An overview of experimental performance in Italy during a historical period marked by the emergence of artists, exposition spaces and events in intensive dialogue with the international scenario, as evidenced by the continuous presence of artists of Fluxus and Body Art.
The reference to territories in the title has a dual meaning, both geographical and in terms of site of the creation and occurrence of actions. The exhibition categorizes the latter in four chromatic areas: the artist’s studio and domestic space; the gallery; alternative and informal places; and institutions, like museums and large events.
The new centrality of the body asserted through performance elicits questions about identity and self-representation, politics, anthropology, myth and art history, as well as the conception of the private dimension as a strategy of resistance and self-assertion.
To provide a visual account of ephemeral artistic practices that elude linear processes of historicization, the exhibition uses photographs, drawings and sketches taken from magazines and publications from the period in question, as well as videos and recordings of oral testimonies.
header: Tomaso Binga, Vista Zero, 24 settembre 1972, photo b/n, Circuito chiuso-aperto, IV Rassegna d’arte contemporanea, 24 settembre – 15 ottobre 1972, Palazzo Comunale, Acireale (Catania). Courtesy Galleria Tiziana Di Caro.
An overview of experimental performance in Italy during a historical period marked by the emergence of artists, exposition spaces and events in intensive dialogue with the international scenario, as evidenced by the continuous presence of artists of Fluxus and Body Art.
The reference to territories in the title has a dual meaning, both geographical and in terms of site of the creation and occurrence of actions. The exhibition categorizes the latter in four chromatic areas: the artist’s studio and domestic space; the gallery; alternative and informal places; and institutions, like museums and large events.
The new centrality of the body asserted through performance elicits questions about identity and self-representation, politics, anthropology, myth and art history, as well as the conception of the private dimension as a strategy of resistance and self-assertion.
To provide a visual account of ephemeral artistic practices that elude linear processes of historicization, the exhibition uses photographs, drawings and sketches taken from magazines and publications from the period in question, as well as videos and recordings of oral testimonies.
header: Tomaso Binga, Vista Zero, 24 settembre 1972, photo b/n, Circuito chiuso-aperto, IV Rassegna d’arte contemporanea, 24 settembre – 15 ottobre 1972, Palazzo Comunale, Acireale (Catania). Courtesy Galleria Tiziana Di Caro.