1978年に「ヴェネチア・ビエンナーレ国際美術展」の中で展開された歴史的に重要とされる展覧会「MATERIALIZZAZIONE DEL LINGUAGGIO」を紹介する作品集。本展を言語学的に刊行物として再構築するのは初の試みであり、同時にその歴史的テーマを現代において再び蘇らせ、再文脈化する一冊。

イタリア人視覚言語芸術家ミレッラ・ベンティヴォリオ（Mirella Bentivoglio）のキュレーションにより、80人の女性アーティストによる言語的かつ視覚的な実践に経緯を表し開催されたこの展覧会は、まだその重要性を十分に認識していなかった「ヴェネチア・ビエンナーレ」の中で、女性やフェミニストの芸術的な試みが再び統合されたことを示すものでした。長い時を経て、女性の創造性とフェミニズム芸術における転換点として認識されるようになったこの展覧会は、2022年、ベンティヴォリオの生誕100周年を記念して、イタリア北東部ボルツァーノの「アントニオ・ダッレ・ノガーレ財団」で新たな展覧会として再び開催され、本書ではそれらの再展示を記録しています。

ブックデザインはイルマ・ボームによるもの。製紙会社と共同開発した作者の名を冠する特殊紙「IBO TWO」が使用されています。前後のページの裏抜けを意図的に取り扱い、作品と記録、ミュージアムとアーカイブ、テキストと図版の境界を曖昧にするような、大胆かつ繊細なデザインが印象的です。

Re-Materialization of Language. 1978–2022 represents the first attempt at a philological reconstruction of the seminal exhibition Materializzazione del linguaggio, while simultaneously re-activating and re-contextualizing its historical themes in the present.

Long overlooked, the 1978 exhibition, curated by Mirella Bentivoglio and dedicated to the verbo-visual explorations of eighty international women artists across diverse materials and practices, both individual and collective, marked a belated reintegration of women's and feminist art practices within an edition of the Biennale di Venezia that was not yet fully aware of their significance.

Now recognized, after a long period of oblivion, as a turning point in the institutional emergence of women's creativity and feminist art, Materializzazione del linguaggio was re-presented as a new exhibition in 2022, on the centenary of Bentivoglio's birth, at Fondazione Antonio Dalle Nogare in Bolzano, and is now re-materialized in this publication.

Featuring visual and textual contributions from curators and editors Cristiana Perrella, Andrea Viliani, and Vittoria Pavesi; artists Tomaso Binga, Monica Bonvicini, BRACHA, and Nora Turato, who were invited to re-activate the exhibition; exhibition designer Matilde Cassani; book designer Irma Boom; and graphic designers from Studio Mut, this publication, like the exhibition, navigates between bi- and tri-dimensionality, blurring the distinction between artwork and document, between museum and archive.

The book design is by Irma Boom. It features a specially developed paper named “IBO TWO,” created in collaboration with a paper manufacturer and named after the designer herself. The bold yet subtle design makes a strong impression, controlling the show-through between pages to blur the boundaries between artwork and documentation, museum and archive, text and image.

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Pages: 254
Size: 210 x 280 mm
softcover
color, black and white

published by NERO EDITIONS, 2024