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

Translated title of the contribution: Primordially modern : Emilio Villa, Jorge Eielson, Ancient Perú and the Post-War Artistic Abstraction

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Abstract

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 were
elaborated 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.
Translated title of the contributionPrimordially modern : Emilio Villa, Jorge Eielson, Ancient Perú and the Post-War Artistic Abstraction
Original languageItalian
Pages (from-to)47-59
Number of pages13
JournalRossocorpolingua
VolumeVI
Issue number1
Publication statusPublished - 31 Mar 2023

Keywords

  • The primordial modern
  • Italian art
  • Emilio Villa
  • Latin American visual arts
  • Modern abstraction

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