Page 58 - Studio International - June 1968

Richard Hamilton Swingeing London 1967,
Hi 912

munications—the multiple. And even if the multiple
as it is presented today is still (in the words of
Abraham Moles) 'the aesthetic image of a society
in transition', it is nonetheless based on two ele-
ments: first, it has no particular destination, it is
made to fit in anywhere and everywhere, since its
immediacy frees it from the necd for a specifically-
directed transmission; second, its data are not
programmed in relation to the artist and his
capacities, but in relation to the instruments or
tools that will have to produce it. In this sense
Lewis Mumford's description of Marcel Duchamp's
ready-mades, reissued by Hulten of the Moderna
Museet and GALLERIA SCHWARZ, to the effect that
Duchamp's 'made a collection of cheap factory-
made articles and then revealed all of their sanity
and aesthetic autonomy', for all its limitations
does in fact reduce the problem to fundamentals:
the need to assimilate the machine and its criteria
of competence; the specification of what makes an
object a form of artistic communication.
Publishing houses like SERGIO TOSI, IL DEPOSITO in
Genoa and the MANA ART MARKET in ROme have
different intentions and methods, but they are
united in encouraging the establishment of some
order in the development of the informational net-
work that is made up of radio, films, television and
newspapers. Concentration upon the way a work
functions is not only the result of deliberate inten-
tion, but can also be a consequence of the fact that
in working with the machine the artist cannot rely
on the mechanisms of association that usually
govern the relationship between his mind and his
hand. Works like Gianni Colombo's Struttura
Acentrica or Getulio Alviani's Cilindro Virtuale (Ed.
del Deposito) function through shock or through

Gianni Simontetti Annalyse du virage 1967,
print on paper, edition of 123, Publisher: Ed 912