Over the last decades in Italy, the debate on the art and public space relationship has become increasingly relevant: a debate at times imposed, at times fruitful, and at times spent like a relationship at a low ebb. Rather than starting from an analysis of artworks and a cataloging of the various ways in which artists intervene in the urban context—creating taxonomies that often privilege the author’s point of view over that of the space—I believe it is more productive to reverse the perspective and choose public space as our starting point: a space where artists, by making latent meanings come to the surface, reveal discursive structures and forgotten or denied narratives.
Imparare a essere corpi nello spazio. Oggetti, pratiche e monumenti ad ArtLine Milano
Maria Giovanna Mancini
2025-01-01
Abstract
Over the last decades in Italy, the debate on the art and public space relationship has become increasingly relevant: a debate at times imposed, at times fruitful, and at times spent like a relationship at a low ebb. Rather than starting from an analysis of artworks and a cataloging of the various ways in which artists intervene in the urban context—creating taxonomies that often privilege the author’s point of view over that of the space—I believe it is more productive to reverse the perspective and choose public space as our starting point: a space where artists, by making latent meanings come to the surface, reveal discursive structures and forgotten or denied narratives.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
