An analysis of three pictorial works by Ugo Nespolo is put forward: Barbe posticce (1977); Guardar Manzoni (1974); Il museo: Fontana (1975). It is claimed that such works embody meditations on the concept and the varieties of representation, that they prompt critical reflection on the role of museums in the making of art, and that they suggest an alternative route to that of the “dematerialization” of the art object for contemporary art
Ugo Nespolo - Severino Gazzelloni, Milano, Pre-Art Edizioni, 1977, fogli sciolti in cofanetto, tirat...
Ugo Nespolo (1941) ha attraversato gli ultimi cinquant’anni sperimentando in quasi tutti i campi del...
Nespolo’s artworks of the late 60s are conceivable as heritage of Dada. Objects and materials are co...
An analysis of three pictorial works by Ugo Nespolo is put forward: "Barbe posticce" (1977); "Guarda...
Deliberately with the elaboration of his late 60s’ artworks Nespolo adopts a fragmentary approach to...
A creative attitude based on an “open mind approach” toward art, on a stylistic salience of images a...
Written on the occasion of Ugo Nespolo’s first exhibition, this paper is about his activity as a pai...
On the background of Nespolo’s cinema there are on the one hand the new rules and the new structures...
Avant-gardist but at the same time critic toward Arte Povera and Conceptual Art, Nespolo express a l...
Game has a central role in Nespolo’s art. Irony and caricature are the main stylistic features decis...
In the field of social objects, in the hierarchy of values (and often of prices) a special place is ...
The combination of single material elements characterises Nespolo’s artworks since the 60s. The prim...
In this paper I try to shed light on the relationship between Ugo Nespolo and the Fluxus group, whic...
The poetic of Nespolo’s first artistic period of production is characterized by an intensive concept...
Contrary to the typical trend of contemporary art, according to which the invention matters more tha...
Ugo Nespolo - Severino Gazzelloni, Milano, Pre-Art Edizioni, 1977, fogli sciolti in cofanetto, tirat...
Ugo Nespolo (1941) ha attraversato gli ultimi cinquant’anni sperimentando in quasi tutti i campi del...
Nespolo’s artworks of the late 60s are conceivable as heritage of Dada. Objects and materials are co...
An analysis of three pictorial works by Ugo Nespolo is put forward: "Barbe posticce" (1977); "Guarda...
Deliberately with the elaboration of his late 60s’ artworks Nespolo adopts a fragmentary approach to...
A creative attitude based on an “open mind approach” toward art, on a stylistic salience of images a...
Written on the occasion of Ugo Nespolo’s first exhibition, this paper is about his activity as a pai...
On the background of Nespolo’s cinema there are on the one hand the new rules and the new structures...
Avant-gardist but at the same time critic toward Arte Povera and Conceptual Art, Nespolo express a l...
Game has a central role in Nespolo’s art. Irony and caricature are the main stylistic features decis...
In the field of social objects, in the hierarchy of values (and often of prices) a special place is ...
The combination of single material elements characterises Nespolo’s artworks since the 60s. The prim...
In this paper I try to shed light on the relationship between Ugo Nespolo and the Fluxus group, whic...
The poetic of Nespolo’s first artistic period of production is characterized by an intensive concept...
Contrary to the typical trend of contemporary art, according to which the invention matters more tha...
Ugo Nespolo - Severino Gazzelloni, Milano, Pre-Art Edizioni, 1977, fogli sciolti in cofanetto, tirat...
Ugo Nespolo (1941) ha attraversato gli ultimi cinquant’anni sperimentando in quasi tutti i campi del...
Nespolo’s artworks of the late 60s are conceivable as heritage of Dada. Objects and materials are co...