From 08 June 2010 to 26 September 2010
curated by Marcella Beccaria
On the occasion of tutto è connesso, Castello di Rivoli’s third floor will be the site of an exhibition dedicated to Vito Acconci, one of the most important artists experimenting with expressive languages, from poetry to video, Body Art and, recently,architecture-art.
The artist was born in the Bronx, New York in 1940, and after an initial interest in literature and experimental poetry, in the late ‘Sixties began to focus his research on direct confrontation with the public.
His performances from the late ‘Sixties, centered on his own body, are characterized by a strong physical and psychological impact that is sometimes disturbing and focus on a more self-analytical phase and the relationship between public and performer.
Around the mid-‘Seventies his works become outright installations where the gallery or museum setting is comparable to an urban square. It is specifically beginning with these installations that Acconci shifts the concept of art from the object to an interaction between artist and visitor.
Beginning in the late ‘Eighties his work evolves with the creation of the Acconci Studio. The studio’s designs and built projects are based on a concept of space not as form, but rather as a place that can accommodate wide-ranging transformations of use and social significance, an occasion for the public’s actions and people’s activities. Starting with computer analyses and mathematical and biological models, the projects propose spaces that are fluid, interchangeable and mobile.
The designs and built projects include a 2003 artificial island on the Mur River in Graz, Austria, comprising a theater, a cafe and a playground, where the café’s dome warps into a space that holds the theater. In 2006 Studio Acconci designed an elevated subway station in Coney Island, in Brooklyn, NY.
The exhibition Vito Acconci “Film=Landscape, Video=Close-Up” presents a new selection of some of the artist’s most significant film and video works, created between 1969 and 1977. Having identified his own body as the raw material for his work, Acconci utilizes film and video, creating actions that both test the limits of his chosen media and maintain intact their capacity to seduce and disturb. The exhibition documents a crucial phase in the work of this artist, who is recognized as a pioneer in numerous areas of research and artistic practice – from performance to Body Art – where his influence is still being felt.
Vito Acconci “Film=Landscape, Video=Close-Up” is part of Coinvolgimenti, a new series of works conceived to reinterpret the works in the collection within the context of the artist’s production.
Two new acquisitions have been made in conjunction with the exhibition: The Red Tapes, 1976-77 and My Word, 1973-74.