In the summer of 1947, Yves Klein, Claude Pascal, Armand Fernandez, sit on the beach in Nice: looking at the sea and the blue sky without clouds and birds - just to kill -, doing nothing, and making statements on the art to come, the Art and the Big Style of the Future. From that moment on, from those words, their lives would change radically and become completely new: a Vita Nova, the life as an artist without artworks, just fictions and narrated gestures. It was a moment that saw the birth of the Nouveau Réalisme movement and the artistic will to overcome the problem of art and the philosophy of art, according to Modernism and the Action Painting, and, on one hand, rediscovering the very origins of the art before the art, such as the hand- or footprints in the Paleolithic caves, and, on the other, relinking to the very signs of the end of the art in the Atomic Age, namely to the shadows of the bodies imprinted on the walls of the Japanese cities after the explosion of the nuclear bomb . In that episode and in the après-coup narrative, told by three young artists, we can grasp the emergence of a true contemporary artistic myth and history.
"Il faut détruire les oiseaux". Mythes et histoires de l’artiste désoeuvré
Fimiani Filippo
2019-01-01
Abstract
In the summer of 1947, Yves Klein, Claude Pascal, Armand Fernandez, sit on the beach in Nice: looking at the sea and the blue sky without clouds and birds - just to kill -, doing nothing, and making statements on the art to come, the Art and the Big Style of the Future. From that moment on, from those words, their lives would change radically and become completely new: a Vita Nova, the life as an artist without artworks, just fictions and narrated gestures. It was a moment that saw the birth of the Nouveau Réalisme movement and the artistic will to overcome the problem of art and the philosophy of art, according to Modernism and the Action Painting, and, on one hand, rediscovering the very origins of the art before the art, such as the hand- or footprints in the Paleolithic caves, and, on the other, relinking to the very signs of the end of the art in the Atomic Age, namely to the shadows of the bodies imprinted on the walls of the Japanese cities after the explosion of the nuclear bomb . In that episode and in the après-coup narrative, told by three young artists, we can grasp the emergence of a true contemporary artistic myth and history.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
