1946 a. | INFORMAL ART. Sensitive matter.
Informal art rose after the end of World War II. It is not a theorised school or trend, but rather the pooling of a number of different styles and approaches having in common the idea of investigating the expressive, morphological and emotional potential of matter. This research contrasts the ...
1947 | SPATIALISM. Space beyond the canvas.
The spatialism movement is one thing with the work of its founder Lucio Fontana, who sees the ‘spatial concept of art’ as a point of arrival of prior experiences and linguistic research which, after 1958, reach the conclusive “act” of slashing the canvas. A willing, ...
1958 | NOUVEAU RÉALISM. The poetics of the object.
This movement, theorised by the French critic Pierre Restany, takes shape between 1958 and 1959 and is characterised by the recovery of everyday objects which, after being processed, transformed, piled up, emphasised, become part of the work of art or make up the work of art itself. An example of ...
1958 a. | NEW DADA. The art of assemblage.
The term new dada refers to a trend within American painting which established itself in the late 1950s in the wake of the latest developments of Dadaism, of which it is a continuation rather than a revival. It is artists like Robert Rauschenberg with his combine painting, Jasper Johns and Jim ...
1961 | POP ART. The new urban scene.
The phrase pop art, an abbreviation of “popular art” is adopted by the English critic Lawrence Alloway in 1961 to refer to an art movement which appears in England and the United States – and later in Europe – in the 1950s in response to Abstract Expressionism, contrasting ...
1966 | MINIMALISM OR PRIMARY STRUCTURES. Giant geometries.
The Primary Structures exhibition at the Jewish Museum of New York in 1966 marks the official birth of minimalism. This new research trend draws the exaggeration of sizes and modular or serial repetition from pop art and the taste for geometry from op(tical) art, which leads to an analysis of the ...
1968 | PROCESS ART or ANTIFORM. The empirical space.
In 1966 Lucy Lippard organises the Eccentric Abstraction exhibition at the Fishbach Gallery of New York, bringing together works by American and European artists characterised by the rejection of any minimalist-like rigid geometric structure and of any imposed modular or serial order unrelated to ...
1967 | ARTE POVERA. The image becomes matter and space.
At the Arte Abitabile exhibition organised by the Sperone gallery in Turin in 1966, the artists Piero Gilardi, Michelangelo Pistoletto, Mario Merz and Gianni Piacentino put into action the idea of taking the art object away from the sacrarium of the museum, placing it directly in the space of ...
1967 | LAND ART. Actions on the territory.
In 1967 Michel Heizer convinces Bob Scull, the ‘king’ of taxis in New York and pop art collector, to fund the most paradoxical art operation ever attempted: flying over the Nevada desert to find a place to drill. The following year, the Earthworks exhibition organised by the artist ...
1967 | CONCEPTUAL ART. The philosophy of art.
The term appears for the first time in the Paragraphs on Conceptual Art published by Sol LeWitt in the magazine Artforum in 1967. The following year Lucy Lippard and John Chandler publish the essay The Dematerialisation of Art [Art International, February 1968], which aims at analysing the two ...
1963 | NEO-EXPRESSIONISM or NEW FAUVES. Art returns to painting.
The term neo-expressionism describes a cultural movement that invades Germany and then the United States starting in the late 1960s and marking a widespread return to painting – a painting that, as its name suggests, is characterised by the re-appearance of the features typical of German ...
1979 | TRANSAVANTGARDE. The challenge to rationalism.
It is neither a school nor a trend, but rather an orientation, theorised in 1979 by critic Achille Bonito Oliva as an overcoming of the minimalist, process and conceptual art experiences which had characterised the 1960s and 1970s with their legacy of performances, happenings and installations. ...
1988| YOUNG BRITISH ART or BRITART. The desecrating spirit of youth.
Young British art first appears at the exhibition Freeze, organised by a group of sixteen students of the Goldsmiths College led by Damien Hirst in an abandoned building in London Docklands in 1988-89. Within a decade the success of this self-promotion action brings into the limelight a ...
1984 | NEO-GEO. Post-industrial geometries.
In response to the strong subjectivism of neo-expressionism, in the early 1980s a new geometrical abstraction appears in the US and in Europe, which freely uses or adapts non-figurative art of the conceptual, programmatic and assemblage types of the 1960s and 1970s. This trend, which groups very ...
1990 | NEW OBJECTIVITY. The Düsseldorf school.
The phrase new objectivity derives from the title of the exhibition Neue Sacklickait that was held at the Kunsthalle of Mannheimin in 1925. Born in the cultural climate of the Weimar Republic, this phrase refers to the painting of a group of German artists [Otto Dix, George Grosz, Max Beckmann, ...
- Exhibitions
- Events
- Project Room
- Plebiscito Square
Seleziona la lingua