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Surrealismo utile e surrealismo futile. Qualche traccia

Alessandro Del Puppo

The fortune of surrealism in postwar Italy is analyzed here through some writings by Giulio Carlo Argan, Francesco Arcangeli and Carla Lonzi, in the background of some exhibitions (such as the 1954 Venice Biennale) and controversies among the artists. We identify Franco Fortini and Lanfranco Binni anthology issued in 1959 as a real turning point for a more focused approach to surrealism. From that moment on, it is possible to identify a “useful” surrealism, that is active in social criticism (up to ending in ’68), and a futile surrealism, which is lost in a pseudo-erotic figuration and acts as a compensatory fantasy, such as example in the painted work of Dino Buzzati.