PUBBLICAZIONI SCIENTIFICHE

2013: "60 Seconds Avatar. Autoritratti antiespressivi", in: Rivista di Psicologia dell'Arte, Nuova serie, anno XXXIV, n.24, Dicembre 2013.

60 SECONDS AVATAR. AUTORITRATTI ANTIESPRESSIVI
Rivista di Psicologia dell’Arte
Nuova serie, Anno XXXIV, n. 24, 2013, 35-46

Abstract.

Aiming to produce selfportratits based on “abstinency of expression”, an experiment was realized with 54 people at Musei Capitolini in Rome.
The experimental task requested the subject to record a video-selfportait, being still for 60 seconds.
It has provoked a large range of conflictual emotions and thoughts, here analyzed and discussed.

2012: "Guardare attivamente. Contributi eventualisti alla didattica museale", in: Rivista di Psicologia dell'Arte, Nuova serie, anno XXXIII, n.23, Dicembre 2012.

GUARDARE ATTIVAMENTE. CONTRIBUTI EVENTUALISTI ALLA DIDATTICA MUSEALE
Rivista di Psicologia dell’Arte
Nuova Serie, Anno XXXIII, n.23, 2012, 55-60.

Abstract

In spite of Futurism’s radical critic against museums, during the XXth century and right after Second World War, museums became the very crucial nodes in Western education system. Consequently, new educational programmes based on Avant-Garde principles played an increasingly power in defining the relation among the artist, the artwork and the viewer.
Recently, an experimental programme based on the principles of Eventualism, lead by the students of the Academy of Fine Arts in Rome at Musei Capitolini has been realized, to overhelm the traditional educational programmes.

2011: "7 tipi di deprivazione visiva", in: Rivista di Psicologia dell'Arte, Nuova serie, anno XXXII, n.22, Dicembre 2011.

Rivista di Psicologia dell’Arte
Nuova Serie, XXXII, n.22, 2011, 75-85.

Abstract

In the 20th century, the western tradition of anti-retinal art has brought many artists to experiment different strategies of visual subtraction, in order to obtain spontaneity and to avoid simulated spontaneity. At the end of the 70s, visual subtraction became a method to practice “expressive abstinence”, as theorized by Sergio Lombardo in the Eventualist Theory. Here, different types of experimental procedures of visual subtraction are analyzed: Hans Richter “Visionary Portraits” (1916-17), Lucio Fontana “Black light ambient” (1949), Robert Morris “Blind Time Drawings” (1973-2000), Vito Acconci “Blindfolded catching piece” (1973), Sergio Lombardo “Tachistoscopic Mirror with Dream Stimulation” (1979-2011), Giovanni di Stefano “Blind Painting” (1983-2011); moreover, recent researches in the eventualist field reveal different levels of “expressive abstinence”.

2011: “Contemporary Italian Experimental Art: Devices of Visual Subtraction”, in: Arte Sperimentale. Influsso della teoria sulla creazione artistica, monografia collettiva a cura di O.Licciardello, S.Lombardo, V.Petrov, Ministero della Cultura della Federazione Russa-Istituto Statale della Storia dell’Arte, Mosca.
2010: “Il caso Gino De Dominicis” in: Rivista di Psicologia dell'Arte, Nuova Serie, Anno XXXI, N.21, Jartrakor, Rome.

Rivista di Psicologia dell’Arte
Nuova Serie, Anno XXXI, n.21, 2010, 67-72.

Abstract

In the last few years the art work of italian artist Gino De Dominicis (Ancona, 1947- Rome 1998) has been shown in several museums. The prevalent ermeneutic about the artist as a solitary genius, magicien and wizard (strictly carachterizing those cultural events) is here analyzed and discussed, as a deliberate damage to the italian art history of the second half of 20th century.

2009: “Le contraddizioni dell’arte che emergono dalla 53° esposizione internazionale d’arte di Venezia”, in: Rivista di Psicologia dell'Arte, Nuova Serie, Anno XXX, N.20, Jartrakor, Rome. Rivista di Psicologia dell’Arte, Venice International Biennal

Rivista di Psicologia dell’Arte
Nuova Serie, Anno XXX, n.20, 2009, 17-21.

Abstract

The introductory text of the LIII Biennale Internazionale d’Arte di Venezia, was analyzed. The analysis shows that the concept of “multiculturalism” was used as a theoretical method. Such a method results paradoxical, respect to the main Biennal goal based on the Pavillon’s justapposition.

2005: “Trasgressione o ricerca: una questione di ermeneutica dell’arte contemporanea”, in: Rivista di Psicologia dell'Arte, Nuova Serie, Anno XXVI, N.16, Jartrakor, Rome.

Rivista di Psicologia dell’Arte
Nuova Serie, Anno XXVI, n.16, 2005, 73-75.

Abstract

An essay written by the french sociologist Nathalie Heinich (“Le triple jeu de l’art contemporain”) was analyzed. The sociologist considers avant-guarde as a sequence of transgressions of aesthetic concepts. This interpretation of avant-guarde, used a san ermeneutical method, results arbitrary and paradoxical. It evoids the evaluation of the aesthetic teorie of the XXth century and, also, it does not take into account the evolutionary goal of art.

2004: “Spettro evocativo di uno stimolo visivo”, in: Rivista di Psicologia dell'Arte, Nuova Serie, Anno XX5, N.15, Jartrakor, Rome.

Rivista di Psicologia dell’Arte
Nuova Serie, Anno XXV, 15, 2004, 39-42

Abstract

In order to overhelm the theoretical limits of the dada/surrealist photo-collage, through the principles of the Eventualism, a visual stimulus called “psycho-pop” was built and submitted to the interpretation of forty people.

2000: “Due esperimenti di sogno indotto”, in: Rivista di Psicologia dell'Arte, Nuova Serie, Anno XXI, N.11, Jartrakor, Rome.

Rivista di Psicologia dell’Arte
Nuova Serie, Anno XXI, 11, 2000, 29-53

 

Abstract

Two visual stimuli were built, the first representing a female smile, the second representing a man shaving himself in the bathroom mirror. The two stimuli were submitted to the subliminal perception of seventy-three people. From the analysis of the oniric results, converging dreams on preoedipal relations using stimulus n.1, and converging dreams on oedipal relations using stimulus n.2, were found, in agreement with the experimental hypothesis.

1999: “Identità di genere e angoscia di castrazione nello spettro evocativo di uno stimolo visivo composto”, in: Rivista di Psicologia dell'Arte, Nuova Serie, Anno XX, N.10, Jartrakor, Rome.

Rivista di Psicologia dell’Arte
Nuova Serie, Anno XX, 10, 1999, 45-53

Abstract

A visual stimulus was built and submitted to the interpretation of twenty people. From the analysis of the eventualist evocative spectrum, converging interpretations on indeterminate gender identity and castration anxiety were found.

1998: "Incorporazione e cannibalismo. Spettro evocativo di uno stimolo visivo composto", in: Rivista di Psicologia dell'Arte, Nuova Serie, Anno XVIII, N. 9, Jartrakor, Rome.

Rivista di Psicologia dell’Arte
Nuova Serie, Anno XIX, 1998, 13-25

Abstract

A visual stimulus was built as semantically ambiguous (Bleger, 1967; Eco, 1975; Racamier, 1993) and undecideble (Maltese, 1987). It was submitted to the interpretation of forty people. From the analysis of the eventualist evocative spectrum (Lombardo, 1991), converging intrpretations on Incorporation and Cannibalism were found

1997: "La 'fine della storia' come metodo storiografico: la XLVII Biennale Internazionale d'Arte di Venezia", in: Rivista di Psicologia dell'Arte, Nuova Serie, Anno XVIII, N.8, Jartrakor, Rome.

Rivista di Psicologia dell’Arte
Nuova Serie, Anno XVIII, n.8, 1997, 39-43.

 

Abstract

The introductury text of the XLVII Biennale Internazionale d’Arte di Venezia, was analized. The analysis shows that the concept of “End of History” was used as a historical method. Such a method results arbitrary and paradoxical.

1996: “Gradiva. Un intreccio esemplare tra un racconto letterario, un’indagine psicoanalitica e un quadro surrealista”, in: “Il Surrealismo II” (a cura di S. Lux) Lithos Ed., Rome.

1995: “Dal Dadaismo all’Eventualismo: il ritratto come esperimento”, in: “Il Surrealismo. Lezioni ed altri saggi” (a cura di S. Lux), Tuscia University and La Sapienza University, Lithos Ed., Rome.

1994: "I Monocromi di Sergio Lombardo", in: Rivista di Psicologia dell'Arte, Nuova Serie, Anno XV, nn.3-4-5, Jartrakor, Rome.

Rivista di Psicologia dell’Arte
Nuova Serie, Anno XV, n.3/4/5, 1994.

Abstract

The Monochrome Painting is the first series of work realized by the artist Sergio Lombardo from 1960 to 1962. This article analyzes the Monochrome Paintings in all its basic aspects:

– form, colour and composition

– the logic procedure that leads to the monocrome

– the relation between the work of art and the viewer

– the storical effects of the Monochromes in the art world.