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La dimensione performativa nell’opera di Claudio Costa

Introduction

La dimensione performativa nell’opera di claudio costa. Esplora la dimensione performativa nell'opera di Claudio Costa. Un'analisi cronologica di casi studio svela il rapporto tra artista, corpo e linguaggio performativo.

Abstract

Il presente contributo propone un’indagine approfondita e inedita sulla dimensione performativa presente nell’opera di Claudio Costa, analizzandone le tappe fondamentali attraverso casi studio documentati e inediti. La ricerca è articolata in due sezioni sviluppate cronologicamente: la prima rintraccia e inquadra l'origine di questa componente; la seconda offre una panoramica storico-critica dei lavori più significativi, da cui deriva una riflessione sul rapporto tra artista, corpo e linguaggio performativo.

Review

This contribution presents a timely and highly promising exploration of the performative dimension within the oeuvre of Claudio Costa. The abstract clearly outlines an ambitious and original undertaking, promising an "indagine approfondita e inedita" (in-depth and unprecedented investigation) that suggests new perspectives and potentially new material will be brought to light. Focusing on an artist through the specific lens of performativity is valuable, particularly if, as implied, this aspect of Costa's work has not been extensively analyzed in this manner before. This paper appears poised to fill a notable gap and offer a fresh scholarly perspective on an important figure in contemporary art. The proposed methodology, structured chronologically across two distinct sections, appears well-conceived and robust. The initial section, dedicated to tracing and framing the origins of Costa’s performative component, provides crucial contextualization and establishes a solid foundation for the subsequent analysis. The second section, offering a historical-critical overview of his most significant works, is strengthened by the inclusion of "casi studio documentati e inediti" (documented and unprecedented case studies). This dual approach, combining foundational understanding with detailed empirical analysis, promises a comprehensive and rigorously supported narrative, ensuring both historical depth and critical engagement with the subject matter. Ultimately, the research aims to culminate in a reflection on the intricate relationship between artist, body, and performative language – a central and highly relevant theme in contemporary art and performance studies. By grounding this discussion in the specific practice of Claudio Costa, the paper is well-positioned to offer nuanced, grounded insights that could significantly enrich broader theoretical debates on performativity. The originality highlighted in the abstract, particularly regarding the use of unprecedented studies, is a strong point, suggesting that this article has the potential to be a significant addition to scholarship on Italian contemporary art and performance history.

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