Happening, Scenografie, Installazioni
Synopsis
Starting in the 1960s, with the emergence of social phenomena ranging from counter-culture, to hippies, student protests, occupations, workers’ strikes and the emergence of ecological urgencies, against the backdrop of the escalation or onset of war conflicts and the advent of the “strategy of tension”, the Italian architects put in place alternative attitudes to manifest ideal, social aspirations, with forms of design that reject custom, both in the substance of the works and in their presentation. The concept of exhibition undergoes a jolt that tends to pour new works into those city streets that have become privileged places of protest. Even exhibitions with experimental content, but organised indoors in official institutional venues, are overwhelmed by the movement of protest, to the point that what is exhibited is no longer the works but the mass of young people, their collectives, their actions and their installations. Occupations of universities and openings of social centres become other epicentres, however transient, of phenomena not unlike those promoted by artists engaged in the creation of happenings. The experiences of radical architecture and design and of exalted rationalism, which are those outlined at the end of the 1960s and labelled with those definitions, nevertheless managed to persist over the course of the following years, in forms that were not always recognisable, giving rise to exhibition installations that nevertheless continued to maintain a degree of experimentalism, although the cultural horizon and the references of the project had changed, and sometimes in decisive terms. What happened in the 1980s, in famous national institutional venues, with the themed installations entrusted to well-known Italian and foreign architects, marked a decisive chapter in the form of the enunciation of architectural design issues in continuity with the creative and theoretical tools that had been experimented during the 1960s.
Chapters
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Dispositivi per la rifondazione di un progetto ambientale in Italia, tra anni sessanta e anni ottanta del XX secolo
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La mutazione della città in un “campo” di contaminazione: “Pollution” o del “metodo Frankenstein”
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Per la coltivazione di un luogo ideale. Gianfranco Baruchello e l’esperienza di Agricola Cornelia S.p.A. 1973-1981. Pratiche e modelli tra arte e agricoltura
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“Il territorio impossibile” della Biennale di Venezia, 1978: allestimenti radicali di “natura” e “antinatura”
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Mostre, università e luoghi dell’in-between: consonanze inattese nel ’68
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La sperimentazione didattica “visualizzata”. Riflessioni sulla città in una serie di mostre alla Facoltà di Architettura del Politecnico di Milano
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“Una serie di esercizi ginnastici dell’Immaginazione alle parallele della Memoria…”. Le mostre e l’architettura a Roma nella stagione dell’effimero (1977-1985)
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Quale Roma? Le riflessioni di “Roma Interrotta” e degli Incontri Internazionali d’Arte
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Verso un ambiguo Neue Welt? Triangoli e strutture di transito fra Aldo Rossi e Ugo La Pietra
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Esporre l’Oriente nel 1982. Paolo Portoghesi e La Biennale di Venezia dall’Architettura nel “Terzo Mondo” all’Architettura nei Paesi islamici
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Teoremi costruiti in legno. Allestimenti di Gehry, Krier, Rossi, Purini & Thermes e Gabetti & Isola alla Biennale di Venezia e alla Triennale di Milano
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