Dalla copia al falso al ‘secondo originale’
The article investigates the relationship between ‘copy’ and ‘fake’ and the ambiguous status of these definitions in the artistic practices of recent decades. Episodes narrated in art history primary sources are compared with twentieth and twenty-first-century episodes. Thus, one comes to the not...
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| Format: | Article |
| Language: | English |
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Fondazione Università Ca’ Foscari
2021-12-01
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| Series: | Venezia Arti |
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| Online Access: | http://doi.org/10.30687/VA/2385-2720/2021/07/009 |
| _version_ | 1797646069235974144 |
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| author | Lombardi, Laura |
| author_facet | Lombardi, Laura |
| author_sort | Lombardi, Laura |
| collection | DOAJ |
| description |
The article investigates the relationship between ‘copy’ and ‘fake’ and the ambiguous status of these definitions in the artistic practices of recent decades. Episodes narrated in art history primary sources are compared with twentieth and twenty-first-century episodes. Thus, one comes to the notion of fake in contemporaneity, which no longer has a negative meaning. On the contrary, it has become an acknowledged artistic practice, a means that reveals the mise-en-scène that each image represents by declaring itself as ‘true’. Also, the notion of a ‘second original’, obtained thanks to contemporary technologies, calls into question the Benjaminian notion of the artwork’s ‘aura’.
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| first_indexed | 2024-03-11T14:57:13Z |
| format | Article |
| id | doaj.art-bfd2a6ed85e144f8962606fa4658c8f2 |
| institution | Directory Open Access Journal |
| issn | 2385-2720 |
| language | English |
| last_indexed | 2024-03-11T14:57:13Z |
| publishDate | 2021-12-01 |
| publisher | Fondazione Università Ca’ Foscari |
| record_format | Article |
| series | Venezia Arti |
| spelling | doaj.art-bfd2a6ed85e144f8962606fa4658c8f22023-10-30T08:20:19ZengFondazione Università Ca’ FoscariVenezia Arti2385-27202021-12-0130110.30687/VA/2385-2720/2021/07/009journal_article_6658Dalla copia al falso al ‘secondo originale’Lombardi, Laura0Accademia di Belle Arti di Brera, Italia The article investigates the relationship between ‘copy’ and ‘fake’ and the ambiguous status of these definitions in the artistic practices of recent decades. Episodes narrated in art history primary sources are compared with twentieth and twenty-first-century episodes. Thus, one comes to the notion of fake in contemporaneity, which no longer has a negative meaning. On the contrary, it has become an acknowledged artistic practice, a means that reveals the mise-en-scène that each image represents by declaring itself as ‘true’. Also, the notion of a ‘second original’, obtained thanks to contemporary technologies, calls into question the Benjaminian notion of the artwork’s ‘aura’. http://doi.org/10.30687/VA/2385-2720/2021/07/009Aura. Contemporary art. Copy. Fake. ‘Second original’ |
| spellingShingle | Lombardi, Laura Dalla copia al falso al ‘secondo originale’ Venezia Arti Aura. Contemporary art. Copy. Fake. ‘Second original’ |
| title | Dalla copia al falso al ‘secondo originale’ |
| title_full | Dalla copia al falso al ‘secondo originale’ |
| title_fullStr | Dalla copia al falso al ‘secondo originale’ |
| title_full_unstemmed | Dalla copia al falso al ‘secondo originale’ |
| title_short | Dalla copia al falso al ‘secondo originale’ |
| title_sort | dalla copia al falso al secondo originale |
| topic | Aura. Contemporary art. Copy. Fake. ‘Second original’ |
| url | http://doi.org/10.30687/VA/2385-2720/2021/07/009 |
| work_keys_str_mv | AT lombardilaura dallacopiaalfalsoalsecondooriginale |