Category Archives: AVT 105 PROJECT ZERO

Arte Povera

The term ‘Arte Povera’ was introduced by the Italian art critic and curator, Germano Celant, in 1967. His pioneering texts and a series of key exhibitions provided a collective identity for a number of young Italian artists based in Turin, Milan, Genoa and Rome. They were working in radically new ways, breaking with the past and entering a challenging dialogue with trends in Europe and America.

As opposed to endorsing a distinctive style, Arte Povera described a process of open-ended experimentation. Artists were able to begin from a zero point, working outside formal limitations. Arte Povera therefore denotes not an impoverished art, but an art made without restraints, a laboratory situation in which a theoretical basis was rejected in favor of a complete openness towards materials and processes.

The artists associated with Arte Povera worked in many different ways. They painted, sculpted, took photographs and made performances and installations, creating works of immense physical presence as well as small-scale, ephemeral gestures. They employed materials both ancient and modern, man-made and ‘raw’, revealing the elemental forces locked within them as well as the fields of energy that surround us. They explored the context of art-making itself, and the space of the gallery, as well as the world beyond the gallery, reflecting on the relationship between art and life. Essentially, they placed the viewer at the centre of a discussion about experience and meaning.



Art Intervention is taking one artwork and going in and changing something significant, or changing it into something else. The master of this type of art, unoficially is Banksy. He is all over the news this week for the Simpsons intro- still can’t believe they went ahead with this–

Above are some images of Banksy’s work and the art interventions to project zero where Banksy and bart Simpson are featured.


This means making something familiar into something unfamiliar, basically. It started as a theater term, the definition and history are below. I found an interesting video, still trying to figure out how to upload this!!

estrangement—alienation—emotional distance

Here is the Project Zero photo, I found this article to be about the human side of estrangement—

More on the description, there are several words for it in different languages. The distancing effect or alienation effect (German: Verfremdungseffekt) is a performing arts concept coined by playwright Bertolt Brecht “which prevents the audience from losing itself passively and completely in the character created by the actor, and which consequently leads the audience to be a consciously critical observer.” Brecht’s term describes the aesthetics of his epic theatre.

The term of Verfremdungseffekt is rooted in the Russian Formalist notion of the device of making strange or “priem ostranenie”, which literary critic Viktor Shklovsky claims is the essence of all art. Not long after seeing a performance by Mei Lanfang’s company in Moscow in the spring of 1935, Brecht coined the German term to label an approach to theater that discouraged involving the audience in an illusory narrative world and in the emotions of the characters. Brecht thought the audience required an emotional distance to reflect on what is being presented in critical and objective ways, rather than being taken out of themselves as conventional entertainment attempts to do.

The proper English translation of Verfremdungseffekt is a matter of controversy. The word is sometimes rendered as defamiliarization effect, estrangement effect, distantiation, alienation effect, or distancing effect. In Brecht and Method, Fredric Jameson abbreviates Verfremdungseffekt as “the V-effekt”; many scholars similarly leave the word untranslated.

Verfremdungseffekt is also commonly translated as alienation effect. Though this is not a direct translation, as the German word Verfremdungseffekt does not have a literal English equivalent.[citation needed] Its closest literal translation into English, making (the familiar) strange, signifies estrangement, or alienation from the familiar.

In German, Verfremdungseffekt signifies both alienation and distancing in a theatrical context; thus, “theatrical alienation” and “theatrical distancing”. Brecht wanted to “distance” or to “alienate” his audience from the characters and the action and, by dint of that, render them observers who would not become involved in or to sympathize emotionally or to empathize by identifying individually with the characters psychologically; rather, he wanted the audience to understand intellectually the characters’ dilemmas and the wrongdoing producing these dilemmas exposed in his dramatic plots. By being thus “distanced” emotionally from the characters and the action on stage, the audience could be able to reach such an intellectual level of understanding (or intellectual empathy); in theory, while alienated emotionally from the action and the characters, they would be empowered on an intellectual level both to analyze and perhaps even to try to change the world, which was Brecht’s social and political goal as a playwright.


Intertextuality is defined as referencing one art work with elements of another– from “Semiotics for Beginners”: It is interesting that Oscar Wilde is referenced– everybody references him!

Confounding the realist agenda that ‘art imitates life,’ intertextuality suggests that art imitates art. Oscar Wilde (typically) took this notion further, declaring provocatively that ‘life imitates art’. Texts are instrumental not only in the construction of other texts but in the construction of experiences. Much of what we ‘know’ about the world is derived from what we have read in books, newspapers and magazines, from what we have seen in the cinema and on television and from what we have heard on the radio. Life is thus lived through texts and framed by texts to a greater extent than we are normally aware of. As Scott Lash observes, ‘We are living in a society in which our perception is directed almost as often to representations as it is to “reality”‘. Intertextuality blurs the boundaries not only between texts but between texts and the world of lived experience. Indeed, we may argue that we know no pre-textual experience. The world as we know it is merely its current representation.

Project Zero, these reference the Scottish landscape artitst Goldman: 



Assemblage is an artistic process in which a three-dimensional artistic composition is made from putting together found objects.

The origin of the word (in its artistic sense) can be traced back to the early 1950s, when Jean Dubuffet created a series of collages of butterfly wings, which he titled assemblages d’empreintes. However, both Marcel Duchamp and Pablo Picasso had been working with found objects for many years prior to Dubuffet. They were not alone, alongside Duchamp the earliest woman artist to try her hand at assemblage was Elsa von Freytag-Loringhoven, the Dada Baroness, and one of the most prolific, as well as producing some of the most exciting early examples, was Louise Nevelson, who began creating her sculptures from found pieces of wood in the late 1930s.

In 1961, the exhibition “The Art of Assemblage” was featured at the New York Museum of Modern Art. The exhibition showcased the work of early twentieth century European artists such as Braque, Dubuffet, Marcel Duchamp, Picasso, and Kurt Schwitters alongside Americans Man Ray, Joseph Cornell and Robert Rauschenberg, and also included less well known American West Coast assemblage artists such as Wallace Berman, Bruce Conner and Edward Kienholz. William C Seitz, the curator of the exhibition, described assemblages as being made up of preformed natural or manufactured materials, objects, or fragments not intended as art materials.

Here is the assemblage for Project Zero, a tribute to Rauschenberg’s “Bed”. I call this “Bar”. A power bar is in fact, an assemblage of four food groups plus additional nutrients that can be stored in a pocket.


In the arts, an act of creation which either allows chance to play a major role or which draws on the unconscious mind through free association, states of trance, or dreams. Automatism was fundamental to surrealism, whose practitioners experimented with automatic writing and automatic drawing, producing streams of words or doodles from the unconscious. It has been taken up by other abstract painters, such as the Canadian Automatistes, a group working in Montréal in the 1940s, and the abstract expressionist Jackson Pollock


Automatism is the act of creating spontaneously, without thinking about the end result or the construction, but more feeling and letting the art come from somewhere in the subconscious.

Joan Miro (1893 – 1983)
Nationality: Spanish
Movement: Surrealism
Media: Painting, Ceramics

Born in Barcelona, Spain, Joan Miro studied under Franciso Gali, originally painting in Fauvist and Cubist style. After poor reviews of his first solo exhibition, Miro traveled to Paris to seek out Pablo Picasso, who introduced Miro to the Surrealist, whom he joined in 1924. Interested by the relationship of art and the subconscious mind and slightly skeptical of Surrealism, Miro began to create his own biomorphic and semi-abstract forms in the late 1920’s. During the Spanish Civil War, he moved to France, but returned home when Nazis invaded France during World War II.