著者

池野 絢子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.59, no.1, pp.140-153, 2008-06-30

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This research is going to talk about the formation of 'Arte povera' as an artistic movement. Today, Arte povera is well-known all over the world as that which used 'poor' materials, such as woods, papers, coals, etc. Although this definition does not always accord with the works in respect of materials and concepts, that critical term 'povera' has succeeded in grouping up the various artists. In fact 'povera' is so ambiguous term that we can do nothing but refer to the text of a critic, Germano Celant, who named this movement. But it can be thought that between the critical discourses and the diverse works, there should be essential difference. Making it clear, this text will study from following three perspectives; the strategy of Celant, contradiction between his rhetoric and acts of artists, and problem with historicization and reception of 'Arte povera.' Through these analyses, it is aimed to show what is included in and what is excluded from the territory of 'Arte povera' along its history.