Arte Povera vs Nouveau Réalisme
アルテ・ポーヴェラ / ヌーヴォー・レアリスム
Arte Povera comes from Italian Avant-garde and Nouveau Réalisme from Postwar Abstract Painting. Both are read here as style. They are reached for with some of the same intent, which is where they get confused.
Arte Povera
Takes up earth, branches, cloth, stone, fire and metal, materials that are neither precious nor stable, and uses them to intervene in the commodification of art and the values of industrial society.
Nouveau Réalisme
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A group that declared, in Paris in 1960, the direct appropriation of reality. Layers of torn posters, compressed car bodies and accumulated refuse make the city itself into the work without passing through depiction. The stance of selecting material rather than working it laid the ground for all later assemblage.
| Arte Povera | Nouveau Réalisme | |
|---|---|---|
| Era | 1967–1970s | 1960–1970 |
| Family | Italian Avant-garde | Postwar Abstract Painting |
| Kind | Style | Style |
| Cues | Non-precious materials / Change and decay / Nature against industry / Bare assembly | Layers of posters torn back / Accumulations of identical objects / Compressed industrial products / Material chosen rather than worked |
| Best used for | Installations where the material changing over time is written into the plan. · Spaces that put an industrial product beside a natural one and make the gap the subject. | Urban and cultural posters that take fly-posted, weathered layers as their actual language rather than as a filter · Retail and exhibition display built from massed identical units, where the accumulation is the graphic device |
| Type | Let the title be a list of the materials, with no metaphor added. | Fragments of existing typography, whatever survives the tear, never a face chosen for the job |
| Composition | Set the work on the floor and refuse the plinth and the spotlight. | Let the torn edge draw the composition, splitting the field around one compressed or massed block |
| Material | Earth, wax, cloth, metal and living plants, worked as little as possible. | Mass identical real objects, or paste and tear paper so the lower printings show |
| Caution | Do not reduce this to the mood of aged materials, and keep its critique of value, time, labor and institution. Over conditioning the display turns the work into an unchanging specimen. | Simulating the torn poster with a distress filter: the movement's entire claim is that the material was taken and not made, and a synthetic tear reverses it. |