Rafca Youssef Nasr, “I dipinti medievali di Saydet El-Rih a Enfeh attraverso uno studio grafico”, L’eredità di Bisanzio: diramazioni artistiche e letterarie, Università di Napoli "L'Orientale", 5 December 2022 (original) (raw)
Related papers
2019
Persone, storie, racconti ed esperienze dei musei civici di Lazio, Umbria e Toscana tra tutela e valorizzazione A cura di Valentino Nizzo con prefazione di Antonio Lampis 1 Roma 2019 STORIE DI PERSONE E DI MUSEI Persone, storie, racconti ed esperienze dei musei civici di Lazio, Umbria e Toscana tra tutela e valorizzazione a cura di Valentino Nizzo con prefazione di Antonio Lampis
«Studi di Scultura», n. 2, 2020, pp. 47-74.
Designed to last through short and intense moments of public display, the ephemeral apparatuses underlined the most important moments of those decades that, following the fall of the republic in 1799, saw the Bourbon government alternate with the French occupation in Naples while the artistic culture was decidedly shifting towards a neoclassical language. In particular, we will examine the apparatuses erected in 1802 to celebrate the return of Ferdinand IV from Palermo and meant to emphasize the magnificence and nobility of the monarch. These apparatuses were erected throughout all city squares and involved the most important sculptors active in Naples across those years, such as Tagliolini, Villareale, Calì and Masucci. Ephemeral constructions, in some cases, such as the ones erected at Largo di Palazzo, foreshadowed architectural projects that would be implemented in the following decades.
Gábor Dobó, Kassák Múzeum: il museo ‘contemporaneo’ delle avanguardie artistiche / Kassák Múzeum: az avantgárd művészetek ‘kortárs’ múzeuma, La memoria del dissenso nella scrittura letteraria (seminario), Unifi, December 27-29, 2019
In my presentation, I set out to examine the recent history and museological strategy of the Kassák Museum. This institution is the only site in Hungary which devotes its research to the historical avant-garde. It defines itself as the contemporary museum of the Hungarian avant-garde, and as such, has a broad-based approach to the subject, from the points of view of several academic fields and contemporary art. In my analysis, I employ the term “contemporary” as it was coined in the influential book-manifesto of the art historian and critic Claire Bishop, entitled Radical Museology, or, What's Contemporary in Museums of Contemporary Art? [2013]. Similarly as it is delineated in Bishop’s work, the Kassák Museum addresses the contradictions and tensions that arise when researching and presenting the avant-garde in a museum setting. It simultaneously applies both historical and contemporary viewpoints in presenting its theme. Exhibitions based on historical research also involve the work of contemporary artists, just as the work of contemporary artists exhibited in the Museum reflects on Kassák’s oeuvre and issues of historical modernism and the avant-garde. The Museum examines the issues of the Hungarian avant-garde from an international perspective and through interdisciplinary research.