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Geisteswissenschaften, Kunst, Musik / Kunstgeschichte
From a leading art historian, a provocative exploration of the intersection of art, politics, and history in 1960s Italy
Flashback, Eclipse is a groundbreaking study of 1960s Italian art and its troubled but also resourceful relation to the history and politics of the first part of the twentieth century and the aftermath of World War II. Most analyses have treated the 1960s in Italy as the decade of “presentism” par excellence, a political decade but one liberated from history. Romy Golan, however, makes the counterargument that 1960s Italian artists did not forget Italian and European history but rather reimagined it in oblique form. Her book identifies and explores this imaginary through two forms of nonlinear and decidedly nonpresentist forms of temporality—the flashback and the eclipse. In view of the photographic and filmic nature of these two concepts, the book’s analysis is largely mediated by black-and-white images culled from art, design, and architecture magazines, photo books, film stills, and exhibition documentation.
The book begins in Turin with Michelangelo Pistoletto’s Mirror Paintings; moves on to Campo urbano, a one-day event in the city of Como; and ends with the Vitalità del Negativo exhibition in Rome. What is being recalled and at other moments occluded are not only episodes of Italian nationalism and Fascism but also various liberatory moments of political and cultural resistance. The book’s main protagonists are, in order of appearance, artists Michelangelo Pistoletto and Giosetta Fioroni, photographer Ugo Mulas, Ettore Sottsass (as critic rather than designer), graphic designer Bruno Munari, curators Luciano Caramel and Achille Bonito Oliva, architect Piero Sartogo, Carla Lonzi (as artist as much as critic), filmmakers Michelangelo Antonioni and Bernardo Bertolucci, and, in flashback among the departed, painter Felice Casorati, writer Massimo Bontempelli, art historian Aby Warburg, architect Giuseppe Terragni, and Renaissance friar-philosopher-mathematician Giordano Bruno (as patron saint of the sixty-eighters).
Architectural Design, Narrative, Ettore Sottsass, Italian art, Lothar Baumgarten, Mayor of Rome, Light fixture, Duct tape, Carla Lonzi, Arte, Designer, Neo-fascism, Felice Casorati, Triennale, Walter Benjamin, Pop art, Ugo Mulas, Trade fair, Franz Roh, Photography, L'Eclisse, Arte Povera, Venice Biennale, Vecchio, Mural, Piazza San Marco, Biella, Picturesque, Magic realism, Woodcut, Galeries Lafayette, Domus (magazine), Naples National Archaeological Museum, L'espresso, Jeffrey Schnapp, Leo Castelli, Lighting, Bruno Munari, Flash Art, Galleria Nazionale d'Arte Moderna, Achille Bonito Oliva, Bourgeoisie, Casa del Fascio, Mise en abyme, Sweater, Michelangelo Antonioni, ARTnews, Galleria d'Arte Moderna (Milan), Furniture, Ettore Ferrari, Giuseppe Terragni, The Conformist, Postcard, Foligno, Imagery, Michelangelo Pistoletto, Spoleto, Pierre Restany, Vicenza, Bernardo Bertolucci, Publication, The Painting, Christian Boltanski, Robert Rauschenberg, Palazzo delle Esposizioni, Curator, Giulio Carlo Argan, Massimo Bontempelli, Tableau vivant, Antihero, Pollution, Lucio Fontana, Sculpture, Writing, Aby Warburg, Exhibition catalogue, American Pop, Hall of Mirrors, L'Avventura, Gerhard Richter, Germano Celant, Benito Mussolini, Sagene, Grand Canal (Venice), MAXXI, Giornata, Art critic, Contemporary art, Vermouth, Mario Schifano, Italo Calvino, Piero Gilardi, Economic miracle, Alpini, Architectural historian, Portrait, Luciano Fabro, Trade magazine, Biennale, Intellectual