News

 

Il fascismo italiano nel prisma delle arti contemporanee.

Reinterpretazioni, montaggi, decostruzioni

 

Dipartimento di Studi Umanistici, Università Roma Tre, Roma, 5-6 aprile 2018

Sala del Consiglio

Giovedì 5 aprile

9.30

Saluti

Prof. Manfredi Merluzzi, Direttore del Dipartimento di Studi Umanistici

Prof. Giovanni Careri, Direttore CEHTA – École des Hautes Études en Sciences Sociales

 

Introduzione ai lavori

 

10.15

1. ICONE

Discussant: Barbara Cinelli

Elisa Francesconi, Università Roma Tre: Allontanamento e risignificazione: gli emblemi storico-politici di Franco Angeli

Emilia Héry, Université Paris 1: Reconstruire, déconstruire et mettre en boîte. Le corps de Mussolini dans les œuvres de Rossella Biscotti, Giovanni Morbin et Maurizio Cattelan

Laura Moure Cecchini, Colgate University: A Revisionist Aesthetic: Federico Baronello’s EUR_Libya (2012)

Discussione

 

12.15

Alessandra Ferrini, Londra: proiezione estratti di Negotiating Amnesia, 2015

 

Pausa pranzo

 

15.00

2. MONTAGGIO

Discussant: Elisa Francesconi

Valérie Da Costa, Université de Strasbourg: Fabio Mauri: a rischio della Storia

Francesca Gallo, Sapienza Università di Roma: Memoria e rimozione: l’antifascismo di Mauro Folci e Cesare Pietroiusti

Discussione

 

16.30 pausa

 

16.45

Laura Iamurri, Università Roma Tre: «Non rimane alla pittura, probabilmente, che attraversare le stanze della morte»: Giosetta Fioroni, Galleria L’Indiano, Firenze 1970

Luca Acquarelli, Université Lille III - EHESS: Il corpo bruciato: a partire dalla ripetizione di una sequenza nell’opera di Gianikian e Ricci Lucchi

Discussione

18.15

Jacopo Benci, Roma: proiezione Passaggi – Durchgänge, 2011; Nella città prigioniera, 2014

 

Venerdì 6 aprile

9.30

3. MEMORIA

Discussant: Laura Iamurri

Claudio Pirisino, Université Paris III: I corpi medianici di Elvira Frosini e Daniele Timpano. Presenze invisibili e assenze incarnate

Giovanni Guanti, Università Roma Tre: Intolleranza 1960 di Luigi Nono: una lezione di resistenza estetica tra memorie del Fascismo e timore del suo perenne risorgere

 

10.30 pausa

 

10.50

Olivier Maillart, Lycée Jean-François Millet (Cherbourg): Après le rétro. Récits et figures d’un fascisme ludique et irresponsable

Discussione

11.50

Andrea Aversa, Parigi: proiezione Un été italien

 

Pausa pranzo

 

14.30

4. SPAZIO

Discussant: Jacopo Benci

Carmen Belmonte, Biblioteca Hertziana Roma: Dall’iconoclastia all’iconoclash. L’arte contemporanea per una tutela critica dei monumenti fascisti

Caroline Pane, Université Aix-Marseille: Memoria di pietra: la Casa d’Italia di Marsiglia dal fascismo al dopoguerra

Francesca Mugnai, Università di Firenze: Rappresentazione e memoria del fascismo nel monumento alla Resistenza di Cima Grappa

Discussione

 

16.45 pausa

 

17.00

5. TRAIETTORIE

Discussant : Luca Acquarelli

Stefano Chiodi, Università Roma Tre: Genius Loci. Genealogia di un’idea

Anne-Violaine Houcke, Université Paris X: Delenda est imago? Fellini et la (dé-)construction des clichés

Discussione

Conclusioni e saluti

 

 

Call For Papers

Convegno Internazionale di Studi

Mauro Pellicioli
e la cultura del restauro nel XX secolo

PRESENTAZIONE

Mauro Pellicioli (1887-1974) rappresenta uno dei protagonisti della cultura del restauro del XX secolo in Italia e in Europa.

Il Convegno, che si terrà a Venezia nei giorni 14 e 15 novembre 2018, intende promuovere una riflessione originale sulla figura di questo restauratore e sulla cultura del restauro nella sua epoca, declinata sia come studio tecnico e filologico sulle metodologie di intervento che come analisi storica dei processi culturali e sociali che le scelte di restauro sempre implicano. Due percorsi inscindibilmente interconnessi per i quali si vuole sollecitare una crescente integrazione.

Seppure l’analisi critica della biografia e dei risultati dell’operato di Pellicioli sia del tutto frammentaria ed in gran parte ancora inedita, il convegno intende evitare la semplice ricostruzione dei singoli interventi, mentre mira piuttosto ad indagare i rapporti del restauratore con istituzioni e studiosi del mondo dell’arte, per accrescere la comprensione della cultura del restauro nel XX secolo.

 

COMITATO PROMOTORE

Il convegno è promosso da Associazione Giovanni Secco Suardo, Fondazione Accademia Carrara, Gallerie dell’Accademia di Venezia, Istituto Superiore per la Conservazione ed il Restauro, Soprintendenza Archeologia, Belle Arti e Paesaggio per il Comune di Venezia e Laguna e Polo Museale Veneto.

 

LINEE GUIDA

Gli interventi da proporre dovranno presentare punti di vista inediti e originali che approfondiscano uno o più dei seguenti temi:

  • Pellicioli, gli storici d’arte ed i conoscitori del suo tempo: contributi dedicati ad analizzare criticamente la relazione con conoscitori, storici dell'arte, eruditi, esperti scientifici, restauratori e collezionisti con l’obiettivo di indagare le linee metodologiche e programmatiche del restauro di quegli anni.

 

  • Pellicioli, l’organizzazione di bottega e i suoi allievi collaboratori: contributi dedicati ad indagare materiali e pratiche insegnate da Pellicioli ai suoi allievi e collaboratori, così come l’organizzazione del lavoro nei suoi cantieri.

 

  • Pellicioli e il rapporto con l’Istituto Centrale del Restauro: contributi dedicati a fare luce sulla complessa relazione tra il restauratore e l’Istituto, le altre personalità che gravitavano intorno a questo e le linee metodologiche avanzate da questa istituzione

 

  • Pellicioli ed i restauri per i musei italiani: contributi dedicati ad indagare il lavoro di Pellicioli per curatori e direttori di museo in Italia, nella prospettiva di mettere in evidenza il rapporto tra scelte di restauro e scelte museologiche e museografiche.

 

  • La fortuna di Pellicioli in Europa: contributi volti ad approfondire l’eredità di Pellicioli al di fuori dell’Italia sia dal punto di vista pratico sia sotto il profilo teorico.

 

 

MODALITÀ DI PARTECIPAZIONE

Gli studiosi dovranno presentare un abstract dell’intervento che intendono proporre (massimo 2.000 caratteri, spazi inclusi) ed un breve CV (max 2.000 caratteri) in un unico file in formato PDF, entro e non oltre la mezzanotte del 10 maggio 2018 inviandolo via mail all’indirizzo Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo. con oggetto “Convegno Pellicioli 2018 – invio abstract” seguito dal proprio Nome e Cognome.

Si accettano abstract e relazioni sia in italiano sia in inglese. Gli studiosi dovranno indicare se intendono effettuare la presentazione in italiano o in inglese.

I risultati della selezione saranno comunicati entro il 2 luglio 2017

Il convegno si svolgerà a Venezia il 14-15 Novembre 2018

 

PUBBLICAZIONE

Gli interventi selezionati saranno pubblicati, previa peer-review, negli Atti.

 

COMITATO SCIENTIFICO

Maria Cristina Bandera, Carlo Bertelli, Giorgio Bonsanti, Marta Boscolo, Francesca Capanna, Silvia Cecchini, Emanuela Daffra, Paola D’Alconzo, Miriam Failla, Daniele Ferrara, Giulio Manieri Elia, Paola Marini, Sergio Marinelli, Mariolina Olivari, Matteo Panzeri, Pietro Petraroia, Chiara Piva, Simona Rinaldi, Maria Cristina Rodeschini, Lanfranco Secco Suardo, Giovanni Carlo Federico Villa.

 

ENGLISH VERSION

Call For Papers

International Conference

Mauro Pellicioli
and the 20th century approach
to restoration

PRESENTATION

This conference on Mauro Pellicioli (1887-1974), a leading figure in twentieth century restoration in Italy and Europe, will be held in Venice on 14-15 November 2018 and sets out to provide an original overview of this restorer and the approach to restoration in his time, combining a technical and philological study of restoration methodologies with a historical analysis of the cultural and social processes that certain choices always imply. Two distinct but interconnected paths that we shall attempt to bring closer together.

Although the critical analysis of Pellicioli's biography and the results of his work is fragmentary and largely unpublished, the conference intends to avoid the simple reconstruction of a specific conservation-restoration interventions; rather, it aims to increase our understanding of the twentieth century approach to restoration by investigating the relationship between the man himself and the institutions and art historians of that period.

 

ORGANISING COMMITTEE

The conference is organised by the Associazione Giovanni Secco Suardo, the Fondazione Accademia Carrara, the Gallerie dell’Accademia di Venezia, the Istituto Superiore per la Conservazione ed il Restauro (ISCR), the Soprintendenza Archeologia, Belle Arti e Paesaggio di Venezia and the Polo Museale Veneto.

 

GUIDELINES

Papers for proposal should put forward unpublished and original points of view that will enhance our understanding of one or more of the following themes and sessions:

  • Pellicioli, art historians and connoisseurs of his time: ideas critically analysing his relationship with connoisseurs, art historians, scholars, scientific experts, restorers and art collectors in order to investigate the methodological and operative aspects of restoration in those years.

 

  • Pellicioli, his studio organisation and student collaborators: ideas examining the materials and skills taught by Pellicioli to his students and collaborators, as well as the organisation of his work sites.

 

  • Pellicioli’s relationship with the Istituto Centrale del Restauro: ideas highlighting the complex relationship between the restorer and the Institute, as well as the other personalities connected to it, and the methodological approach espoused by the ICR.

 

  • Pellicioli and restoration work for Italian museums: ideas examining Pellicioli’s work for museum curators and directors in Italy with a view to highlighting the relationship between restoration choices and decisions taken by museums and galleries.

 

  • Pellicioli’s legacy in Europe: ideas examining Pellicioli’s legacy beyond Italy, from practical and theoretical standpoints.


PARTICIPATION

Authors should submit an abstract of their proposed paper and a brief CV as a single file in PDF format.

Abstract - Max 2.000 characters including spaces

CV - Max 2.000 characters

Email address for sending abstracts: Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.

Email subject: “International Conference Pellicioli 2018 – abstract” followed by full name (first name and family name)

Abstracts and papers can be in Italian or in English. Authors should state whether they intend to make their presentation in Italian or in English.


KEY DATES

Deadline for the submission of abstracts: May 10th 2018

Notification of acceptance: July 2nd 2018

 

PUBLICATION

The selected papers will be published, after peer-review, in the Conference Proceedings.

 

SCIENTIFIC COMMITEE

Maria Cristina Bandera, Carlo Bertelli, Giorgio Bonsanti, Marta Boscolo, Francesca Capanna, Silvia Cecchini, Emanuela Daffra, Paola D’Alconzo, Miriam Failla, Daniele Ferrara, Giulio Manieri Elia, Paola Marini, Sergio Marinelli, Mariolina Olivari, Matteo Panzeri, Pietro Petraroia, Chiara Piva, Simona Rinaldi, Maria Cristina Rodeschini, Lanfranco Secco Suardo, Giovanni C.F. Villa.

35th CIHA International Congress: Motion (Florence, 1-6 September 2019/ São Paolo, autumn 2020)

The 35th CIHA World Congress presents a unique experiment: for the first time a CIHA congress will take place in two different locations and in two different moments: in Florence, Italy, in September 2019 and in São Paolo, Brazil, in autumn 2020. It is dedicated to the general topic of “Motion” and invites the international community of scholars to discuss fundamental aspects of art and architecture under this heading in a broad transcultural perspective, from earliest times to the present. The Congress is conceived as a strong collaboration between the two national CIHA committees, who are responsible for their respective venues and will also create formats for a dialogue between the two events such as joint sessions in each place. The venues focus on two major, though not mutually exclusive aspects of Motion: Transformation in Florence and Migrations in São Paolo. The two committees are pleased to announce this intense collaboration and are looking forward to an extraordinary transcontinental debate about the most challenging concerns of art history and related fields today.

Motion: Transformation

Florence CIHA International Congress, 1-6 September 2019

Call for Chairs for Sessions of the 35th International Congress in the History of Art from the Italian board of the CIHA: professors Marzia Faietti, Elena Fumagalli, Tommaso Casini, Giorgio Marini, Massimiliano Rossi.

The Florence organizing committee for the 35th Congress in the History of Art entitled “Motion: Transformation” invites expressions of interest from the international community of art historians. The topics of the nine sessions are outlined below. We ask for expressions of interest from scholars who wish to develop these themes as session chairs.

Each session will have two chairs an international and Italian chair. These two co-chairs will act as a committee to define and refine the concept of the session and to select lecturers for the congress in Florence 2019.

Applications for Chairs may be made by academics or independent scholars. We want to remind applicants that no member of the CIHA Board and no one having been a Chair in the Beijing Congress (2016) can apply for serving as Chair of a session in the Florence Congress.

Applicants should:
1.
Be thoroughly acquainted with the most recent developments in the field of art

history relevant to the topic of their session.

2. Be able to identify global experts in the appropriate fields and to collaborate with them.

3. To be present at CIHA 2019 Florence.

 

Applicants should send the following information to the CIHA Italian Board at the following address: Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.

1. Number and title of the proposed Session

2. 1-2 pages explaining the perspective they intend to give to the Session and the main ideas they would like to be developed and discussed

3. A first draft of the call for papers to be discussed with the Italian board.

4. A short CV stressing the activities and publications related to the session.

Deadline for applications will be April 15th, 2018.

The list of the Chairs will be established within June 2018 and immediately announced on CIHA and Florence Congress website.

Please see the following introduction on the general theme of the Congress and
abstracts of each session, that can be freely elaborated and developed by chairs departing from the following issues:

Introduction

The Florentine venue of the 35th CIHA congress proposes the title Motion: Transformation as an invitation to study the specific “life” of artworks, artifacts and images: animation, “liveliness”, efficacy or “emanation” are phenomena that in many cultures, since prehistoric times, are linked to crafted objects, images or rites. Be it religious energy, magical qualities or aesthetic vivification, artifacts are produced, dwell and could be consumed in a great variety of attributed forms of agency. One figure the Florentine congress wants to rethink in this horizon is that of the artist or “maker”, seen in a transcultural perspective. We might refer to the myth of Daedalus, legendary creator of automata, or to Neo-platonic philosophy of late antiquity, according to which the animated simulacrum represents instead, such connections could contribute to the negative conception of the idol. This is only one example which shows the multiple constellations of objects and images in specific world views and cultural practices, often connected to astrology or political theologies. The combination of art historical and anthropological expertise could be a strong point of the congress, to better understand the position of the “animated” object in the formation and transformation of collective identities and in transcultural negotiations. In fact, the cross-cultural gaze can be a means to “vivify” the images and symbols of other cultures of the present or the past, even if often in negative terms as diabolic or inhabited by demons. On the other end of the scale is a discourse of art that attributes to works, images and created objects virtues which are due to a specific aesthetic quality of matter and shape. This can involve an appreciation of subtle crafting and ingenious vivification of representations from nature and the social world. The metamorphotic dimension of such artistic creation (making one matter appear in another) contributes to the celebration of a work as magical and animated but it is important in the congress to differentiate these various dimensions, even if they are shared by many cultures. The congress invites comparative approaches or explorations of dynamics of connectivity. In its broad chronological and geographical range, it is specifically interested in epochal changes and the processes of globalization under colonial or postcolonial premises.

In the context of new production methods developed during the Industrial Revolution artistic practices were cast out, whereas the aura could shift from the work of art itself to the figure of the creator. One may even think of terms of social theories such as alienation and estrangement which in their negation evoke concepts of creative work. Already evident in early movements from Romanticism to Symbolism, this “metamorphosis” was pushed further by the twentieth century through the contributions from the anthropological perspective and psychoanalytic mythologies.

Based on the above topics and considerations, the Italian committee proposes to organize the congress into the following nine sessions:

1) The divine artist

This session aims to investigate the fortune of the artist as a divine or shamanic figure in a transcultural perspective, rereading and rethinking the legend of the artist by Kris and Kurz (1934,) who discussed the concept of the artist from late classical theory of art to the Renaissance. In more recent times such a characterization would become ambiguous: the artist could appear as rather demonic and subversive on the one hand, and able of embodying a social and representative function on the other. Radically transformed by the vanguards of the early twentieth century, the artist increasingly claims for his/her work a political and social role, summed up by the famous French slogan of May 1968, “l’imagination au pouvoir”.

2) Matter and materiality: from removal to re-enactment

Shaping and transforming matter into an “eternal” or “ephemeral” work has always been one of the constituents of art discourses. Vice-versa in modernity matter has lost its importance and the category of obsolescence emerges in both industrial design and artistic production, as a manifesto of historical vanguards and of post-Second World War’s architecture. However, at the same moment in which conceptual art apparently dominated the artistic scene, other experiences re-enacted dynamics of body and matter, claiming their centrality. Today matter and discourses of materiality have become a central concern of the arts as well as of art histories, globally.

3) Art and nature. Cultures of collecting

Contemporary collections, de-hierarchized and “innocent”, according to the “modest manifesto for new museums” by Orhan Pamuk (2012), invite us to reread Julius von Schlosser‘s anthropological perspective, introduced in his studies dedicated to the Wunderkammer. From religious treasures to Cabinets of curiosities and art galleries, European collections became a display either of comparison, conflict or convergence between natural and human sciences, and a space for artefacts or natural devices from distant cultures. Metamorphosis is a key concept in all of these collections. In Modernity, collecting provoked an animated discussion to which we can refer to Aby Warburg's Atlas, as well as to the ethno-anthropological contexts beloved by Surrealists through to the archives of conceptual art and beyond. The session welcomes papers which will confront Western perspectives with those of other cultural horizons.

4) Art and religions

The session aims to discuss the role of artifacts and images in religious practices and thought, from cult images to iconoclasm, legends such as the myth of acheiropoieta and theurgical images, spiritual and sacrificial aesthetics across cultures and religions. What is the relation of images and relics, of artefacts and the making of sacred space? What is the role of human-shaped things in Islamic, Buddhist and other contexts? What are the functions of “animating” things and notions of metamorphoses in religion and “magic” in a transcultural and trans religious perspective? What is the contribution of the visual (and that of multisensorial staging or perception) to religious experience, collective or individual, and how does art foster religious imagination or critically respond to religion and magic?

5) Sign and writing

The session aims to analyse, in a cross-cultural perspective, the coincidence, convergence or differentiation between writing and drawing. On the one hand one might consider the achievements of calligraphy in Islamic and Chinese traditions; on the other hand, those of the didactic, prophetic and exegetical diagrams, including magical ones. What kind of connections can be found amongst these various traditions? How might we characterize the separation of figurative drawing and writing in Western and other cultures?

6) The eye and the hand, from project to product

The image of architecture as a representation of a three-dimensional object appears during the first industrial revolution through the planning stage and the production: once completed, the product conserves the distinctive signs of that process of metamorphization in an interplay of thought, matter and technique. But in the post-industrial era the primacy of the process has been replaced by the absolute power of the icon, which reduces the spatial and performative potential of architecture, steering it into the advertising jargon of goods for the planetary mass cultures.

7) Artist, power, public

With changes in the traditional consideration of art celebrating power as mere superstructure, a new anthropological approach allows us to see the dynamics of images and spaces in the service of power in transitive terms: from one civilization to another, from the great ceremonial buildings of early times to the bombastic museums of postmodernity, which became spaces of social rituals where the works and objects thrive on account of the dynamic relationship, activated by the public.

8) Artists, critics, and viewers

The session invites to discuss the general statement according to which the separation between the work of art and art criticism has disappeared. The notions of authenticity, reproduction, and forgery have long been topics of discussion; furthermore, the eyes of the artist, critic and viewer might now appear to be interchangeable. The session aims to investigate to what extent this new hegemony of criticism has until now undermined not only historical paradigms but also the very practice of art history.

9) Connecting session between Firenze 2019 and São Paulo 2020 conceived in collaboration with the Brazilian scientific committee.

Sede presso
Gallerie degli Uffizi
Gabinetto dei Disegni e delle Stampe Via della Ninna, 5 - 50122 Firenze www.ciha-italia.it

La Consulta Universitaria Nazionale per la Storia dell'Arte e la Società Italiana di Storia della Critica d'Arte manifestano la loro piena solidarietà al direttore del Museo Egizio di Torino Christian Greco, vittima di una grottesca polemica da parte delle forze di destra. Alla becera e ignorante strumentalizzazione della sua iniziativa in favore dei visitatori provenienti dall’Egitto e dal Medio Oriente, Greco ha opposto le parole ferme e pacate che si addicono al suo ruolo. A tale riguardo non si può che esprimere apprezzamento caloroso per la politica culturale inclusiva di un museo che si propone come luogo aperto di mediazione e di integrazione. L’episodio resta grave e sintomatico della degenerazione della campagna elettorale in corso. Ma l’attacco diretto a chi guida uno dei più importanti musei italiani dev’essere inquadrato anche nell’attuale demonizzazione populista delle competenze e dei saperi, purtroppo molto diffusa nel discorso pubblico sulla cultura e la ricerca. A tutto questo dobbiamo rispondere con la stessa professionalità e civiltà di Christian Greco.

Fulvio Cervini, presidente CUNSTA

Massimiliano Rossi, presidente SISCA

 

Alla cortese attenzione di

On.le Dario Franceschini, Ministro dei Beni e delle Attività Culturali e del Turismo;

Prof. Giampaolo d’Andrea, Capo di Gabinetto;

Avv. Paolo Carpentieri, Capo Ufficio Legislativo;

Prof. Lorenzo Casini, Consigliere giuridico del Ministro

Dott.ssa Caterina Bon Valsassina, Direttore Generale Antichità Belle Arti e Paesaggio;

Prof. Giuliano Volpe, Presidente del Consiglio Superiore per i BBCCPP del Mibact

 

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