Rivista di Estetica | I quaderni: le arti contemporanee

Le arti si trasformano, l’orizzonte delle teorie si espande. Oltre a rinnovare i modi di produzione e condivisione delle opere, le arti ci invitano anche a ripensare le nostre possibilità esplicative. Aggiornare le ricerche, rimettere in discussione temi e problemi alla luce dei rinnovamenti, formulare nuove proposte teoriche sono infatti necessità sempre più incalzanti provenienti direttamente dalla produttività artistica. I quaderni di Rivista di Estetica le affrontano proponendo approfondimenti dedicati alle singole arti, a specifici temi che le caratterizzano, alle poetiche e alle caratteristiche delle pratiche artistiche, alle proposte teoriche che provano a spiegarle, alle modalità di cura esposizione e condivisione delle arti nella realtà sociale. Ciascun quaderno mira a offrire strumenti teorici che possano contribuire all’ampliamento delle ricerche all’insegna della interdisciplinarità e di un attento sguardo rivolto anche alle produzioni più recenti dell’epoca contemporanea.

#Le arti nelle pratiche, le arti nelle teorie

Per ulteriori dettagli sulla collana, premere qui.

Rivista di Estetica

Title: The Artist Project. Theories and Practices of the Contemporary Art Project 1968-2020

Guest editors: Elisabetta Modena (University of Milan), Marco Scotti (Università Iuav di Venezia)

Deadline for submission: 31 January 2023

While there has been much written on the analysis of a finalized artwork, including studies of how it is exhibited, sold and preserved, there are still several areas of concern which remain largely overlooked, such as the way in which it is designed. From a theoretical point of view, we consider the artist project not really (and not only) something that concerns techniques or materials, but rather a set of methods and strategies, developed and pursued to realize an artwork. This theme of production is sustained by a long and rich tradition of studies which have exclusively dealt with specific materials or processes, such as the drawing or the unfinished work.

To address these issues, the volume aims at investigating three different perspectives.

The first is concerning art in the making; the project as a part of the creative process. The heterogeneity of the contemporary artistic production and of the types of artworks produced shows us that each artist has his or her own unique design method that could be modified from time to time depending on production requirements and specifications (client, budget, regulations, etc.). The materials and design documents can be appreciably different from artist to artist: sketches, notes, project boards, renderings, maquettes, correspondence, estimates, budgets… all these should be taken into account.

The second proposed point of view is related to the methodologies of historical research, i.e. the project as an object of study and as a tool for the reconstruction of the creative process. Moreover, in recent decades in this field, a certain amount of attention has been devoted to materials and techniques rather than to the project itself. Only recently, for example, the scientific community has proposed reflections on unrealised projects. The history of exhibitions further represents a privileged area of investigation; considering the exhibitions themselves as production opportunities.

The final approach concerns the philosophical field and is linked to a broader reflection upon artistic creation. From a theoretical point of view, the separation between conception and realization of the work of art, the distinction between autographic and allographic forms of art and questioning of the concept of originality of the artwork in relation to the everyday object have been some of the most frequently addressed themes.

This call for papers would like to focus the analysis on a chronological period ranging between 1968 – a fundamental year for the development of conceptual art – and 2020 when the Covid19 pandemic produced a paradigm shift in the design criteria moving the focus toward the digital sphere and remote working practices. Essays dedicated to a single artwork or exhibition, a single artist or significant theme will be accepted as long as they are related to the indicated chronological period and are considered coherent with the theme.

Instructions:

Articles must be written in English or Italian and should not exceed 40,000 characters.

In order to submit your paper, please register and login to:

http://labont.it/estetica/index.php/rivistadiestetica/login

Notice: when asked “What kind of file is this”, please select the relevant CFP.