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Art historian Roberta Trapani defended on june 28 2016 at the National Institute of Art History in Paris her doctoral dissertation entitled "Patrimoines irréguliers en France et en Italie. Origines, artification, regard contemporain" (Irregular heritages in France and Italy. Origins, artification, contemporary view).
In her thesis she examines in all its aspects the slow process of “artification” in this field, the related various definitions and designations, and the relation of the artification with basic concepts such as art, architecture, etc., to conclude with a proposal to return to the origins of this form of human expression.
Here is the summary, translated into english:
Here is the summary, translated into english:
Since the 1930s, a slow process of “artification” is going on with regard to domestic spaces which are embellished by their own inhabitants with improvised techniques. Originally regarded as local curiosities, these sites were introduced to the world of art by the Surrealists, who began documenting them.
After the war, they got an increasingly enthusiastic reception in certain artistic circles and they were successively linked to mediumistic art, naive art, art brut, outsider art, fantastic architecture, among others, which gave rise to a plethora of definitions. These "irregular environments” have often been considered as the spontaneous expression of inner impulses irrespective of influences or tradition.
This thesis proposes to return to the origins of this form of human expression, revealing the circular motion that connects it on the one hand with popular culture and, on the other hand with official currents in the history of contemporary art. It also examines the conditions of its reception in a context dominated until the 1970’s by the primitivist paradigm, before focusing on the proliferation of initiatives which since the late 1970’s mark its entry into postmodernity.
Throughout this study, singular environments are researched in their ability to associate with basic concepts - art, culture, authenticity, architecture, marginality, ornamental, grotesque, baroque, heritage, among others - and to be taken as an operational tool to help revive an anthropological research of inhabiting.
And here is the original french text of this summary
And here is the original french text of this summary
(as published on the weblog of CRAB, Collectif de reflection autour de l'art brut)
Depuis les années 1930, un lent processus d’artification investit des lieux de vie embellis par leurs propres habitants avec des techniques improvisées. Considérés à l’origine comme des curiosités locales, ces sites sont révélés au monde de l’art par les surréalistes, qui amorcent leur documentation.
Dans l’après-guerre, ils connaissent une réception de plus en plus enthousiaste au sein de certains milieux artistiques et seront annexés successivement à l’art médiumnique, à l’art naïf, à l’art brut, à l’outsider art, à l’architecture fantastique, entre autres, donnant lieu à une pléthore de définitions. Ces « environnements singuliers » seront alors souvent considérés comme l’expression spontanée d’impulsions intérieures, sans influences ni tradition.
Cette thèse propose de revenir aux origines de cette forme de l'expression humaine, en révélant le mouvement circulaire qui la relie, d’une part, aux cultures populaires et, d’autre part, aux courants officiels de l’histoire de l’art contemporain. Elle examine également les conditions de sa réception, dans un contexte dominé jusque dans les années 1970 par le paradigme primitiviste, avant de se concentrer sur la multiplication des initiatives qui, depuis la fin des années 1970, marquent son entrée dans la postmodernité.
Tout au long de cette étude, les environnements singuliers sont questionnés dans leur faculté à associer des notions fondamentales – art, culture, authenticité, architecture, marginalité, ornemental, grotesque, baroque, patrimoine, entre autres – et à être saisis comme un outil opératoire contribuant à relancer un questionnement anthropologique sur l'habiter.
added to OEE texts june 2016
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