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Featured
Il corpo femminile nell’arte
Nell’arte occidentale, la narrazione del corpo femminile rimane a lungo dominata dagli uomini e, oltretutto, la sua rappresentazione è rara e marginalizzata nell’arte più antica. Non a caso, quando viene chiesto all’Intelligenza Artificiale di creare un ritratto basato sui canoni dell’arte moderna, il risultato è un uomo bianco di ceto medio, frutto della selezione e della successiva elaborazione di ben quindicimila ritratti realizzati tra il XIV e il XX secolo. È questo ciò che viene codificato per anni nel mondo dell’arte.Il corpo femminile, inizialmente, è relegato quasi esclusivamente alla figura sacra e ai devoti; in seguito si aggiungono la mitologia e il ritratto nobiliare. Solo nell’Ottocento il corpo femminile non necessita più di giustificazioni narrative per essere rappresentato, ma diventa a tutti gli effetti un repertorio artistico su larga scala, decontestualizzato dal racconto sacro o profano e assunto come soggetto a sé stante.Ancora nel 1989 il collettivo artistico Guerrilla Girls (si noti che la versione femminile del termine è inesistente) si interrogava: «Le donne devono essere nude per entrare al Met Museum? Meno del 4% degli artisti nella sezione di arte moderna sono donne, ma il 76% dei nudi è femminile». Questo articolo, per quanto breve, vuole aprire un piccolo squarcio sul corpo femminile nell’arte, soprattutto nell’ultimo secolo. Sfoglieremo, a mo’ di diapositiva, alcune delle sue accezioni più drammatiche, perché per offrire un’analisi più completa sarebbe necessario scrivere un libro. Vediamo però alcuni momenti iconici che hanno codificato una nuova visione della donna e sdoganato nuove libertà, facendo diventare le donne parte della discussione, che si espongono in prima persona per interrogare tematiche politiche e sociali.Probabilmente il dipinto che più degli altri apre il mondo a una nuova visione del corpo femminile è L’origine del mondo di Gustave Courbet. Con un realismo quasi fotografico riprende una vulva femminile in primo piano e di scorcio. L’allegoria è avallata dal titolo: non si tratta quindi di un dipinto erotico, ma di una realtà fattuale raccontata in maniera cruda, lasciando spazio al potere del corpo generatore di vita, in un inno alla fecondità, alla vita e anche al sesso. Prima, per poter dipingere un nudo femminile, serviva un pretesto; solo in seguito diventa corpo concreto, calato nella realtà del quotidiano.Una delle prime donne del Novecento che prende il proprio corpo come modello, non per affermazione sociale ma per espiare il suo dolore fisico e mentale, è Frida Kahlo. Dopo l’incidente nel quale è stata trafitta da un’asta, trascorre lunghi periodi allettata con un corsetto. La sua immaginazione non viene trasferita solo sulla tela, nei suoi corpi onirici e nelle visioni inquietanti, ma dipinge anche il corsetto stesso che deve portare, cercando di espiare il male con la forza del colore.Una svolta decisiva arriva con la performance art, probabilmente il più grande momento di cesura. Figure come Valie Export, Gina Pane e Marina Abramović non creano opere che raffigurano corpi, ma è il corpo stesso a diventare tela, espressione, comunicazione e scandalo.Valie Export, con interventi come Tap and Touch Cinema (1968), porta la riflessione sul terreno del desiderio e dello sguardo. Indossando una scatola che lascia scoperto il seno, invita i passanti a toccare, ribaltando la dinamica tradizionale del cinema e della visione. Il corpo non è più immagine distante e bidimensionale, ma presenza capace di rispondere e destabilizzare. Export denuncia l’oggettificazione mediatica e restituisce alla donna il controllo della propria esposizione.Nel 1974, in Rhythm 0, Abramović si offre al pubblico come oggetto passivo, mettendo a disposizione settantadue strumenti, tra cui una pistola carica. L’esperimento rivela quanto rapidamente lo sguardo possa trasformarsi in violenza quando il corpo femminile è percepito come disponibile. L’artista non rappresenta la vulnerabilità: la vive, la espone, costringendo lo spettatore a confrontarsi con la propria responsabilità. Anni dopo, in The Artist Is Present, il corpo immobile e silenzioso diventa invece spazio di relazione, intensità emotiva e resistenza, soprattutto nell’incontro con Ulay, che era stato a lungo suo compagno nella vita come nell’arte.Gina Pane, attraverso azioni come Azione sentimentale, utilizza il taglio e la ferita come strumenti simbolici. Le sue performance, spesso caratterizzate da piccoli atti di autolesionismo controllato, non sono gesti di spettacolarizzazione del dolore, ma tentativi di rendere visibile la sofferenza collettiva. Il sangue diventa segno, il corpo superficie politica. Pane sottrae la ferita alla dimensione privata e la colloca nello spazio pubblico, trasformando il sacrificio in linguaggio.Queste pratiche aprono la strada a molte artiste contemporanee. Si pensi a Shirin Neshat, che attraverso fotografia e videoarte affronta temi legati all’identità femminile nel contesto islamico, alla repressione politica e alla guerra. Spesso è il suo stesso volto a diventare portavoce di scrittura e resistenza. Il corpo diventa superficie narrativa, archivio di memoria e mezzo di denuncia.Le artiste non chiedono più di essere incluse in una narrazione preesistente, ma ne costruiscono una nuova, mettendo in gioco la propria presenza fisica. Il passaggio dall’idealizzazione alla concretezza non è soltanto estetico, ma molto di più. Il corpo femminile diventa autonomo, soggetto raffigurato o mezzo di comunicazione; una rivendicazione della donna del proprio corpo e della sua percezione. Prende possesso del proprio spazio, cerca di liberarsi da una narrazione alla quale è stata soggiogata troppo a lungo, per trovare finalmente una propria voce.
What does it mean to archive a work of art?
You may have already heard of archives, foundations, and artist associations. These constantly growing bodies were created to protect the intellectual legacy of the greatest artists of our time. While for ancient art, it is essential to seek the opinion of experts specialized in a specific geographical and temporal context, for painters of the twentieth century and beyond, specific institutes have been established to collect information on artists. This means we are dealing with a group of experts, sometimes even family members, who possess almost all of an artist's documentary material (diaries, letters, papers, receipts) and bibliographical material and have dedicated their lives to studying their work in all its phases. Archiving is a legal requirement for anyone intending to sell a work by an artist with a reference archive, but it is also much more. It is an act of cataloging, protection, and valorization. It's not a wasted investment, but the opportunity to officially return a work to its creator. Cataloging, in the art world, is indispensable because it allows us to reconstruct the entirety of a painter's artistic expressions, study even the lesser-known phases, and determine a series of elements intrinsic to the evolution of a figurative language. However, it is also a form of protection. If a painting were forged, the authentication (which must always accompany the work) would provide further proof of the original. If a work were stolen, the Archives have the documentation to certify that it belongs to a specific museum or private individual (since transfers of ownership are usually also traced) and help provide the documents needed for its identification and recovery. If a work were destroyed, the Archives preserve photographs that can restore its image to the scholarly community, even in the absence of the original. Archiving is also a way to enhance the value of the painting. What informed collector would ever buy a work at a high price without a document certifying its authenticity? The established collector is someone who has built up a solid understanding and market awareness and will not make the mistake of purchasing and investing large sums of money without adequate certainty: he or she will always do his or her due diligence. Because, until a work is accompanied by its certificate, it is worth nothing. It may have ethical value, but it will have no market value because it is not marketable. And this is where we also come to the legal issue. There are three main laws that regulate the art market: Article 64 of the Code of Cultural Heritage and Landscape and Articles 648 and 712 of the Criminal Code. What do these laws tell us? The art market has specific rules to protect transparency and legality. Article 64 of the Code of Cultural Heritage and Landscape Article 64 of the Cultural Heritage Code requires art sellers to provide buyers with documentation certifying their authenticity, attribution, and provenance, or a declaration with all available information. On the criminal front, Article 648 of the Criminal Code punishes receiving stolen goods, that is, the purchase or concealment of goods originating from crime for profit; those acting in the exercise of their professional activity risk more severe penalties. Finally, Article 712 of the Criminal Code concerns reckless purchasing: anyone who purchases suspect goods without verifying their legitimate provenance is punishable. In short, those operating in the sector must always guarantee traceability, accuracy, and verification of the origin of the works. In other words, if a work, whether original or not, that has a reference archive, is not accompanied by an authentication, it is not recognized by the market. It is not handled by professionals in the sector, because they would be acting in violation of the law: this poses a risk for the intermediary, seller, and buyer due to possible charges of receiving stolen goods and reckless purchasing. An unarchived painting remains a wall painting: it shouldn't leave the home; it remains anonymous and unknown. Of course, some perceive archiving as a risk, but what are the alternatives? The alternative is to expose oneself to the law and take risks, as we find confirmation online. In Ravenna, for example, a private individual attempted to sell a Schifano, which was declared a fake by the Mario Schifano Archive. The result? The work was seized by the Carabinieri of the Unit for the Protection of Cultural Heritage and a lawsuit was initiated, at the end of which the owner risks five years in prison and a €10,000 fine. Of course, submitting the work for archiving carries a certain risk: it involves an "authenticity check," and the outcome is not guaranteed. But the only alternative is to enjoy the work privately, forgotten by the broader art scene, and deny potentially authentic works the recognition they deserve. Art. 64.1: Anyone who engages in the business of selling to the public, exhibiting for commercial purposes, or acting as an intermediary for the sale of paintings, sculptures, graphic works, or objects of antiquity or historical or archaeological interest, or who habitually sells such works or objects, is required to provide the purchaser with documentation certifying their authenticity, or at least their probable attribution, and provenance; or, failing that, to issue, in the manner established by the laws and regulations governing administrative documentation, a declaration containing all available information regarding their authenticity, or probable attribution, and provenance. This declaration, where possible given the nature of the work or object, is attached to a photographic copy. Art. 648: Outside the cases of complicity in the crime, whoever, in order to procure a profit for himself or others(2), purchases, receives or conceals money or things deriving from any crime, or in any case interferes in having them purchased, received or concealed(3), is punished with imprisonment from two to eight years and with a fine from 516 to 10,329 euros [709, 712]. The penalty is increased when the act concerns money or things deriving from the crime of aggravated robbery pursuant to article 628, third paragraph, aggravated extortion pursuant to article 629, second paragraph, or aggravated theft pursuant to article 625, first paragraph, n. 7 bis. The penalty is imprisonment from one to four years and a fine from 300 to 6,000 Euro when the act concerns money or things originating from a contravention punishable by arrest of a maximum of one year or a minimum of six months(4). The penalty is increased if the act is committed in the exercise of a professional activity(4). If the act is of particular triviality, the penalty is imprisonment of up to six years and a fine of up to 1,000 Euro in the case of money or things originating from a crime and the penalty is imprisonment of up to three years and a fine of up to 800 Euro in the case of money or things originating from a contravention(5). The provisions of this article also apply when the perpetrator of the crime from which the money or things originate is not imputable [85] or is not punishable [379, 649, 712] or when a condition of prosecution relating to such crime is missing. Art. 712: Anyone who, without having first ascertained their legitimate origin, purchases or receives for any reason whatsoever things which, due to their quality or the condition of the person offering them or the amount of the price(1), there is reason to suspect that they come from a crime(2), shall be punished with imprisonment of up to six months or with a fine of not less than 10 Euro. Anyone who arranges for the purchase or receipt for any reason whatsoever of the above-mentioned things, without having first ascertained their legitimate origin, shall be subject to the same penalty.
Antonio Pedretti: The "Bianco Lombardo" finds a home in Villa Borghi
“One cannot help but be struck by the confidence with which your sign, your notes of colour define a landscape, a figure, a whole in its essential features", these are the words with which Renato Guttuso described the youthful work of Antonio Pedretti, an artist who His fame has now been consolidated over a career spanning over fifty years. To honor his constant commitment, the Collection was inaugurated at Villa Borghi in Biandronno Permanente del Bianco Lombardo: a unique event that dedicates an exhibition space to it stable.