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They are This can be downloaded from www. They were disturbed by the presence of public television because it forced them to play the role of avant-garde artists without having any control over the images and their distribution. However, this attempt at documentation only rarely offers a true visual reading of the events.
The attention to documentation that gradually incorporated the media of visual information into the artistic process led to collaborations with a number of operator-artists linked to photography and video.
The decision to renounce critical judgment conceals a new position of supremacy for criticism. Among the possible documents — firsthand reports, film, video, audiotape, and so forth — Celant will choose photography as the privileged medium with which to build his new critical construction. The catalogue Op Losse Schroeven: Situaties en cryptostructuren, for its part, consists of two separate folders enclosed within a single cover. The first adheres to the logic of a traditional catalogue: a map of the exhibition is followed by critical texts and illustrated capsule biographies of the artists.
In Arte Povera, each artist is given about six pages in which to present his or her own work by way of a careful choice of images and layout, following a methodology introduced by Seth Siegelaub in his catalogue-exhibitions.
Celant, Art Povera note 27 , 6. However, his strategy of control over documents developed in parallel with the transformation of the international art world. In , when arte povera entered the museums, the critic declared that the experimental phase of the movement was over and decided instead, to follow the work of individual artists. If one goes through his articles in Casabella — the famous architecture journal for which he served as contemporary art editor beginning in — it is easy to reconstruct the evolution of his strategies regarding the valorization of photographic documents and page layout.
James Pallas, Casabella Milan , no. A trace or residue which tends to disappear and to figure only as the witness to an idea. A few lines later, however, he qualifies this position by mentioning an aspect of conceptual research that operates with the media-focused nature of these new types of work. In these practices, the photograph becomes one pole of reference for an artistic action that constructs a new model for representing art.
This is probably what Emilio Prini had in mind when he chose the title Magnete Magnet for a work comprising an enigmatic image of a camera.
The photographs established themselves as icons that found artistic operations aesthetically and historically. The photographs thus lose almost all value as documents and instead assert their iconic strength. Confronted with these works, Celant once more revises his theoretical position: 36 Ibid.
What is important is not the sign-work but the conditions in which the sign-work is produced and perceived. The signs are models of scattered actions, disappearing objects, referential events, phenomena of deflection in time and memory.
In the same year, the After the guerrilla declarations of the first arte povera manifestos, 37 Celant gradually returned to the fold of artistic discourse.
His focus was no longer the negation of the artwork as object but the transformation, alteration, the replacement of the old by a new aesthetic and conceptual system. This development would lead the neo-avant-garde to translate itself into the system of contemporary art.
With their installations, actions, and interventions, the artists construct a paradigm of art that eliminates the contemplation of the art object by involving the audience in a participatory and pleasurable experience. Art is thus literally removed from its institutional space: the presentation of works in museums is replaced by ephemeral installations, while the traditional reproduction of art becomes the documentary representation of the aesthetic event, which finds a new place in the space of the media.
Between and , the photograph on the one hand, the gallery and later the museum on the other, establish themselves, respectively, as the representation and the theater of contemporary art. In this context, the Genoese critic comes more and more to theorize criticism as a kind of cataloguing activity, which he puts into practice as a curator of exhibitions.