THE CHANGING MEANINGS OF THE MATERIAL IN POOR ART AND THE USE OF LIVE ANIMALS

The Arte Povera movement emerged as a reaction to the mainstreams in Europe in the second half of the 1960s. Poor art has created a new sense of time by focusing on what is here and now in the trilogy of past, present, future. In this perception there are roots of destructiveness. The main issue of poor art, which places the concept of time at the center, is the problem of temporality and permanence. It takes place within itself. The transformation of the artwork in the process has shaken the permanence of the work; therefore, the uniqueness of the work and the test of writing accordingly began to be questioned again. This research is focused on the ongoing arrangements of the leading representatives of Poor art, Jannis Kounellis and Pier Paolo Calzolari, who used an alive dog or horse as an art object. In this context, the state of the art work will be revealed through the changing print, temporality and permanence of the work. Semantic analysis of the works of these artists will be made through the context of human, animal and art. Keywords: Poor Art, Living Animal, Artwork, Temporality-permanence problem

Intimacy and emotions at the dawn of Performance Art in Italy

This paper investigates the actions executed by Italian artists – male and female – centred on interpersonal relationships, at times with an insight into the dynamics of couples or directly involving the public. In Italy, during the 1960s and 1970s, various artists dedicated themselves to what were initially called happenings or actions, and only later became known as ‘performances’, but unlike in the better-known Body Art, the phenomenological exploration of the self and of reality frequently observed in the Arte Povera circle of artists, many welcomed the new sensibility embodied by feminism, which, by redefining gender positioning, emphasised the centrality of the ‘private’ sphere and revived interest in ‘affection’. This is particularly significant in light of the Italian cultural context, where women artists have often looked with suspicion at any initiatives dedicated explicitly to women's issues or at women-only exhibitions.

Fundamentos estéticos en el poema de José Ángel Valente “El arte pobre”

Como parte de una búsqueda estética infatigable, José Ángel Valente se va a acercar al ámbito de la traducción poética a través de la obra de una serie de autores próximos a su modo de pensar. La cercanía a la materia, así como un sentir próximo a la mística, denotarán una afinidad espiritual entre Eugenio Montale y Valente que este último sabrá reconocer trasladando al castellano algunos de los versos más logrados del italiano. En el poema “El arte pobre” apreciaremos un intento de acercamiento entre la estética del gallego y la defendida por el llamado Arte Povera.

Dionisos en la serranía. Los espacios expositivos de Fernando Buenache

En el presente artículo presentamos y analizamos la obra de Fernando Buenache a través de un recorrido por los tres sorprendentes espacios expositivos que el artista ha creado en su pueblo natal, Buenache de la Sierra: el Museo de Zoolitos, el Museo Etnobotánico; y el Parque de los Troncosaurios. Desde una perspectiva teórica, en las creaciones de Fernando Buenache se podrían descubrir muchos elementos del land art, los materiales y técnicas del arte povera y la fantasía del mundo surreal; incluso, en algunos momentos, el atrevimiento dadaísta. Sin embargo, por encima de todo ello, destaca la honestidad y la espontánea originalidad con las que este artista autodidacta realiza sus creaciones.

Eco-justice Pedagogy All’Italiana: Radical Italian Art in the Italian-language Classroom

The climate crisis threatens our very existence in a myriad of urgent ways and thus merits imperative focus in pedagogic practices in general. This focus is achievable in Italian-language classrooms, where issues of global warming and climate crises are seldom mentioned, through artistic themes from Italy’s rich cultural heritage of the arts. The radical art movement of Arte Povera has the potential to bring ecological concerns to the forefront through a critical cultural lens of the country. By drawing upon images of the Arte Povera movement, concepts of eco-justice and eco-pedagogy can occur through paradigms of art-based education to not only discuss the impact of the climate crisis in Italy, but also achieve Italian-language acquisition critically.

Arte Povera as a Tool in Critical Italian-Language Pedagogy

Visual arts are culturally and historically significant to Italy and a reason why many people study the Italian language. This significance is visible in Italian-language classes, from mentions of high art in beginner-level textbooks to entire courses taught in advanced-level Italian devoted to these arts and their respective movements. The importance of these works to art history and to humanity at large cannot be denied relative to learning about Italian culture in the classroom. However, as presented in this literature review, it may be useful to reevaluate how these more traditional teaching subjects can be considered neutral, with a heavy emphasis on instruction as well as a subconscious perpetuation of racist, sexist, and capitalist ideals. By instead drawing upon the contemporary Italian Arte Povera movement a tool of critical pedagogy from beginner to advanced Italian-language courses, Italian art culture and language can be taught by using a more political, multidimensional approach focused on the learners’ contexts and histories. Thus, students may better understand themselves through Italian language and foster critical thinking, in addition to ultimately acquiring the language.

Carol Rama and the Pleasure of Image

Carol Rama is one of the most provocative artists of the XX and XXI centuries. Although in different periods her work has been associated with some of the significant artistic movements of the XX century, such as surrealism, art brut, arte povera, she does not join any of the leading trends and artistic groups. This makes her work a challenge to the history of contemporary art.

The Artist’s Voice

This chapter includes an overview of the origin and evolution of Ediciones Vigía, which resonated with the Arte Povera movement, as well as the development of Vigía’s aesthetics, materials employed, and production process. Rolando Estévez Jordán discusses his practice of book design, Vigía’s collaborative work, the effect of political events on the publisher, and the artisans’ involvement in the production of Vigía’s multiple originals.

The Brilliant Poverty of Vigía

There was a radical change in cultural policy following the Cuban Revolution. The founding of Imprenta Nacional and the National School of Art were attempts to make the arts accessible to as many people as possible, not for profit but for political and cultural purposes. Ediciones Vigía inherited this revolutionary agenda when the press was established a quarter of a century later, along with the aspirations of global, hemispheric, and national movements—including notably Arte Povera, publishing collectives, and the New Art. The chapter examines three hallmarks of Vigía publications—their synthesis of literary and visual arts, graphic style, and expression of literary symbolism through natural and/or found materials—to explore the history of artists’ books in Cuba and develop a critical discourse for its continued study.