![]() Digging out the ambivalences and tensions within these paradigms, the course will study both idealist and anti-idealist traditions in the theorisation of abstraction, including both Breton and Bataille, and Baudrillard as well as Mondrian.Įach class is structured around a particular model of form, or way of making or viewing, originating for the most part in the early decades of the twentieth century and further developed in the post-war and contemporary periods considering how it has been developed, explored and complicated, even undermined or reversed, by artists working at different times and in different places. This course will explore these twin desires and the art to which they gave rise: offering a way of re-examining and expanding the histories of abstract art, traversing the tradition of heroic, or visionary, 'utopian' modernist abstraction and its key forms and paradigms (including the monochrome and the grid) as well as those emerging from more alternative or counter-traditions (such as silence, or the refusal of work). This impulse was often allied to the desire to remake society anew, finding new models for individual living and for social relations. The desire to transform art, cancelling and rejecting its previous histories and beginning again, lay behind much twentieth-century artistic experiment, and above all the development of abstraction. Postgraduate Course: Utopia Zones: Modernism and Abstraction (HIAR11100) Course Outline SchoolĬollege of Arts, Humanities and Social Sciences ![]() ‘I was very touched to discover the works, some of which I had only seen in pictures.’ The exhibition will be on show until 21 December at the gallery’s Paris outpost, and is part of a programme of exhibitions devoted to the Italian cultural landscape from the 1950s to the 1980s.DRPS : Course Catalogue : Edinburgh College of Art : History of Art ‘It was very emotional when we opened the boxes,’ recounts Zana, who sourced the historical pieces from a number of collections and foundations across Europe. Other significant works include a cast resin dining table by Gaetano Pesce from 1980, a wooden chair by Carlo Mollino from 1959 and a camouflage fabric on frame by Alighiero Boetti from 1967. If architect Andrea Branzi and artist Piero Paolo Calzolari never had a chance to meet in real life, Zana claims they now have: ‘I created a meeting between them, a sharing of values.' Whether linked by a similar aesthetic sensitivity, philosophical concerns or shared vocabulary, the Italian duos dismantle the boundaries between art and design to reveal the common approaches that came to define this hopeful epoch. ‘It is about their common ways of understanding their time.’įor Utopia, Zana has paired 17 artists with 17 designers and architects, creating a mise-en-scène of imaginary scenarios in which Giorgio De Chirico befriends Ettore Sottsass and Lucio Fontana meditates with Carlo Mollino. ‘The exhibition is not about creating historical links between them,’ explains French architect Charles Zana, who curated and conceived the group show in collaboration with the Florence-born gallery. Paying homage to the radical legacy of the period spanning from the mid-1940s to the 1970s, the exhibition Utopia has turned Tornabuoni Art in Paris into a salon of intimate conversations between Italy’s greatest post-war artists and architects. While arte povera artists, from the late 1960s onwards, celebrated a return to simple and unconventional materials, coincidentally, the radical design movement proposed new ways of living, empowering a generation of architects who were critical of traditional planning methods. In the decades that followed World War II, post-fascist Italy experienced a cultural revolution. The political awakening the resulted from years of dictatorship led to a creative renaissance, shifting the country’s cultural landscape forever.
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