Lectures, Italy, Siena, 23 April 2013
Environmental Art: Questions of Definition and Connections with Architecture
In the last ten years, art and architecture have often come together, to the point where in many works it is difficult to recognize the hand of one professional or another, especially in environmental art projects, where the distinctions in the eye of contemporary criticism seem to have lost their meaning. Is this "contamination" the result of a new Renaissance of the arts or is it the evidence of a further loss of identity of the visual arts?
The aim of the "StARTers" discussion with Laura Fanti, critic and art historian, is to retrace the respective formal autonomies (and declarations of intentions) of art and architecture.
Laura Fanti collaborates with the Department of Art History at the University of Rome "La Sapienza." She graduated in Comparative Art History of European Countries at "La Sapienza" and in Contemporary Art History at the specialized school of Art History at the University of Florence.
For the past ten years she has worked both in the didactic and scientific/archival fields and in the critical/curatorial sphere, collaborating with private institutions and organizations, among which are the National Gallery of Modern Art, The Regione Lazio (Regional Center of Documentation), Zètema and the Alessandra Bonomo Gallery. She is employed in talent scouting, promoting the work of young artists and writing essays and interviews, also for exhibitions.
She writes for the magazines Espoarte and Juliet, is the editor of Histara-les comptes rendus (the magazine of the Sorbonne) and occasionally collaborates with other specialized newspapers (Nuova Museologia, Kritika, Ottocento).
Picture: Olafur Eliasson, Façade for Harpa Reykjavik Concert Hall and Conference Centre, 2011, Eignarhaldsfélagi∂ Portus
ehf., Reykjavik, Iceland, © Portus ehf, Olafur Eliasson, and Henning Larsen Architects
In the last ten years, art and architecture have often come together, to the point where in many works it is difficult to recognize the hand of one professional or another, especially in environmental art projects, where the distinctions in the eye of contemporary criticism seem to have lost their meaning. Is this "contamination" the result of a new Renaissance of the arts or is it the evidence of a further loss of identity of the visual arts?
The aim of the "StARTers" discussion with Laura Fanti, critic and art historian, is to retrace the respective formal autonomies (and declarations of intentions) of art and architecture.
Laura Fanti collaborates with the Department of Art History at the University of Rome "La Sapienza." She graduated in Comparative Art History of European Countries at "La Sapienza" and in Contemporary Art History at the specialized school of Art History at the University of Florence.
For the past ten years she has worked both in the didactic and scientific/archival fields and in the critical/curatorial sphere, collaborating with private institutions and organizations, among which are the National Gallery of Modern Art, The Regione Lazio (Regional Center of Documentation), Zètema and the Alessandra Bonomo Gallery. She is employed in talent scouting, promoting the work of young artists and writing essays and interviews, also for exhibitions.
She writes for the magazines Espoarte and Juliet, is the editor of Histara-les comptes rendus (the magazine of the Sorbonne) and occasionally collaborates with other specialized newspapers (Nuova Museologia, Kritika, Ottocento).
Picture: Olafur Eliasson, Façade for Harpa Reykjavik Concert Hall and Conference Centre, 2011, Eignarhaldsfélagi∂ Portus
ehf., Reykjavik, Iceland, © Portus ehf, Olafur Eliasson, and Henning Larsen Architects
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