| 000 | 01416cam a2200157 4500500 | ||
|---|---|---|---|
| 005 | 20250121101339.0 | ||
| 041 | _afre | ||
| 042 | _adc | ||
| 100 | 1 | 0 |
_aFimiani, Filippo _eauthor |
| 245 | 0 | 0 | _aRuins at work |
| 260 | _c2018. | ||
| 500 | _a44 | ||
| 520 | _aThe Seven Heavenly Palaces were created by Anselm Kiefer to inaugurate the HangarBicocca in Milan in 2004, and, after an intervention on the site in 2008, were transferred, preserved, repaired, and finally reinstalled in a different way for a new and definitive exhibition with some paintings in 2015. Erected around prefabricated containers, these monumental ruins in reinforced concrete, are in fact assembled, reconstructed, and restored ruins, non-architectural and metaphorical buildings with a mass of complementary materials considered to be an integral part of the work and credited as produced by the artist in person. Based on what pre-understandings and values is the operation of conservation and restitution established and achieved? Based on what idea of the ontological, perceptual and semantic identity of the work of art has the aesthetic experience of this high problematic site-specific installation been reconfigured? | ||
| 786 | 0 | _nNouvelle revue d’esthétique | o 21 | 1 | 2018-11-05 | p. 121-129 | 2264-2595 | |
| 856 | 4 | 1 | _uhttps://shs.cairn.info/journal-nouvelle-revue-d-esthetique-2018-1-page-121?lang=en&redirect-ssocas=7080 |
| 999 |
_c524334 _d524334 |
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