Giorgio Di Domenico | Scuola Normale Superiore (original) (raw)

Books by Giorgio Di Domenico

Papers by Giorgio Di Domenico

Sarah Cosulich, Lucrezia Calabrò Visconti (eds.), Salvo. Arrivare in tempo, Pinacoteca Agnelli-jrp editions, 2024

Whatever, 2024

In an article he published in 1973 in the queer magazine FUORI!, Mario Mieli stated his appreciat... more In an article he published in 1973 in the queer magazine FUORI!, Mario Mieli stated his appreciation for Francis Picabia's aphorisms. Building on this surprising statement, the paper addresses and contextualises the underground circulation and some queer appropriations of Picabia's work and writings in 1970s Italy. The publishing history of Picabia's aphorisms leads to a reconstruction of the gallerist Luciano Anselmino's collection and commercial activity. Next, the paper focuses on the role that Corrado Levi played in the dissemination, critical reception, and Italian collecting of Picabia, tracing and contextualizing the presence of writings by the artists in Levi's publications of the 1970s and early 1980s.

Journal of European Periodical Studies, 2024

During the 1960s and 1970s, artists’ periodicals flourished as a new artistic medium. Strikingly,... more During the 1960s and 1970s, artists’ periodicals flourished as a new artistic medium. Strikingly, artists behind these alternative publications often claimed a peripheral position, assuming a geographical anchorage far from the capitals and main artistic centres. This paper addresses how the notion of periphery manifests itself in four European artists’ periodicals published during the 1970s. It will focus on their distribution strategies, their ideological positioning, the works they disseminated, and the artists’ writings and statements they featured. First, the analysis of three European alternative periodicals — Neon de Suro (Spain, 1975–82), Schmuck Magazine (England, 1972–76), and Commonpress (Poland, 1977–91) — will highlight how a peripheral position far from the capitals and the main artistic poles could become a strength, even a real editorial strategy. Such preoccupations were not, however, reserved for artists outside the official art scene: the question of periphery also found its place, albeit in different ways, in more institutionalized periodicals. This will be evident in the case of the Italian periodical La Città di Riga (1976–77), the focus of the second part of this paper, which negotiated the idea of centre and periphery right from its name. Through the case studies of these four periodicals and the analysis of coeval theoretical contributions, this paper aims to shape an elastic notion of the relationship between centre and periphery, at the same time derived from and applicable to the experimental editorial strategies of artists’ periodicals from the 1970s.

Armi improprie. Lo stato della critica d'arte in Italia, 2024

International Journal of Surrealism, 2024

The COVID-19 pandemic has highlighted the importance of private spaces. As a result, the link bet... more The COVID-19 pandemic has highlighted the importance of private spaces. As a result, the link between Surrealism and domesticity has gained new relevance. In this essay, Di Domenico explores the impact of surrealist artworks exhibited inside collectors' homes focusing on three case studies: three Italian rooms from the early 1970s featuring artworks by Man Ray and René Magritte. Photographs of these rooms were featured in popular art and interior design magazines such as Domus, Casa Vogue, and BolaffiArte. By analyzing how surrealist artworks functioned within the bathroom of the Agnelli family, the "playroom" of actress Sophia Loren, and the bedroom of gallery owner Luciano Anselmino, the author examines the impact of surrealist works in domestic settings, the role of gender dynamics in the construction of personal identity through collecting, the reception of Surrealism in Italy, and its relationship with interior and product design. By delving into the biographies of the collectors, he offers insights into the role, function, and significance of the surrealist artworks they chose to display in their most intimate spaces: their private shrines.

Prospettiva , 2021

Between November and December 1953, Eleanor Ward’s Stable Gallery hosted Burri’s first New York s... more Between November and December 1953, Eleanor Ward’s Stable Gallery hosted Burri’s first New York solo exhibition. Rauschenberg, then the gallery attendant, produced extensive photographic documentation of the exhibition which is published here in its entirety for the first time. Drawing inspiration from this material, the article examines the reception of Burri’s work in New York in the early 1950s. Through extensive critical and documentary analysis, his relationship with Rauschenberg is put into perspective in the context of the contemporary debate on the status of collage. Particular attention is focused on the critical annotations of Fairfield Porter and, above all, Hilton Kramer, a harsh commentator of Burri’s works in the ‘Partisan Review’. Finally, the analysis of contemporary testimonies and numerous documentary findings allow us to reassess the actual formal impact of Burri’s works on Rauschenberg’s production in the 1950s.

Paragone Arte, 2022

This article considers Jannis Kounellis’ "Untitled (Freedom or Death. Long live Marat Long live ... more This article considers Jannis Kounellis’ "Untitled (Freedom or Death.
Long live Marat Long live Robespierre)", created in 1969 and
exhibited in Naples in that year. The author focuses on its possible
visual antecedents, comparing it with contemporary works by Italian
and international artists and analyzing the content of the prominent
inscription, with a reconstruction of its historical, political and literary
allusions, thus clarifying the meaning it had in Italy at the end of
the 1960s. "Untitled" is also briefly discussed in the context of French
revolutionary art.

Annali della Scuola Normale Superiore di Pisa Classe di Lettere e Filosofia, 2021

This paper examines the critical reception of Alberto Burri’s work during the Seventies, in the b... more This paper examines the critical reception of Alberto Burri’s work during the Seventies, in the broader context of the artist’s practice and exhibition history. In particular, it focuses on how the reading of the artist’s work has changed in response to the progressive evolution of the most advanced Italian and international artistic research. Starting from the end of the Sixties and arriving at the beginning of the Eighties, the paper investigates how Burri’s work has been arbitrarily related to the practices of Arte Povera, Minimalism, Pittura analitica, and Transavanguardia. Burri’s practice, often relegated to a supra-historical dimension, is thus set in the midst of one of the decades of maximum redefinition of Italian artistic practices, in which he acted as a true protagonist, while maintaining his proverbial reserve and silence.

Studi di Memofonte, 2018

This paper analyzes Tragedia civile (Civil Tragedy), a complex art installation exhibited by Jann... more This paper analyzes Tragedia civile (Civil Tragedy), a complex art installation exhibited by Jannis Kounellis in 1975, in Naples, at Lucio Amelio’s Gallery. Firstly, the paper will offer a survey of the relationships between the Gallery and the artist. Secondly, it will propose several comparisons between the manifold formal aspects of this installation and both Italian (Vettor Pisani, Luciano Fabro) and international (James Lee Byars, Joseph Beuys, George Brecht) artistic experiences. By a reevaluation of the artist’s retrospective statements and interviews, the symbolic references of the installation are traced back to the cultural background (art historical, literary, theatrical, cinematographic) on which they are based. Finally, by an analysis of the coeval critical debate, Tragedia civile is contextualized into the artist’s stylistic evolution during the 70s – an extremely destabilizing decade, that forced Kounellis to free himself from Arte povera’s language in order to maintain a dialogue with international researches. By doing so, the paper calls into question a critical attitude, established during the 80s from documenta 7 onwards, which looked at Tragedia civile (many times presented as Untitled) as a symbol of a timeless and fiercely disengaged art making, a decorative piece detached from its historical and artistic context.

Conferences by Giorgio Di Domenico

ISSS 2024: International Society for the Study of Surrealism – Paris 2024, Paris, The American Un... more ISSS 2024: International Society for the Study of Surrealism – Paris 2024, Paris, The American University of Paris

Il Surrealismo e l’Italia: reti intellettuali, vicende espositive, ricezioni critiche, memorie vi... more Il Surrealismo e l’Italia: reti intellettuali, vicende espositive, ricezioni critiche, memorie visive (in occasione delle celebrazioni per il centenario del Surrealismo, 1924-2024), a cura di Davide Lacagnina (Università di Siena), Alessandro Nigro (Università di Firenze), Ilaria Schiaffini (Sapienza Università di Roma).

Lara-Vinca Masini. La memoria del futuro. Convegno Nazionale. Firenze, Fondazione Cassa di Rispar... more Lara-Vinca Masini. La memoria del futuro. Convegno Nazionale. Firenze, Fondazione Cassa di Risparmio Firenze; Prato, Centro per l'arte contemporanea Luigi Pecci, 22-23 gennaio 2024.

The connections between early works by Robert Rauschenberg and Surrealism are well-known. In a fa... more The connections between early works by Robert Rauschenberg and Surrealism are well-known. In a famous passage from L’Amour fou, André Breton listed discarded objects that could form «un de ces objets-talismans dont reste épris le surréalisme». This list could just as well describe the materials used by Rauschenberg to assemble his Scatole personali (Personal boxes), a small body of works he created in Italy and North Africa between 1952 and 1953 while traveling with Cy Twombly. Many commentators linked these pieces to the artworks of Joseph Cornell and other surrealists with which Rauschenberg may have come into contact at Black Mountain College or in New York galleries. However, they never investigated the deeper meanings of Rauschenberg’s reference to Surrealism, which was evident even to the Italian critics of the time.

This paper will focus on why the young artist may have resorted to Surrealist content and techniques starting from an analysis of the early 1950s Roman context from an American perspective. Could a city emerging from war be considered a typically surrealist space? Does Rome’s layering of different eras, artworks accumulated in dusty museums, and fascist remnants fit the concept of the “outmoded,” considered by Walter Benjamin as one of Breton’s main cultural acquisitions? Could Rome serve as a giant flea market in which to find inspiration and materials? What was the artist’s relationship with the city’s museums and the Italian art tradition?

This paper will attempt to locate the Scatole personali geographically, temporally, and theoretically, building on these questions. Its goal is to propose a new interpretive framework for the Scatole personali based on Surrealist theory and not on simple comparison with Surrealist works. The Scatole’s exhibition history and early Italian reception, Rauschenberg’s biography, his contacts with Surrealism, and his correspondence will help shape this analysis.

Center for Italian Modern Art - Italian Posters Study Day, 2023

Armi improprie. Lo stato della critica d'arte in Italia, 2023

Fondata a Roma da Jannis Kounellis e Fabio Mauri con l’intento di «eliminare nella latitudine del... more Fondata a Roma da Jannis Kounellis e Fabio Mauri con l’intento di «eliminare nella latitudine delle implicazioni la “diversità” del pittore e dello scrittore, dell’artista e del critico», “La Città di Riga” (1976-1977) fu tra i più sperimentali banchi di prova della critica d’arte italiana dei secondi anni
Settanta. L’intervento analizzerà il ruolo riservato alla scrittura critica nella rivista, concentrandosi sui contributi di due membri del comitato editoriale: Maurizio Calvesi e Alberto Boatto.

La scrittura editoriale di Germano Celant e l'archivio come metodologia, Feb 25, 2023

On Other Shores: Queer Counter-Narratives in Southern Europe and Mediterranean Art History, 1800-2000, 2022

Opening a famous article that appeared in «Fuori!», I radical-chic e lo chic radicale, Mario Miel... more Opening a famous article that appeared in «Fuori!», I radical-chic e lo chic radicale, Mario Mieli pointed out how an exclamation of an unnamed Milanese “etero-checca” (hetero-faggot) had brought to his mind Picabia’s aphorisms. Mieli had been initiated to them by “a comrade of the Fuori!”. Mieli’s statement sheds light on the reasons and mechanisms of the appropriation of the Dada-surrealist repertoire by the Italian homosexual movement. Mieli could only have read the aphorisms in the «Quinta parete» magazine published by Luciano Anselmino – the gay owner of the Turin gallery Il Fauno – where they had just appeared for the first time in Italian translation. Not only that: the person that introduced Mieli to Picabia was Corrado Levi, that “comrade of the Fuori!” who still years later would draw on that little Picabian anthology to fill out his magazine «Dalle cantine frocie». This paper offers an alternative reading of Picabia’s reception in Italy, focusing on the role of Levi and Anselmino. It will address the 1974 Turin retrospective to which both lent works and documents, the history and position of the Il Fauno Gallery and «Quinta Parete» magazine, and the use of Picabia’s aphorisms and works within the alternative press in the transition between the 1970s and 1980s. It will close symbolically with Il cangiante, the 1986 Milan exhibition curated by Levi that included a 1917 Picabia.

ISSS Surrealisms, 2022

As early as 1967, Italian critics such as Carla Lonzi and Marisa Volpi noticed how Surrealism had... more As early as 1967, Italian critics such as Carla Lonzi and Marisa Volpi noticed how Surrealism had influenced the works of Arte povera, the most important Italian art movement of the postwar period. The relationship with Surrealism remained for a long time removed from the critical and historical discussion, not least to emphasize the movement’s all-Italian specificity. This contribution, considering critics’ remarks, artists’ statements, and the artworks themselves, will try to recompose this gap, proposing to highlight the surrealist background of many Arte Povera works and actions. In some cases, it will be possible to trace direct and declared influences, made possible by the significant presence of surrealist works in the Italian art market and collections. However, in the most intriguing cases, the influence of Surrealism is more subtle and conceptual, and less direct. It must be traced on a more theoretical level, focusing on the aesthetic functioning of artworks. Building on Gillo Dorfles’ considerations of the value of the object for international artistic research in the 1960s, the contribution will propose an extensive recourse to the surrealist category of “oggetto poetico” (poetic object, objet poétique). The presentation will aim to demonstrate how this surrealist label allows emphasizing the constitutive duplicity of Arte povera works, highlighting the centrality of the materiality and tangible presence of the work, while at the same time underscoring its associative and evocative power.

In the first part, I will present a brief historical definition of "poetic objects." I will summarize the Surrealist debate on objects between the 1920s and 1930s and present its Italian reception in the 1960s and 1970s. In the second part, I will consider the Arte povera's anti-object drive. Germano Celant and many of the movement’s artists repeatedly declared themselves against the notion of "object." I will address the genesis of this rejection, highlight its ideological reasons, and propose a partial overcoming of it. Finally, in the third and final part, I will try to apply the Surrealist concept of "poetic object" to some of Arte Povera’s works. Starting from the critical considerations of Gillo Dorfles and Marisa Volpi, considering the Italian reception of surrealist objects, I will address a series of case studies based on works by Giuseppe Penone, Pino Pascali, and Michelangelo Pistoletto. In conclusion, I will focus on a particularly relevant case: Jannis Kounellis.

10th International ESPRit Conference: Periodicals beyond Hierarchies: Challenging Geopolitical and Social “Centres” and “Peripheries” through the Press, 2022

“La Città di Riga” (literally, ‘The City of Riga’) is one of the most impressive and least-known ... more “La Città di Riga” (literally, ‘The City of Riga’) is one of the most impressive and least-known Italian art magazines of the Seventies. Its only two issues, published in 1976 and 1977, saw the direct involvement of important Italian and international artists, critics, intellectuals, and militants: from Jannis Kounellis to Joseph Beuys, from Giorgio Agamben to Jasmina Tešanović, from Fabio Mauri to Bruce Nauman. The magazine acted at a peripheral level on many fronts: the magazine was printed by a small publishing house based in Pollenza - a village in the countryside of the peripheral region of the Marche - in years when the whole of Italy was still considered to be peripheral to the contemporary art system; additionally, the title of the magazine paid homage to a European city that was important for the cultural history of the twentieth century, but certainly peripheral compared to the great centres of the art world. The paper will present the history and main characteristics of the magazine, focusing on the reasons for its title and how its peripheral nature allowed it to meet the world of underground militancy and forge important political and cultural relationships. Through the magazine, it is hoped that a different image will emerge of Italian art in the late 1970s, a time of profound redefinition in which the peripheries played a decisive role, so much so that an Italian critic coined the term ‘provinciart’, referring to art produced and exhibited in provincial towns.

Sarah Cosulich, Lucrezia Calabrò Visconti (eds.), Salvo. Arrivare in tempo, Pinacoteca Agnelli-jrp editions, 2024

Whatever, 2024

Journal of European Periodical Studies, 2024

Armi improprie. Lo stato della critica d'arte in Italia, 2024

International Journal of Surrealism, 2024

Prospettiva , 2021

Paragone Arte, 2022

Annali della Scuola Normale Superiore di Pisa Classe di Lettere e Filosofia, 2021

Studi di Memofonte, 2018

Center for Italian Modern Art - Italian Posters Study Day, 2023

Armi improprie. Lo stato della critica d'arte in Italia, 2023

La scrittura editoriale di Germano Celant e l'archivio come metodologia, Feb 25, 2023

On Other Shores: Queer Counter-Narratives in Southern Europe and Mediterranean Art History, 1800-2000, 2022

ISSS Surrealisms, 2022

10th International ESPRit Conference: Periodicals beyond Hierarchies: Challenging Geopolitical and Social “Centres” and “Peripheries” through the Press, 2022

19e École de printemps, 2021

In recent years, Gustave Courbet’s hunting scenes have been the subject of a renewed historical-c... more In recent years, Gustave Courbet’s hunting scenes have been the subject of a renewed historical-critical interest. Critics and historians have long insisted on Courbet’s reputation as an excellent hunter, without realising that such a characterisation was not reflected in the judgement of the immediate commentators of the artist’s work. Indeed, Courbet’s paintings were often criticised for the unnatural, rigid, and artificial rendering of the portrayed animals. These observations are confirmed by some letters in which the artist describes his working practice, which was based on the use of carcasses and trophies as study models. Courbet used to choose a specimen - either stuffed by a taxidermist, or recently dead and supplied by a butcher - and to paint a faithful portrait of it without worrying about the likeness of the pose, given the uncertainties of coeval taxidermy. Isolated in the centre of the canvas, the painted animal was placed in an artificial environment with no pictorial or spatial relationship with the subject, as in a museum diorama.
By analysing some of Courbet's most famous hunting scenes and juxtaposing them with works on similar subjects by the photographer John Dillwyn Llewelyn and the painters Jean-Baptiste Oudry, George Stubbs, Gilles Aillaud, and Gerhard Richter, this paper will focus on the pictorial and meta-pictorial impact of the artist’s practice. Finally, it will show how Courbet’s hunting scenes - with their dramatic disconnection between the bodies of the animals and the landscape and with the existential meaning they can assume - can play a central role in the contemporary reflection on the relationship between man, animals, and the environment.

Antinomie.it, Oct 13, 2021

Cinque corpi nudi intrecciati, ritratti di spalle con un filo d'inchiostro netto e intricato, un'... more Cinque corpi nudi intrecciati, ritratti di spalle con un filo d'inchiostro netto e intricato, un'orgia grafica su cui si staglia, in un maiuscolo infantile e aggraziato, il titolo Arti plastiche e figurative. Il disegno di Sylvano Bussotti, una delle ultime tappe del percorso che si snodava all'interno del Palazzo delle Esposizioni, sembrava racchiudere in sé, distillati, molti dei temi della Quadriennale d'arte 2020 FUORI.

NERO Magazine, 2023

Review of Vittoria Martini, Thomas Hirschhorn: The Bijlmer Spinoza-Festival. The Ambassador's Dia... more Review of Vittoria Martini, Thomas Hirschhorn: The Bijlmer Spinoza-Festival. The Ambassador's Diary, Hatje Cantz 2023.

Stefano Collicelli Cagol (ed.), Louis Fratino. Satura, Centro Pecci-Mousse Publishing, 2024

Diego Marcon: Glassa, edited by Stefano Collicelli Cagol, Elena Magini, 2023

Cecilia De Nisco - Schwache Lichter. VIN VIN Vienna, December 2, 2023- February 3, 2024

Melania Gazzotti (ed.), On Collecting Artist' Books: The Liliana De Matteis Collection at the Thomas J. Watson Library, The Metropolitan Museum of Art, 2023

In 2018, the Turin-based gallery owner Liliana Dematteis decided to entrust her invaluable collec... more In 2018, the Turin-based gallery owner Liliana Dematteis decided to entrust her invaluable collection of artists' books to the Thomas J. Watson Library of the Metropolitan Museum in New York.

The volume On collecting artists' books aims to pay homage to this important collection, born from Dematteis' experience as a scholar, publisher and director of Galleria Martano, by proposing a comparison between Italian and American artists who, between the 1960s and 1970s, approached this practice. In both countries, in fact, different artistic movements saw in this everyday object not only an alternative and effective vehicle of content, but also a stimulating ground for experimentation.

This selection of volumes, which compares some of the most emblematic books of Arte Povera, Minimal Art, Performance Art, Fluxus and Visual Poetry, is edited by Melania Gazzotti, and is introduced by texts by Liliana Dematteis, Giorgio Di Domenico, Ken Soehner, and Tony White.

Antinomie.it, Dec 15, 2021

La moda di Gnoli antinomie.it/index.php/2021/12/15/la-moda-di-gnoli/ Domenico Gnoli è nuovamente ... more La moda di Gnoli antinomie.it/index.php/2021/12/15/la-moda-di-gnoli/ Domenico Gnoli è nuovamente di moda. Il Podium della Fondazione Prada fa da vetrina alla pittura-e alla grafica, e all'illustrazione, e alla produzione scenotecnica-del pittore nato a Roma nel 1933 e morto a New York nel 1970. Fotograficissimo, fotografabilissimo e fotografatissimo invade i feed di Instagram e diventa il "preferito" di molti. Il fatto è notevole, sorprendente, non privo di significato: la moda (fortuna?) italiana di Gnoli è sempre stata ciclica, soggetta a scomparse e ritorni: se poco aggiunge all'incontestata grandezza del pittore, molto racconta delle epoche in cui si è affermata. Quando morì improvvisamente, il 17 aprile 1970, in Italia nessuno sembrò accorgersene: il 1968-l'anno in cui Gnoli aveva preso parte a Documenta 4-sembrava aver esaurito le riserve e forse le stesse condizioni di possibilità del lutto nel mondo artistico italiano: le lacrime versate in sequenza per Leoncillo, Fontana, Pascali e Duchamp avevano idealmente chiuso un'epoca, le piazze e le bombe avevano fatto il resto. Già ci si era dimenticati di alcune sue memorabili mostre italiane, su tutte il trittico del Sessantasette: Il Centro a Napoli, Odyssia a Roma, de' Foscherari a Bologna. Nessun cronista italiano, nessuna rivista d'arte si prese la briga di segnalare la scomparsa di quel pittore che tanto piaceva ai borghesi d'Europa e d'America, forse già scomodo nell'Italia mobilitata. Fu la Quadriennale, con qualche mese di ritardo, a prendersi la briga di ricucire lo

Martedì 12 novembre alle 18:30 si terrà il quinto e ultimo appuntamento della terza edizione di P... more Martedì 12 novembre alle 18:30 si terrà il quinto e ultimo appuntamento della terza edizione di Pausa Studio, la rassegna di incontri con giovani artiste e artisti italiani organizzata da allieve e allievi della Classe di Storia dell’Arte. Protagonista di questo incontro sarà l’artista Caterina De Nicola (Ortona, 1991). De Nicola, che vive e lavora a Zurigo, si è formata presso l’Accademia di Brera a Milano e l’ECAL di Losanna. Tra le sue mostre personali, Reek of Past Pitfall all’Istituto Svizzero di Milano (2023), Infedele presso Baleno International (Roma, 2022), We Unleash Storms, Yet We Like The Sun presso Last Tango (Zurigo, 2022), Lonely Fans presso Chickentown (Zurigo, 2021) e Embarrassed and Conciliatory presso Il Colorificio (Milano, 2019). Ha inoltre preso parte a mostre collettive al MAXXI L’Aquila (2023), alla Fondazione Sandretto Re Rebaudengo di Guarene e Torino (2023, 2019), alla Helmhaus di Zurigo (2023), al Museum Haus Konstruktiv di Zurigo (2021), al Centre d’Art Contemporain di Ginevra (2021) e alla Quadriennale di Roma (2020). È stata seleziona per gli Swiss Art Awards 2022 e 2024 e per varie residenze, tra cui La Becque a La Tour-de-Peilz (2021) e Cripta 747 a Torino (2020).

Nella sua pratica, De Nicola ricorre alla fiction, all’indagine sonora e al design di oggetti per dare forma a modelli formali e discorsivi, sviluppare un'analisi di simboli e motivi culturali e studiare la loro circolazione in un più ampio sistema culturale. Attraverso una forma di scetticismo post-postmodernista, nella sua pratica De Nicola genera immagini-simbolo generiche che permettono di sentirsi parte di un ambiente sociale comune e indifferenziato. Nella sua produzione musicale, influenzata dai sottogeneri della Noise music, De Nicola porta all’estremo l’estetica no-fi. L’incontro di Pausa Studio, moderato da Giorgio Di Domenico, si concentrerà sulla dimensione multidisciplinare della sua ricerca, sul valore concettuale della natura morta all’interno della sua pratica e sull’analisi di alcune sue produzioni recenti: la mostra Reek of Past Pitfalls all’Istituto Svizzero di Milano (2023) e l’installazione Game of Turmoil (2024) presentata agli Swiss Art Awards di Basilea.

Scuola Normale Superiore, 8 ottobre-12 novembre 2024: Isabella Costabile, Alessandro Di Pietro, S... more Scuola Normale Superiore, 8 ottobre-12 novembre 2024: Isabella Costabile, Alessandro Di Pietro, Silvia Rosi, Beatrice Bonino, Caterina De Nicola. Gli incontri sono a ingresso libero e verranno trasmessi in streaming sul canale Youtube della Scuola Normale

February 21 at 7pm Ordet, via Adige 17, Milan With Diego Marcon, Federico Chiari, Stefano Collic... more February 21 at 7pm
Ordet, via Adige 17, Milan

With Diego Marcon, Federico Chiari, Stefano Collicelli Cagol, Michele D'Aurizio, Giorgio Di Domenico, and Elena Magini

Marea Art Project , 2023

Centro Culturale A. Pane, Praiano, 9 dicembre 2023

Torino, Artissima, 5 novembre 2023, 15.00 Nel 2018 la gallerista torinese Liliana Dematteis deci... more Torino, Artissima, 5 novembre 2023, 15.00

Nel 2018 la gallerista torinese Liliana Dematteis decide di affidare la propria preziosissima collezione di libri d’artista alla Thomas J. Watson Library del Metropolitan Museum di New York.

Il volume On collecting artists’ books vuole rendere omaggio a questa importante raccolta, nata dall’esperienza della Dematteis, come studiosa, editore e direttore della Galleria Martano, proponendo un confronto tra gli artisti italiani e quelli americani che, tra gli anni Sessanta e gli anni Settanta, si sono approcciati a questa pratica. In entrambi i paesi infatti movimenti artistici differenti hanno visto in questo oggetto di uso comune, oltre a un alternativo ed efficace veicolo di contenuti, anche uno stimolante terreno di sperimentazione.

Questa selezioni di volumi, che mette a confronto alcuni dei libri più emblematici dell’Arte povera, della Minimal art, della Performance art, di Fluxus e della Poesia visiva, è a cura di Melania Gazzotti, ed è introdotta da testi di Liliana Dematteis, Giorgio Di Domenico, Ken Soehner, e Tony White.

Relatori: Liliana De Matteis (curatrice), Giorgio Di Domenico (co-autore), Maria Teresa Roberto, (storica dell’arte)

New York, Center for Italian Modern Art, November 14, 2023, 6:00 PM

Join us at CIMA as we present IO SONO SALVO: Works and Writings 1961-2015 (NERO Editions, 2023), ... more Join us at CIMA as we present IO SONO SALVO: Works and Writings 1961-2015 (NERO Editions, 2023), a new monograph dedicated to artist Salvo (1947-2015). The monograph is conceived as a self-portrait: a story of the artist’s practice through his works and words. A collection of writings, including the treatise On Painting, unpublished texts, and various interviews given over the years, complement a vast selection of his works, presented in chronological sequence.

Bob Nickas, author of a critical essay published as an introduction to the volume, will be in conversation with CIMA Fellow Giorgio Di Domenico, with the participation of CIMA Executive Director, Nicola Lucchi.

Dall’8 novembre al 6 dicembre la Scuola Normale ospiterà PAUSA STUDIO – Conversazioni sul fare ar... more Dall’8 novembre al 6 dicembre la Scuola Normale ospiterà PAUSA STUDIO – Conversazioni sul fare arte oggi. Per cinque martedì consecutivi, alle 18.30, cinque giovani artiste e artisti contemporanei italiani dialogheranno con studenti e studentesse del corso di Storia dell’arte, presentando una loro opera o produzione recente. Gli incontri saranno aperti al pubblico e trasmessi in live streaming sul canale Youtube della Scuola. La prima protagonista sarà Lorenza Longhi (8 novembre), seguita da Diego Marcon (15 novembre), Marco D’Agostin (22 novembre), Tomaso De Luca, (29 novembre) e Benni Bosetto (6 dicembre). L’iniziativa vuole creare un collegamento diretto tra le pratiche artistiche contemporanee e il mondo dell’università. Linguaggio semplice, dialogo informale e una specifica attenzione alle opere sono i principi che animeranno le conversazioni.

Fondazione Sandretto Re Rebaudengo, Young Curators Residency Programme 2022

Presentazione del catalogo della Quadriennale d'arte 2020 FUORI, edito da Treccani Arte, al Palaz... more Presentazione del catalogo della Quadriennale d'arte 2020 FUORI, edito da Treccani Arte, al Palazzo delle Esposizioni.
Il volume, in italiano e in inglese, non è solo il catalogo della mostra ma un’antologia sull’arte italiana per il nuovo millennio. Oltre alle schede dellз artistз invitatз, la pubblicazione raccoglie saggi di critichз, storichз dell’arte, e ricercatricз che propongono metodologie innovative e nuove linee di ricerca per la lettura della cultura visiva del nostro Paese.
Durante la presentazione, dopo i saluti iniziali di Umberto Croppi, presidente della Fondazione La Quadriennale di Roma, e di Cesare Pietroiusti, presidente dell’Azienda Speciale Palaexpo, interverranno Sarah Cosulich e Stefano Collicelli Cagol, curatricз della Quadriennale d’arte 2020 FUORI, in dialogo con tre espertз di storia dell’arte e studiosз, Cecilia Canziani, Giorgio Di Domenico, Alberto Salvadori, invitatз a proporre una sintesi personale delle prospettive offerte dal volume. Modererà l’incontro Daniela Lancioni, mentre le conclusioni sono affidate a Massimo Bray, direttore generale di Treccani.