Svolgere la propria pelle
Giuseppe Penone
1971
Svolgere la propria pelle
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Through this project, Giuseppe Penone introduces the notion of body art into Arte Povera. He literally exposes the entirety of his body by “mapping” the surface of his skin inch by inch, through 607 photographs ...
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Svolgere la propria pelle
Giuseppe Penone
1971
Turin: Sperone Editore
Unpaginated [106 pages]
21.8 × 21 cm

Through this project, Giuseppe Penone introduces the notion of body art into Arte Povera. He literally exposes the entirety of his body by “mapping” the surface of his skin inch by inch, through 607 photographs made in collaboration with photographer Claudio Basso.




Fragmented across the pages of the book, Penone's body can be read, turned, and reassembled, bringing into focus questions of subjectivity and representation. No longer simply a tool for creating art, the artist's body itself becomes the medium and the message: an autonomous artwork. This idea is developed by Penone in an interview with Jason Farago for Even (Spring 2018):




“Casting is an important part of my work. Because it’s an impression of a body that isn’t a representation of a body. In other words, at this moment, the late ’60s, when it was essentially forbidden in art to do representation, casting gave the opportunity to reintroduce the figure, to introduce the body in an objective fashion, and not to interpret it.”




Penone’s approach aligns with other artistic explorations of the body as a site to be disguised, performed, and reconfigured, where the limits between the self, the skin, and the world become permeable. 




That same year, Penone carried out a related photographic investigation of his dog, Moretto, in "Svolgere la propria pelle – Cane" (To Unroll One’s Skin – Dog), extending his exploration of the skin as both a boundary and a surface of inscription.

Turin: Sperone Editore
Unpaginated [106 pages]
21.8 × 21 cm

Through this project, Giuseppe Penone introduces the notion of body art into Arte Povera. He literally exposes the entirety of his body by “mapping” the surface of his skin inch by inch, through 607 photographs made in collaboration with photographer Claudio Basso.


Fragmented across the pages of the book, Penone's body can be read, turned, and reassembled, bringing into focus questions of subjectivity and representation. No longer simply a tool for creating art, the artist's body itself becomes the medium and the message: an autonomous artwork. This idea is developed by Penone in an interview with Jason Farago for Even (Spring 2018):


“Casting is an important part of my work. Because it’s an impression of a body that isn’t a representation of a body. In other words, at this moment, the late ’60s, when it was essentially forbidden in art to do representation, casting gave the opportunity to reintroduce the figure, to introduce the body in an objective fashion, and not to interpret it.”


Penone’s approach aligns with other artistic explorations of the body as a site to be disguised, performed, and reconfigured, where the limits between the self, the skin, and the world become permeable. 


That same year, Penone carried out a related photographic investigation of his dog, Moretto, in "Svolgere la propria pelle – Cane" (To Unroll One’s Skin – Dog), extending his exploration of the skin as both a boundary and a surface of inscription.

DESCRIPTION

Through this project, Giuseppe Penone introduces the notion of body art into Arte Povera. He literally exposes the entirety of his body by “mapping” the surface of his skin inch by inch, through 607 photographs made in collaboration with photographer Claudio Basso.


Fragmented across the pages of the book, Penone's body can be read, turned, and reassembled, bringing into focus questions of subjectivity and representation. No longer simply a tool for creating art, the artist's body itself becomes the medium and the message: an autonomous artwork. This idea is developed by Penone in an interview with Jason Farago for Even (Spring 2018):


“Casting is an important part of my work. Because it’s an impression of a body that isn’t a representation of a body. In other words, at this moment, the late ’60s, when it was essentially forbidden in art to do representation, casting gave the opportunity to reintroduce the figure, to introduce the body in an objective fashion, and not to interpret it.”


Penone’s approach aligns with other artistic explorations of the body as a site to be disguised, performed, and reconfigured, where the limits between the self, the skin, and the world become permeable. 


That same year, Penone carried out a related photographic investigation of his dog, Moretto, in "Svolgere la propria pelle – Cane" (To Unroll One’s Skin – Dog), extending his exploration of the skin as both a boundary and a surface of inscription.

Turin: Sperone Editore
Unpaginated [106 pages]
21.8 × 21 cm

Through this project, Giuseppe Penone introduces the notion of body art into Arte Povera. He literally exposes the entirety of his body by “mapping” the surface of his skin inch by inch, through 607 photographs made in collaboration with photographer Claudio Basso.


Fragmented across the pages of the book, Penone's body can be read, turned, and reassembled, bringing into focus questions of subjectivity and representation. No longer simply a tool for creating art, the artist's body itself becomes the medium and the message: an autonomous artwork. This idea is developed by Penone in an interview with Jason Farago for Even (Spring 2018):


“Casting is an important part of my work. Because it’s an impression of a body that isn’t a representation of a body. In other words, at this moment, the late ’60s, when it was essentially forbidden in art to do representation, casting gave the opportunity to reintroduce the figure, to introduce the body in an objective fashion, and not to interpret it.”


Penone’s approach aligns with other artistic explorations of the body as a site to be disguised, performed, and reconfigured, where the limits between the self, the skin, and the world become permeable. 


That same year, Penone carried out a related photographic investigation of his dog, Moretto, in "Svolgere la propria pelle – Cane" (To Unroll One’s Skin – Dog), extending his exploration of the skin as both a boundary and a surface of inscription.

MORE BOOKS

Through this project, Giuseppe Penone introduces the notion of body art into Arte Povera. He literally exposes the entirety of his body by “mapping” the surface of his skin inch by inch, through 607 photographs made in collaboration with photographer Claudio Basso.


Fragmented across the pages of the book, Penone's body can be read, turned, and reassembled, bringing into focus questions of subjectivity and representation. No longer simply a tool for creating art, the artist's body itself becomes the medium and the message: an autonomous artwork. This idea is developed by Penone in an interview with Jason Farago for Even (Spring 2018):


“Casting is an important part of my work. Because it’s an impression of a body that isn’t a representation of a body. In other words, at this moment, the late ’60s, when it was essentially forbidden in art to do representation, casting gave the opportunity to reintroduce the figure, to introduce the body in an objective fashion, and not to interpret it.”


Penone’s approach aligns with other artistic explorations of the body as a site to be disguised, performed, and reconfigured, where the limits between the self, the skin, and the world become permeable. 


That same year, Penone carried out a related photographic investigation of his dog, Moretto, in "Svolgere la propria pelle – Cane" (To Unroll One’s Skin – Dog), extending his exploration of the skin as both a boundary and a surface of inscription.

MORE BOOKS