%0 Journal Article
%T I Plurimi di Emilio Vedova. Un'esperienza singolare e plurale
%A Elisabetta Longari
%J Ricerche di S/Confine
%D 2012
%I Universit¨¤ di Parma
%X With the Plurimi, dating from 1961 to 1965, Vedova separates the picture from the wall and installs it in athree dimensional space, by splitting up the painted surface in a fragmented collection of items that,differently distributed in space, results separated but yet related and aggregated to form "nuclei of activeenergy ", they may wrongly be collected together as hybrids belonging to the realm of painting so muchas to that of sculpture and architecture, but it isnĄ¯t so: their nature is exquisitely intimate andspectacularly pictorial.The gestural painting of Vedova in thePlurimi series was taken to the contagion of the observer whichdirectly recalls the gesture. The public is therefore not obliged to confine itself exclusively to the practiceof looking, but is encouraged to engage their bodies in an exploration that may lead to further action withrespect to the crossing of the art works like a dramatic background. Enticed by some elementsdedicated to the movement, mainly including the hinge, the public is invited to intervene in the formationof its morphology and momentary experience of art. This article aims to highlight the uniqueness of Plurimi in contemporary art.
%K Emilio Vedova
%K Multipli
%U http://www.ricerchedisconfine.info/III-1/LONGARI.htm