In Italia la progressiva accessibilità digitale dei film in formato ridotto, dei videotape d’artista e dei materiali cartacei correlati (note di lavoro, schemi progettuali, epistolari ecc.), nonché lo studio degli archivi in cui sono stati conservati, rendono oggi possibile ricostruire su base documentale l’emergere, tra gli anni Sessanta e i primissimi anni Settanta, della pratica artistica del video analogico e, al contempo, evidenziano come questa da un lato interessi i contesti del Cinema d’artista e del Cinema indipendente e, dall’altro, si estenda agli ambiti dell’Arte povera, della Conceptual art e della Pop art. Su questa base, nel campo della riflessione critica, è possibile constatare che l’affiorare mediale del “video” – come, seppur diversamente, avevano già fatto la fotografia e il cinema – ha messo in discussione tanto il rapporto tra arte e tecnologia quanto la relazione tra i quadri teorici e le modalità operative da cui discendono definizioni, tassonomie e lessicografie storicamente connotati. In tale prospettiva, l’obiettivo che qui ci si pone concerne la descrizione e una prima messa a fuoco dell’emergere della “video arte” in Italia a partire da quella che, in modo forse troppo semplificato, è definibile come fase “prevideo”. Un periodo breve in cui la cronologia degli eventi diviene importante non certo per definire primazie, ma per evidenziare – tra le pratiche – le opere, i discorsi teorico-critici, i progetti espositivi, le loro connessioni, il loro essere intercomunicanti o il loro scorrere parallelo. Si cercherà, dunque, di ricostruire l’esordio della “video arte” in chiave storiografica, tracciandone la genealogia attraverso gli apparati documentali dei principali progetti espositivi, delle pratiche artistiche e delle opere in videotape. Allo stato della ricerca d’archivio, le tracce documentali rivelano un nesso peculiare tra “performatività” e “videotape”. Questo è il fil rouge che percorre il periodo preso in esame. Già attiva in certo cinema d’artista, la dimensione performativa si intensifica e potenzia attraverso il dispositivo video secondo la modalità del circuito chiuso, attraverso la quale si attesta in Italia, tra il 1969/1970 e il 1971, la prima sperimentazione del videotape in ambito artistico. Si tratta di ricerche – la cui manifestazione è, appunto, performativa e la cui matrice è concettuale – che mettono in discussione, trasformandole, le idee stesse di opera e di esposizione. Non solo. Nella contingenza storica e socio-culturale del ’68, le profonde trasformazioni prodotte dalle pratiche dell’arte (concettuali, pop, poveriste, cinetiche e programmate, performative) impattano il dispositivo della mostra, i luoghi dedicati alle esposizioni e, segnatamente, le gallerie che divengono uno spazio mentale, un campo aperto alla progettualità degli artisti. Il carattere “concettuale” delle loro azioni performative e del “tempo reale” in cui queste processualmente accadono, si mostrano, si danno a vedere e svaniscono; la loro documentazione (fotografica, cinematografica e videografica), dunque, assume una funzione peculiare perché avviene istantaneamente e simultaneamente agli eventi/atti artistici. La documentazione si sovrappone e, insieme, prende a essere una dimensione espansiva dell’atto artistico piuttosto che una dimensione suppletiva. Su questa base si tenterà un primo riesame critico di come, su un doppio binario pratico-teorico, con metodi e strumenti differenti operino tanto Luciano Giaccari (con lo Studio 970/2) quanto Gerry Schum (VideoGalleria). Si tratta, in particolare, di mettere in luce come il lavoro e la presenza di quest’ultimo in Italia risultino interconnessi ai cominciamenti delle pratiche video in ambito artistico. Infine si evidenzierà come, durante quel periodo, a partire da esperienze performative captate e registrate su supporti cinematografici in formato ridotto (8mm, 16mm, Super 8) e su un piano che ha implicato una forte progettualità curatoriale declinata in contesti espositivi quali musei, gallerie o spazi alternativi, si sia attivata una particolare attenzione verso il videotape (con tutte le specificità tecniche e i limiti delle tecnologie dell’epoca) in quanto mezzo espressivo e documentativo. Significativamente, quegli stessi progetti curatoriali prevedevano che le tecnologie allora all’avanguardia potessero venire variamente messe a disposizione degli artisti (si trattava in prevalenza di tecnologie Philips). Verranno presi in esame, in quanto eventi generativi della video arte italiana: la 3a Biennale internazionale della giovane pittura. Gennaio 70: comportamenti, progetti, mediazioni (curata da Renato Barilli, Maurizio Calvesi, Tommaso Trini, Andrea Emiliani che si tenne presso il Museo Civico di Bologna nel 1970); la 35a Esposizione Biennale Internazionale d'Arte del 1970 (diretta da Mario Penelope); Eurodomus 3/ Il Telemuseo (curato da Tommaso Trini a Milano nel 1970); Improvvisazioni su Videonastro VPL 6 IC, videoregistratore LDL 1000, telecamera mini-compact (coordinate da Francesco Carlo Crispolti nell’ambito del centro produzione di videotape della galleria Obelisco di Roma nel 1971); Circuito -----> Chiuso – Aperto (rassegna che si è tenuta ad Acireale nel 1971 curata di Francesco Carlo Crispolti e coordinata da Italo Mussa); Schifanoia-tv: “mezzo” aperto/opera chiusa (realizzata a Ferrara nel 1972 dal Gruppo OB di Milano). *** In Italy, the progressive digital accessibility of sub-standard films, videotapes and related paper materials (work notes, project layouts, letters, etc.), as well as the study of the archives in which they were preserved, make it possible today to reconstruct the emergence (between the Sixties and the early Seventies), of the artistic practice of analog video. At the same time, this permits to highlight how this emergence interests both the contexts of artist’s and independent cinema and the areas of Arte Povera, Conceptual Art and Pop Art. On this basis and reflecting critically, it is possible to see that the medial emergence of "video" - as, albeit otherwise, photography and cinema had already done - has challenged the relationship between art and technology as much as the relationship between the theoretical frameworks and the operational modalities from which historically connoted definitions, taxonomies and lexicographies derive. In this perspective, the objective set here concerns the description and a first focus of the emergence of "video art" in Italy starting from what, perhaps too simplified, can be defined as a "prevideo" phase. A short period in which the chronology of events becomes important, certainly not to define primacies, but to highlight - among the practices - the works, the theoretical-critical discourses, the exhibition projects, their connections, their intercommunication or their flow. We will try, therefore, to reconstruct the debut of "video art" in a historiographical key, tracing its genealogy through the documentary apparatus of the main exhibition projects, artistic practices and videotape works. At the state of the archive research, the documentary traces reveal a peculiar connection between "performativity" and "videotape". This is the common thread that runs through the period under consideration. Already active in certain artist's cinema, the performative dimension intensifies and strengthens through the video device according to the closed-circuit mode, through which the first experimentation of the videotape in Italy is attested between 1969 and 1971. These are researches - whose manifestation is, precisely, performative and whose matrix is conceptual - which question, transforming them, the very ideas of work and exhibition. Not only. In the historical and socio-cultural contingency of 1968, the profound transformations produced by the practices of art (conceptual, pop, poor, kinetic and programmed, performative) impact the device of the exhibition, the places dedicated to exhibitions and, in particular, the galleries that become a mental space, a field open to the planning of artists. The "conceptual" character of their performative actions and of the "real time" in which they occur, show themselves and disappear; their documentation (photographic, cinematographic and videographic), therefore, takes on a peculiar function because it occurs instantaneously and simultaneously with artistic events / acts. The documentation overlaps and, together, becomes an expansive dimension of the artistic act rather than a supplementary dimension. On this basis, a first critical re-examination of how, on a double practical-theoretical track, with different methods and tools, both Luciano Giaccari (with Studio 970/2) and Gerry Schum (VideoGalleria) have operate. In particular, it is a question of highlighting how the work and its presence in Italy are interconnected with the beginning of video practices in the artistic field. Finally, it will be highlighted how, during that period, starting from performing experiences captured and recorded on reduced sub-standard film (8mm, 16mm, Super 8) which already present a strong curatorial planning, developed in exhibition contexts such as museums, galleries or alternative spaces, particular attention has been activated towards videotape (with all the technical specificities and the limits of the technologies of the time) as a mean of expression and documentation. Significantly, those same curatorial projects foresaw that the then-avant-garde technologies could be made available to artists in various ways (mainly Philips technologies). Here, as generative events of Italian video art, will be taken in consideration: the 3a Biennale internazionale della giovane pittura. Gennaio 70: comportamenti, progetti, mediazioni (curated by Renato Barilli, Maurizio Calvesi, Tommaso Trini, Andrea Emiliani at the Bologna Civic Museum in 1970); the 35a Esposizione Biennale Internazionale d'Arte del 1970; Eurodomus 3/ Il Telemuseo (curated by da Tommaso Trini in Milano in 1970); Improvvisazioni su Videonatro VPL 6 IC, videoregistratore LDL 1000, telecamera mini-compact (coordinated by Francesco Carlo Crispolti at the Obelisco Gallery in Rome in 1971); Circuito -----> Chiuso – Aperto (Curated by Francesco Carlo Crispolti in Acireale in 1971); Schifanoia-tv: “mezzo” aperto/opera chiusa (realized in Ferrara in 1972 by the collective Gruppo OB based in Milano). The beginning of video-art in Italy (1968-1971) In Italy, the progressive digital accessibility of sub-standard films, videotapes and related paper materials (work notes, project layouts, letters, etc.), as well as the study of the archives in which they were preserved, make it possible today to reconstruct the emergence (between the Sixties and the early Seventies), of the artistic practice of analog video. At the same time, this permits to highlight how this emergence interests both the contexts of artist’s and independent cinema and the areas of Arte Povera, Conceptual Art and Pop Art. On this basis and reflecting critically, it is possible to see that the medial emergence of "video" - as, albeit otherwise, photography and cinema had already done - has challenged the relationship between art and technology as much as the relationship between the theoretical frameworks and the operational modalities from which historically connoted definitions, taxonomies and lexicographies derive. In this perspective, the objective set here concerns the description and a first focus of the emergence of "video art" in Italy starting from what, perhaps too simplified, can be defined as a "prevideo" phase. A short period in which the chronology of events becomes important, certainly not to define primacies, but to highlight - among the practices - the works, the theoretical-critical discourses, the exhibition projects, their connections, their intercommunication or their flow. We will try, therefore, to reconstruct the debut of "video art" in a historiographical key, tracing its genealogy through the documentary apparatus of the main exhibition projects, artistic practices and videotape works. At the state of the archive research, the documentary traces reveal a peculiar connection between "performativity" and "videotape". This is the common thread that runs through the period under consideration. Already active in certain artist's cinema, the performative dimension intensifies and strengthens through the video device according to the closed-circuit mode, through which the first experimentation of the videotape in Italy is attested between 1969 and 1971. These are researches - whose manifestation is, precisely, performative and whose matrix is conceptual - which question, transforming them, the very ideas of work and exhibition. Not only. In the historical and socio-cultural contingency of 1968, the profound transformations produced by the practices of art (conceptual, pop, poor, kinetic and programmed, performative) impact the device of the exhibition, the places dedicated to exhibitions and, in particular, the galleries that become a mental space, a field open to the planning of artists. The "conceptual" character of their performative actions and of the "real time" in which they occur, show themselves and disappear; their documentation (photographic, cinematographic and videographic), therefore, takes on a peculiar function because it occurs instantaneously and simultaneously with artistic events / acts. The documentation overlaps and, together, becomes an expansive dimension of the artistic act rather than a supplementary dimension. On this basis, a first critical re-examination of how, on a double practical-theoretical track, with different methods and tools, both Luciano Giaccari (with Studio 970/2) and Gerry Schum (VideoGalleria) have operate. In particular, it is a question of highlighting how the work and its presence in Italy are interconnected with the beginning of video practices in the artistic field. Finally, it will be highlighted how, during that period, starting from performing experiences captured and recorded on reduced sub-standard film (8mm, 16mm, Super 8) which already present a strong curatorial planning, developed in exhibition contexts such as museums, galleries or alternative spaces, particular attention has been activated towards videotape (with all the technical specificities and the limits of the technologies of the time) as a mean of expression and documentation. Significantly, those same curatorial projects foresaw that the then-avant-garde technologies could be made available to artists in various ways (mainly Philips technologies). Here, as generative events of Italian video art, will be taken in consideration: the 3a Biennale internazionale della giovane pittura. Gennaio 70: comportamenti, progetti, mediazioni (curated by Renato Barilli, Maurizio Calvesi, Tommaso Trini, Andrea Emiliani at the Bologna Civic Museum in 1970); the 35a Esposizione Biennale Internazionale d'Arte del 1970; Eurodomus 3/ Il Telemuseo (curated by da Tommaso Trini in Milano in 1970); Improvvisazioni su Videonatro VPL 6 IC, videoregistratore LDL 1000, telecamera mini-compact (coordinated by Francesco Carlo Crispolti at the Obelisco Gallery in Rome in 1971); Circuito -----> Chiuso – Aperto (Curated by Francesco Carlo Crispolti in Acireale in 1971); Schifanoia-tv: “mezzo” aperto/opera chiusa (realized in Ferrara in 1972 by the collective Gruppo OB based in Milano).
Cominciamenti della video arte in Italia (1968-1971)
Cosetta Saba
2019-01-01
Abstract
In Italia la progressiva accessibilità digitale dei film in formato ridotto, dei videotape d’artista e dei materiali cartacei correlati (note di lavoro, schemi progettuali, epistolari ecc.), nonché lo studio degli archivi in cui sono stati conservati, rendono oggi possibile ricostruire su base documentale l’emergere, tra gli anni Sessanta e i primissimi anni Settanta, della pratica artistica del video analogico e, al contempo, evidenziano come questa da un lato interessi i contesti del Cinema d’artista e del Cinema indipendente e, dall’altro, si estenda agli ambiti dell’Arte povera, della Conceptual art e della Pop art. Su questa base, nel campo della riflessione critica, è possibile constatare che l’affiorare mediale del “video” – come, seppur diversamente, avevano già fatto la fotografia e il cinema – ha messo in discussione tanto il rapporto tra arte e tecnologia quanto la relazione tra i quadri teorici e le modalità operative da cui discendono definizioni, tassonomie e lessicografie storicamente connotati. In tale prospettiva, l’obiettivo che qui ci si pone concerne la descrizione e una prima messa a fuoco dell’emergere della “video arte” in Italia a partire da quella che, in modo forse troppo semplificato, è definibile come fase “prevideo”. Un periodo breve in cui la cronologia degli eventi diviene importante non certo per definire primazie, ma per evidenziare – tra le pratiche – le opere, i discorsi teorico-critici, i progetti espositivi, le loro connessioni, il loro essere intercomunicanti o il loro scorrere parallelo. Si cercherà, dunque, di ricostruire l’esordio della “video arte” in chiave storiografica, tracciandone la genealogia attraverso gli apparati documentali dei principali progetti espositivi, delle pratiche artistiche e delle opere in videotape. Allo stato della ricerca d’archivio, le tracce documentali rivelano un nesso peculiare tra “performatività” e “videotape”. Questo è il fil rouge che percorre il periodo preso in esame. Già attiva in certo cinema d’artista, la dimensione performativa si intensifica e potenzia attraverso il dispositivo video secondo la modalità del circuito chiuso, attraverso la quale si attesta in Italia, tra il 1969/1970 e il 1971, la prima sperimentazione del videotape in ambito artistico. Si tratta di ricerche – la cui manifestazione è, appunto, performativa e la cui matrice è concettuale – che mettono in discussione, trasformandole, le idee stesse di opera e di esposizione. Non solo. Nella contingenza storica e socio-culturale del ’68, le profonde trasformazioni prodotte dalle pratiche dell’arte (concettuali, pop, poveriste, cinetiche e programmate, performative) impattano il dispositivo della mostra, i luoghi dedicati alle esposizioni e, segnatamente, le gallerie che divengono uno spazio mentale, un campo aperto alla progettualità degli artisti. Il carattere “concettuale” delle loro azioni performative e del “tempo reale” in cui queste processualmente accadono, si mostrano, si danno a vedere e svaniscono; la loro documentazione (fotografica, cinematografica e videografica), dunque, assume una funzione peculiare perché avviene istantaneamente e simultaneamente agli eventi/atti artistici. La documentazione si sovrappone e, insieme, prende a essere una dimensione espansiva dell’atto artistico piuttosto che una dimensione suppletiva. Su questa base si tenterà un primo riesame critico di come, su un doppio binario pratico-teorico, con metodi e strumenti differenti operino tanto Luciano Giaccari (con lo Studio 970/2) quanto Gerry Schum (VideoGalleria). Si tratta, in particolare, di mettere in luce come il lavoro e la presenza di quest’ultimo in Italia risultino interconnessi ai cominciamenti delle pratiche video in ambito artistico. Infine si evidenzierà come, durante quel periodo, a partire da esperienze performative captate e registrate su supporti cinematografici in formato ridotto (8mm, 16mm, Super 8) e su un piano che ha implicato una forte progettualità curatoriale declinata in contesti espositivi quali musei, gallerie o spazi alternativi, si sia attivata una particolare attenzione verso il videotape (con tutte le specificità tecniche e i limiti delle tecnologie dell’epoca) in quanto mezzo espressivo e documentativo. Significativamente, quegli stessi progetti curatoriali prevedevano che le tecnologie allora all’avanguardia potessero venire variamente messe a disposizione degli artisti (si trattava in prevalenza di tecnologie Philips). Verranno presi in esame, in quanto eventi generativi della video arte italiana: la 3a Biennale internazionale della giovane pittura. Gennaio 70: comportamenti, progetti, mediazioni (curata da Renato Barilli, Maurizio Calvesi, Tommaso Trini, Andrea Emiliani che si tenne presso il Museo Civico di Bologna nel 1970); la 35a Esposizione Biennale Internazionale d'Arte del 1970 (diretta da Mario Penelope); Eurodomus 3/ Il Telemuseo (curato da Tommaso Trini a Milano nel 1970); Improvvisazioni su Videonastro VPL 6 IC, videoregistratore LDL 1000, telecamera mini-compact (coordinate da Francesco Carlo Crispolti nell’ambito del centro produzione di videotape della galleria Obelisco di Roma nel 1971); Circuito -----> Chiuso – Aperto (rassegna che si è tenuta ad Acireale nel 1971 curata di Francesco Carlo Crispolti e coordinata da Italo Mussa); Schifanoia-tv: “mezzo” aperto/opera chiusa (realizzata a Ferrara nel 1972 dal Gruppo OB di Milano). *** In Italy, the progressive digital accessibility of sub-standard films, videotapes and related paper materials (work notes, project layouts, letters, etc.), as well as the study of the archives in which they were preserved, make it possible today to reconstruct the emergence (between the Sixties and the early Seventies), of the artistic practice of analog video. At the same time, this permits to highlight how this emergence interests both the contexts of artist’s and independent cinema and the areas of Arte Povera, Conceptual Art and Pop Art. On this basis and reflecting critically, it is possible to see that the medial emergence of "video" - as, albeit otherwise, photography and cinema had already done - has challenged the relationship between art and technology as much as the relationship between the theoretical frameworks and the operational modalities from which historically connoted definitions, taxonomies and lexicographies derive. In this perspective, the objective set here concerns the description and a first focus of the emergence of "video art" in Italy starting from what, perhaps too simplified, can be defined as a "prevideo" phase. A short period in which the chronology of events becomes important, certainly not to define primacies, but to highlight - among the practices - the works, the theoretical-critical discourses, the exhibition projects, their connections, their intercommunication or their flow. We will try, therefore, to reconstruct the debut of "video art" in a historiographical key, tracing its genealogy through the documentary apparatus of the main exhibition projects, artistic practices and videotape works. At the state of the archive research, the documentary traces reveal a peculiar connection between "performativity" and "videotape". This is the common thread that runs through the period under consideration. Already active in certain artist's cinema, the performative dimension intensifies and strengthens through the video device according to the closed-circuit mode, through which the first experimentation of the videotape in Italy is attested between 1969 and 1971. These are researches - whose manifestation is, precisely, performative and whose matrix is conceptual - which question, transforming them, the very ideas of work and exhibition. Not only. In the historical and socio-cultural contingency of 1968, the profound transformations produced by the practices of art (conceptual, pop, poor, kinetic and programmed, performative) impact the device of the exhibition, the places dedicated to exhibitions and, in particular, the galleries that become a mental space, a field open to the planning of artists. The "conceptual" character of their performative actions and of the "real time" in which they occur, show themselves and disappear; their documentation (photographic, cinematographic and videographic), therefore, takes on a peculiar function because it occurs instantaneously and simultaneously with artistic events / acts. The documentation overlaps and, together, becomes an expansive dimension of the artistic act rather than a supplementary dimension. On this basis, a first critical re-examination of how, on a double practical-theoretical track, with different methods and tools, both Luciano Giaccari (with Studio 970/2) and Gerry Schum (VideoGalleria) have operate. In particular, it is a question of highlighting how the work and its presence in Italy are interconnected with the beginning of video practices in the artistic field. Finally, it will be highlighted how, during that period, starting from performing experiences captured and recorded on reduced sub-standard film (8mm, 16mm, Super 8) which already present a strong curatorial planning, developed in exhibition contexts such as museums, galleries or alternative spaces, particular attention has been activated towards videotape (with all the technical specificities and the limits of the technologies of the time) as a mean of expression and documentation. Significantly, those same curatorial projects foresaw that the then-avant-garde technologies could be made available to artists in various ways (mainly Philips technologies). Here, as generative events of Italian video art, will be taken in consideration: the 3a Biennale internazionale della giovane pittura. Gennaio 70: comportamenti, progetti, mediazioni (curated by Renato Barilli, Maurizio Calvesi, Tommaso Trini, Andrea Emiliani at the Bologna Civic Museum in 1970); the 35a Esposizione Biennale Internazionale d'Arte del 1970; Eurodomus 3/ Il Telemuseo (curated by da Tommaso Trini in Milano in 1970); Improvvisazioni su Videonatro VPL 6 IC, videoregistratore LDL 1000, telecamera mini-compact (coordinated by Francesco Carlo Crispolti at the Obelisco Gallery in Rome in 1971); Circuito -----> Chiuso – Aperto (Curated by Francesco Carlo Crispolti in Acireale in 1971); Schifanoia-tv: “mezzo” aperto/opera chiusa (realized in Ferrara in 1972 by the collective Gruppo OB based in Milano). The beginning of video-art in Italy (1968-1971) In Italy, the progressive digital accessibility of sub-standard films, videotapes and related paper materials (work notes, project layouts, letters, etc.), as well as the study of the archives in which they were preserved, make it possible today to reconstruct the emergence (between the Sixties and the early Seventies), of the artistic practice of analog video. At the same time, this permits to highlight how this emergence interests both the contexts of artist’s and independent cinema and the areas of Arte Povera, Conceptual Art and Pop Art. On this basis and reflecting critically, it is possible to see that the medial emergence of "video" - as, albeit otherwise, photography and cinema had already done - has challenged the relationship between art and technology as much as the relationship between the theoretical frameworks and the operational modalities from which historically connoted definitions, taxonomies and lexicographies derive. In this perspective, the objective set here concerns the description and a first focus of the emergence of "video art" in Italy starting from what, perhaps too simplified, can be defined as a "prevideo" phase. A short period in which the chronology of events becomes important, certainly not to define primacies, but to highlight - among the practices - the works, the theoretical-critical discourses, the exhibition projects, their connections, their intercommunication or their flow. We will try, therefore, to reconstruct the debut of "video art" in a historiographical key, tracing its genealogy through the documentary apparatus of the main exhibition projects, artistic practices and videotape works. At the state of the archive research, the documentary traces reveal a peculiar connection between "performativity" and "videotape". This is the common thread that runs through the period under consideration. Already active in certain artist's cinema, the performative dimension intensifies and strengthens through the video device according to the closed-circuit mode, through which the first experimentation of the videotape in Italy is attested between 1969 and 1971. These are researches - whose manifestation is, precisely, performative and whose matrix is conceptual - which question, transforming them, the very ideas of work and exhibition. Not only. In the historical and socio-cultural contingency of 1968, the profound transformations produced by the practices of art (conceptual, pop, poor, kinetic and programmed, performative) impact the device of the exhibition, the places dedicated to exhibitions and, in particular, the galleries that become a mental space, a field open to the planning of artists. The "conceptual" character of their performative actions and of the "real time" in which they occur, show themselves and disappear; their documentation (photographic, cinematographic and videographic), therefore, takes on a peculiar function because it occurs instantaneously and simultaneously with artistic events / acts. The documentation overlaps and, together, becomes an expansive dimension of the artistic act rather than a supplementary dimension. On this basis, a first critical re-examination of how, on a double practical-theoretical track, with different methods and tools, both Luciano Giaccari (with Studio 970/2) and Gerry Schum (VideoGalleria) have operate. In particular, it is a question of highlighting how the work and its presence in Italy are interconnected with the beginning of video practices in the artistic field. Finally, it will be highlighted how, during that period, starting from performing experiences captured and recorded on reduced sub-standard film (8mm, 16mm, Super 8) which already present a strong curatorial planning, developed in exhibition contexts such as museums, galleries or alternative spaces, particular attention has been activated towards videotape (with all the technical specificities and the limits of the technologies of the time) as a mean of expression and documentation. Significantly, those same curatorial projects foresaw that the then-avant-garde technologies could be made available to artists in various ways (mainly Philips technologies). Here, as generative events of Italian video art, will be taken in consideration: the 3a Biennale internazionale della giovane pittura. Gennaio 70: comportamenti, progetti, mediazioni (curated by Renato Barilli, Maurizio Calvesi, Tommaso Trini, Andrea Emiliani at the Bologna Civic Museum in 1970); the 35a Esposizione Biennale Internazionale d'Arte del 1970; Eurodomus 3/ Il Telemuseo (curated by da Tommaso Trini in Milano in 1970); Improvvisazioni su Videonatro VPL 6 IC, videoregistratore LDL 1000, telecamera mini-compact (coordinated by Francesco Carlo Crispolti at the Obelisco Gallery in Rome in 1971); Circuito -----> Chiuso – Aperto (Curated by Francesco Carlo Crispolti in Acireale in 1971); Schifanoia-tv: “mezzo” aperto/opera chiusa (realized in Ferrara in 1972 by the collective Gruppo OB based in Milano).I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
