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American, 20th century, male.

Sculptor, environmental artist.

Arte Povera.

Rafaël Ferrer exhibited in New York in 1970. He created environments in the style of Arte Povera by assembling a variety of materials - wood, corrugated iron, neon bulbs.


American, 20th – 21st century, male.

Active in England.

Born 1947, in Salem (Ohio).

Draughtsman, sculptor.

Without joining the Arte Povera movement, which sprang up primarily in Italy from 1968 onward, Joel Fischer nevertheless benefited from it, in that this movement looked at the coarsest materials through new eyes. However, the issue for Fischer is not one of expressivity, as it is for the Arte Povera artists, but rather a reflection on the ambitions of art. In his early career his work was above all intended to be a derisory activity. At this time he began to plait and spin hair, and make nails from old bits of metal or pieces of coarse paper from old clothes. By reaffirming ties with the artisan side of art, Fischer quickly found favour in the USA. Without losing interest in the materials, he began in the 1980s to explore meticulously the medium and subject of his future drawings: chiffon paper, which he makes entirely by hand. The imperfections are exaggerated with charcoal and, in a new space, come to signify a non-accidental form. In ...


Italian, 20th century, male.

Born 1945, in Cosenza.


Piacentino started out in an American Minimalist vein, with a reputation as a representative of Arte Povera, but was soon attracted by all things mechanical, being himself an adept mechanic and a practitioner of motorcycle racing. He constructed kinds of high-powered racing vehicles, but though they looked elegant, their practical reliability was more in the realm of a Leonardesque utopia. He first exhibited in ...



Brazilian, 20th – 21st century, male.

Born 8 February 1952, in Palmares (Pernambuco).

Sculptor, installation artist.

Tunga trained as an architect. As in Arte Povera, Tunga's work is meant to be close to life. He draws his materials from everyday life and works with familiar objects ranging from bowls and thimbles, to heavy materials like iron, copper or other metal plates and copper wire, as well as organic matter like hair, and more recently with blown glass. Tunga then integrates another dimension by adding literary, philosophical and scientific references. From accumulations and excesses Tunga builds up an original personal fiction, which destabilises perception, confuses scales and multiplies the connections between the objects, materials and the more anatomical shapes and colours and, in so doing transports the viewer to an imaginary phantasmagorical world. After ...