Creative abyss. “Arti believe. A creative outpouring." Traveler from the exhibition at the State Hermitage. Critical points Shares

In the halls of the Winter Palace until September 16, 2018, the Italian “Bidne Mystetstvo” will be shown. The Rukh, which emerged at the turn of the 1960s and 1970s, decided to radically innovate the aesthetic manifestations and artistic practice of that time. About those how, in 50 years, the art of faith was transformed into one of the brands of Italy of the twentieth century and could become equal to the costs of the Hermitage, says Pavlo Gerasimenko.

Lucio Fontana. Concept of space: refreshment. 1964. Canvas, water-based farb. Gallery of contemporary mystique GAM, Turin. Courtesy Fondazione Torino Musei. Photo: © Studio fotografico Gonella

The exhibition is called Arte Povera. The creative abyss” signifies the milestone of the artistic movement that emerged at the turn of 1967 and 1968. The Hermitage for the first time shows the “poor mysticism” that was transformed in 50 years into one of the artistic brands of Italy in the 20th century. Most of the exhibits come from the largest collections of art at the Rivoli Castle near Turin. They occupied the halls on the third version of the Winter Palace - an offending enfilade, above, transferred to German painting of the 19th century, and the front door, where impressionists and post-impressionists were recently placed. After the move of the Hermitage part of the Shchukin and Morozov collection to the Headquarters, more than a few rocks passed, but it is no longer possible to guess where specific robots were hanging. The curators of the exhibition are Dmitro Ozerkov and Anastasia Chaladze from the Hermitage and are honored by Caroline Christov-Bakargiev, curator of the Castello di Rivoli collection, - of course, not without respect for the diversity between the many other surface bays. But still, the memory of the place is chimerically preserved in the museum: behind the historical world, quite recently, observers of Picasso’s cubist robots were overwhelmed by “What is mystique?” — now you will be faced with the objects of Jannis Kounellis and Mario Merz. In the article by Dmitry Ozerkov, the catalog notes the similarity between the space in the Hermitage and the Berne Kunsthalle, while at Harald Szeeman’s exhibition “When Centuries Become Form” in 1969, the world’s art was verified. Perhaps, in the 70s of the last century, not only the expositional architecture of the classical museum that was located at the palace, but also the ancient understanding of the history of the world was lost. Nowadays, in the 20th century, Italian and Russian life was richly rich: only those in the poor and most important agricultural lands poeticize the machine and technology that made Italian and Russian futurists. The art, like Russian futurism, clearly has a primer origin. This intense infusion of the light mysticism of the remaining 50 rocks continues to grow - so, following the Italian example, the conceptualized “Russian Poor” was successfully created, which is confirmed by the auction prices of the artists of the “poor” plaintiff."

Fragment of the exhibition Arte Povera. Creative Break" with the work of Mario Merts "Holku with a tree" (1968-1969). Photo: Pavlo Gerasimenko

Arte Povera became aware of the criticism and curator Germano Celant. At the end of 1967, a group exhibition took place in the Genoese gallery La Bertesca, which gave birth to a new artistic movement. The mystique of arte vera arose in the modern land - rough and poor, “unartistic” materials, which were used by artists, were associated with the local history and landscape and represented the rural arrogance And I will arrange these places. The new art became a reaction to the fashionable ideology and artistic practice of pop art. Chelant was able to give international significance to the article “Art of Faith: Notes before the Partisan War.”

In more than twenty halls, the Hermitage presents more than 16 artists. The exhibition, apart from the monographic section of the authors in the halls, does not have a clear structure, so it is likely to focus both on the most prominent robots and on their entire length - fundamentally immaterial creations. Both, and those, and others should be supplied to the remote corner of the veil voyeur. The curators have relied on the minimalism of the exhibition: no more than three or four speeches are shown outside the hall, and the ever-present distances between them are small, the low-slung spaces become vastly spacious.

The exhibition “Hate” by Gilberto Zorio opens, which looks like a metal bar suspended about a meter from the ropes. In 1969, the artist hammered a lead skewer into the pieces with a hammer, creating the word “odio” in it, meaning hatred. The materiality and coarseness of this object immediately informs the main images of this exhibition.

Gilberto Zorio. Hatred. 1969. Lead, motuzka.
Private collections, Turin. Photo: Antonio Maniscalco

The predecessors of arte veri - Lucio Fontana, Alberto Burri and Piero Manzoni - are shown in the first halls. The exhibition of Italian mysticism “Futurism. Novecento. Abstraction" in the Hermitage in 2005, then Manzoni in the museum of performances is first, and not the famous Merda d'Artista, but one of the "Akhroms" - canvases with a surface seeped with white clay. Both Fontana and Manzona were sculptors behind the light, which is part of what sets another one of the conceptual pillars of the exhibition - sculpturality as an important element of art, I believe, and another important power - the procedural nature of this art. — showing “Untitled (homage to Fontani)” by Pier Paolo Calzolari. , a significant feature is the liquid that vibrates on the surface of the lead with cooling elements, so this solid constantly changes.

For the upcoming concept - non-destructiveness, as Germano Celant called one of the figures of the new era, suggests “International” from the work of Gilberto Zorio. The melody of the proletarian anthem, played by the artist on the carillon in 1975 as part of the performance, was repeated for recording in 2015, to be heard at the passage under the crypts of the Oleksandrivsky Hall of the Winter Palace. In this audio installation, the ephemerality of sound is combined with a revolutionary utopia. Near the courtroom, several of Dzorio’s works are displayed, including the 1967 installation of the rock “Rozhev-blakytne-rozheve”, which now looks like science art. Its cobalt chloride, when exposed to moisture, changes the color from erysipelas to black. Like the modern alchemist, Christov-Bakargiev writes: “Chemical reactions in materials are similar to chemical and energetic processes in the brain, and, therefore, the results of mental work.”

Fragment of the exhibition Arte Povera. Creative breakthrough with robots by Gilberto Zorio. Photo: State Hermitage

The Italian curator dedicated the entire exhibition to the memory of Jannis Kounellis. Two halls dedicated to the works of the artist, who died in 2017, obviously cannot be compared in scale with installations created by classic art in Moscow and Nizhny Novgorod, or with opera performances shown in Perm by his set designer Yes, but still make statements about methodi roboti. The exhibition includes early paintings - “Z-3” 1961, and objects that demonstrate the beauty and power of materials in their primary language - two works from the late 1960s “Untitled”, one from the stone vugills , otherwise with war. The adjacent hall is occupied by a 1997 installation of black coats, with rows of black coats hung in rows and irrigated - its emotional effect also stems from the variety of textures and the variety of materials.

Giuseppe Penone, with his robots, occupies a room from which one can see a sculpture from the great cycle “Ideas in Stone” entitled “1372 kg of light”, installed near the great courtyard of the Hermitage a month before the start of the exhibition. Penone’s work miraculously functions both as public art and in the interior, as confirmed by the installation “The Box,” which was launched in 2007. The wooden bark is covered with hide, and the bronze emboss of the stovbur is gilded in the middle. The speeches of Alighiero Boetti have the same decorative quality. Over the past few years, the mystique of arte vera has been transformed into a set of formal techniques. Many artists replicated their plastic discoveries in numerous works, and repeated their creations in many examples, although in the collections of the Castello di Rivoli there are the first and most important variants.

Giuseppe Penone. Ideas from stone – 1372 kg of light. 2018 roku.
Photo: State Hermitage

Some works were created by artists as a matter of principle - such, for example, “Neon in Cement” by Giovanni Anselmo, in which a neon tube may be replaced with a new one when it stops producing light. “Pidlogue (Tautology)” by Luciano Fabro is a square of sublogue covered with newspapers. According to tradition, this is how they did it in Italy for the latest statue, in order for the watchers to mark the fresh Russian press on the parquet. And “Hangers for Life (From Naples)” 1976-1977 rocks crosses the scene between art and changes to another post-minimalist direction - op art. Five bright objects are combined with ephemeral and precious materials, light and important materials – bronze embossings covered with fabric and coated with acrylic fabrics.

Michelangelo Pistoletto’s “Venus of Ganchirkov,” which simultaneously occupies the hall where Matisse’s famous panels once hung, together with three other robots, perhaps evokes the artist’s speech. It appears in several versions, among which it is performative - in 1980, a living model took the place of sculpture in San Francisco. One of three works is represented in the Hermitage, and was included among the first in 1967. All the "Venus" are growing in size, so it is important to grow in size, so what will happen if the clothes become a different shade and grow in size the same way as the generation of speeches has increased over the years? Criticism of marriage, which has come to the fore in this work, was not the main idea of ​​the artist. Like other art masters, Pistoletto paid more attention to the plastic and semantic contrast of the stone statue with a bunch of fabrics. The similar plastic potentiality of a multi-colored garment was then chosen by Christian Boltanski in his 2010 installation of Rock Personnes at the Grand Palais.

Fragment of the exhibition Arte Povera. Creative breakthrough" with robots by Michelangelo Pistoletto. Photo: State Hermitage

So, just like Venus Ganchirkova, the Holka with the tree of Mario Merz is famous. This work (also available in many copyrighted copies) can be changed no matter the space in which it is exhibited, and the Hermitage hall with windows on Palatsova Square without becoming a culprit. The all-German design of the frame simultaneously conveys both luminous lightness and importance. Its insufficiency with fate is transformed into a monumentality of a special kind, designed to withstand the last hour as well as to withstand the nature of real Eskimo life.

The centerpiece of the entire exhibition is Marisa Mertz’s 1997 rock work “Untitled” - a small fountain above a violin with paraffin in a lead bath, which stands uncomfortably in front of the palace fountains. The water, which quietly flows from the center of the wax violin, expresses the steel of the weak force that helped the art of faith overcome in a historical perspective, becoming equal to the catastrophes of the Hermitage.

Most grown-up people live part of their lives on “automatic machines”, and most importantly consult the algorithms and templates that have been laid down...

Most often our thoughts collapse in that very direction. And although such a state of speech is primary for us, it deserves criticism - we must realize how strongly we limit ourselves to the development of a primary order. And it is clear that there are no other ways of thinking and expressing our thoughts and feelings.

Everyday turbos never run out of time to stop and

• Enjoy the moment "Here and now"
• Let’s immediately turn the primary actions in a different direction and marvel at the situation under unexpected circumstances.
• Find inner freedom and allow yourself to do what you want
• Come up with and make something like this! And the same axis :)
• Broaden your boundaries and allow the creative flow to flow.

At school we were taught day after day. Most of the grades that contribute to school success are assigned to the top assignment from behind the correct answer.

At the UNIVERSITY we are taught day by day. The sciences are rich in hundreds of fates, and they need fates in order for us to learn everything that is already known and go “into the mainstream”. It’s crazy that she has a lasting activity and goodness, as she occupies a leading role. Ale most often diploma about greater illumination I don’t agree with the cleverness of what’s new.

AT THE CORPORATIONS' PLACES, we're being bombarded with action after scene. Most service workers are afraid to follow official rules and policies.

If we come to the need to “get a fresh look”, “see what’s new and original”, for example, create a toy for a child “out of nothing”, we start looking for analogues, choosing a ready-made solution, rightly so. When you look at the eye, you are tempted to pick out the template , which would guarantee our success.

How about trying it differently?

Take credit for your “Creative Self.”

Believe in what you can joke about and discover new things some ideas And get them out of life! And if you don’t give in, then just take away the joy from the blessing...

• Creativity is inner freedom, which is the basis of specialness. Without this freedom it is impossible notified let life crumble.
• Creativity gives freedom in both thought and action.
• Creativity allows for self-expression.
• When we are overwhelmed by creativity, we let go of our “inner critic,” who sometimes insists on just living and enjoying life.
• Creativity is a headache that elevates routine activities to the heights of mysticism.
• Creativity brings joy through the implementation of your ideas.
• Creativity provides relief from boredom and ineptitude.
• A creative approach gives a competitive edge in many professions.
• Creativity erases boundaries – both between powers and between people.

Are you ready to make creativity a part of your life?

Request for an online marathon

• know your creativity, because you don’t sleep here often;
• develop new creative abilities in yourself and learn to revive the old in a new way;
• discover the ability to marvel at old speech in a new way;
• find peace for yourself, add farb to life, rise above the routine;
• spend 4 years with a company of like-minded people, recharge your batteries;
• create without much torment;
• fill your whole life with creativity!

In addition to these blocks of skin, participants will take 1-2 creative elements for a 28-day marathon, and daily work on something that will help formulate these elements and create a part of their daily life.

• The marathon will be held in a closed VKontakte group.
• The 24th leaf fall will be the final webinar for the marathon "Creative abyss" Let us know about all the organizational moments, and also let’s finally move to the right.
• On Mondays, Wednesdays and Fridays, new materials and news are published, you will see them and you will hear from the group.
• For skin care you need about 30 hvilins per day.
• We are pleased to hear from everyone who is in charge of all the tasks, we are holding a drawing of gifts:)
• Respect! Those who do not write long-term zhodnogo zvіtu, we are excluded from the group. Will you send the marathon materials by mail, otherwise you will need the stink?

Svetlana Matveeva, Voronezh

In 28 days we were able to unravel the rubble, sneak through the stacks of rocks to our true - Creative Self.

During the entire hour of the marathon, I really felt how the energy thickened, strengthened and at the same time became lower, lighter, softer around me. There was an opportunity to bring in some light from a new side. That side, which is accessible to us at the black edge of the world. In 28 days we were able to remove the rubble, sneak behind the stacks of rocks to our true - Creative Self. Now I am forced to marvel at the world, tiny, rose-colored, writing it in my own way, knowing that the result is a mythical illusion, heads don't be here And at the same time, create and be a Creator. And the world... The world is already being created, and we, reveal here, are simply their Creators. It will be good, it will be good!

Anna Usova, m. Vologda

All this month, Olga and Natalya did not allow us to discover our talents! Over the course of this month, I learned a great deal of information that, due to blocks and complexes, most likely would have never been known. To say that I am happy about this is to say nothing. I'm shira! My man is a critic of all my undertakings, having already stood up and only quietly guarded from the sidelines) And sometimes he spluttered about what I did. I definitely haven’t experienced anything like this before))) I have overcome my post-natal depression! Of course, I haven’t experienced anything like the beginning of a marathon. The zvichka bachiti nezvichaine in the zvichaynyh speeches virobils itself without any special zusil, over the reshta I work.

Marina Balina, metro Moscow

I was joking and knew that such a creative clicking in the middle could arise and I’m really glad that the start has been made.

Olga and Natalya, thank you for this project. For me, I became insecure about inheritances. First of all, I created those that I didn’t expect for myself. In other words, I really have a “creative streak” - some kind of invisible wrinkle in the way I look at primary objects. It seemed like everything was starting to come together in a simple way, especially in games and creative activities with the child. It is necessary to develop this creative germ in yourself further, perhaps it can also manifest itself in other types of activity. I was joking and knew that such a creative clicking in the middle could arise and I’m really glad that the start has been made. For ideas, for new directions that still need to be mastered. I respect and know new techniques and authors of ideas and directives. I’m glad to continue to master them all at once. I'm so grateful to everyone for this project, it's been great!

Yulia Logvinenko, m. St. Petersburg

I realized that the problems are more common on another level. Thank you very much! I realized that the problems are more common on another level. The problems of everyday life were related to the spiritual. It really helped inner child Deal with your current needs. And all the painting processes simply turned on the brain and let the blood flow again. I got the will. Thinking about creativity has become more philosophical, with a dash of chaklunism, I want to write about it, I started zoshit. I noticed the feeling of jealousy and I’ve been twirling around there for the whole hour. I’m going to drink Vedic psychology and the theme of the creative abyss fits right in there. I often main reason The creative insufficiency, the limitation, as it put itself, was the negative feeling. I suddenly feel like going beyond the “framework”, I’m changing and the world is changing too. To everyone who is in charge and, especially, to those who are ahead! YAKUYEMO!!!

Irina Kubantseva, m. Chelyabinsk

The training was aimed at directly developing creativity. I went to the one whose topic mattered to me. But it dug so deep that I couldn’t see it.

Training buv oh-oh-oh! For me! More tension. I would say tell you, important. I'm not good. I haven’t gotten around to it yet, so if I can make some contributions, for the benefit of other people who are not so acceptable to me, but if they are needed for someone else, then I’ll add... So harsh terms, that’s great!

And reading about other participants is worth it. Suddenly, I began to have complexes - “Ahhh... Everyone is doing great! But I’m such a fool from the start!” Ale then calmed down. Don't be the fool in me. But just in my own way. If all the writers wrote alike, the artists painted alike, and the composers wrote similar music, then life would all seem monotonous, let’s indulge in what. Because creativity comes in many forms. The zvichki, taken, I didn’t pull. Then I thought about the old people - before, nothing could get through to me, I noted everything. And not less than childhood. And approximately to the young people. Now I’m always running around, locked in thought about nothing. I want to give Donka a rapt. I’ll smile and move on. I'll call you. And I call. Vaughn revtime. I felt like I had been hit on the head. Where am I going? And finally. And we begin to walk quietly. Look at everything. Guess what has changed (it’s still easier for me, but my daughter remembers). Respectfully, somehow, to recheck the coming day. Let's check it out.

I've already shown respect for being active left hand became passive. Now I’m trying to develop it.

Everything turned out to be much more complex, I transferred it, and I “soured.” Vi Mendali, Sho Bagato Istin, Yakim Men, I live, I live before the Yakim, I am in a law that I am in my own diya - the principles of pickwells are opposed (I am a wound rosamil, ale yak. . I haven't had enough problems at all. Axis for me global problem!!! I don’t understand anything. I’ll go through all the materials again in a little while. Let's try it again. I didn’t decorate the kazkas and didn’t fold them, but, most importantly, I took off the “stusan” and started folding simple ones, aka kazkas. Donka asked for some insoles... Now she knows! Hooray! I wish you greatness.

It’s amazing how straight-forward training can help develop creativity. I went to the one whose topic mattered to me. But it dug so deep that I couldn’t see it. I'm good, I couldn't - I'd be afraid. And then it hit me forehead to forehead...

Girls! I don't want to be separated! I want to go to the club!!!

4 severely constrained creativity, rejuvenation with the skills of a creative person for the support of two educational psychologists and Internet trainers will cost the price of one year of psychological consultation. Well, okay, repeat the consultation :)

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P.S. No matter what we want, the entire present world that surrounds us is the result of the creative mindfulness of the impersonality of people. And it is in our power to give this world and ourselves something new and wonderful!

Copying of materials is prohibited. All rights reserved. 2014 Barefoot for fun.

On May 16, the exhibition “Arte Povera” opens at the Winter Palace. Creative Break" is a great and ostentatious retrospective of one of the most reminiscent currents in the Italian mysticism of the other half of the twentieth century.

The very term “arte vera” (translated from Italian as “poor mystery”) was coined in 1967 by the curator and art critic Germano Celant, suggesting the dates assigned to the works of dozens of Italian authors in which, regardless of one type of one and in different ways, our mys- tice stood against American minimalism, which promoted a completely different way of understanding the phenomena of the industrial world. Instead of current materials, artists of the Rukh began to paint literally everything they could get their hands on - from ganchers and old newspapers to stones and stones, and exhibitions in reputable museums and galleries were organized by performances in parks and public squares.

At the end of The Village, Anastasia Chaladze, curator of the exhibition “Spiritual Art of the Sovereign Hermitage”, selected nine showpieces and, using them, spoke about those that make up the art of verification.

Lucio Fontanu - “Space Concept: Refinement”, 1964

The exhibition is divided into two small sections. More precisely, there is an exhibition, and there is a short preamble to it with the works of the leading artists, believe me, who have become involved in this movement. Among them, I would first name Lucho Fontana, who is known for his cut canvases. What is the difference between this abstract canvas and the robotic artists who created the abstractions based on it?

The fountain was given space, triviality to the world, trying to explore everything and follow the creations. His cut canvases have an expanse of space to pass through the solid, literally seeping through, leaving an important part of him. And another important gesture: Mitzi cuts the canvas with a knife and in this way transfers his energy to it - this was the very “poor thing” that called out Mitzi’s arte’s sympathy.

Giovanni Anselmo - “Untitled”, 1967

The peculiarity of Anselmo’s works lies in the fact that he works from the creation of physical states. The stench is constantly present in everyday life, but is lost by the unknown, who are sometimes unnamed. The axis, for example, of this robot “Without a Name” is a whole sheet of plexiglass, which was deformed and fastened with a slimy rod. Here the physical tension is infused visually.

This is even more forgiven, but at the same time even more accessible way convey physical phenomena and phenomena. We will have a different robot: for it, we will create a sliding beam, wrap a piece of fabric around it and secure it on the wall in such a way that the beam of the beam pulls the fabric down. Ale vona, having broken the laws of physics, does not get upset. In truth, we are constantly aware of such speeches, but we do not lose respect for them, which in normal life cannot be guarded against so completely.

Pier Paolo Calzolari - “Go

(mi rfea pra)", 1968

Artists of the art world actively exploited the miscellaneous craft of possession. For example, Calzolari experimented extensively with the cooling system. All of your creations that are presented on the exhibition, vikorystyu її її feasibility. The work is connected to electricity, the metal cools down, becomes covered with frost - and the color of the surface changes. And the axis of such an unstable state is the constant change of the creator to create an artistic image: the constant change of aggregate physical states and the object of his creative search.

Here we can also recognize the contrasts - the robot is like an additional mystical ghost. It is based on the phrase “mirfea pra”, which suggests all the Chaklun alchemical formulas. On top of the metal surface lies a feather, which contrasts with the metal. There is frost on the candle. Through war, a system can be closed and balanced, and harmony can be achieved in the simplest ways.

Gilberto Zorio - "Hate", 1969

Gilberto Zorio crows the rocs, the massacre of energetic processes, the camp of speeches - whose sense of work is similar to those of Anselm. And I, like Calzolari, are not far from playing alchemy, such a mystical touch. His work “Hate” dates back to the period when Dzorio took words as images and created them using different techniques. There's a lot of lead here, you can let it in, the hammer is driven fiercely into it. This motuzka contains the word Odio, which is translated from Italian as “hatred.” Through war, word and action unite into a single image, a universal form. The Zorio has made some funny experiments: for example, speaking words in a powerful manner, they are associated with pain and injury. So the word was transformed into a powerful visual symbol.

Jannis Kounellis - “Without a Name”, 1969

Kounellis is perhaps one of the most famous representatives of art, believe me. Yogo robots are simple, but maybe even more poetic. Here, for example, we have the first folding bed, on which the wool is laid out. The artist creates an image where the amorphous substance merges with the mundane and material. This is the contrast between the natural and the commercial, the living and the inanimate. Moreover, the new world of robots reflects the fact that offensive speech accompanies people throughout their everyday life - and it is easy, as it symbolizes sleep, and wool, which protects us from the cold.

Another work on display – “Line Coat” – is dedicated to the problems of memory and reasoning. It’s also lashed simply: it’s a linen coat, suspended on metal slats. The viewer may assume that the installation is dedicated to some unknown workers who sacrificed their lives on the rise of the industrial industry in Italy, the memory of which is preserved even insignificantly, impersonally - as, for example, , coat.

Mario Merz - “Holku with a tree”, 1968–1969

The head is one of the most famous forms, a symbol that is often known to Mario Mertz. At the end of the day, having learned that thoroughness, which was tamed by the disputes of ancient peoples, it was impossible for the moderns to reverse it. We created this design without any help from ourselves various materials: neon tubes, leaves, stone. In part, with this rank, the artist emphasized the adaptability of Budova, showing how perfect shape You can use Vikoristan for the presentation of very interesting ideas.

In this case, we are using a metal frame, covered with fracture, a structure that we associate with factory floors. However, in case of which a little needle is inserted into the opening of the dome, like a vase, it is alive and tendentious, which, on the one hand, requires protection, and on the other hand, it does not fit into the created piece structure.

Giuseppe Penone - “By the Tree”, 2010

One of Giuseppe Penone’s sculptures has been standing at the great porch of the Winter Palace for almost a month now – and is leading the exhibition. Apparently, Penoni’s main motif is wood. This is the artist who, among the participants in the movement of art, has the greatest voice on the connections between people and nature. This bundle can be obtained from the planted growth of the tree and mature people. Here, for example, we use industrial timber, used for everyday life, or for making from a whole piece of wood. And step by step he picks up the river ring ball by ball. As a result of this extremely meticulous work, the tree seems to be young, revealing its original structure - the skin ovary, the skin gill. And those that are not fully understood, allows the observer to understand not only those who were working on the meeting, but also how they thought and how they wanted to voice the idea.

Luciano Fabro - “Hangers for Life”

(from Naples)", 1976-1977

Art's verification comes at a time when new forms of mysticism are actively being promoted in the museum world - first of all, minimalism and abstraction, where the images seem soulless and are easily replicated, perhaps from which one could obtain the same product. Anna. Having become tired of abstract painting, art artists tried to deconstruct, dissect abstraction, and present it in a new way with their works. Axle butt: Luciano Fabro hung different colored pieces of fabric, such as curtains, in the museum halls. “Hangers for Whiteness” is an attempt to convey the sunset sun over Naples, a rich palette of heavenly colors. For an artist, it is a valuable example of how light is the color. Even in the presence of a robot. “Ganchirk’s Venus” is a copy of an antique statue, painted in concrete and seemingly set against a bunch of old multi-colored ganchers, like a moth. Another work inspired by contrast, this time in the contrast of eternal high beauty and smooth fashion. At the same time, the presentation is richly strengthened by additional elements: most importantly, the contrast of the formed (the shapeless silhouette of the statue) and the unformed (the shapeless purchase), the contrast of the colorful and the barless. Pistoletto, on the one hand, criticizes the dominance of consumerism, and on the other hand, he stresses to us that in to the current world The ancient ideal can no longer be respected as if it were a single body of refinement and beauty.

Photos: cover – Tate International Council, – Collezione Margherita Stein / Fondazione per l'Arte Moderna e Contemporanea CRT / Castello di Rivoli Museu d'Arte Contemporanea, Rivoli-Torino, 2 – Fondazione per l'Arte Moderna e Contemporanea CRT / Castello di Rivoli d 'Arte Contemporanea, Rivoli-Torino, 3 – Hermitage 20/21, 4 – Paolo Pellion / Collezione Margherita Stein / Fondazione per l'Arte Moderna e Contemporanea CRT / Castello di Rivoli Museo d'Arte Contemporanea, Rivoli-Torino, Collezione Margherita Stein / Fondazione per l'Arte Moderna e Contemporanea CRT / Castello di Rivoli Museu d'Arte Contemporanea, Rivoli-Torino, 6 – Marian Goodman Gallery, 7 – Renato Ghiazza / Collezione Margherita Stein / Fondazione per l CRT / Castello di Rivoli Museo d' Arte Contemporanea, Rivoli-Torino, 8 – Fondazione per l'Arte Moderna e Contemporanea

On 16 May 2018, the exhibition “Arte Povera. A “Creative Revolution” Opened at State Hermitage. This is associated with 50 works of German artists from 20.00 to 20.00 from Museu d'Arte Contemporanea Castello di Rivoli (Rivoli-Turin, Italy), GAM - Galleria Civica di Arte Moderna e Contemporanea (Turin, Italy) private Italian collections.

The exhibition is organized by the Castello di Rivoli Museu d'Arte Contemporanea (Rivoli-Torino) and the State Hermitage Museum under the auspices of the GAM Galleria Civica d'Arte Moderna e Contemporanea (Turin).

“You see that Italian is going on all the time,” Mikhail Piotrovsky, Golovny Director of State Hermitage, sitting at the Vikonanne ceremony. “Yesterday was insured under the name of the Italian comune Reggio Emilia, and will henceforth be announced by the remaining exhibition of Italian art, the remaining exhibition of contemporary art and the the remaining experiment of organizations under our world of Turin. You are superbly display devoted to Arte Povera, one of the most popular trends in 20th-century art. Tse arose as protest to Futurism sho glorified the modern world, machinery and the future. Like a protest, the artists begin to rush to simple thoughts, creating Arte Povera collapse. If you look at the artifacts in the halls in the upper area, such classical art has been moved for a long time, and the top floor sealing is a symbol that may illuminate more than one generation. Buli Velmi keen to present this exhibition and it has been several years in the making. This experiment cannot be good for everyone. This identified one more problem: it is hard to display contemporary art in palaces – you are to blame for the electricity supply. New artistic needs are respected with greater enthusiasm than the classical sort.”

For his criminal activities, Mikhail Piotrovsky credits Antonella Parigi, Counselor for the Cultural of Piedmont region; Carolyn Christov-Bakargiev, Director of the Museu d’Arte Contemporanea Castello di Rivoli and curator of the exhibition; Marcella Beccaria, Chief Curator of the Museu d'Arte Contemporanea Castello di Rivoli; і Leonardo Bencini, Consul General of Italy in St. Petersburg. The Hermitage Director is also engaged by Maurizio Cecconi, CEO of Villagio Globale International, and the Lavazza company to support the expedition.

Arte Povera is completely “since it is synonymous with artistic freedom and profound ecological thinking, something to look when trying to formulate a resistance to hyper-technological society of consumption in our artificial globalized world,” states Carol “Behind these artists,” this article , “nature and culture are mutually defined and related, since nature is cultural concept, whereas culture is not absent in nature but is subject to its rules. This particularity is especially important when the boundaries between natural and arterial growths are perceived. Arte Povera of artists is aimed at appreciation for everyday life with respect and interest for art tradition through the centuries by creating body of original, non-conventional, and non-dogmatic works. Look, be it an artistic flamboyance, or something that is either intellectual or virtuous, the stench was in the air, which, in order to recognize the impossibility, can become positive and creative meanings, as there will be manifestations with particularity for the complexity of life. They have expanded fields of painting, sculpture, drawing, performance, and photography, often shifting from one media and one technique to another without a hint about finding a unique and shared style.”

“Arte Povera” is on a third scale, and is part of a collaboration project with the Lavazza Company. “For Lavazza it is a great honor to be presenting the exhibition “Arte Povera.” “A Creative Revolution” at the State Hermitage in St. Petersburg, on the 50th river of nature, which transformed contemporary art,” Francesca Lavazza, a member of the Luigi Lavazza S.p.A. board of directors, said. “With this retrospective company there is a constant flow of illumination of the glorious museum and such a position that it is more important to develop unique projects in the real world mystique and culture.”

Arte Povera – “poor or impoverished art” – is a tendency that appeared in Italy around the turn of the 1970s. The exciting nature of creativity became its members' striving to move away from all-consuming technical progress towards artisanal creativity. The consistency of industrial and technological materials in the fight against “time” and aesthetic ones like rags, newspapers or tree branches, the expressions of artifacts were created on liberation art in the territory of the traditional. Continuous interest in materials and processes of creative production is one of the special features for artists, who have established themselves as a new aesthetic in the European mysticism. The term Arte Povera was first published in 1967 by Italian critic and curator Germano Celant.

Display housed in legendary halls on the top floor of Winter Palace, decoration of which was also conceived at the turn of the 1970s. It is clear that these rooms will be turned into a welcoming world to be installed in the Kunsthalle in Bern - the completeness with which the international exhibition of Arte Povera began. Research includes works from Giovanni Anselmo, Alighhiero Boetti, Pier Paolo Calzolari, Jannis Kounellis, Mario Merz, Marisa Merz, Pino Pascali, Giuseppe Penone, Michelangelo Pistoletto, Emilio Prini and Gilberto Zorio.

The exhibition “Arte Povera. “A Creative Revolution” is the main part of the hermitage 20/21 project, which is collected to collect, equivalent to study art of the 20th and 21st centuries. The conditions may be favorable for Caroline Hristova-Bakargieva, Director of the Castello di Rivoli Museu d'Arte Contemporanea and Dimitri Ozerkov, Head of the State Hermitage's Department of Contemporary Art, with the knowledge of Anastasiya Chaladze, a member of department staff.

The illustrated brochure will be well prepared for the exhibition (State Hermitage Publishing House, 2018).

The beginning is connected with an extensive educational program including series of lectures, gallery talk at exhibition, festival installations and performance, and intellectual marathon.

The exhibition is taking place as part of the Hermitage-Italy Foundation's projects through the agency of Villaggio Globale International.

The exhibition is organized with the support of Lavazza, Italy.

The survey exhibition of Arte Povera in the Hermitage celebrates the twentieth anniversary of artists whose views and principles of work were formulated and presented by the secular historian and curator Germano Celant. “Bad Mystery” does not depend on the lack of resources among artists, but rather on their reliance on simple materials, elementary proportions and gestures that are always visible and noticeable to observers. Turin, Milan and Genoese authors of the seventies expanded the range of mystiques, creating works from the resources of the pre-industrial era, presenting their creations to the products of industrial partnership.

Lucio Fontana “Space Concept: Refinement”, 1964

Canvas, water-based farb, 115.5 × 191.5 cm

Given for support to the Turin Museum Foundation

GAM - Galleria Civica d'Arte Moderna e Contemporanea, Torino

Courtesy Fondazione Torino Musei Photo Studio fotografico Gonella

The Hermitage exhibition aims to reveal to us the whole history and all aspects of the creativity of the participants of the revolution, present their predecessors, as well as the works created after the disintegration of the group, the fragments of the Mitzi continued their quests of the “poor” and for meals. The exhibition was organized at the sites of the Castello di Rivoli (whose director Caroline Christov-Bakargiev co-curated the project with Dmitry Ozerkov), the GAM gallery of contemporary art, as well as works from private collections. Each author sees his own room, where the specifics of his creativity are revealed as widely as possible.

The halls envisioned for Italian artists are the space where impressionist works were previously exhibited. Caroline Christov-Bakargiev specially emphasizes its similarity with the premises of the Kunsthalle Bern, where the famous exhibition “When the Waters Take Shapes: Works, Concepts, Processes, Situations, Information” was launched. In 1969, the artists of Arte Povera took their part.

The Bern exhibition has become with the most respect in European mysticism, the exhibition in the Hermitage is epochal for the Russian expanse. On the right is that now, after fifty fates, the ruin, which has practically slammed mysticism into everything, is lost in a way that is unknown to our observer. The workpiece was exhibited in 2011 at the Multimedia Art Museum, and no more. The story has never been translated into Russian language, and the authors of many articles written by Russian authors base their work on powerful enemies, and not on the original texts of Italian artists and leading critics. The St. Petersburg project set itself the task of getting to know Russian spies and mysticists with the help of robots, prote, unfortunately, not with the same texts, the fragments of the introductory exploitation before the artists' halls were written anew, with all number of author's comments and interviews. There are no texts by Celant as a person who actually came up with it directly, formalized it ideologically and described all aspects as accessible and expressive as possible.

Mario Merz "What to do?", 1968

Metal container, neon, wax, 14.4×45×17.8 cm

Foundation Guido ta Ettore de Fornaris

Gallery of contemporary mystique GAM, Turin

Fondazione Guido ed Ettore De Fornaris

GAM - Galleria Civica d'Arte Moderna e Contemporanea, Torino Photo

The exhibition develops from the first experiments with materials carried out by Alberto Burri in the series with sackcloth, and the spacious explorations of Lucio Fontani, artists who did not lie in the same circle, but the authors themselves are based on their research Arte vera. Pier Paolo Calzorali creates “Homage Fontana”, where, through mechanical installation, objects are covered with liquid condensation and take on new forms and soft surfaces. Gilberto Zorio in the project "Namet" salt water Well, the sculpture “Rozhevo-blakytno-Rozheve” changes color, reacting to the moisture of the wind. And Mario Merts’ robot “What should I do?” neon sign "Che Fare?" melting wax in an aluminum form, informing us about the procedural nature of the mystery. Many other works of Arte are tendentious and unstable. The Hermitage itself, having blocked access to them, may have been pressed by the safety rules, in case of trouble, in museums all over the world until it is impossible for anyone to get around the sculptures and get close to them. So, for example, the “Head with a Tree” is isolated from the work of Mario Merz - the emblem of everything, where the author creates two types of materials - wood created by nature and fragmented by man. Sensation - from the physical experience of the viewer of this creation, its instability and Germanness, and the artist’s idea was that the skin could come closer and be aware of it. Moreover, the revolutionary spirit of Arte’s artists is in line with the harshness and ephemerality of our world, with respect to the extreme “here and now”. And if we read this from the work of our current followers, we can sing about the stink of this in the Italian predecessors.

Coming out of all this, we can say that the work of Giuseppe Penone, the youngest member of the group, whose main theme is the diversity of relationships between nature and people, is most impressive. His sculpture “Ideas in Stone” represents massive boulders that never grow on the thin villages of Stovbur, and is placed outside the Hermitage courtyard on the basis of its clean architecture, creating additional sensations and balancing between the natural and cultural context .

Giuseppe Penone “Ideas from stone - 1372 kg of light”, 2010