La crisi dell’“opera”: la tecnologia entra in Biennale (le edizioni del 1970 e del 1972)

[Autom. eng. transl.] The new ways in which art expressed itself in the seventies, thanks also to the help of new technologies, led to a debate on the very nature of the work of art, which from the traditional form of painting and sculpture opened to a more fluid dimension, defined by the criticism "behavior": a category that summarized performative actions, installations, environmental art, and therefore also works made with video or, for example, laser light. Taking into consideration the two editions of the 1970s and 1972s of the Venice exhibition allows some reflections to be made on the ways in which research on art attentive to new media has been implemented in Italy, both at the level of artistic achievements and at a critical level. since both exhibitions have given rise to a lively debate, sometimes with very lively tones, on this topic. At the same time it is possible to reflect on the impact that these new forms of artistic expression determined within the Biennale against the background of a rather complex situation in the context of the statutory renewal of the institution itself.