Keywords

• The XXXIV International Venice Biennale represents the first important encounter of the American Minimalism with the Italian plastic researches developed at the end of sixties. With the theme Lines of the contemporary research &ndash
• From the Informal to New Structures &ndash
• the exhibition held in 1968
• presented an overall picture of the artistic researches that were experimenting new visual language aimed at overcoming the Italian informal poetics and the American abstract expressionism. According to this criteria the exhibition housed some works dated back to the first decades of the twentieth century and considered forerunners of new artistic developments
• whose presence strengthened the relationship between the historical avant-guarde and the contemporaneous trends. The basic criteria for the selection of the American and Italian paintings exhibited in the main pavilion
• was based essentially on the research of those aesthetic results expressing the relation space-object. Together with the works of the American minimalists the main pavilion housed the "New Structures" by L. Marzot
• C. Scarpa
• F. Lo Savio and L. Guerrini. Their art works present clear analogies with the minimalist works by D. Judd
• D. Flavin
• Robert Grosvenor
• J. Mc- Cracken
• R. Morris. However it's impossible to assert the absolute connection between the Italian art of the "New Structures" and the American Minimalism. The point of convergence between the two trends is basically delayed and occasional especially taking into account the lack of a planned development of the "New Structures" in the later Italian art production. As far as the plastic creation
• it will approach the minimalistic art only in the seventies in Italy
• an age far away from the full artistic maturity of the American Minimalism