Superamento dell'arte e rivoluzione sociale: l'internazionale Situazionista e la collettività. Note in margine alla lettura di Nicolas Bourriaud.

[Autom. eng. transl.] It is probably in the situationist myth of the work of art as a collective creation that the most contemporary idea of relational aesthetics finds its roots. The "built situation" from which the whole situationist movement that strongly characterized and influenced the artistic environment of the Sixties and Seventies takes its name, in fact, is defined by the situationists as "a moment of life, concretely and deliberately constructed by means of the 'collective organization of a unitary environment and a game of events'. The psychological, technical-urbanistic and existential conditions each play a decisive role in the artists who recognize themselves in this movement that focuses on the idea of art as an aspect intrinsically linked to living in the social. Through the analysis of theories and the exemplification through the main actions of "détournement" and "urban drift" the essay intends to bring out the relationships between this current of thought and the most modern relational practices.