Conference Presentations by Luigia Lonardelli
LE PRATICHE DELL'ARTE CONTEMPORANEA, Incontri, Roma Tre, DAMS
WOMEN ART DEALERS (1940-1990) Christie's Education Symposium 2019
Rome Contemporary
La Roma degli anni Settanta è costellata da episodi espositivi nati all'interno di spazi privati ... more La Roma degli anni Settanta è costellata da episodi espositivi nati all'interno di spazi privati e in luoghi pubblici non designati all'arte e destinati ad ospitarla per scelte spesso non permanenti o semplicemente incidentali. Guardare a questi spazi come fossero opere aiuta a decifrare una storia alternativa, e successiva, alla mitografia che accompagna il decennio Sessanta.
Books by Luigia Lonardelli
A Roma nel 1970 Achille Bonito Oliva e Graziella Lonardi inaugurano la stagione delle mostre orga... more A Roma nel 1970 Achille Bonito Oliva e Graziella Lonardi inaugurano la stagione delle mostre organizzate dagli Incontri Internazionali d’Arte. È l’inizio di un percorso che li vedrà attraversare il decennio in una città che ripensa i suoi modelli culturali passando dalla sperimentazione alla crisi.
Papers by Luigia Lonardelli
Materia-autore | Author-Matter
Recherche, 2010
Livre: Michelangelo pistoletto from one to many, 1956-1974 (hardback) BASUALDO Carlos, CHEVRIER J... more Livre: Michelangelo pistoletto from one to many, 1956-1974 (hardback) BASUALDO Carlos, CHEVRIER Jean-francois, GILMAN Claire, GUERCIO Gabriele, PENN Suzan.
L’articolo ha come centro d’indagine le recenti ricerche dell’arte contemporanea che ruotano into... more L’articolo ha come centro d’indagine le recenti ricerche dell’arte contemporanea che ruotano intorno alla figura della prigione. Quest’ultima viene indagata tanto nella sua dimensione fisica quanto nel suo significato metaforico, legato in particolare alla societa contemporanea. Nelle opere analizzate la cella, la gabbia, il carcere sono metafora di un mondo in cui l’esasperazione della condivisione, a cui ci ha abituato internet, non e andata di pari passo con l’accrescimento di forme liberate di espressione, ma si e configurata piuttosto come una sempre piu evidente mancanza di privacy.
"Vesper. Rivista di architettura, arti e teoria / Journal of Architecture, Arts and Theory" Materia-autore / Author-Matter, 2020
Maria Lai (Ulassai, 1919 - Cardedu, 2013) con la sua opera ha attraversato tutta la ricerca artis... more Maria Lai (Ulassai, 1919 - Cardedu, 2013) con la sua opera ha attraversato tutta la ricerca artistica del secondo Novecento italiano, la sua capacità immaginifica ha saputo traghettare il suo lavoro verso le nuove pratiche comunitarie del nuovo millennio. Pur rimanendo volutamente appartata dal sistema di accreditamento internazionale, Lai ha sviluppato un personale esperanto che alla consapevolezza del linguaggio e della tradizione del suo contesto di provenienza, l’Ogliastra, ha sapientemente unito l’elaborazione di un lessico universalmente comprensibile in cui la Sardegna diventa metafora di una condizione di insularità personale e collettiva. L’articolo prende in esame la scelta e il trattamento di alcuni materiali utilizzati e da lei prediletti, leggendoli come testimonianze di un atteggiamento che rivendica l’anonimato della mano dell’artista e la scelta di intraprendere un percorso di deculturizzazione e unlearning funzionale a definire un territorio di ricerca libero da ogni precondizionamento identitario e linguistico.
Maria Lai (Ulassai, 1919 - Cardedu, 2013) holds a place of prominence in the Italian artistic research of the second half of the 20th century, her imaginative genius propelling her work towards the innovative community practices of the new millennium. While deliberately keeping a distance from international art circles, Lai developed a universal idiom which expertly combined the language and traditions of her place of origin, Ogliastra, with a new globally understandable lexicon in which Sardinia becomes the metaphor for a condition of personal and collective insularity. This article examines the selection and manipulation of some of her preferred materials interpreting them as emblematic of a stance that affirms, on the one hand, the anonymity of the artist’s hand, and, on the other, the choice to embark on a path of deculturisation and unlearning in order to define a research territory free from identity and language bias.
in "Esposizioni", Atti del convegno, Parma, 27-28 gennaio 2017, a cura di Francesca Castellani, Francesca Gallo, Vanja Strukelj, Francesca Zanella, Stefania Zuliani in "Ricerche di s/confine. Oggetti e pratiche artistico/culturali", n. 4 , 2018
L’intervento si concentra sul catalogo curato da Achille Bonito Oliva e pubblicato in occasione d... more L’intervento si concentra sul catalogo curato da Achille Bonito Oliva e pubblicato in occasione della
mostra Amore mio inaugurata a Montepulciano nel 1970. Il libro diventa l’occasione per sottolineare e
ridefinire il meccanismo espositivo mettendo in discussione una logica oppositiva diventata a questa
data garanzia di genuinità delle pratiche sperimentali. In Amore mio gli artisti vengono chiamati nel
catalogo a considerarsi in rapporto ad altri artisti, con il proposito di analizzarli nella loro essenza
relazionale e di gruppo. È l’inizio di una tendenza di Bonito Oliva a lavorare sul campo delle teorie
dell’informazione, riprendendo alcune idee prettamente sociologiche che iniziano a diffondersi in questi
anni. Come avverrà per altri progetti del critico, e come si era già verificato in situazioni espositive
internazionali, il catalogo inizia a prendere una forma totalmente indipendente, slegata dalla mostra, ma
allo stesso tempo a proporsi non più come illustrazione, ma didascalia problematizzante, a volte anche
in totale contrapposizione con la mostra stessa.
The event focuses on the catalogue curated by Achille Bonito Oliva and published on the occasion of
the Amore mio exhibition, opened in Montepulciano in 1970. The book provides the opportunity to
discuss and redefine the concept of exhibition by questioning the oppositionist approach that has come
to guarantee the genuineness of experimental practices. In Amore mio, the catalogue is a means for
artists to cooperate, in order for their ability to communicate and interact within a group to be analysed.
Indeed, Bonito Oliva has started working on information theories, drawing inspiration from sociological
ideas that have been spreading in recent years. As in future projects by the critic and past international
exhibitions, catalogues are starting to become increasingly independent and detached from exhibitions,
being no longer a mere collection of pictures, but rather a critical caption that is sometimes in contrast
with the very exhibition.
Art Journal, 2018
This is an accepted manuscript of an article published by Taylor & Francis in Art Journal on Apri... more This is an accepted manuscript of an article published by Taylor & Francis in Art Journal on April 2018, available at https://www.tandfonline.com/10.1080/00043249.2018.1456247
Contemporanea was an exhibition held in Rome at the end of 1973, a time of crucial change for both the city and the country. It took place inside a car park and was coordinated by Achille Bonito Oliva and a group of eleven curators. Still considered a fundamental point of reference by those who had the opportunity to visit it, the exhibition was especially pertinent to the generation of artists born in the 1950s. Through the interpretation of archival documents, this essay will reconstruct the path that led to the conception and realization of Contemporanea, beginning with a consideration of the sociocultural factors at play in Rome at the time, and how they related to the public's perceptions of the choice of a parking garage as an exhibition site.
In the late 1950s Italy went through a fundamental transition in terms of its social, cultural, a... more In the late 1950s Italy went through a fundamental transition in terms of its social, cultural, and economic identity. After experiencing a period of unprecedented industrial growth, the country found itself having to come to terms with a form of modernity that had perhaps come too quickly. It had to deal with the disintegration of a society that had moved from the countryside to the cities, shifting from family-based communities to individuals with increasingly evident consumerist desires and needs. Artists experienced the same feelings and contradictions, attracted to the possibilities offered by this new world while also being intimidated by its consequences.
Livre: Michelangelo pistoletto from one to many, 1956-1974 (hardback) BASUALDO Carlos, CHEVRIER J... more Livre: Michelangelo pistoletto from one to many, 1956-1974 (hardback) BASUALDO Carlos, CHEVRIER Jean-francois, GILMAN Claire, GUERCIO Gabriele, PENN Suzan.
The essay provides a reading of the artist's oeuvre, outlining her production from the Sixties to... more The essay provides a reading of the artist's oeuvre, outlining her production from the Sixties to today, and discussing her practice in relation to its contemporary Italian context.
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Conference Presentations by Luigia Lonardelli
Books by Luigia Lonardelli
Papers by Luigia Lonardelli
Maria Lai (Ulassai, 1919 - Cardedu, 2013) holds a place of prominence in the Italian artistic research of the second half of the 20th century, her imaginative genius propelling her work towards the innovative community practices of the new millennium. While deliberately keeping a distance from international art circles, Lai developed a universal idiom which expertly combined the language and traditions of her place of origin, Ogliastra, with a new globally understandable lexicon in which Sardinia becomes the metaphor for a condition of personal and collective insularity. This article examines the selection and manipulation of some of her preferred materials interpreting them as emblematic of a stance that affirms, on the one hand, the anonymity of the artist’s hand, and, on the other, the choice to embark on a path of deculturisation and unlearning in order to define a research territory free from identity and language bias.
mostra Amore mio inaugurata a Montepulciano nel 1970. Il libro diventa l’occasione per sottolineare e
ridefinire il meccanismo espositivo mettendo in discussione una logica oppositiva diventata a questa
data garanzia di genuinità delle pratiche sperimentali. In Amore mio gli artisti vengono chiamati nel
catalogo a considerarsi in rapporto ad altri artisti, con il proposito di analizzarli nella loro essenza
relazionale e di gruppo. È l’inizio di una tendenza di Bonito Oliva a lavorare sul campo delle teorie
dell’informazione, riprendendo alcune idee prettamente sociologiche che iniziano a diffondersi in questi
anni. Come avverrà per altri progetti del critico, e come si era già verificato in situazioni espositive
internazionali, il catalogo inizia a prendere una forma totalmente indipendente, slegata dalla mostra, ma
allo stesso tempo a proporsi non più come illustrazione, ma didascalia problematizzante, a volte anche
in totale contrapposizione con la mostra stessa.
The event focuses on the catalogue curated by Achille Bonito Oliva and published on the occasion of
the Amore mio exhibition, opened in Montepulciano in 1970. The book provides the opportunity to
discuss and redefine the concept of exhibition by questioning the oppositionist approach that has come
to guarantee the genuineness of experimental practices. In Amore mio, the catalogue is a means for
artists to cooperate, in order for their ability to communicate and interact within a group to be analysed.
Indeed, Bonito Oliva has started working on information theories, drawing inspiration from sociological
ideas that have been spreading in recent years. As in future projects by the critic and past international
exhibitions, catalogues are starting to become increasingly independent and detached from exhibitions,
being no longer a mere collection of pictures, but rather a critical caption that is sometimes in contrast
with the very exhibition.
Contemporanea was an exhibition held in Rome at the end of 1973, a time of crucial change for both the city and the country. It took place inside a car park and was coordinated by Achille Bonito Oliva and a group of eleven curators. Still considered a fundamental point of reference by those who had the opportunity to visit it, the exhibition was especially pertinent to the generation of artists born in the 1950s. Through the interpretation of archival documents, this essay will reconstruct the path that led to the conception and realization of Contemporanea, beginning with a consideration of the sociocultural factors at play in Rome at the time, and how they related to the public's perceptions of the choice of a parking garage as an exhibition site.
Maria Lai (Ulassai, 1919 - Cardedu, 2013) holds a place of prominence in the Italian artistic research of the second half of the 20th century, her imaginative genius propelling her work towards the innovative community practices of the new millennium. While deliberately keeping a distance from international art circles, Lai developed a universal idiom which expertly combined the language and traditions of her place of origin, Ogliastra, with a new globally understandable lexicon in which Sardinia becomes the metaphor for a condition of personal and collective insularity. This article examines the selection and manipulation of some of her preferred materials interpreting them as emblematic of a stance that affirms, on the one hand, the anonymity of the artist’s hand, and, on the other, the choice to embark on a path of deculturisation and unlearning in order to define a research territory free from identity and language bias.
mostra Amore mio inaugurata a Montepulciano nel 1970. Il libro diventa l’occasione per sottolineare e
ridefinire il meccanismo espositivo mettendo in discussione una logica oppositiva diventata a questa
data garanzia di genuinità delle pratiche sperimentali. In Amore mio gli artisti vengono chiamati nel
catalogo a considerarsi in rapporto ad altri artisti, con il proposito di analizzarli nella loro essenza
relazionale e di gruppo. È l’inizio di una tendenza di Bonito Oliva a lavorare sul campo delle teorie
dell’informazione, riprendendo alcune idee prettamente sociologiche che iniziano a diffondersi in questi
anni. Come avverrà per altri progetti del critico, e come si era già verificato in situazioni espositive
internazionali, il catalogo inizia a prendere una forma totalmente indipendente, slegata dalla mostra, ma
allo stesso tempo a proporsi non più come illustrazione, ma didascalia problematizzante, a volte anche
in totale contrapposizione con la mostra stessa.
The event focuses on the catalogue curated by Achille Bonito Oliva and published on the occasion of
the Amore mio exhibition, opened in Montepulciano in 1970. The book provides the opportunity to
discuss and redefine the concept of exhibition by questioning the oppositionist approach that has come
to guarantee the genuineness of experimental practices. In Amore mio, the catalogue is a means for
artists to cooperate, in order for their ability to communicate and interact within a group to be analysed.
Indeed, Bonito Oliva has started working on information theories, drawing inspiration from sociological
ideas that have been spreading in recent years. As in future projects by the critic and past international
exhibitions, catalogues are starting to become increasingly independent and detached from exhibitions,
being no longer a mere collection of pictures, but rather a critical caption that is sometimes in contrast
with the very exhibition.
Contemporanea was an exhibition held in Rome at the end of 1973, a time of crucial change for both the city and the country. It took place inside a car park and was coordinated by Achille Bonito Oliva and a group of eleven curators. Still considered a fundamental point of reference by those who had the opportunity to visit it, the exhibition was especially pertinent to the generation of artists born in the 1950s. Through the interpretation of archival documents, this essay will reconstruct the path that led to the conception and realization of Contemporanea, beginning with a consideration of the sociocultural factors at play in Rome at the time, and how they related to the public's perceptions of the choice of a parking garage as an exhibition site.