"Made in Italy." (Various Young Italian Artists, Institute for Contemporary Art, London, England)

By Verzotti, Giorgio | Artforum International, February 1998 | Go to article overview

"Made in Italy." (Various Young Italian Artists, Institute for Contemporary Art, London, England)


Verzotti, Giorgio, Artforum International


INSTITUTE FOR CONTEMPORARY ART

For the first time since the appearance of the Transavanguardia, artwork by young Italians is being appreciated - even outside Italy - almost as much as that of young English, German, or American artists. A recent exhibition, which was conceived by Paolo Colombo for the Centre d'Art contemporain in Geneva and then traveled to London, was the most important manifestation thus far of this somewhat unexpected phenomenon. Despite the important role the Transavanguardia played in the aesthetic debates of the '80s, work by younger Italians rarely crosses the borders of Italy, regardless of quality, except in the case of certain higher-profile figures like Maurizio Cattelan or Vanessa Beecroft.

The show's original title, "Fatto in Italia," was an ironic translation of "made in Italy," a phrase that evokes fashion, shoes, cuisine, and perhaps even political corruption. Here, it was used to introduce to an international audience twelve artists who appeared on the scene after the mid '80s. Stefano Arienti and Liliana Moro were the sole representatives of the generation that began exhibiting in 1985; the others, although their contemporaries, all began to receive recognition later. Moro presented an ambiguous terra-cotta self-portrait that was an artifact from an earlier performance. Arienti's amusingly aggressive iconophobia was revealed in a large-scale photographic self-portrait with only a ghost of the blurry image remaining, thanks to scratches and cuts made on the negative by a few of his friends. The work of these two artists exemplifies some of the approaches that have been put forth in opposition to neo-Expressionist painting.

One strength of "Made in Italy" was that it attempted to highlight the variety of strategies deployed by young Italian artists. Cattelan's black humor was visible here in a piece wittily illustrating a familiar expression - an ostrich hiding its head in a hole in the floor. Cattelan also often creates works in situ: here, he intended to leave paper bags containing fake hand grenades lying around the floor of the ICA bar, but ended up abandoning the idea. There were some who also strongly suspected him of having graffitied incendiary slogans onto the exterior of the building after the show's opening (the graffiti was later removed by authorities). Beecroft exhibited small drawings and large canvases populated by nervous figures, and she also presented a performance, loaded with erotic significance, that featured girls dressed only in camisole tops. …

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

"Made in Italy." (Various Young Italian Artists, Institute for Contemporary Art, London, England)
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.