The AU-artwork includes a critical-social-pedagogical process manifesting itself visually, verbally and dramatically. AU-activities serve communication. They are natural fragments, impulses. The audience is the true AU-artwork. An audience that identifies with these fragments. Finds itself in them, takes part and interest, works with them, communicates. All in all it is an AU-audience that eventually reacts, understands the situation and creates something (for example an AU-sheet). An audience that wants to understand it, continues to talk about it…

Pino Poggi

Manifesto Arte Utile 1

1965 by Pino Poggi

Environment AU

An installation between educational trail, Stationen­drama, stage set and symbolic situation: Involvement, information, irritation.

AU Process

A communi­cation method of 4 phases. Previous AU-action followed by subsequent analysis and exhibition. Initiation of talks and discourse over essential social topics.

Describing Pino Poggi as a pioneer in the tension field between art and environmental issues since 1966 would be far too shallow: He prescribes drastic remedies to the world like a utopianizing Doctor Eisenbart. He designs projects against the waste of nature, urban sprawl, traffic terror, emissions. Like Bruno Taut in the 1920s, he relocates entire cities to rocky mountains and keeps the valleys free for the greenery. […] Certainly a significant part of science fiction was in it, which neither reaches the vision nor the practice. But however, the young Poggi believed, like the young century, in the revolution of life through art.

Manfred Schneckenburger

People should benefit of his useful art. Especially to those who normally have nothing to do with art and those who show no interest in it. Poggi goes to them, approaches them in their everyday surroundings and makes them his offers.

Wolfgang Längsfeld

By provoking the imperfect, constantly changing document, he irritates the artistic consumerism of the gallery visitors. But he is also confronted with a lack of comprehension among the simple people on the street. Because for them their values of order and cleanliness in art are under attack.

Veit Loers

He is not an easy artist and his art is not a soft pillow. Here a troublemaker is at work, who does not want to frighten people, but scare them up from their passivity, who questions supposed certainties, who manages to render conceivable things visible.

Helmut Schneider

Pino Poggi is an artist in his imprint, sensitivity and creativity. As such he is used to think in images. Needless for him to switch on an actual translation process between perception and thoughts triggered by it. His thought corresponds to an image in which a problem appears to him, captivates him, and to which he immediately turns.

Peter F. Althaus

You will ask yourself: Do we talk here of a missionary or an artist? Except for the unworthy split of terms: In the case of Pino Poggi, himself – the person – steps into the foreground and makes us forget all titles and labels. […] With him, art, education, actionism, protest, project planning and multimedia communication unite in a single intensively represented world praised with powerful optimism – in Pino Poggi’s Arte Utile.

Laszlo Glozer