ARTE POVERA
The Years of the Avant-Garde
The first intuition of Ugo Nespolo emerged in his significant decision to affiliate with the Arte Povera movement, actively participating in exhibitions curated by Germano Celant, a key figure in theorizing this artistic current. His presence at the emblematic exhibition Con-temp-l’azione stands out, where he engaged with prominent artists such as Alighiero Boetti, Michelangelo Pistoletto, and Gilberto Zorio, contributing to the collective definition of an aesthetic that challenges traditional materials and languages.
Origin and Evolution
In 1960s Turin, Ugo Nespolo found in Arte Povera the foundation of a continuously evolving poetics, fueled by boundless curiosity.
For Ugo Nespolo, participating in the Arte Povera movement was a pivotal starting point—an opportunity to explore a language and materials that would become integral to his poetics. However, these elements did not remain static; they evolved in step with historical, cultural, and social changes. His vision, dynamic and ever-shifting, follows the rhythm and turbulence of contemporary life, reflecting his relentless and creative spirit.
“Turin, in the latter half of the 1960s, was a hub of intense cultural ferment—a context that Ugo Nespolo quickly embraced. His interest in so-called ‘poor’ materials and their communicative potential provided fertile ground for shaping his artistic vision. From the outset, Nespolo exhibited an explosive curiosity, propelling him beyond the confines of Arte Povera toward the exploration of new creative realms. This constant movement reflects an ungraspable drive for personal and artistic growth, always open to transformation.”
Molotov (1968) stands as both a provocative gesture and a statement of intent, suggesting that art, far from being a detached entity, can actively engage in political and social transformation, becoming an integral force and catalyst within these processes.
The exhibition at the Schwarz Gallery took place before the formalization of Arte Povera, yet it holds a crucial role in defining Nespolo’s position as a key figure in those early, informal exhibitions that foreshadowed the emergence and articulation of this artistic movement.
One of the fundamental aspects of Nespolo’s work is decomposition, understood not only as a technique but as a structural principle. Since his early works, documented in the exhibition Macchine e oggetti condizionali, his pieces have revealed a potential for disassembly, with the puzzle motif emerging as a recurring element in his artistic language—a symbol of a reality that can be fragmented and reassembled into new configurations.
