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Le oscillazioni del gusto. L'arte d'oggi tra tecnocrazia e consumismo
Attraverso l'applicazione dei più recenti metodi di indagine - dalla teoria dell'informazione alla linguistica strutturale - Gillo Dorfles si propone di offrire al lettore una facile e agile chiave per decifrare molte delle "oscurità" e dei problemi presentati dall'arte contemporanea: il dissidio tra artisti e pubblico, le trasformazioni stilistiche e percettive che si possono individuare nelle diverse epoche e che sono alla base di molti preconcetti da parte dell'"uomo della strada".
- GenresArt
124 pages, Paperback
First published January 1, 1958
About the author
Gillo Dorfles
126 books12 followersBorn in Trieste to a Gorizian father and a Genoese mother, Dorfles graduated in medicine, specializing in psychiatry. He was a professor in aesthetics at the University of Trieste, Milan and Cagliari and, in 1948, established the MAC (Movimento per l'arte concreta) with artists Atanasio Soldati, Galliano Mazzon, Gianni Monnet, and Bruno Munari. His paintings were displayed in two personal exhibitions held in Milan in 1949 and 1950 and also in numerous collective MAC exhibitions in the 1950s. In 1956 Dorfles co-founded the ADI (Associazione per il disegno industriale).
Having stopped painting, he devoted himself to the study of aesthetics and art criticism, dealing with the problem of the vanguard, the relationship between art and industry, analizing artistic phenomena, and tastes in the contemporary society. According to Dorfles, aesthetics should focus on culture as a whole, which combine elements of fantasy, symbolic, metaphorical and even mythical suggestions. Among his major works, L'architettura moderna (1954), Kitsch (originally published in Italian in 1968 and translated in English the following year), La moda della moda (1984), Il feticcio quotidiano (1988), Horror pleni. La (in)civiltà del rumore (2008). In the same period, however, Dorfles continued to hold personal exhibitions: in 1986 his works were displayed in Milan, in 1988 in Aosta, and in 1996 in Rome.[3]
In 2010, for his 100th birthday celebrations, L'avanguardia tradita took place at the Royal Palace of Milan. Another exhibition was held in 2012 at the Milan Triennale, organized by Dorfles itself, entitled Dorfles. Kitsch - oggi il kitsch.[4]
At 103, Dorfles published a new book (Poesie, Campanotto Editore, 2013), containing previously unpublished poems written from 1941 to 1952.[5] In 2013 he was among the artists that designed the Tibetan pavilion at the 55th Venice Biennale.[6]
Having stopped painting, he devoted himself to the study of aesthetics and art criticism, dealing with the problem of the vanguard, the relationship between art and industry, analizing artistic phenomena, and tastes in the contemporary society. According to Dorfles, aesthetics should focus on culture as a whole, which combine elements of fantasy, symbolic, metaphorical and even mythical suggestions. Among his major works, L'architettura moderna (1954), Kitsch (originally published in Italian in 1968 and translated in English the following year), La moda della moda (1984), Il feticcio quotidiano (1988), Horror pleni. La (in)civiltà del rumore (2008). In the same period, however, Dorfles continued to hold personal exhibitions: in 1986 his works were displayed in Milan, in 1988 in Aosta, and in 1996 in Rome.[3]
In 2010, for his 100th birthday celebrations, L'avanguardia tradita took place at the Royal Palace of Milan. Another exhibition was held in 2012 at the Milan Triennale, organized by Dorfles itself, entitled Dorfles. Kitsch - oggi il kitsch.[4]
At 103, Dorfles published a new book (Poesie, Campanotto Editore, 2013), containing previously unpublished poems written from 1941 to 1952.[5] In 2013 he was among the artists that designed the Tibetan pavilion at the 55th Venice Biennale.[6]
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Displaying 1 - 2 of 2 reviews
January 15, 2020
Non posso dire che sia brutto, perché credo di non avere le basi culturali per farlo. Ma sicuramente é un libro pessimo su cui studiare. Un cumulo di affermazioni, divagazioni e termini forbiti. Senza contare l'uso smodato che l'autore fa di parole in latino, inglese, francese, tedesco, ecc. Un libro che ho trovato veramente antipatico.
March 20, 2018
Credo sia caotico e troppo veloce per chi non ha mai affrontato il problema dell'estetica contemporanea, e per chi avesse già tentennato nelle sabbie mobili della questione (alquanto complessa e sottile) non offre che pochi spunti di riflessione.
Non particolarmente illuminante, almeno per me.
Non particolarmente illuminante, almeno per me.
Displaying 1 - 2 of 2 reviews