29011 - Historical Avant-garde and Neo-Avant-garde Movements (1) (2nd cycle)

Learning outcomes

By the end of the course, students will have learned about historical-artistic relationships between the historical avant-gardes of the early 20th Century and the neo-avant-gardes, from the 1960s to the present day. The course will take an international perspective, which will also account for new forms of exploitation and diffusion of contemporary artistic heritage. More specifically, the students will acquire the skills to use his or her knowledge to conduct autonomous research to understand and critically analyze the main contemporary artistic expressions.

Course contents

The Avantgarde and the art world

The course aims to analyze the spread of the avant-garde during the twentieth century. Avantgarde movements are analysed from in relation with the art system by investigating ways of production and the circulation of works and ideas, as well as the promotion and evaluation strategies that have accompanied the emergence of these artistic phenomena. In particular, the course aims to critically examine the formation and promotion of the groups of artists and movements known as 'avant-garde'.

The lectures follow a chronological organisation, starting with the emergence of the dealer-critic system and the spreading of the first European avantgardes to more recent case studies connected to the spreading of globalization. 

Particular attention will thus be given to key figures or topics such as: artists as leading personalities, gallery owners as promoters of emerging artists, the relationships of merchants and collectors with artists, museum directors and curators as figures who have allowed some movements and concepts to be placed in the public attention and so on.

For each lesson, readings in the form of scientific articles or book chapters are assigned. Students must read the texts and actively participate in the discussion.

 

Avantgarde and Contemporaneity

A part of the course focuses on understanding the concept of ‘avantgarde’ in relation to the notion of ‘contemporary art’. In particular, this part is devoted to the understanding of the role of major international in value making in light of the spreading of theories about 'contemporaneity'. Seminal episodes connected to the phenomenon of biennalization will lead the path of this focus.

Readings/Bibliography

The proposed bibliography consists of scientific articles, essays and book chapters. The essays are made available to students via the 'teaching resources on virtuale' link.

Selected readings are taken from these and other volumes:

Alle origini dell’arte contemporanea, a cura di Giuseppe di Giacomo e Claudio Zambianchi, Editori Laterza 2008

Antonello Negri, L’arte in mostra. Una storia delle esposizioni, Bruno Mondadori 2011

Clarissa Ricci, Aperto 1980-1993, La mostra dei giovani artisti della Biennale di Venezia, Postmediabooks 2022

 

 

Non-attending students must contact the teacher in time and must integrate the readings with the following volumes:

Hal Foster, Il Ritorno del Reale. L’avanguardia alla fine del Novecento, Postmediabooks

Hito Steyerl, Duty Free Art. L’arte nell’epoca della guerra civile planetaria, Johan & Levi

Olav Velthuis, Imaginary Economics. Quando l’arte sfida il capitalismo, Johan & Levi

 

 

Teaching methods

Lectures and seminar meetings.

Assessment methods

Oral Exam

Learning is assessed taking into account performance on an oral exam which is aimed at verifying the student’s knowledge of the material covered in the lessons and the readings assigned during the first part of the course. Therefore, questions will be asked both on the readings in the bibliography and on notes taken during the lessons.

Teaching tools

Interactive presentations, videos and PowerPoints

Office hours

See the website of Clarissa Ricci