A map for countercultural art in the 1960s: Transcultural mobility and Art History
DOI:
https://doi.org/10.13133/2532-1994.14790Abstract
L’articolo affronta l’analisi delle espressioni artistiche controculturali della fine degli anni '60 in quanto fenomeno transculturale. Tali espressioni sono il risultato di una rete di idee e tendenze fondata su un'estetica nata proprio dall'interscambio tra i suoi protagonisti. La relazione tra le pratiche artistiche controculturali e la storia dell'arte è complessa, poiché esse non si adattano ad alcuna categoria artistica o stile, nonostante il loro carattere innovativo e l'impatto che hanno avuto sul contesto. Gli anni '60, teatro di numerose rivoluzioni politiche e sociali in tutto il mondo, hanno visto l'avvento di manifestazioni come Psychedelia. Il decennio è stato anche importante per l’incremento delle migrazioni che ha influito sull’attenuazione delle barriere geografiche, sociali e mentali. L’aumento di collegamenti e di mezzi di trasporto ha consentito ad un numero maggiore di artisti, appartenenti a contesti sociali differenti, di viaggiare e di andare all’estero. Ciò ha aumentato la partecipazione a eventi, dai raduni agli incontri psichedelici, influenzando la musica e altri ambiti affini tra i quali il graphic design e l’illuminotecnica. Seguendo la tradizione del passaggio di frontiera della Beat Generation, la controcultura ha creato un mosaico multiculturale nel quale musica, poesia, arti visive, grafica si sono intrecciate. Dall'analisi di figure della controcultura, come Allen Ginsberg, Timothy Leary o i Beatles, così come delle espressioni artistiche, è possibile ricostruire i flussi artistici controculturali della fine degli anni '60 tra Stati Uniti, Gran Bretagna e altrove. Tuttavia, la combinazione transculturale di influenze e tendenze, spesso amplificata da sostanze allucinatorie, può spiegare perché le pratiche artistiche controculturali come Psychedeliaabbiano preso le distanze dalla storia dell'arte istituzionale.
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