The article positions the exhibition Vitalitá nell’arte (1959–60) as a significant event in the postwar art world. It proposes the hypothesis that the development of the curated exhibition of contemporary art should be seen as a key concern of the 1945–1968 art world and that this new medium emerged in a complex alliance between new institutions, artistic aims and personal contacts. This is exemplified through an analysis of Vitalitá nell’arte with an emphasis on the thematic agenda towards the contemporary condition as a thematic synthesis of (Western) art since 1945, its creators (Paolo Marinotti, Willem Sandberg, and Asger Jorn), and its touring at venues across Europe (Palazzo Grassi, Kunsthalle Recklinghausen, Stedelijk Museum, and Louisiana Museum). The article also proposes to rethink Asger Jorn’s engagement in exhibitions: as “shadow curator” of Vitalitá nell’arte as well as the concurrent Ny international kunst (Silkeborg Museum 1959) his interest in museal projects and curatorial work evokes the image of a museology artist, which differs from the promoted anti-museal image of the artist.

中文翻译：

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Vitalitánell'arte：当代艺术展览的跨欧洲诞生的入口吗？

本文将展览“维塔利塔·内尔阿特”（Vitalitánell'arte，1959–60年）定位为战后艺术界的重要事件。它提出了这样一个假说，即应将当代策展展览的发展视为1945年至1968年艺术界的主要关切，而这种新媒介应运而生，是新机构，艺术目标和个人交往之间的复杂联盟。通过对Vitalitánell'arte的分析来举例说明，并着重强调了针对当代状况的主题议程，作为自1945年以来（西方）艺术，其创建者（Paolo Marinotti，Willem Sandberg和Asger Jorn）及其作品的主题合成。在整个欧洲的场所（Palazzo Grassi，Kunsthalle Recklinghausen，Stedelijk博物馆和路易斯安那博物馆）巡回演出。本文还建议重新考虑Asger Jorn在展览中的参与：