Avis
Avis de
Delph750
Le 30 mars 2012.

"Super cette rubrique ressources. J'ai pu faire plusieurs recherches très différentes afin de préparer une séance d'arts visuels pour ma classe de CM1. Du coup, je pense les emmener en visite au Musée l'année prochaine, en CM2.".
 
 
 
contenu destiné au public adulte
IN ENGLISH. Arte povera, the collection of Museum
Source : Département des publicspublié le 13 juin 2015

Mario Merz, "Teatro cavallo", 1966. Plastic and néon. 250 x 300 x 50 cm. Collection MAMC, Saint-Étienne. Photo Yves Bresson. © ADAGP, Paris 2015.

Giuseppe Penone, "Le radici del verde del bosco" (The Roots of The Green of the Woods), 1987. 268 x 830 cm. Photo Yves Bresson. © Adagp, Paris 2015.

Michelangelo Pistoletto, "Divisione moltiplicazione dello specchio", 1973-1991. Wood and mirror. Photo Yves Bresson. © Michelangelo Pistoletto.

 

 

 

REINVENTING MATTER

Arte Povera (literally poor art) was an art movement that began in the 1960s in Turin, Milan and Rome. Key figures included Alighiero Boetti, Giuseppe Penone, Mario Merz, Giovanni Anselmo, Michelangelo Pistoletto and Jannis Kounellis. Italian critic and art historian Germano Celant, who founded the movement, promoted the notion of a European identity and a re-examination of the art forms created by American Minimalism in the 1960s and 1970s.

During the Arte Povera period, artists appropriated the real by working with natural, ephemeral, manufactured or industrial objects such as lettuce, wood, stone, coal, steel or neon tubes. For example, Mario Merz used natural materials (beeswax), he was interested in staging things in a space ('Teatro cavallo'), and in the circulation of energy in neon.

Their programme involved working with materials considered «poor», working as craftsmen, and using the space itself as a component of the artwork. The project was a response to the economic and political crisis in Italy in 1968 and a stance against the consumer society. The idea was to retrieve the human dimension in an industrial world.

Traditional methods of painting and sculpture were challenged. The proponents of Arte Povera bore a certain resemblance to French artists from the 1970s group Supports/Surfaces. Some of them also used craft techniques and placed an emphasis on the making of the artwork.

The work of Penone and the three-dimensional work of Pistoletto are good examples of the continuity of tradition in which the Arte Povera artists worked. One of the principal themes of Arte Povera is the notion of a direct relationship with the natural environment. In Penone’s 'Le radici del verde del bosco' ('The Roots of The Green of the Woods'), the imprint of a tree trunk and imprints of the artist’s body are drawn on a piece of cloth. As for Pistoletto, he kept on working with mirrors, dividing and multiplying them. By being reflected in them, the spectator became part of the installation.

The works from the collection that are on display in the exhibition all bear traces of a profound reexamination of form and of the acts of painting and sculpting, an appropriation of the real, and the creation of a new artistic language which relates to reality in the world.



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