ricicl`arte - BHAK/BHAS Eisenerz

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An artistic and creative experience is a characteristic
of our school. It has been therefore natural to deal with
the topic of recycling by making considerations on
the MATERIALS used on works of art.
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We have traced the salient moments of XX century art
and we have discovered how different and disused
objects and common and ordinary items have been
so frequently used to create something new that has
become a work of art.
This new knowledge has allowed us to look at these
works as autonomous art forms to be freely
interpreted. From this awareness we have had some
personal ideas on this topic and have created some
works.
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During the first decade of XX century the world
has been marked by drastic changes. Even art
has been affected by these changes; it does not
have to show reality but it becomes the
expression of the creativity of the artist who is
totally free in the use of his expressive means.
Expressionism, Cubism, Abstractionism,
Futurism, Dadaism put forward new figurative
languages and unusual materials refusing all
the artistic tradition of the past. The procedures
and the techniques mix together and the
boundaries among different arts are fainter and
fainter.
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Picasso and Braque are the first to experiment
new techniques and materials as ‘collage’ and
‘papier collé’ to make some works of art.
Collage is the tecnique of sticking together
pieces of different materials such as cloths,
metals and thin layers of wood and the artist
works over them with his colour.
In ‘papier-collé’ newspaper, wall paper and
printed paper is put on the canvas with glue.
These common materials gain a new value and
an artistic meaning in this new context.
Natura morta con sedia impagliata
Pablo
Picasso,1912.
Collage, Olio e
tela cerata su
tela.
Parigi,Museo
Picasso
Le “Quotidien” violino e pipa
Georges Braque,1912. Gesso, carboncino e ritagli di
carta su tela, Parigi, Musèe National d’Art Moderne
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A few years later, in 1916, Dadaism uses
reclaimed materials and items taken directly from
our everyday life as new forms of expression.
Marcel Duchamp invents ready-made and
presents everyday objects as museum pieces;
Kurt Schwitters makes ‘assemblages’ with any
kind of waste, such as cigarette ends, string,
tickets and tin cans; he makes up a new term
MERZBILDEN , i.e. MERZ paintings.
In Italy Futurists, as E.Prampolini, make
polymateric works. They use completely different
materials ( feathers, laces and wire nettings) and
these works are sometimes associated with
some music.
Ruota di
bicicletta
M Duchamp, ready-made ,
1913
Collezione privata
Fontana
Marcel Duchamp,1917. Readymade: orinatorio in porcellana.
Milano Galleria Schwarz .Copia da
originale perduto
Merzbild Rossfett
Kurt
Schwitters,1919
assemblaggio e
olio su legno,
Ginevra, Centro
Lussato
Polimaterico automatismo F
E.Prampolini
1941
assemblaggio,
Collezione privata
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Joined directly to Dadaism, the artists of the
Surrealist group work in the Twenties in Paris :
they make works of art starting from ordinary
and everyday items which are freely assembled
and enriched by tactile components and
charged by an ironical and provocative function.
The works by Meret Oppenheim and Salvador
Dalì change so remarkably the expressivity
and the content of the original images that the
viewer is astonished.
Colazione in pelliccia
M. Oppenheim
1936, New York Museum of
Modern Art
Telefono aragosta
Salvador Dalì, 1938
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After WWII the artists go on working with new
techniques and new materials competing with
the emerging reality of mass society which bring
forward disposable consumer goods as new
icons.
The artists who better interprete this peculiar
aspect are the ones belonging to American and
English Pop Art.
Just What is it that makes Today’s homes so different,
so Appeling?
R.Hamilton,
1956,collage
su
carta,Londra,T
ate Modern.
Roast Beaf
C.Oldenburg,
1961,
stoffa,gesso,
ferro, New
York,
collezione
privata.
In particular the artists of NEW DADAISM pay
attention on what quickly is used, consumed and
thrown away. They are the first who try to recycle
these disused and well-thumbed objects and give
them a new life.
They use any kind of materials or parts of
discarded objects and they assemble them with
their pictorial intervention
creating some
assemblages which remove the difference
between painting and sculpture.
A famous artist is R. Rauschenberg with his
combing painting tecnique.
Coca cola Plan
R.Rauschenberg ,
1958, tecnica
mista, Los
Angeles, Museum
of Contemporany
Art.
Bed
R.Rauschenberg
1955, legno,
cuscino,coperta,color
i a olio, 1955, New
York, Museum
Modern Art
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In Europe at the same time of American
experimentation Nouveau Realism establishes
itself. The artists cope with the topic of waste
and make use of refuse, trying to give it a lost
worthiness.
J. Tanguely gives life to a new bicycle , Arman
puts some accretions of waste under some
plexiglass from where it is possible to see the
reflection of the previous life of the objects,
Cesar squeezes waste getting new aesthetic
impressions. M. Rotella uses ‘decollages’ of
layers of broken posters alluding to the speed of
communication.
Tricycle
J.Tanguly ,
1960,
assemblaggio
di materiali di
recupero,
Parigi, Museo
Nazionale
d’Arte
Moderna
Poubelle I
Arman , 1960,
accumulo di rifiuti
sotto plexiglas,
Krefeld, Kaiser
Museum
Compression
Cesar, 1962,
rottami di
automobili
compressi,
Ginevra, Musèe
d’Art e d’Histoire
Marylin
M.Rotella , 1962,
decollage su tela,
Collezione privata
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In the Sixties in Italy ‘ Arte Povera’ (Pauper art)
develops. It tries to find a new relationship
between art and life. The artist M. Pistoletto
uses rejected materials as rags which lead to a
consideration on the values of Appearance as a
result of the consumer society.
An example is the work ‘Venus of Rags’ which
matches a neoclassical Venus, symbol of
everlasting values, to heaps of multicoloured
rags, symbol of the ephemeral modern world.
Venere degli stracci
M.Pistoletto,1967, marmo e
stracci,Biella, Fondazione Pistoletto
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Between Fifties and Sixties a new international
artistic movement establishes itself as a reaction to
the damage left by the war on human consciences
and as an answer to a general feeling of dismay:
Informal art.
An artist from our area, A. Burri, uses a tormented
material and shows the general tragedy.
He recovers jute bags which were used for basic
needs. They are disused and torn and he stitches
them together to give them a new existence full of
memories.
He destroys them with fire and he regenerates
plastic materials, in the hope of a world which suffers
from the achievements of a modernity, careless of
the real needs of human beings.
Sacco 5 P
A.Burri, 1953,
sacco, vinavil,
stoffa su tela,
Città di
Castello,Fondazio
ne Palazzo
Albizzini
Rosso plastica
A.Burri, 1964,
plastica
combusta e
acrilico su
tela,città di
Castello
Fondazione
Albizzini