Manifesto Blanco

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The Manifesto Blanco, or White Manifesto, was written in 1946 by artists and students in Buenos Aires, Argentina, under the direction of Lucio Fontana. [1]

Buenos Aires Place in Argentina

Buenos Aires is the capital and largest city of Argentina. The city is located on the western shore of the estuary of the Río de la Plata, on the South American continent's southeastern coast. "Buenos Aires" can be translated as "fair winds" or "good airs", but the former was the meaning intended by the founders in the 16th century, by the use of the original name "Real de Nuestra Señora Santa María del Buen Ayre". The Greater Buenos Aires conurbation, which also includes several Buenos Aires Province districts, constitutes the fourth-most populous metropolitan area in the Americas, with a population of around 15.6 million.

Lucio Fontana Italian-Argentine sculptor, painter and theorist, Manifiesto blanco, Spatialism

Lucio Fontana was an Argentine-Italian painter, sculptor and theorist. He is mostly known as the founder of Spatialism.

The manifesto emphasized the importance of new technologies as they pertained to the arts and the pursuit of integrating art and science.

Manifesto published declaration of principles and intentions of an individual or group

A manifesto is a published declaration of the intentions, motives, or views of the issuer, be it an individual, group, political party or government. A manifesto usually accepts a previously published opinion or public consensus or promotes a new idea with prescriptive notions for carrying out changes the author believes should be made. It often is political or artistic in nature, but may present an individual's life stance. Manifestos relating to religious belief are generally referred to as creeds.

Art Creative work to evoke emotional response

Art is a diverse range of human activities in creating visual, auditory or performing artifacts (artworks), expressing the author's imaginative, conceptual ideas, or technical skill, intended to be appreciated for their beauty or emotional power. In their most general form these activities include the production of works of art, the criticism of art, the study of the history of art, and the aesthetic dissemination of art.

Science systematic enterprise that builds and organizes knowledge

Science is a systematic enterprise that builds and organizes knowledge in the form of testable explanations and predictions about the universe.

"This idea of synthesis is grounded in the concept that certain scientific and philosophical developments have transformed the human psyche to such an extent that traditional "static" art forms and the differentiation of artistic disciplines have become obsolete. A new, synthetic art is advocated that will involve the dynamic principle of movement through time and space." [2]

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Spatialism art movement

Spatialism is an art movement founded by Italian artist Lucio Fontana in Milan in 1947 in which he grandiosely intended to synthesize colour, sound, space, movement, and time into a new type of art. The main ideas of the movement were anticipated in his Manifiesto blanco published in Buenos Aires in 1946. In it he spoke of a new "spatial" art in keeping with the spirit of the post-war age. It repudiated the illusory or "virtual" space of traditional easel painting and sought to unite art and science to project colour and form into real space by the use of up-to-date techniques such as neon lighting and television. Five more manifestos followed; they were more specific in their negative than their positive aspects, and carried the concept of Spatialism little further than the statement that its essence consisted in "plastic emotions and emotions of colour projected upon space". In 1947 Fontana created a "Black Spatial Environment", a room painted black, which was considered to have foreshadowed Environment art. His stabbed and slashed canvases are also considered to embody Spatialism. An example of the slashed type is Spatial Concept Waiting. Although Fontana's ideas were vague, his outlook was influential, for he was one of the first, certainly the first European artist to truly promote the idea of art as gesture or performance, rather than as the creation of an enduring physical work.

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References

  1. Christov-Bakargiev, Carol (2001). "Thrust Into the Whirlwind: Italian Art before Arte Povera". Zero to Infinity: 21–40.
  2. White, Anthony (2001). "Lucio Fontana: Between Utopia and Kitsch". Grey Room. 5: 54–77. JSTOR   1262573.