Carla Lonzi and Ettore Sottsass on Art as Elitist vs. Relational Practice
Christian Caliandro challenges the idea of art being an exclusive domain, drawing on conversations between Carla Lonzi and Pietro Consagra from the 1970s. Consagra compared art to a 'Parnassus,' while Lonzi contended that culture brings together strangers through external factors, leading to a lack of true connection and increased distrust. Caliandro references Ettore Sottsass, who in 1974 categorized art as a 'superior' commodity and cautioned that enhancing an artist's elitist self-image creates a 'culture of the magical.' He links this to Lonzi's diary from 1972–1977, where she recounts her struggles with Carla Accardi (Ester), noting that Accardi's focus on 'profit' through self-assertion caused her to perceive Lonzi as merely an observer. The piece promotes art as accessible to everyone through genuine, equitable relationships.
Key facts
- Carla Lonzi and Pietro Consagra discussed art as Parnassus vs. relational truth in the 1970s.
- Lonzi argued that culture aggregates strangers on external elements, not genuine connection.
- Ettore Sottsass in 1974 distinguished art as a 'superior' good from culture as an ordinary good.
- Sottsass warned that art as magic leads to exclusive dynasties, sects, and castes.
- Lonzi's 1972–1977 diary details conflict with Carla Accardi over egocentrism and profit.
- Lonzi wrote that the artist's prestige forces humanity to forget itself and identify with the artist.
- Accardi's 'profit' mentality made her view even Lonzi as a spectator.
- Caliandro contrasts art as an ideal garden with art as authentic reciprocal truth.
Entities
Artists
- Carla Lonzi
- Pietro Consagra
- Ettore Sottsass
- Carla Accardi
Institutions
- Artribune
- Accademia di Belle Arti di Firenze
- Symbola Fondazione per le Qualità italiane
Locations
- Italy