A small silhouette photographed from behind, from above, strolling in a big grassy area measuring 3.5 m x 5.1 m: some extent in the immensity, a crossing… It is a manifesto work, embodying all the goals of emancipation of the picture of the avant-garde artists of the 1970s, that we've got chosen from the gathering of the Fondation Louis Vuitton. A big-format photograph printed on canvas, with an eloquent title, created by some of the eminent members of Arte Povera, featured within the thrilling exhibition devoted to the transalpine movement in two Parisian venues devoted to the visible arts.
Entrare nell’opera, «Getting into the work»; it isn't on the injunctive mode but on the operative mode that Giovanni Anselmo said, in 1971, his forfeit: having been photographed operating in a panorama, he declared, in his title, to have taken possession of it, to have «entered the work.» He thus caught the picture in its personal lure: he had entered the work because the work was the photograph of the panorama that he had trodden together with his personal ft… Like Alice in Wonderland a century earlier,1 the artist himself went via the wanting glass…
In the same method that Pistoletto in the 1960s together with his Tableaux-miroirs had «[violated] the area of the painting by bringing the spectator into the painting, «2 Anselmo was breaking with the «pictorial autonomy of the work,» disturbed by this intrusion of the artist’s determine into the very coronary heart of his work. The stake was of measurement, as a result of it was a question for the partisans of «the poor artwork,» that is to say of the art decreased to its simplest parts, to «make enter the life within the artwork,» to interrupt with the fictive fixity, the lie of the image, but in addition to deconstruct its language, to free itself from «the rhetoric of the icons» to imagine new plastic prospects.
Rid of its perform of recording actuality, images can be thought-about as a medium in its personal right, and the artists of the Italian avant-garde will make it one in every of their favorite instruments of experimentation and investigation. Collaborating in a type of re-enchantment of the landscape and, much more, in a re-appropriation of this landscape, decreased for centuries to a purely pictorial two-dimensionality, Giovanni Anselmo operates in this oversized photograph (with regard to the standard dimensions of photographic prints) an actual reversal of the gaze: leaving the static place of the viewer fixing the picture by way of his lens to leap into the void of the previously framed panorama, he takes physical possession of the area, turns into one with nature. A fusion magnified, dramatized by the massive format of the work «[abolishing] any real measure of area and time..
- Les Aventures d’Alice au pays des merveilles de Lewis Carroll furent publiées en 1865.
- Quentin Bajac, directeur du Jeu de Paume, co-commissaire de l’exposition « Renverser ses yeux – Autour de l’Arte povera ».
L’article FOCUS / WORK FROM THE COLLECTION OF THE FONDATION LOUIS VUITTON est apparu en premier sur Galerie Joseph.
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