In the summer of 1947, Yves Klein, Claude Pascal, Armand Fernandez, sit on the beach in Nice: viewing the sea and the blue sky, they do nothing, and make statements on the art to come, the Art and the Big Style of the Future. From that moment, those words, their lives will change radically: become a new life, a Vita Nova, a life as an artist without artworks, just words, stories, gestures. In that episode, was born the New Realism movement and the artistic will of overcoming the problem of art and the philosophy of art, according to Modernism and the Action Painting. An new art, an art without artworks but always both in the artworld and the world of life, is incoming now: through the project, along phenomenological and conceptual and with a lot of para-textual apparatus, of an the immaterialization of painting (Klein ), or through the process, post-Dadaist, of a destruction of plastic artifacts and formal and material characteristics of sculpture (Arman). What happens to literary and critical description when painting emancipates itself from all physical mediums, when the work of art disappears from the exposition site and it becomes immaterial, indiscernible within its surrounding space? What type of verbal depiction and aesthetic relationship is possible under these programmed and produced conditions? What type of phenomenology, pragmatic, rhetoric, poetics, and ontology of a so called 'work of art' is possible upon? What type of signs, of percepts, of effects and affects, of appearance and verbal apparatus, actually of beliefs, are put into play in this an-aesthetic relation? Until this day, after more than 50 years, the “Exposition of Void” of Yves Klein doesn’t quit asking these and other questions on aesthetics, theory of literature and critics, and to the history of art. In that episode and in his history après-coup, made by three young artists, we could grasp the emergence of a true contemporary artist myth: an artisti without art but with an agenda, without artworks at all but full of intentions and projects, capable of creating a hermeneutical and poetic system of speeches and gestures, words and actions, and able to recast the history of art and to reconfigure the story of other artists too.
Nell’estate del 1947, Yves Klein, Claude Pascal, Armand Fernandez, siedono sulla spiaggia di Nizza: guardano il mare e il cielo azzurro, non fanno niente, e fanno dichiarazioni sull’arte a venire, sull’Arte e il Grande Stile del Futuro. Da quel momento, da quelle parole, la loro vita cambierà radicalmente: diventerà una vita nuova, una vita di artista senza opere d’arte, fatta solo di parole, racconti, gesti. In quell’episodio, nasce il Nouveau Réalisme e la volontà artistica del superamento della problematica dell’arte, secondo il Modernismo e l’Action Painting, tramite il progetto, insieme fenomenologico, concettuale e para-operale, dell’immatarializzazione della pittura (Klein), o tramite il processo, post-dadaista, di distruzione degli artefatti e della scultura (Arman). In quell’episodio e nel suo racconto fatto successivamente dai tre giovani artisti, si può intendere la nascita di un vero e proprio mito dell’artista contemporaneo: senza opere d’arte ma pieno di intenzioni e progetti, capace di creare un apparato ermeneutico e poetico fatto insieme di discorsi e gesti, di parole e azioni, e capace di riformulare la storia dell’arte e di riconfigurare la storia degli artisti del passato.
Vita Nova. L’arte senza opere raccontata dall’artista
FIMIANI, Filippo
2016-01-01
Abstract
In the summer of 1947, Yves Klein, Claude Pascal, Armand Fernandez, sit on the beach in Nice: viewing the sea and the blue sky, they do nothing, and make statements on the art to come, the Art and the Big Style of the Future. From that moment, those words, their lives will change radically: become a new life, a Vita Nova, a life as an artist without artworks, just words, stories, gestures. In that episode, was born the New Realism movement and the artistic will of overcoming the problem of art and the philosophy of art, according to Modernism and the Action Painting. An new art, an art without artworks but always both in the artworld and the world of life, is incoming now: through the project, along phenomenological and conceptual and with a lot of para-textual apparatus, of an the immaterialization of painting (Klein ), or through the process, post-Dadaist, of a destruction of plastic artifacts and formal and material characteristics of sculpture (Arman). What happens to literary and critical description when painting emancipates itself from all physical mediums, when the work of art disappears from the exposition site and it becomes immaterial, indiscernible within its surrounding space? What type of verbal depiction and aesthetic relationship is possible under these programmed and produced conditions? What type of phenomenology, pragmatic, rhetoric, poetics, and ontology of a so called 'work of art' is possible upon? What type of signs, of percepts, of effects and affects, of appearance and verbal apparatus, actually of beliefs, are put into play in this an-aesthetic relation? Until this day, after more than 50 years, the “Exposition of Void” of Yves Klein doesn’t quit asking these and other questions on aesthetics, theory of literature and critics, and to the history of art. In that episode and in his history après-coup, made by three young artists, we could grasp the emergence of a true contemporary artist myth: an artisti without art but with an agenda, without artworks at all but full of intentions and projects, capable of creating a hermeneutical and poetic system of speeches and gestures, words and actions, and able to recast the history of art and to reconfigure the story of other artists too.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
