On View
Triple Candie's entry in the art fair's catalogue—accepted in September for publication by Artissima—read, in part, "There is no arte povera. / It never existed; / As we’ve determined from the evidence, / Which is unreliable, contradictory." And elsewhere, "We don’t believe Celant. / His story has changed too many times."
The exhibition's contents were to include historical claims by Michelangelo Pistoletto and Giuseppe Penone that they did not belong to the movement, as well as statements by curators and art historians grappling with the movement’s faults and fissures.
Like all Triple Candie exhibitions, it was to include no actual art. Instead, the evidence it provided in support of its argument took the form of hundreds of photo-reproductions—many altered by the curators to emphasize their unreliable and contradictory nature—as well as a dozen sculptural surrogates—to provide a theatrical setting to house the prosaic argumentation. A detailed timeline was to chart the various, and often conflicting, ways that critics, curators, and historians have tried to classify the movement over the past forty-five years.
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enjoy....
Triple Candie's entry in the art fair's catalogue—accepted in September for publication by Artissima—read, in part, "There is no arte povera. / It never existed; / As we’ve determined from the evidence, / Which is unreliable, contradictory." And elsewhere, "We don’t believe Celant. / His story has changed too many times."
The exhibition's contents were to include historical claims by Michelangelo Pistoletto and Giuseppe Penone that they did not belong to the movement, as well as statements by curators and art historians grappling with the movement’s faults and fissures.
Like all Triple Candie exhibitions, it was to include no actual art. Instead, the evidence it provided in support of its argument took the form of hundreds of photo-reproductions—many altered by the curators to emphasize their unreliable and contradictory nature—as well as a dozen sculptural surrogates—to provide a theatrical setting to house the prosaic argumentation. A detailed timeline was to chart the various, and often conflicting, ways that critics, curators, and historians have tried to classify the movement over the past forty-five years.
....
enjoy....
