by David Fox
The birth of an artistic movement is preceded by a mysterious evolution that is made up of a set of ideas that are refined and expressed by actions and works.
Arte Povera, one of the most influential avant-garde movements, emerged in Europe in the 1960s. In its general sense Arte Povera, an Italian term meaning impoverished, poor art, allegedly derived from the poor theatre of the Polish film director Jerzy Grotowski.
More specifically, it refers to a group of avant-garde painters and sculptors based in Genoa, Turin, Milan and Rome from the mid-1960s onwards who produced a provocative fusion of Assemblage, Minimalism, Conceptual Art and Performance Art.
The movement grouped the work of Italian artists whose most distinctly recognizable trait was their use of ’found objects’ including simple, commonplace materials, such as soil, bits of wood, clothing, rocks, rope, paper.
While avoiding a signature style and promoting diversity as a positive value, these artists produced works mainly consisting of photography, sculptures and installations.
In addition, the diversity of the creations of these artists made this movement recognize that no one’s method sustains all projects, and for this reason, an unrestrained creativity formed the common ground between Arte Povera artists.
In 1967, the art critic and curator, Germano Celant coined the name ‘Arte Povera’ and curated the movement’s first exhibition which was staged at Galleria La Bertesca in Genoa.
The same year, he published a manifesto for the movement: Arte Povera: Notes for a Gerilla War. He proposed a guerilla warfare art against the rich world that he considered to be represented by certain contemporary trends such as Nouveau realism.
Gradually, he would abandon this political dimension in order to transform this movement in some kind of conceptual-minimal art.
In the same manifesto he also wrote about ‘a desire to escape the bounds of a social system that rewards conformity and limits experience, and argued that this system forces artists into producing bourgeois objects for an art market that requires the stability of the assembly line’.
With this declaration, Celant associated the Italians (and himself) with a new movement in art and put forth definition of Arte Povera. These and other pioneering texts and shows created a collective identity for Arte Povera, and promoted it as a revolutionary genre, liberated from convention and the market place.
Arte Povera artists employed a vast array of raw materials, such as rags, coal, hessian sacks, wood , soil, seeds and vegetables, as well as manufactured items, glass and metal.
These materials were framed, hung or applied to walls, metal sheets or various surfaces. Artists made no attempt to change the natural colors of the materials.
Their work was a reaction against the modernist abstract painting that had dominated European art in the 1950s. In addition, the group rejected American Minimalism, particularly, what they perceived as its enthusiasm for technology and its scientific rationalism.
By contrast, they presented absurd and comical juxtapositions, often of the old and the new, or the highly processed and the pre-industrial. They conjured a world of myth whose mysteries could not be explained in an easy way.
Although Arte Povera is most notable for its use of found object and everyday materials, materials which contrasted with the apparently industrial sensibility of American Minimal Art, the movement employed subversive avant-garde tactics – performance and installations- unconventional approaches to sculpture.
In order to reconnect art with life, the Italian Arte Povera strove to evoke an individual response in each of their art pieces, stressing an interaction between object and viewer that was purely original.
Germano Celant was a key figure in the formation and success of Arte Povera, and in this respect Arte Povera is typical of avant-garde groups that have been given momentum and cohesion by a single voice.
Celant’s interpretations of the artists associated with the movement have remained prominent and important, and he stressed the Italians’ interest in individual subjectivity.
For instance, Michelangelo Pistoletto’s work often dealt with relationships. His early mirror works, which confronted image and self, explored concepts of identity.
His The Minis Objects series was developed around the idea of art that was only completed through the addition of human interaction. In the piece, Structure for Talking While Standing / Minus Objects (1965-66) it can be seen how the structure connects to the viewer, allowing for a place to rest the arms and feet.
Also, a dialogue was a concern to the artist; Celant once described his related work, the simple metal construction ‘Structure for Standing While Talking’, from 1965-66, as a medium to create a personal dialogue between art and viewer, free from any preconceived notion.
Giovani Anselmo’s early work relied on human interaction to fully experience the art, which was loosely constructed in order to react to the slightest touch. He worked as graphic designer and began to experiment with the arts in his free time.
His Untitled (1968), sometimes referred to as Eating Structure, comprises a small block of granite attached to a larger, plinth-like block by means of a head of lettuce and a length of wire.
If the lettuce is allowed to dry out, the smaller block will fall, therefore, the sculpture has to be ‘’fed’’ with lettuce to maintain its structure.
Its concern with gravity and balance echoes some of the interests of American Post-Minimal Art through its comic tone, and its use of such mundane materials, is typical of Arte Povera’s evocation of rural and poor life.
Pino Pascali’s 32 Square Meters of Sea, from 1967, brings together the artificial and natural. Containers hold quantities of dyed water that replicate the variegated tints of the ocean, alluding to the effects of light and motion.
The industrial materials and geometric shapes used to produce the sculpture echo American Minimalist sculpture, through artist’s use of a simple natural materials, the water in this case, betrays its origins in the concerns of Arte Povera.
Although Piero Manzoni was not considered a true member of the Arte Povera group, his work reflects the principles of the movement,
His Artist’s Shit, no.4, from 1961, supposedly containing 30 grams of excrement, reprises such famous avant-garde provocations as Marcel Duchamp’s presentation of a urinal as a work of art (Fountain, 1917).
Ninety cans were produced, labeled and canned in an identical manner, mocking the practices of mass production and consumption, satirizing the reverence usually accorded to artist’s work.
Celant’s most dramatic pronouncement, and probably reflected his hopes for the implications of Art Povera was saved for the igloos of Mario Merz.
He said that he performed a constant sacrifice of the banal, everyday object, as though it were a newfound Christ. Having found his nail, Merz became the system’s philistine and crucified the world.
Mario Merz, the oldest of the Arte Povera artists, was a painter in an Abstract Expressionist style, but with the new movement he was given the opportunity to start his career anew.
In the Giap’s Igloo (1968) the first of his signature igloos, Merz uses a phrase, taken from a Vietnamese military general: ‘Se il nemico si concentra perde terreno se il disperde perde forza’/ If the enemy masses his forces, he loses ground; if he scatters, he loses strength.
Merz’s igloos provide a focus for his preoccupation with the necessities of life- food, shelter, warmth-though, as here, they contain neon tubes that suggest more modern and sophisticated experiences, such as advertising and consumption.
Arte Povera was closely linked to the political radicalism emerging across Europe, which eventually culminated in the street protests of 1968. In order to understand better the real purpose of such movement, one must analyses the cultural context of Italy in the 1950s and 1960s.
The country was going to a period of industrialization as the Miracolo Italiano/ the Italian miracle. The consumerism was finding its way into Italian society and advanced technologies were rapidly being introduced.
The optimism for this progressive wave was then suddenly interrupted in the mid 1960s when the economy recession set in.
Workers and students were continuously protesting in all Europe and America and this brought other social and cultural movements and beliefs such as a hippie counter-culture and a new sexual liberation.
In that context, Arte Povera was no longer referring to the use of ‘poor’ materials, nor to a critique of a consumer society, but to the concept of ‘impoverishing’ each person’s experience of life freeing oneself from layers of ideologies and preconceptions.
Thus, the main principles of Arte Povera were few, but very clear: a work of art is attitude transformed into form, thanks to a wide range of materials; the art should be a way of achieving truth and authenticity; any medium, location or technique can be used since everything can potentially become a work of art; finally it should engage with social concerns and also reject the ideology of a consumer society.
Despite growing popularity the Arte Povera movement dissolved in the mid 1970s as the individual styles of the Italian artists continued to grow in different directions following their own paths. However, their brief unity had already made its mark on the history of art.
Germano Celent succeeded in carving out a place for Art Povera within the neo-avant-garde.
By illustrating a relationship to Italian classicism, Futurism and to more contemporary styles such as Land Art, he lent the movement a place in what could be seen as a living tradition.
Over forty years later, the works of the Arte Povera are more alive than ever since they still attract the interest of many since their meaning is still relevant.
In the case of Pop Art, to stay contemporary, artworks seem to be inevitably aged, such as the Worhol’s paintings, particularly those of the myths of the 60s like Marilyn Monroe and the Beatles, that now seem to be a piece of history.
On the contrary, Arte Povera may just be one of the few things of the Twenty Century that managed to survive until now. The reason might be the fact that Arte Povera is not just an avant-garde movement, but it is something complete in itself.
In addition, it continues to be central to the idea of art as an experience, prior the knowledge and this might well be the reason why ordinary people who are not so much interested in art, can also feel the simplistic experience of this movement.
About David Fox
David Fox is an artist who created davidcharlesfox.com to talk about art and creativity. He loves to write, paint, and take pictures. David is also a big fan of spending time with his family and friends.