L’infallibilità dell’improbabile: dipingere, camminare, filmare
The article starts from the assumption that a certain role of chance, perhaps controlled, or guided, led towards a desired outcome, is always present in our existence as in artistic practices, hidden under very different names and masks. This paradox often nests in what we call the outcome of a wor...
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | English |
| Published: |
Università degli Studi di Torino
2021-03-01
|
| Series: | Philosophy Kitchen |
| Online Access: | https://www.ojs.unito.it/index.php/philosophykitchen/article/view/5872 |
| id |
doaj-1b3a913bbfa24616acf6ff8f22660437 |
|---|---|
| record_format |
Article |
| spelling |
doaj-1b3a913bbfa24616acf6ff8f226604372021-09-13T18:49:30ZengUniversità degli Studi di TorinoPhilosophy Kitchen2385-19452021-03-011410.13135/2385-1945/5872L’infallibilità dell’improbabile: dipingere, camminare, filmareDaniela Angelucci0Università degli Studi Roma Tre The article starts from the assumption that a certain role of chance, perhaps controlled, or guided, led towards a desired outcome, is always present in our existence as in artistic practices, hidden under very different names and masks. This paradox often nests in what we call the outcome of a work of art: the completeness of the work is, after all, the result of a series of contingencies, which gain their own special necessity after the fact. The article shows how this dynamic concerns painting and the artistic practice of walking, typical of some avant-gardes. Finally, the paper focuses on the example of Ugo Nespolo’s film Buongiorno, Michelangelo, which recounts a very particular walk of a few young artists through the streets of Turin in the 1960s. https://www.ojs.unito.it/index.php/philosophykitchen/article/view/5872 |
| collection |
DOAJ |
| language |
English |
| format |
Article |
| sources |
DOAJ |
| author |
Daniela Angelucci |
| spellingShingle |
Daniela Angelucci L’infallibilità dell’improbabile: dipingere, camminare, filmare Philosophy Kitchen |
| author_facet |
Daniela Angelucci |
| author_sort |
Daniela Angelucci |
| title |
L’infallibilità dell’improbabile: dipingere, camminare, filmare |
| title_short |
L’infallibilità dell’improbabile: dipingere, camminare, filmare |
| title_full |
L’infallibilità dell’improbabile: dipingere, camminare, filmare |
| title_fullStr |
L’infallibilità dell’improbabile: dipingere, camminare, filmare |
| title_full_unstemmed |
L’infallibilità dell’improbabile: dipingere, camminare, filmare |
| title_sort |
l’infallibilità dell’improbabile: dipingere, camminare, filmare |
| publisher |
Università degli Studi di Torino |
| series |
Philosophy Kitchen |
| issn |
2385-1945 |
| publishDate |
2021-03-01 |
| description |
The article starts from the assumption that a certain role of chance, perhaps controlled, or guided, led towards a desired outcome, is always present in our existence as in artistic practices, hidden under very different names and masks. This paradox often nests in what we call the outcome of a work of art: the completeness of the work is, after all, the result of a series of contingencies, which gain their own special necessity after the fact. The article shows how this dynamic concerns painting and the artistic practice of walking, typical of some avant-gardes. Finally, the paper focuses on the example of Ugo Nespolo’s film Buongiorno, Michelangelo, which recounts a very particular walk of a few young artists through the streets of Turin in the 1960s.
|
| url |
https://www.ojs.unito.it/index.php/philosophykitchen/article/view/5872 |
| work_keys_str_mv |
AT danielaangelucci linfallibilitadellimprobabiledipingerecamminarefilmare |
| _version_ |
1717380440131633152 |