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Lot Essay
« Depuis ses premières contributions au mouvement de l'Arte Povera dans les années 1960, Emilio Prini a affiné une pratique artistique parfois décrite comme "insaisissable", "trompeuse" et "cryptique". Il s'agit d'une pratique fondée sur des idées pures, sans tenir compte des critères esthétiques conventionnels ». (…) « À la veille des événements de 1968, qui allaient faire basculer l'Europe dans l'esprit du capitalisme guidant vers une mise en œuvre d'une nouvelle version de la "cité par projets", Prini n'avait jamais eu d'autre projet que de ne pas en avoir. En introduisant la notion de "standard" dans l'art en 1969, l'artiste s'est donné pour tâche d'épuiser divers appareils et systèmes d'enregistrement, de conservation et de lecture de données par leur propre consommation. Un magnétophone enregistre la production de son propre son jusqu'à la rupture de la bande (STANDARD, 1969). Un appareil photo est utilisé continuellement jusqu'à ce que son mécanisme devienne obsolète (Magnete [Magnet], 1968). L'utilitarisme obsessionnel de la société de consommation américaine apparaît comme un symptôme, à l'instar du titre de l'œuvre de Prini, L'U.S.A. USA [The U.S.A. Use] (1969) ». - Pierre Bal Blanc dans un article pour 'Flash Art', no. 306, janvier-février 2016
"Since his earliest contributions to the Arte Povera movement in the 1960s, Emilio Prini has refined an art practice sometimes described as “ungraspable,” “deceptive” and “cryptic.” It is a practice grounded in pure ideas, without regard for conventional aesthetic criteria.” (…) “On the eve of the events of 1968, which would swing Europe into the spirit of capitalism, leading to the living out of a new version of the “cité par projets” Prini, for his part, had never had a project other than not having one. By introducing the notion of “standard” into art in 1969, the artist undertook the task of exhausting various recording, conservation and data-reading devices and systems with their own consumption. A tape recorder records the production of its own sound until the tape breaks (STANDARD, 1969). A camera is used continuously until its mechanism becomes obsolete (Magnete [Magnet], 1968). The obsessive utilitarianism of American consumer society appears like a symptom, revealed in the title of Prini’s work L’U.S.A. USA [The U.S.A. Use] (1969)." - Pierre Bal Blanc in an article for ‘Flash Art’, no. 306, January-February 2016.
"Since his earliest contributions to the Arte Povera movement in the 1960s, Emilio Prini has refined an art practice sometimes described as “ungraspable,” “deceptive” and “cryptic.” It is a practice grounded in pure ideas, without regard for conventional aesthetic criteria.” (…) “On the eve of the events of 1968, which would swing Europe into the spirit of capitalism, leading to the living out of a new version of the “cité par projets” Prini, for his part, had never had a project other than not having one. By introducing the notion of “standard” into art in 1969, the artist undertook the task of exhausting various recording, conservation and data-reading devices and systems with their own consumption. A tape recorder records the production of its own sound until the tape breaks (STANDARD, 1969). A camera is used continuously until its mechanism becomes obsolete (Magnete [Magnet], 1968). The obsessive utilitarianism of American consumer society appears like a symptom, revealed in the title of Prini’s work L’U.S.A. USA [The U.S.A. Use] (1969)." - Pierre Bal Blanc in an article for ‘Flash Art’, no. 306, January-February 2016.