Arti visive e serialità: fenomenologia dell'anti-environment

Seriality and contemporary visual arts The experimental mainstream from Duchamp to IA and from pop to street, in a mediological perspective. After the Second World War, the aesthetics of mass seriality tended to become the inescapable term of comparison for the art of the West, which reacted to the automatic, accelerated and integral technical reproduction that invaded all real and virtual spaces. Attempts to construct anti-environment in the new television-centred world of consumption, and then in the digital age, called for a radical change of orientation (already anticipated in the early 20th century by Duchamp). According to two main strategies: a) the automatic, serial re-production of patterns (from minimalism to digital art), connected to the metaphors of the disappearance of the subject; and b) the irony or nonsense revealing the dynamics of reproduction and consumption (from pop art or Warhol to conceptual art). The history of the relationship between mediamorphosis, seriality and the visual arts runs through video art and then into contemporary counter-fields: digital installations, AI applications, but also the street art favoured by the younger generation.