Primordialmente moderno: Emilio Villa, Jorge Eielson, il Perù antico e l’astrazione artistica del dopoguerra

TY - JOUR

T1 - Primordialmente moderno

T2 - Emilio Villa, Jorge Eielson, il Perù antico e l’astrazione artistica del dopoguerra

AU - Rebaza-Soraluz, Luis

PY - 2023/3/31

Y1 - 2023/3/31

N2 - During the last months of 1953, Emilio Villa meets young Peruvian writer and artist Jorge Eduardo Eielson in Rome during the latter’s exhibition of mobiles in the Galleria d’arte L’Obelisco and publishes in March 1954 a brief review in the magazine «Arti Visive». In this text, Villa makes an analogy between Eielson’s contraptions made of metal, plaster, and plastic, articulated by wires, and the Quipus, an ancient Peruvian mnemotechnic system made from knotted cords. These observations, focussed also on the ancient and modern makers’ techniques, will have significant repercussions for both. My presentation discusses Villa’s 1950s interest in three areas: his understanding of the ‘primordial’, what he calls a ‘movement of intelligence’ and his particular interest in modernist abstraction; and, argues that Villa’s observations wereelaborated around a wider notion, which I would call ‘the primordial modern’, after his Roman contact with pre-Columbian art, during his residence in Brazil (1952-1953), and while carrying out his work in «Arti Visive» soon after his return to Italy.

AB - During the last months of 1953, Emilio Villa meets young Peruvian writer and artist Jorge Eduardo Eielson in Rome during the latter’s exhibition of mobiles in the Galleria d’arte L’Obelisco and publishes in March 1954 a brief review in the magazine «Arti Visive». In this text, Villa makes an analogy between Eielson’s contraptions made of metal, plaster, and plastic, articulated by wires, and the Quipus, an ancient Peruvian mnemotechnic system made from knotted cords. These observations, focussed also on the ancient and modern makers’ techniques, will have significant repercussions for both. My presentation discusses Villa’s 1950s interest in three areas: his understanding of the ‘primordial’, what he calls a ‘movement of intelligence’ and his particular interest in modernist abstraction; and, argues that Villa’s observations wereelaborated around a wider notion, which I would call ‘the primordial modern’, after his Roman contact with pre-Columbian art, during his residence in Brazil (1952-1953), and while carrying out his work in «Arti Visive» soon after his return to Italy.

KW - The primordial modern

KW - Italian art

KW - Emilio Villa

KW - Latin American visual arts

KW - Modern abstraction

M3 - Article

SN - 2611-8378

VL - VI

SP - 47

EP - 59

JO - Rossocorpolingua

JF - Rossocorpolingua

IS - 1

ER -