Abstract
As against other representatives of Arte Povera, Emilio Prini’s artistic career is most uneven and least documented. This is mainly due to the artist’s operational practices, that are eventual, fleeting, ephemeral. This essay focuses on Prini’s works between 1967, the year of his debut, and the early Seventies. It follows his sporadic traces in the Italian and international contexts and in relation to Germano Celant’s principles of Arte Povera as well as to other contemporary fellow artists’ solutions.
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