Abstract

Recent scholarship on journals produced by postwar Italian avant-gardes has focused on artists’ use of publications to engage with aesthetic constructions of international and global modernisms after Fascist isolation. This scholarship, however, has not yet accounted for the different models of internationalism articulated in these publications, especially in those based outside of Italy’s major cultural centers. This article addresses the little-known arts and culture publication Presenze (1957–1960), established in late 1950s Turin by the multidisciplinary Gruppo d’Arte “l’Arlecchino” (Harlequin Art Group). Despite the historical significance of the group’s members, including artist Michelangelo Pistoletto (1933–), best known for his association with the late 1960s Italian avant-garde Arte Povera, no scholarship has been written on Presenze. Formal and social art-historical analysis of works of art, texts, and editorial layout, with special attention to Pistoletto’s work, is used to examine the model of Italian avant-gardism and internationalism constructed in Presenze. Presenze is found to have constituted a formative testing site for Pistoletto’s practice in the conflicted context of postwar Italian art, and a model of vanguard, localist internationalism for other artists working in 1950s Turin that counters existing ideas of internationalism in postwar Italy as a model of sprovincializzazione (de-provincialization). It is also found that Presenze’s espoused universalist ideology reinscribed Eurocentric models of East and West, foreshadowing later models in postwar Italian art.

摘要

最近关于战后意大利先锋派期刊的学术研究集中于艺术家在法西斯孤立之后利用出版物参与国际和全球现代主义的美学建构。然而，这项奖学金尚未解释这些出版物中阐述的不同国际主义模式，尤其是那些位于意大利主要文化中心以外的出版物。本文针对鲜为人知的艺术和文化出版物Presenze（1957-1960），由多学科 Gruppo d'Arte “l'Arlecchino”（丑角艺术集团）于 1950 年代后期在都灵成立。尽管该团体的成员具有历史意义，包括艺术家米开朗基罗·皮斯托莱托 (1933–)，他以与 1960 年代后期意大利前卫艺术贫穷艺术的联系而闻名，但没有关于Presenze的学术研究。对艺术作品、文本和编辑布局的形式和社会艺术史分析，特别关注皮斯托莱托的作品，用于检验在Presenze构建的意大利前卫主义和国际主义模式。呈现被发现在战后意大利艺术的冲突背景下构成了 Pistoletto 实践的形成性测试场所，并为 1950 年代都灵工作的其他艺术家提供了先锋、地方主义国际主义的典范，与战后意大利现有的国际主义观念相悖，作为sprovincializzazione的典范（去省化）。人们还发现，Presenze所信奉的普世主义意识形态重新铭刻了东西方的欧洲中心模式，为战后意大利艺术的后期模式奠定了基础。