METHODOLOGICAL ASPECTS OF CONTEMPORARY ART EXHIBITION SPACES
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- Versione italiana
- Academic year
- 2022/2023
- Teacher
- ADA PATRIZIA FIORILLO
- Credits
- 12
- Didactic period
- Secondo Semestre
- SSD
- L-ART/03
Training objectives
- The aim of the course is to give the students methodological instruments of approach to the expositive paths relative to the contemporary art exhibitions, according to a dual objective:
Knowledge: in relation to a historical-critical context of the artistic paths regarding exhibitions of contemporary art, starting from the Sixties of the XX century, giving attention to the sphere of the proposals that, in the last decades, have seen the development of new geographies.
Ability: in order to interpret, direct and involve the public in the itineraries relative to the great contemporary expositive events, considering the changes that have marked such experiences both in the national scene and in that international. Prerequisites
- Hand book knowledge of the contemporary artistic experiences, from the historical avant-garde to the present time.
Course programme
- How can it read a contemporary art exhibition? How can an expositive event be conceived? And how are the expositive paths changed as they are destined to reach the general public? Based on these questions, the course will examine some important events of the contemporary art, identified as cases study. Starting with significant exhibitions that fell in the 1930s and after hints at the new structures dictated by museology and museography, we will look in particular at the art scene after World War II. Among the most interesting examples: the historic Venice Biennale of 1964, some performative installations of the 1970s, exhibitions as “Magiciens de the earths” at the Centre Pompidou and the Parc de la Villette of Paris in 1989, that introduces the important phenomenon of the globalism in the contemporary until considering some emblematic cases of modern and contemporary art museum rearrangements such as the Gallery of Modern Art in Rome and the Van Abbemuseum in Eindhoven, as well as some of the more recent art to the last editions of the Biennal of Venice. The analysis of these cases will be object of some reflections, basing on both a historical-artistic profile and the methodological point of view, in order to collocate such experiences and examine how they influence the tourist flows of our time.
Didactic methods
- The course will consist in lessons of theoretical nature conducted with the screening of iconographic material. Besides, some seminars will be suggested as moments of debate and confrontation with critics, curators and directors of museums. Classes will be conducted in the classroom with streaming mode using the Classroom platform Code rbaffq7
Learning assessment procedures
- The final test, relative to attending and non attending students, is in oral form and it will cover the themes analysed during the lessons and meetings. It provides for both a good knowledge of the texts indicated in bibliography and an ability of critical contextualize of the discipline and its relative topics. The exam will have a duration of about twenty minutes during which three or four questions will direct to the candidate.
Reference texts
- Here a series of reference texts from which some notes will be produced for the exam:
M. Toffanello (a cura di), All’origine delle grandi mostra d’arte in Italia (1993-40). Storia dell’arte e storiografia tra divulgazione di massa e propaganda, Il RIO, Mantova 2017.
A. Huber, Il museo italiano. La trasformazione di spazi storici in spazi espositivi. Attualità dell'esperienza museografica degli anni '50, Lybra Immagine, Milano 1997.
E. Crispolti, Ricerche dopo l’Informale, Officina Edizioni, Roma 1968.
AA.VV., Contemporanea. Arte dal 1950 ad oggi, Mondadori Electa, Milano 2008.
C. Bishop, Museologia radicale, Johan & Levi, Milano 2017.
F. Poli, F. Berardinelli, Mettere in scena l’arte contemporanea. Dallo spazio dell’opera allo spazio intorno all’opera, Johan & Levi, 2016.
M. V. Marini Clarelli, Che cos’è un museo, Roma 2021
A. P. Fiorillo, Creatività diffusa e strategie espositive nelle ultime edizioni della Biennale di Venezia, in “Ricerche di S/confine”, Dossier 4, 2018.
