Abstract

The objective of this paper is to explore Mario Perniola’s perspective on art between the years 1966 and 1972. During this six-year period Perniola elaborates – mainly influenced by his closeness to revolutionary and protest movements such as the Situationist International and Ludd – a political and militant theory based on the dialectic overcoming of art. The year 1972, with the last issue of the journal Agar-Agar, marks the beginning of a theoretical rearrangement regarding art theory for the Italian philosopher. Whereas several scholars have recently focused on the later phase of Perniola’s thought on art, this paper wishes to draw the attention on a less investigated area of his researches. Specifically, I will develop his claims on the identity of art and revolution and his idea of an “artistic alienation” which originated in Western society.