Peepshow, Death Camp, Art Gallery: The Spaces of Pasolini’s Salò and Mauri’s Intellettuale

2019 ◽  
Vol 63 (1) ◽  
pp. 64-82
Author(s):  
Olga V. Solovieva
Keyword(s):  
Modern Art ◽  
The Body ◽  
Body Art ◽  
Museum Of Modern Art ◽  
Pier Paolo Pasolini ◽  
Art Gallery ◽  
Western Art ◽  
Death Camp ◽  
The 1960S

Fabio Mauri’s performance Intellettuale, set in the context of the opening of Leone Pancaldi’s new building for the Museum of Modern Art in Bologna, summed up a life-long collaboration and controversy between Pier Paolo Pasolini and Mauri about the fate of Western art after WWII. In the context of Pancaldi’s building, Intellettuale throws into relief the cultural and ideological project of Pasolini’s filmmaking and its relation to the body art of the 1960s–’70s.

The Oceanic Silence of Rebecca Horn

2020 ◽  
Vol 1 (1) ◽  
pp. 31-59
Author(s):  
India Halstead
Keyword(s):  
The Body ◽  
Body Art ◽  
Postwar Germany ◽  
Sexual Liberation ◽  
Liberation Movements ◽  
The 1960S ◽  
Social Upheaval

AbstractIn this article, I reconsider the early work of artist Rebecca Horn as situated at the threshold of complex new theoretical, political, and artistic movements. Horn's performance pieces of the late 1960s and early 1970s formally echo this social upheaval, vibrating with tension between intimacy and isolation, pleasure and pain, human and machine. Horn's prosthetic sculptures gesture toward a continuity between body and world reminiscent of the Radical Freudian concept of Eros, echoed in the body art and sexual liberation movements of the 1960s, in which the body becomes a fluid expression of polymorphous, nonbinary desire. The sinister backdrop of postwar Germany, however, haunts the artist's work to the extent that silence becomes a motif of its own. Through her work, I ask the question: can the oceanic vision of a genderless Eros be realized, while the wounds of atrocity and of patriarchy are still inscribed on the body, or must polymorphous fluidity remain a fantasy, a utopia deferred?

Inaugurating the “White Passage”: Art ‘76

2021 ◽  
pp. 1-20
Author(s):  
Hera
Keyword(s):  
Large Scale ◽  
Modern Art ◽  
Historical Study ◽  
National Museum ◽  
Art Exhibition ◽  
Art Gallery ◽  
Exhibition Space ◽  
The 1960S

Abstract Within an art exhibition, the disposition of space is fundamental in experiencing artworks. A study of the exhibition space as discourse enmeshes art within a framework of relationship and processes instead of viewing art as an isolated and autonomous object. This paper features the case study of Art ‘76, the inaugural exhibition of Singapore's first large-scale institution of art, the National Museum Art Gallery (NMAG). The NMAG's opening in 1976 had been much anticipated by artists and the art audience since the 1960s, it was also an important milestone in the National Museum of Singapore's process of modernisation and revitalisation. During Singapore's post-independent period, the National Museum began to redefine itself as a civic museum focussing on Singapore's history and culture, shifting away from its previous incarnation of a research-focused colonial institution, the Raffles Library and Museum. Singapore was not alone in exploring the role of modern art in nation-building, as neighbouring Southeast Asian countries such as Indonesia, Philippines, Malaysia and Thailand also began to moot for their own institution of modern art around the same period of time. Art ‘76 and the NMAG represent a case of distinct spatial typology that arose out of unique institutional and socio-political dynamic in post-independent Singapore. In analysing the legacy as well as the relationships and contentions that shaped the spatial articulation of Art ‘76, this paper studies existing visual and oral archive, as well as critically evaluating the concepts of space as a subject of historical study.

Oiticica, Hélio (1937–1980)

2018 ◽  
Author(s):  
Alice Heeren
Keyword(s):  
New York ◽  
Rio De Janeiro ◽  
Dimensional Space ◽  
Modern Art ◽  
The United States ◽  
Museum Of Modern Art ◽  
Brazilian Art ◽  
Tate Modern ◽  
1960S And 1970S ◽  
The 1960S

Hélio Oiticica was born in 1937 in Rio de Janeiro and studied at the Museum of Modern Art in Rio de Janeiro with Ivan Serpa in the 1950s, later moving to New York and engaging with the 1960s artistic milieu in the United States. Oiticica was an exponent of the Brazilian modernism group Frente in the 1940s and early 1950s, and influenced by abstract geometric tradition the artist experimented with the two-dimensionality of the pictorial field to the point that his works in the late 1950s transitioned to participatory works. Together with other artists of the Neoconcrete group such as Lygia Clark and Lygia Pape, Oiticica’s trajectory marked an extremely important shift in Brazilian art towards sensorial works with a concern with the place for the spectators. The strategies of Oiticica, particularly from his break with the two-dimensional space, his engagement with marginalized members of Brazilian society, to his large installations sensorial and participative works of the 1960s and 1970s, influenced an entire generation of artists in Brazil and abroad, and his works are part of some of the largest collections of modern art in the world such as MoMA and Tate Modern.

Museum of Modern Art

1962 ◽  
Vol 16 (2) ◽  
pp. 35-37
Author(s):  
Eileen Bowser
Keyword(s):  
Modern Art ◽  
Museum Of Modern Art

Ontological Laboratory in the Making: “After Year Zero” and the Resetting of Historical Imagination

2015 ◽  
Author(s):  
Anselm Franke ◽  
Annett Busch ◽  
Katarzyna Bojarska
Keyword(s):  
Modern Art ◽  
Museum Of Modern Art ◽  
Historical Imagination

A conversation between Annett Busch, Anselm Franke, and Katarzyna Bojarska about the exhibition "After Year Zero. Universal Imaginaries - Geographies of Collaboration", shown at the Museum of Modern Art in Warsaw between June and August 2015.

The Museum of Modern Art, Rio de Janeiro

1956 ◽  
Vol 9 (2) ◽  
pp. 73-83 ◽  
Author(s):  
Affonso Eduardo Reidy
Keyword(s):  
Rio De Janeiro ◽  
Modern Art ◽  
Museum Of Modern Art
Sign in / Sign up

Export Citation Format

Share Document