Book Section2022-01-04
Kinetic and programmed art has been a trend of contemporary arts that flourished in the 1950s and 1960s. Kinetic artworks often incorporated technology, at that time still immature, and involved the audience in the production of visual, sound, and somatic effects. Gruppo T was the pioneering group at the forefront of this groundbreaking vision of art as reproducible, participatory, and interactive. Through an action research project and the methodological tool of reenactment, a group of researchers, designers, and artists has proposed an alternative way to conserve Gruppo T artworks. The project ‘Re-programmed Art: An Open Manifesto’ originated from the ephemeral and experimental features, as well as fragility, of the works by Gruppo T — that is, from the difficulties of practice, conservation, technology, and market that have confined them for far too long to the margins of mainstream art history. We conceive reenactment not just a mere restaging but as re-designing, re-thinking, updating, and re-programming a series of works by Gruppo T.
Keywords: open design, programmed art, Gruppo T, preservation
Title
Re-search, Re-enactment, Re-design, Re-programmed Art
Author(s)
Serena Cangiano
Davide Fornari
Azalea Seratoni
Identifier
Description
Kinetic and programmed art has been a trend of contemporary arts that flourished in the 1950s and 1960s. Kinetic artworks often incorporated technology, at that time still immature, and involved the audience in the production of visual, sound, and somatic effects. Gruppo T was the pioneering group at the forefront of this groundbreaking vision of art as reproducible, participatory, and interactive. Through an action research project and the methodological tool of reenactment, a group of researchers, designers, and artists has proposed an alternative way to conserve Gruppo T artworks. The project ‘Re-programmed Art: An Open Manifesto’ originated from the ephemeral and experimental features, as well as fragility, of the works by Gruppo T — that is, from the difficulties of practice, conservation, technology, and market that have confined them for far too long to the margins of mainstream art history. We conceive reenactment not just a mere restaging but as re-designing, re-thinking, updating, and re-programming a series of works by Gruppo T.
Is Part Of
Place
Berlin
Publisher
ICI Berlin Press
Date
4 January 2022
Subject
open design, programmed art, Gruppo T, preservation
Rights
© by the author(s)
Except for images or otherwise noted, this publication is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Language
en-GB
page start
141
page end
150
Source
Over and Over and Over Again: Reenactment Strategies in Contemporary Arts and Theory, ed. by Cristina Baldacci, Clio Nicastro, and Arianna Sforzini, Cultural Inquiry, 21 (Berlin: ICI Berlin Press, 2022), pp. 141–50

References

  • Anceschi, Giovanni, Dichiarazione Miriorama 1 (Miriorama 1 Declaration), Preliminary manuscript version, Archivio Giovanni Anceschi, Milano
  • Anceschi, Giovanni, ‘How Programmed Art Was Born’, in Arte riprogrammata. Un manifesto aperto. Reprogrammed Art: An Open Manifesto, ed. by Serena Cangiano, Davide Fornari, and Azalea Seratoni (Milan: Johan and Levi, 2015), pp. 74–79
  • Cangiano, Serena, Davide Fornari, and Azalea Seratoni, eds, Arte riprogrammata. Un manifesto aperto. Reprogrammed Art: An Open Manifesto (Milan: Johan and Levi, 2015)
  • Devecchi, Gabriele, A proposito delle ipotesi Miriorama, Arte programmata e cinetica 1953/1963. L’ultima avanguardia, ed. by Vergine Lea (Milan: Mazzotta, 1983)
  • Eco, Umberto, and Bruno Munari, Arte programmata. Arte cinetica. Opere moltiplicate. Opera aperta (Milan: Officina d’Arte Grafica Lucini, 1962)

Cite as: Serena Cangiano, Davide Fornari, and Azalea Seratoni, ‘Re-search, Re-enactment, Re-design, Re-programmed Art’, in Over and Over and Over Again: Reenactment Strategies in Contemporary Arts and Theory, ed. by Cristina Baldacci, Clio Nicastro, and Arianna Sforzini, Cultural Inquiry, 21 (Berlin: ICI Berlin Press, 2022), pp. 141-50 <https://doi.org/10.37050/ci-21_15>