From 22nd di september to 10th november

Exhibition of the collective work “Senza titolo”

signed by Pinot Gallizio, Asger Jorn, Constant, Piero Simondo, Jan Kotik, Pier Giorgio Gallizio. Curated by the Castello di Rivoli Museum of Contemporary Art.

Chiesa di San Domenico

Exhibition of the collective work “Senza titolo”

Thought of by Jorn as “something halfway between a study conference, an artistic-political meeting, a festive occasion”, the Congresso Mondiale degli Artisti Liberi (World Congress of Free Artists) marks above all an important juncture in the rapprochement of two “international” avant-garde groups, which leads to the founding of the Internazionale Situazionista (Situationist International): the Movimento Internazionale per una Bauhaus Immaginista (M.I.B.I., International Movement for an Imaginative Bauhaus) on the one hand, with Jorn, Simondo, Verrone and Gallizio, and the Internazionale Lettrista (I.L., Lettrist International) on the other, with Debord and Wolman at the helm.
United by a common anti-functionalist revolt, the two Internationals actually have two rather divergent visions of art and revolution. According to the M.I.B.I., the question of the freedom of the artist, of the possibility of giving his activity a new social function through a methodology of collective experimentation, is fundamental: starting from the example of the Laboratorio di esperienze immaginifiche (Workshop of Imaginative Experiences) in Alba, Jorn declares that the objective of the group after the congress is to immediately establish an “Experimental Institute of Artistic Research”. The spokesman for the I.L. in Alba, Gil J. Wolman, announces instead in his speech the need to abandon the traditional limits of artistic experimentalism in order to found “Unitary Urbanism”, a new union between art, architecture and urbanism aimed at stimulating new ways of life capable of revolutionizing the daily lives of the inhabitants of modern cities.

In addition to photographs and programmatic documents, the meeting in Alba is attested by a painted panel, without a title, signed by Constant, Gallizio, Jorn, Kotik, Simondo and Wolman. An ensemble painting probably created at the end of the congress* which, “like a sort of jam session and automodification”, writes the historian Sandro Ricadone, “takes up the language of peintures-mots, bringing it to a stage of chaotic paroxysm**”.