Materiality and immateriality in Lucio Fontana's environments: From documentary research to the reproduction of lost artworks

Abstract

In recent years, many international initiatives have sparked a debate on guidelines and criteria for documenting existing installations and environments. Nevertheless, a comparison between those environments, and lost or reproduced ones, still needs to be closely considered. This becomes even more interesting in the case of works that were made by artists no longer alive. Starting from the study on Italian artist Lucio Fontana's historical environments, we show how a historically accurate reconstruction, based on the analysis of various sources (original documents, letters, articles, interviews and videos, as well as critical essays) can be considered as a conservation strategy for works that were originally created as ‘ephemeral’, but later became fundamental within art history. The data and metadata can be used as a second step for the reconstruction of the environments, creating ‘replicas’ that closely mimic the artist's intent and that can then be documented and properly preserved. On one hand, the outcomes of the research presented is that of understanding to what extent it is possible to achieve a fair rendition of Fontana's environments and thus foster their proper appreciation. On a second and more practical level, we will present a study of the first exhibition centered on the reproduction of the artist's environments, which will be held in HangarBicocca, Milan, Italy, in 2017. A scientific and philological approach will allow us to fully respect the original artworks and the context in which they were produced. The reconstruction will also be the occasion to collect data regarding the materials that Fontana used extensively, and to gather information about the companies that produced them, as well as about the past and present quality of such materials, and the possibility of reproducing them today. This approach seeks to investigate the interplay between theory and reconstruction materiality through the double lens of historical research, on one hand, and contemporary conservation and museology debates on the other.