Identité italienne a Parigi, Centre Pompidou, 1981: le ragioni di un catalogo-mostra (original) (raw)

Due mostre e il progetto di un museo sul falso. Una storia tra Francia e Italia (1930-1955), dossier «Penser le faux», in “Studiolo” 11, 2014, pp. 65-83

On the basis of a review of the exhibition “Le Faux dans l’Art et dans l’Histoire” (Paris 1955) written by Cesare Brandi, this essays will explore the Italian contribution to this exhibition and examine the relationship between fakes and the “artistic diagnosis”, definite in France and Italy in different ways from the 1930s onwards, with the establishment of the Institut Mainini in the former and of the Istituto Centrale del Restauro (ICR) in the latter. In addition, the article investigates the narrow interdependence of the concepts of authenticity and fake, which both derive from the recognition of the work of art, and were characterized by two permanent exhibitions organized by ICR in the early 1950s, conceived as pendants. Finally, the article focuses, using texts contemporary of these exhibitions, on the different understanding of the relation between authenticity and aesthetic judgment in the thought of Cesare Brandi and that of Étienne Gilson.

"Lo sguardo di Thérèse Rivière al Musée de l’Homme di Parigi. Le 'tecniche del corpo' per il capovolgimento del paradigma coloniale (1928-1946)", in "Opus incertum", n. monografico "Verso una nuova idea di museo. Architettura, arti, teoria e storia 1934-1964", a c. di E. Ferretti e O. Lanzarini

Opus incertum, 2023

The article describes the work of ethnographer Thérèse Rivière (1901-1970) at the Musée d’Ethnographie du Trocadéro, later Musée de l’Homme, in Paris. Analysing the scholar’s contribution, in particular the method she adopted during her fieldwork in Algeria among the Amazigh populations and its subsequent impact on the museum, the essay brings to light not only a half-forgotten profile, but also a relevant page in the history of the Musée de l’Homme. The analysis develops around the themes of gender, distance/proximity to the object of study, and adherence or non-adherence to a normativity imposed from above in the strongly hierarchical structure of the museum. What emerges is the figure of an ethnographer who entrusts relationships and imaginative power with the ability to understand and represent a culture. The collection of photographs, the letters, and the album of the ‘dessins indigènes’ show how her practice was not at odds with an unobjectionable scientific rigour. The long years in a psychiatric hospital, however, also suggest a reflection on the boundaries between truth and fiction, the relationship between sight and mental health, the impact of war and much more to be explored.

“La poltrona va in Galleria”. Il caso della mostra Il design italiano nei musei del mondo 1950-1990 alla Galleria nazionale di Roma

V convegno AIS/Design Associazione italiana storici del design Università Iuav di Venezia 26 -27 novembre 2021, 2022

Roma detiene numerosi primati, ma tra questi non vanta di essere un polo principale per la promozione della storia del design italiano. Nel 1998 però la Galleria Nazionale di Roma organizza la mostra Il design italiano nei musei del mondo 1950-1990 interamente dedicata alle opere di design italiano presenti nelle più importanti collezioni museali del mondo. Da Londra a New York si ripropongono quarantadue pezzi iconici che hanno scritto la storia del design italiano anche fuori dall’Italia. Il contributo offre una riflessione sulla mostra Il design italiano nei musei del mondo 1950-1990 rispetto all’ottica di promozione e diffusione della storia del design italiano, analizzando con particolare attenzione il progetto dell’allestimento rispetto e il risultato celebrativo dell’evento.