Dissertation--Freie Universität--Berlin, 1993.

Köln, Universiẗat, Diss., 2002.

Thèse de doctorat : Histoire de l'art : Paris 10 : 2008. / Thèse consultable uniquement dans l'enceinte de l'université Paris Ouest Nanterre La défense. Titre provenant de l'écran-titre.

This thesis named The Inspiration of the Message of the Movement Arte Povera in Object Realisation or a New Art from Second-Hand is divided into a theoretical and practical part. The theoretical contains the beginning and evolvement of Arte Povera as an art group in the sixties which were affected by a political and social unstability in Italy. Individual artists of this movement, analysis of their works and collective exhibitions connected with Arte povera will be part of the research. Thesis also takes a closer look at czechoslovakian context of the sixties and seventies, its representative figures and their connection with Italian art scene. The practical part is inspired by a knowledge acquired from the works of the representatives of Arte povera and its part are downsized models of the final work and photos.

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Mgr. Zuzana Horvatovičová The Italian movement Arte Povera, Czechoslovak Nová citlivost and Czech - Italian relationships around Jindřich Chalupecký and Jiří Padrta ABSTRACT The main theme of this thesis was to compare two artistic phenomena of the sixties of the 20th century: the Italian movement Arte Povera (Poor Art, 1967) and the Czechoslovak avant-garde concentrated around the group exhibition New Sensitivity (Nová citlivost, 1968). It also focused on the network of contacts and principal organizers of Italian exhibitions especially in Prague and Czechoslovak exhibitions in Italy. Long research in archives and collecting of documentary material, catalogues and reviews led to very interesting results. Arguments of the thesis are based on the comparison of the constructivist work of the New Sensitivity artists with the group of Arte Povera and with the kinetic work of Arte Programmata. Much more shared elements were found to exist between the Czechoslovak circle of the New Sensitivity and the Italian artistic tendency Arte Programmata than between the artists and art works of exhibition New Sensitivity and the group Arte Povera. Italy and Czechoslovakia maintained a different art and "parallel" culture, although they came to a rather close contact in the "revolutionary" sixties.

À travers l’analyse du discours de Germano Celant sur l’arte povera, la présente thèse cherche à décrire et à comprendre le statut particulier du langage au sein d’un champ spécifique de l’art contemporain en prenant comme objet les stratégies argumentatives qui s’y trouvent à l’œuvre depuis l’invention du concept « pauvre » à la fin des années 1960 par le critique/historien/commissaire d’exposition italien jusqu’à aujourd’hui, tout en soulignant leur interdépendance avec l’évolution de son statut social et celle des logiques interprétatives/évaluatives qui en découlent. / Through the discourse analysis of Germano Celant on arte povera, this present thesis aims to describe and comprehend the status of the language within a specific domain of contemporary art by analysing the argumentative strategies from the invention of the “poor” concept by the italian critic/historian/curator at the 1960s until today, underlining their interdependance with the evolution of his social status and that of the interpretative/evaluative logiques which results from.

[pt] A dissertação discute a Arte Povera, tendência artística italiana do final da década de 1960 e início dos anos 1970. A partir da análise dos trabalhos de seus artistas mais significativos e dos textos críticos produzidos na época, o trabalho pretende discutir o conceito de Arte Povera, mostrando suas especificidades e os pontos de contato entre as diferentes propostas dos artistas: Michelangelo Pistoletto, Giovanni Anselmo, Gilberto Zorio, Giuseppe Penone, Jannis Kounellis, Luciano Fabro, Alighiero Boetti, Giulio Paolini, Marisa Merz e Mario Merz.Através desse recorte, aborda algumas questões da arte contemporânea, como o estatuto do objeto de arte, a inserção da dimensão temporal no espaço da obra, a problematização do lugar e dos materiais tradicionais da arte, a crítica à estrutura na qual se insere. / [en] This dissertation discusses Arte Povera, an italian artistic tendency that took place at the end of the 1960's and the beginning of 1970's. Through the analysis of the works from its most significant artists and the critical texts produced at that time, the work intends to discuss the concept of Arte Povera, showing its specific aspects and the similarities that the diferent artist's proposals have in common. The artists are Michelangelo Pistoletto, Giovanni Anselmo, Gilberto Zorio, Giuseppe Penone, Jannis Kounellis, Luciano Fabro, Alighiero Boetti, Giulio Paolini, Marisa Merz e Mario Merz. Using this point of view, the work includes some questioning about contemporary art, like the discussion about the art object status, the insertion of the temporal dimension in the work space, the questioning of place and traditional art materials, the criticism of the institutional structure in which art belongs.

Certains des acteurs de ce groupe italien, déterminés à faire éclater les limites des genres pour mieux les interroger, s'emparent tout particulièrement des arts de la scène pour investir des espaces de création collectifs. Cette thèse procède à l'étude des productions théâtrales de Jannis Kounellis, Giulio Paolini, Michelangelo Pistoletto et Mario Ceroli. Quatre démarches scénographiques singulières, qui se distinguent par leur ampleur. Ainsi, cette recherche s'emploie à dévoiler les multiples croisements à l'intérieur du courant, en découvrant les échanges entre arts plastiques et arts du spectacle. Il s'agit à la fois d'éclairer l'œuvre des artistes autour de l'Arte Povera et de comparer ces expériences aux activités dites de "théâtre d'artiste", en considérant aussi le rôle essentiel de l'environnement théâtral des années soixante et soixante-dix en Italie, dans le contexte d'une création expérimentale prolifique et révolutionnaire. L'ambition est de présenter les modalités de cette pratique spécifique dans l'œuvre des membres de l'Arte Povera pour l'étendre à un questionnement plus général au regard de la création d'autres artistes dans ce même registre. / Arte Povera's works and productions constantly challenge the traditional fundamentals of History of Art, thus leading to the exploration of new artistic fields. Some members of the Italian group, in their will to break the limits between genres in order to question these very limits, concentrate on theatre to invest collective and creative spaces. This PhD is an analysis of the theatrical works by Jannis Kounellis, Giulio Paolini, Michelangelo Pistoletto and Mario Ceroli. These four specific approaches distinguish themselves by their ambitions and their scales. This university research aims at revealing the multiple intersections within the group, by exploring the interactions between visual arts and performing arts. The issue at stake is both to shed light on artists and works from the Arte Povera and to compare their experiences to the theatre, while considering the central role of the theatrical environment in the sixties and seventies in Italy in a time of revolutionary and prolific experimental creation. The ambition is to present the details of these specific artistic practices that characterize the approaches of Arte Povera's members, and then to extend this analysis to a more global questioning of other artists' approaches sharing the same concerns.

"Action stage design" is a term which was originally used in the mid-70s in the connection with 1975 Prague Quadrennial. Soviet critic Viktor Berjozkin chose this term to describe a new approach which was apparent in the majority of national expositions. It was an alternative approach to dramatic space, the traditional proscenium theater was systematically abandoned. New possibilities of producing in non-traditional, mainly non- theatrical spaces which offered closer contact with audience were searched. In aesthetic approaches the action stage design abandoned rampant focus on art, illusoriness, embellishment and complicated technical solutions. On the contrary it took inspiration from "earth works" (arte povera) and pop-art. They used "poor" - which means - common and natural materials [mainly fabrics] and everyday objects. Simplicity and inventiveness became an important requirement of the new aesthetics, as well as constant confrontation of dramatic and empirical reality. Stage props were meant to be mainly polysemous. It means that a scenic element could change its meaning and function a few times during the performance thanks to actors activity. For example - a bed became a dining table, an altar, or a prison. It demanded big imagination of spectators, they often became a part of performance....