Breve profilo biografico
Biography
Adriano Altamira (Milano 1947), si distingue fin dai primi anni Settanta come una tra le figure più singolari del panorama artistico e culturale italiano, affermandosi contemporaneamente come artista, storico e critico di arte contemporanea. Al 1972-73 risalgono rispettivamente le sue prime personali in Italia e all’estero, come le prime pubblicazioni su NAC, poi Flash Art, Le Arti, Tema Celeste, FMR. Altamira si forma in quel fecondo clima milanese in cui ha modo di conoscere sia artisti concettuali come Vincenzo Agnetti, sia scultori come Luciano Fabro e altri artisti a lui vicini, come Trotta, Tonello, Nagasawa. Molto importante anche l’incontro, poco dopo, con Franco Vaccari.
Nel corso degli anni Settanta si segnala fra gli autori della generazione concettuale con la ricerca fotografica Area di Coincidenza. Negli anni Ottanta, sviluppa invece un secondo percorso creativo, Ice Dreams, basato sui propri sogni –che vengono registrati, riprogettati e realizzati in 3D. A quest’epoca risale il progetto di un volume sull’arte contemporanea con Filiberto Menna, che il critico non potrà però portare a termine a causa di una grave malattia. Molti dei materiali prodotti da Altamira sono invece confluiti nelle sue pubblicazioni maggiori: la sezione contemporanea del manuale Rizzoli Arte nel tempo e il suo saggio Il secolo sconosciuto.
Come artista Altamira ha tenuto una cinquantina di personali in Italia e all’estero, e partecipato a importanti rassegne, come la Biennale di Venezia del 1980, Nuova Immagine alla Triennale di Milano (a cura di Flavio Caroli), Cosa fanno oggi i concettuali, alla Rotonda della Besana (a cura di Renato Barilli), la Quadriennale di Roma del 2005, su invito di Luciano Caramel. I suoi ultimi lavori sono stati esposti alla Fondazione Marconi di Milano nel 2008 e nel 2010, 2014, 2018.
Da segnalare, contemporaneamente alla produzione artistica, la sua ulteriore attività storico-critica, di cui lascia importanti testimonianze con la pubblicazione del III volume del manuale Bompiani Arte nel Tempo, dedicato all’arte del secolo scorso; del saggio Il Secolo Sconosciuto (1997), un’ampia ricognizione sull’arte del Novecento; di Area di Coincidenza, una rivisitazione delle sue ricerche sperimentali di critica visuale degli anni ’70 (2002); e di Miti Romantici -Simboli e inconscio dell’Era industriale (2004). La sua ultima fatica s’intitola La vera storia della fotografia concettuale Milano (2007) un libro che ripercorre il filone artistico meglio conosciuto dall’autore. Adriano Altamira è stato titolare della cattedra di Storia dell’Arte Contemporanea del Biennio specialistico di Fografia dell’Accademia di Belle Arti di Brera; e di Psicologia dell’Arte, sempre presso la stessa Accademia.
Nel corso degli anni Settanta si segnala fra gli autori della generazione concettuale con la ricerca fotografica Area di Coincidenza. Negli anni Ottanta, sviluppa invece un secondo percorso creativo, Ice Dreams, basato sui propri sogni –che vengono registrati, riprogettati e realizzati in 3D. A quest’epoca risale il progetto di un volume sull’arte contemporanea con Filiberto Menna, che il critico non potrà però portare a termine a causa di una grave malattia. Molti dei materiali prodotti da Altamira sono invece confluiti nelle sue pubblicazioni maggiori: la sezione contemporanea del manuale Rizzoli Arte nel tempo e il suo saggio Il secolo sconosciuto.
Come artista Altamira ha tenuto una cinquantina di personali in Italia e all’estero, e partecipato a importanti rassegne, come la Biennale di Venezia del 1980, Nuova Immagine alla Triennale di Milano (a cura di Flavio Caroli), Cosa fanno oggi i concettuali, alla Rotonda della Besana (a cura di Renato Barilli), la Quadriennale di Roma del 2005, su invito di Luciano Caramel. I suoi ultimi lavori sono stati esposti alla Fondazione Marconi di Milano nel 2008 e nel 2010, 2014, 2018.
Da segnalare, contemporaneamente alla produzione artistica, la sua ulteriore attività storico-critica, di cui lascia importanti testimonianze con la pubblicazione del III volume del manuale Bompiani Arte nel Tempo, dedicato all’arte del secolo scorso; del saggio Il Secolo Sconosciuto (1997), un’ampia ricognizione sull’arte del Novecento; di Area di Coincidenza, una rivisitazione delle sue ricerche sperimentali di critica visuale degli anni ’70 (2002); e di Miti Romantici -Simboli e inconscio dell’Era industriale (2004). La sua ultima fatica s’intitola La vera storia della fotografia concettuale Milano (2007) un libro che ripercorre il filone artistico meglio conosciuto dall’autore. Adriano Altamira è stato titolare della cattedra di Storia dell’Arte Contemporanea del Biennio specialistico di Fografia dell’Accademia di Belle Arti di Brera; e di Psicologia dell’Arte, sempre presso la stessa Accademia.
Born in Milan, where he lives and works, Adriano Altamira (17/7/47) is among the most singular figures on the Italian artistic and cultural scene. His artistic activity began in the early 70s, concurrently with that of critic and scholar of modern and contemporary art.
In 1972 he held his first two solo exhibitions in Italy and the following year his first solo exhibition abroad. Following an initial production of micro-sculptures, he chose photography as an investigative tool and preferential medium for his expression.
From that moment on, he established himself among the younger generation of conceptual artists with his research for Area di Coincidenza (Coincidence Zone), which combined his critical-sociological approach to research, with experimentation in new media. Some of the results of this research would be revisited by the author in his theoretical and historical publications - from the '70s to the most recent - reiterating, in addition to an artistic validity, even one that was purely scientific.
To date, Adriano Altamira has held 45 solo exhibitions, and participated in at least 200 collective exhibitions all over the world.
Starting from 1972 Altamira also began what would become a continuous collaboration with the magazine Nac. He would also publish presentations, essays, articles and interviews on Flash Art, The Arts, Celestial Theme, FMR, as theorist and critic.
At the end of the 70s he became the Milanese correspondent for the Parisian magazine Artistes, directed by Bernard Lamarche-Vadel. In the same period he also directed the magazine Studio G 7 in Bologna. From 1977 (until 1989) he was a fixed contributor to the Pagina dell’Arte (Arts page) and of Terza pagina (The third page) of Giornale Nuovo. And from 1989 until 1994, he contributed to the Pagina dell’Arte (Arts Page) of the Corriere della Sera.
Meanwhile, from the late 70s to the early 90s, Altamira developed a second line of research entitled Ice Dreams, based on the recording of dream images. The idea was to create a large archive of dreams (to date he has collected more than 8000), and in particular to develop and create forms autonomously invented by the artist’s unconscious, artifacts that did not exist, except in the mind of the sleeper. These object dreams were first described through a series of drawings and short texts. Subsequently, some of them were built in 1:1 scale and realized three-dimensionally, using various methods and materials. In these years the author returned to drawing and reconnected with traditional techniques (terracotta, sculpture in metal and wood) functional to the realization of the models, or to the reconstruction in scale of his dreams.
In 1996 he began a third line of research, which gave rise to his current photographic production - beginning with the exhibition Piccola Apocalisse (1999). Already during the gestation of this work the artist had developed an operative method based largely on chance, which then became the theme around which all his latest production revolves (Visti per Caso, Cosa Caso Caos, etc. ). Altamira is currently working on the book La forma dei sogni in which he addresses these three central and recurrent themes of his artistic creation from a theoretical viewpoint. Even this latter work confirms the artist's preoccupation with the formation of creative processes rather than to a production of works in the traditional sense.
After some years dedicated to the writing and publication of books, Altamira resumed his journalistic activity on the Internet, joining the editorial board of the photography blog: www.informatissimafotografia. it
His most important books to date are: the 6th volume of the manual Arte nel Tempo ( Art through time), dedicated to the art of the previous century, (Bompiani – 1991 with various subsequent reprints and a revised edition in 1998).
Il Secolo Sconosciuto (The Unknown Century - 1997) an extensive essay on 20th-century art. Area of Coincidence (Coincidence zone - 2001) a critical re-edition of articles and writings related to his research of the 70s.
Miti Romantici -Simboli e inconscio dell’Era industriale (Romantic Myths - Symbols and unconscious of the Industrial Age - 2004) derived from a course held the previous year at the Catholic University of Brescia. Followed by La Vera Storia della fotografia Concettuale (The True History of Conceptual Photography - 2007) a first attempt at a historical reconstruction of the function that photography has had within conceptual currents.
Creative works include 5 Livelli di cultura (5 levels of culture - 1972) L’invenzione di Schiapparelli (Schiapparelli’s invention - 1980) Sogni Traume Reves Dreams (written with Franco Vaccari, 1985) Sogni gelati (Ice dreams - 1987) NEurOclassicismo (1990), Piccola Apocalisse (Small Apocalypse -1999) Giudizio sul Giudizio (Judgement on The Judgement – 2005).
Adriano Altamira has been chair of History of Contemporary Art at the Academy of Fine Arts in Brera, at the Biennial Specialty Course of Photography of which he was initially the coordinator. He also teaches Psicologia della Forma (Psychology of Form) at the same Academy. Between 2000 and 2005 he taught Fenomenologia degli stili (Phenomenology of Styles) at the Department of Arts and Drama of the Catholic University of Brescia.
In 1972 he held his first two solo exhibitions in Italy and the following year his first solo exhibition abroad. Following an initial production of micro-sculptures, he chose photography as an investigative tool and preferential medium for his expression.
From that moment on, he established himself among the younger generation of conceptual artists with his research for Area di Coincidenza (Coincidence Zone), which combined his critical-sociological approach to research, with experimentation in new media. Some of the results of this research would be revisited by the author in his theoretical and historical publications - from the '70s to the most recent - reiterating, in addition to an artistic validity, even one that was purely scientific.
To date, Adriano Altamira has held 45 solo exhibitions, and participated in at least 200 collective exhibitions all over the world.
Starting from 1972 Altamira also began what would become a continuous collaboration with the magazine Nac. He would also publish presentations, essays, articles and interviews on Flash Art, The Arts, Celestial Theme, FMR, as theorist and critic.
At the end of the 70s he became the Milanese correspondent for the Parisian magazine Artistes, directed by Bernard Lamarche-Vadel. In the same period he also directed the magazine Studio G 7 in Bologna. From 1977 (until 1989) he was a fixed contributor to the Pagina dell’Arte (Arts page) and of Terza pagina (The third page) of Giornale Nuovo. And from 1989 until 1994, he contributed to the Pagina dell’Arte (Arts Page) of the Corriere della Sera.
Meanwhile, from the late 70s to the early 90s, Altamira developed a second line of research entitled Ice Dreams, based on the recording of dream images. The idea was to create a large archive of dreams (to date he has collected more than 8000), and in particular to develop and create forms autonomously invented by the artist’s unconscious, artifacts that did not exist, except in the mind of the sleeper. These object dreams were first described through a series of drawings and short texts. Subsequently, some of them were built in 1:1 scale and realized three-dimensionally, using various methods and materials. In these years the author returned to drawing and reconnected with traditional techniques (terracotta, sculpture in metal and wood) functional to the realization of the models, or to the reconstruction in scale of his dreams.
In 1996 he began a third line of research, which gave rise to his current photographic production - beginning with the exhibition Piccola Apocalisse (1999). Already during the gestation of this work the artist had developed an operative method based largely on chance, which then became the theme around which all his latest production revolves (Visti per Caso, Cosa Caso Caos, etc. ). Altamira is currently working on the book La forma dei sogni in which he addresses these three central and recurrent themes of his artistic creation from a theoretical viewpoint. Even this latter work confirms the artist's preoccupation with the formation of creative processes rather than to a production of works in the traditional sense.
After some years dedicated to the writing and publication of books, Altamira resumed his journalistic activity on the Internet, joining the editorial board of the photography blog: www.informatissimafotografia. it
His most important books to date are: the 6th volume of the manual Arte nel Tempo ( Art through time), dedicated to the art of the previous century, (Bompiani – 1991 with various subsequent reprints and a revised edition in 1998).
Il Secolo Sconosciuto (The Unknown Century - 1997) an extensive essay on 20th-century art. Area of Coincidence (Coincidence zone - 2001) a critical re-edition of articles and writings related to his research of the 70s.
Miti Romantici -Simboli e inconscio dell’Era industriale (Romantic Myths - Symbols and unconscious of the Industrial Age - 2004) derived from a course held the previous year at the Catholic University of Brescia. Followed by La Vera Storia della fotografia Concettuale (The True History of Conceptual Photography - 2007) a first attempt at a historical reconstruction of the function that photography has had within conceptual currents.
Creative works include 5 Livelli di cultura (5 levels of culture - 1972) L’invenzione di Schiapparelli (Schiapparelli’s invention - 1980) Sogni Traume Reves Dreams (written with Franco Vaccari, 1985) Sogni gelati (Ice dreams - 1987) NEurOclassicismo (1990), Piccola Apocalisse (Small Apocalypse -1999) Giudizio sul Giudizio (Judgement on The Judgement – 2005).
Adriano Altamira has been chair of History of Contemporary Art at the Academy of Fine Arts in Brera, at the Biennial Specialty Course of Photography of which he was initially the coordinator. He also teaches Psicologia della Forma (Psychology of Form) at the same Academy. Between 2000 and 2005 he taught Fenomenologia degli stili (Phenomenology of Styles) at the Department of Arts and Drama of the Catholic University of Brescia.