{"id":5736,"date":"1995-04-22T10:28:00","date_gmt":"1995-04-22T08:28:00","guid":{"rendered":"http:\/\/kunstmuseum.mscg-it.de\/?post_type=exhibition&p=5736"},"modified":"2021-01-21T15:18:06","modified_gmt":"2021-01-21T14:18:06","slug":"italian-metamorphosis-art-crafts-photography-cinema-fashion-architecture-design","status":"publish","type":"exhibition","link":"https:\/\/www.kunstmuseum.de\/en\/exhibition\/italian-metamorphosis-art-crafts-photography-cinema-fashion-architecture-design\/","title":{"rendered":"Italian Metamorphosis. Art \u2013 Crafts \u2013 Photography \u2013 Cinema \u2013 Fashion \u2013 Architecture \u2013 Design"},"content":{"rendered":"\n
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Info<\/h2>\n\n\n\n

This multi\u00addi\u00adsci\u00adpli\u00adnary exhibi\u00adtion celebrates the flowering of Italian creati\u00advity during the twenty-five years that began with the fall of the Fascist regime in 1943. After the war, Italy struggled to recover from the devas\u00adta\u00adtions of Fascist rule, Allied and German occup\u00ada\u00adtions, and aerial bombings. As the country underwent recovery, myriad aspects of society were examined and subse\u00adquently trans\u00adformed, from means of governing to styles of building.<\/p>\n\n\n\n\n\n\n\n

In economic terms, recon\u00adstruc\u00adtion was a success. During the period now known as the \u201cItalian Miracle\u201d, which peaked from 1958 to 1963, social and economic change trans\u00adformed the nation. Italy became an inter\u00adna\u00adtional cultural leader, and its design and style became synony\u00admous with quality and innova\u00adtion. By 1968, the end point of this exhibi\u00adtion, many young Italians were questio\u00adning extra\u00adva\u00adgant consump\u00adtion and assessing unful\u00adfilled promises for social reform. Student protests and worker strikes broke out, fractu\u00adring the nation.<\/p>\n\n\n\n

Painting and Sculpture
Italian artists emerging from the traumas of World War II set out to create art with a democratic political message, reacting against the classi\u00adci\u00adzing, figura\u00adtive style advocated by the Fascist regime. Contro\u00adversy arose quickly, however, within the ranks of leftist artists. In 1948, the Italian Communist Party asserted that art should be figura\u00adtive in order to conve the party\u2019s political message. While Renato Guttuso adhered to this platform. Giulio Turcato and Emilio Vedova began to splinter their compo\u00adsi\u00adtions into abstracted, energetic scenes. Thus, abstrac\u00adtion took root, becoming the predo\u00admi\u00adnant form of vanguard Italian art in the 1950s.<\/p>\n\n\n\n

Several pivotal abstract artists broke with the notion of a politi\u00adcall motivated art; creation became an existen\u00adtial, private realm. Lucio Fontana punctured \u2013 and in the late 1950s slashed \u2013 his surfaces to expand the flat picture plane into three-dimen\u00adsional space. He went on to promote his theory of \u2018Spazia\u00adlismo\u2019 \u2013 a four-dimen\u00adsional art intended to integrate color, form, and space with sound, movement and time \u2013 in a variety of mediums. His contem\u00adporary, Alberto Burri, began to produce anti-illusio\u00adnistic works that exploit seemingly inexpres\u00adsive materials like tar, pumice, ad burlap. The art of Burri and Fontana, als well as Afro, Giuseppe Capogrossi, Ettore Colla, Vedova, and others, came to be known in Italy as \u2018Arte Informale\u2019. Its exponents were not bound by a unified style but rather by their commit\u00adment to formal concerns and an abstract syntax informed by gesture.<\/p>\n\n\n\n

Several artists turned to monochrome in order to explore the artwork as an autono\u00admous entity, repudia\u00adting the gestural and existen\u00adtial concerns of Arte Informale. Enrico Castel\u00adlani, Piero Dorazio, Francesco Lo Savio and Piero Manzoni were all propon\u00adents of cool, rational styles.<\/p>\n\n\n\n

Beginning in the late 1950s, artists explored Neo-Dada and Pop-art themes, trans\u00adforming a range of antia\u00ades\u00adthetic materials \u2013 from burned plastic to excrement \u2013 into high art. Manzoni converted the artist\u2019s body into an art object, packaging and signing his own corporeal emissions as if they had been mass-produced. In the 1960s, artists expanded their inves\u00adti\u00adga\u00adtions to encompass concep\u00adtual reflec\u00adtions on the nature and function of art objects. Jannis Kounellis began to paint words onto his canvases to inves\u00adti\u00adgate the ways images are perceived. His lingu\u00adistic designa\u00adtions are visual signs repre\u00adsen\u00adting intan\u00adgible concepts that have no explicit pictorial equivalents.<\/p>\n\n\n\n

From found objects, Pino Pascali made flimsy repli\u00adca\u00adtions of military weapons, inope\u00adrable decoys that ironi\u00adcally protested the escala\u00adting conflict in Vietnam.<\/p>\n\n\n\n

Arte Povera (meaning \u201cpoor art\u201d) concludes the painting and sculpture section of the exhibi\u00adtion. Much of this work employed humble materials in an antie\u00adli\u00adtist attempt to break down the barriers between art and life. Such artists as Giovanni Anselmo, Pier Paolo Calzolari, Kounellis, Mario Merz, Marisa Merz, Giuseppe Penone, and Gilberto Zorio explored dynamics of trans\u00adfor\u00adma\u00adtion and growth through combi\u00adna\u00adtioons of natural and indus\u00adtrial substances.<\/p>\n\n\n\n

Glass and Ceramics
Glass\u00adma\u00adking and ceramics, ancient crafts with long tradi\u00adtions in Italy, were revita\u00adlized during the postwar years. Tradi\u00adtional glass\u00adma\u00adking techni\u00adques were the founda\u00adtion for design innova\u00adtions achieved by Paolo Venini and others. Clay\u2019s supple\u00adness and ease of handling attracted several fine artists, who took up ceramics as a sculp\u00adtural medium. Fontana created \u2018Concetto spaziale\u2019 (Spatial Concept) vases, which were punctured and slashed like his canvases. Sculptor Fausto Melotti created whimsical, imagi\u00adna\u00adtive objects and vessels.<\/p>\n\n\n\n

Jewelry
In the 1940s, artists such as Carla Accardi and Melotti started creating decora\u00adtive objects for the body. Form the late 1950s, many artists became attracted to the inherent mallea\u00adbi\u00adlity and fluidity of precious metals, trans\u00adforming their materials into small, often highly expres\u00adsive sculp\u00adtures that incor\u00adpo\u00adrate in miniature the styles and princi\u00adples of their work in other mediums.<\/p>\n\n\n\n

Photo\u00adgraphy
Neorea\u00adlism played a key role in the field of photo\u00adgraphy as well as cinema. Photo\u00adgraphs in this style protrayed grim poverty and urban decay in a documen\u00adtary, testi\u00admo\u00adnial mode. In the late 1940s and the 1950s, photo\u00adgraphers of the groups \u2018La Bussola and La Gondola\u2019 advanced subjec\u00adtive, formalist approa\u00adches. Along with others, they documented the people and landscape of Italy (concen\u00adtra\u00adting in parti\u00adcular on the south) in picturesque, artistic images. In the boom years of the late 1950s \u2018paparazzi\u2019 photo\u00adjour\u00adna\u00adlists fed a growing appetite for sensa\u00adtional images of haute-bourgeois scandals and celebrity escapades.<\/p>\n\n\n\n

Cinema
By using authentic settings and working-class themes, the neorea\u00adlist genre shattered Fascist-era propa\u00adgan\u00addistic cinematic conven\u00adtions. Through films such as Luchino Visconti\u2019s \u2018Osses\u00adsione\u2019 1942 and Roberto Rossellini\u2019s \u2018Roma citt\u00e0 aperta\u2019 (Open City, 1945), neoralism became both an inter\u00adna\u00adtional sensation and an influ\u00aden\u00adtial force shaping other artistic forms.<\/p>\n\n\n\n

Directors like Giuseppe De Santis and Visconti went on to broaden neorealism\u2019s scope by fusing its moral message with the melodrama and sensua\u00adlity. In the 1950s, Federico Fellini and Michel\u00adan\u00adgelo Antonioni turned away from neorea\u00adlism, making more abstract films and the imagi\u00adna\u00adtion. Pier Paolo Pasolini continued this trend in the 1960s, giving poetic content prece\u00addence over natura\u00adlism. Cinema is evoked in this exhibi\u00adtion though posters, two programs of clips, and scree\u00adnings of important films.<\/p>\n\n\n\n

Fashion
In the early 1950, Italien fashion designers posed their first serious challenge to Parisian preemi\u00adnence. Giovanni Battista Giorgini, the leader in estab\u00adli\u00adshing an identity for Italian Fashion, empha\u00adsized weara\u00adbi\u00adlity, practi\u00adca\u00adlity, and simpli\u00adcity of cut. At Florence\u2019s Sala Bianca, he intro\u00adduced inter\u00adna\u00adtional Buyers to the houses of Carosa, Marucelli, Pucci, Veneziani, and others. Many of the Sala Bianca runway models wore shoes designed by Salvatore Ferragamo, who experi\u00admented with uncommon shapes and unusual materials throughout the postwar period.<\/p>\n\n\n\n

Archi\u00adtec\u00adture
Archi\u00adtec\u00adture and urban planning provoked impas\u00adsioned debates after the war because of their essential role in recon\u00adstruc\u00adtion: in replacing countless destroyed struc\u00adtures and in shaping a new social order. The Milan-based group \u2018Movimento di Studi per l\u2019Archi\u00adtettura\u2019 attempted to sustain and invigo\u00adrate the predo\u00admi\u00adnant prewar style, Ratio\u00adna\u00adlism, which had been shaped by early Modernist princi\u00adples. Archi\u00adtects aligned with neorea\u00adlism, a widespread trend also predating the war, made reference to rural and verna\u00adcular struc\u00adtures in their buildings in an attempt to transcend regional and class distinc\u00adtions. The Rome-based \u2018Associa\u00adzione per l\u2019Archi\u00adtettura Organica\u2019 promoted organic archi\u00adtec\u00adture, which was based on Frank Lloyd Wright\u2019s princi\u00adples of design and his notion of democratic idealism.<\/p>\n\n\n\n

Design
The ability to employ both advanced indus\u00adtrial techno\u00adlo\u00adgies and humble handi\u00adc\u00adraft techni\u00adques contri\u00adbuted to Italy\u2019s postwar reputa\u00adtion for high-quality and expres\u00adsive design. The Italian stylistic vocabu\u00adlary \u2013 incor\u00adpo\u00adra\u00adting asymmetry, reduced clean forms, and \u201caerody\u00adnamic\u201d profiles \u2013 and the use of simple, new and readily available local materials proved to be examples for inter\u00adna\u00adtional industry. In the late 1950s, the success of Italian products as export goods fueled in art of the nation\u2019s extra\u00ador\u00addi\u00adnary economic growth.<\/p>\n\n\n\n

This exhibi\u00adtion has been designed by architect Gae Aulenti, well known for her instal\u00adla\u00adtions for the Mus\u00e9e d\u2019Orsay in Paris and Palazzo Grassi in Venice.<\/p>\n<\/div>\n\n\n\n

<\/div>\n<\/div>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

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