Painting in Post-war Italy,” Art History 12, no. 4 (December 1989): 448–71. On arte informale in general, see Enrico Crispolti, Ricerche dopo l’informale (Rome: Officina, 1968); and Renato Barilli and Franco Solmi, L’informale in Italia (Milan: Mazzotta, 1983). 14. Alberto Burri, “Words Are No Help,” The New Decade: 22 European Painters and Sculptors, ed. Andrew Carduff Ritchie (New York: Museum of Modern Art, 1955), 82. 15. Giulio Carlo Argan, Salvezza e caduta nell’arte moderna (Milan: Il Saggiatore, 1964), 56. All translations from Italian are my own unless otherwise noted. 16. Enrico Baj et al., “Against Style” (1957), in The Italian Metamorphosis, 1943–1968, ed. Germano Celant (New York: Guggenheim Museum, 1994), 719. 17. Mari was explicit about this. While studying at the Brera Art Academy in Milan, the artist went to see exhibitions of arte informale and realism and was “disturbed that the values of the left . . . were painted in such a poor manner”—a poverty Mari saw as stemming from any art based on the variable and inconsistent expression of individuals. Enzo Mari, 25 modi per piantare un chiodo: Sessant’anni di idee e progetti per difendere un sogno (Milan: Mondadori, 2011), 25. 18. MAC was the Italian manifestation of a widespread, international movement of concrete art, first articulated by Theo van Doesberg in 1930. Munari and the other artists and theorists of MAC positioned themselves within this broader movement and continued to advance its legacy. To see how MAC relates to this broader context, see Max Bill and Ettore Sottsass, Arte astratta e concreta (Milan: Palazzo Exreale, 1947); and G.C. Argan, P. Bucarelli, and J. Jarema, eds., Arte astratta e concreta in Italia (Rome: Galleria Nazionale d’Arte Moderna, 1951). 19. Luciano Caramel, MAC: Movimento arte concreta, 1948–1958 (Florence: Maschietto e

中文翻译：

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从集体创造到创造集体：艺术程序和开放工作，1962

战后意大利的绘画”，《艺术史》第 12 期，编号。4（1989 年 12 月）：448-71。关于一般的非正式艺术，请参阅 Enrico Crispolti, Ricerche dopo l'informale (Rome: Officina, 1968)；和 Renato Barilli 和 Franco Solmi，L'informale in Italia（米兰：Mazzotta，1983 年）。14. Alberto Burri，“言语无济于事”，新十年：22 位欧洲画家和雕塑家，编辑。Andrew Carduff Ritchie（纽约：现代艺术博物馆，1955），82. 15. Giulio Carlo Argan，Salvezza e caduta nell'arte moderna（米兰：Il Saggiatore，1964），56。除非另有说明，所有意大利语翻译都是我自己的著名的。16. Enrico Baj 等人，“反对风格”（1957 年），《意大利变形记》，1943-1968 年，编辑。Germano Celant (New York: Guggenheim Museum, 1994), 719. 17. Mari 对此直言不讳。在米兰布雷拉艺术学院学习期间，这位艺术家去看了非正式艺术和现实主义的展览，并“对左派的价值观感到不安。. . 画得如此糟糕”——马里认为贫穷源于任何基于个人可变和不一致表达的艺术。Enzo Mari, 25 modi per piantare un chiodo: Sessant'anni di idee e progetti per difendere un sogno (米兰: Mondadori, 2011), 25. 18. MAC 是广泛的国际混凝土艺术运动的意大利表现形式，首先被阐明1930 年由西奥·范·杜斯伯格 (Theo vanDoesberg) 撰写。穆纳里和其他艺术家和 MAC 理论家将自己定位在这一更广泛的运动中，并继续推进其遗产。要了解 MAC 如何与这一更广泛的背景相关联，请参阅 Max Bill 和 Ettore Sottsass, Arte astratta e concreta（米兰：Palazzo Exreale，1947）；和 GC Argan、P. Bucarelli 和 J. Jarema，编辑，Arte astratta e concreta in Italia（罗马：Galleria Nazionale d'Arte Moderna，1951 年）。19. Luciano Caramel, MAC: Movimento arte concreta, 1948–1958 (Florence: Maschietto e