About

riccardo venturi

Université Paris 1 - Panthéon-Sorbonne, École des Arts de la Sorbonne, Faculty Member

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Research Interests:
Modern and Contemporary Art, Modernism (Art History), Modernism, Abstract Painting, Abstract Art, Contemporary Art, and 55 moreContemporary Art Theory, Art History, History of Art, Art Theory, Art Criticism, Aesthetics, Philosophy of Art, Visual Studies, Visual Culture, Cultural Theory, Critical Theory, American art/ Art of the United States, Abstract Expressionism, Minimalism, Theory and History of Art, Modern & Contemporary ARt, 20th century Italian art, 20th Century Italian Literature, Italian Cinema, Film Theory, Film Studies, Film Aesthetics, Philosophy of Film, Cinema Studies, Media Archaeology, Contemporary French Philosophy, Media Aesthetics, Cinema and Media Studies, Media Studies, Media Theory, Media Ecology, Posthumanism, Animal Studies, Critical Animal Studies, Ecocriticism, Environmental Aesthetics, Philosophy Of Animals, Friedrich Kittler, Jonathan Crary, Bruno Latour, Theravada Buddhism, Buddhist Studies, Pali literature & language, Pali Canon, South Asian Studies, Buddhist Art, Modern Yoga Studies, Pali, Southeast Asian history, Buddhism, Southeast Asian Studies, Buddhist Philosophy, Pali/Sanskrit Literature, Anthropocene, and Geologyedit
About:
Accademia di Belle Arti di Brera; Pensionnaire en Histoire et théorie des arts, Académie de France - Villa Médicis, Rome 2018-2019edit
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Books & Editing

Research Interests:
Contemporary Art, Abstract Art, Painting, and 19th and 20th Century American Art

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Research Interests:
Contemporary Art, Abstract Art, and Painting

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Research Interests:
Contemporary Art, Abstract Art, Modernism, and Abstract Painting

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Research Interests:
Contemporary Art, Abstract Art, Painting, American art/ Art of the United States, Abstraction, and Mark Rothko

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Textes de Emanuele Coccia, Linda Dalrymple Henderson, Antonio Somaini, Riccardo Venturi, Florian Sprenger, Francesco Casetti, Emmanuel Alloa, Tomasz Załuski, Oliver Fahle, Sébastien Pluot, Ute Holl, Jacques Aumont, Lorenz Engell, Thibault Honoré, Sebastian Egenhofer, Larisa Dryansky, Rosa Nogués, Katrin Peters, Maria Stavrinaki
https://www.lespressesdureel.com/ouvrage.php?id=8855&menu=0

Research Interests:
Media Studies, Media Archaeology, Contemporary Art, and Cinema Studies

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Research Interests:
Painting, American art/ Art of the United States, Abstraction, and Mark Rothko

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Indice; Premessa; Cronologia; Nota ai testi; Referenze; Nota bibliografica

Research Interests:
Abstract Art, Painting, American art/ Art of the United States, and Modernism

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Falce e martello: tre dei modi con cui un artista può contribuire alla lotta di classe (‘Hammer and Sickle: three of the ways an artist can contribute to the class struggle’) by Enzo Mari was the little catalogue that accompanied his exhibition at the Galleria Milano in 1973. Today, the exhibition is re-proposed, with the same display and in the same historical Milanese gallery; the anastatic reprint of the catalogue is enriched with photographs and documents from the archives of the Gallery and from the Mari Archive, along with an essay by Bianca Trevisan which retraces the planning itinerary undertaken by the Milanese artist and designer, and an essay by Riccardo Venturi outlining the historical, artistic and political debate that the project was part of, and which was accompanied by a film that sparked a degree of controversy at the time. A snapshot of that tinderbox which was 1970s Italy, and a reflection on the hammer and sickle: the most iconic symbol of the whole of the twentieth century.

https://www.humboldtbooks.com/it/book/falce-e-martello-the-hammer-and-sickle
https://www.humboldtbooks.com/en/book/falce-e-martello-the-hammer-and-sickle

Research Interests:
Contemporary Art and 20th century Italian art

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“Quella di Rothko può essere annoverata tra la pittura del XX secolo più semplice da cogliere con un solo sguardo e da riconoscere, ma a patto che non ci si soffermi troppo, perché basta indugiare un poco per rendere l’esperienza di una complessità disorientante”.
La sfida di questa monografia critica su Mark Rothko (1903-1970), la prima in italiano, è di restituire tale complessità, indagando – con passione e rigore – la preoccupazione costante dell’artista per lo spazio e le ricadute sulla sua opera, visiva quanto teorica.
Le analisi, puntellate dagli scritti dell’artista e da documenti d’archivio inediti, ne restituiscono vivacemente il pensiero e le immagini, in un dialogo attento con il loro contesto storico e con il dibattito critico. Ad emergere sono le diverse sfaccettature dell’opera di Rothko che, al termine di una lettura che non nasconde i suoi parti pris, si ha voglia di tornare a guardare.
Nonostante le immagini di Mark Rothko (1903-1970) circolino da tempo nel nostro “museo immaginario”, non è ancora disponibile un lavoro in lingua italiana sulla sua opera – visiva quanto teorica. Mark Rothko. Lo spazio e la sua disciplina è la prima monografia critica che indaga la preoccupazione costante dell’artista per lo spazio.
Il saggio si articola in tre percorsi tematici (piuttosto che cronologici) tra loro interrelati, che si soffermano in particolare: sulla lettura di alcune singole opere (che coprono l’intero arco della sua produzione), sul ruolo strategico giocato dal contesto espositivo e architettonico, sull’esperienza vissuta dagli spettatori.
Le analisi sono puntellate dagli scritti dell’artista stesso, di cui da poco si è approntata un’edizione critica, e da alcuni documenti d’archivio inediti. La ricchezza delle immagini e il rigore del pensiero di Rothko sono infine restituiti attraverso un dialogo attento con il proprio milieu artistico e con la loro eredità.

Research Interests:
Contemporary Art, Abstract Art, American art/ Art of the United States, Modernism (Art History), and Abstraction

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Francesco Lo Savio, ed. by Silvia Lucchesi, Alberto Salvadori, Riccardo Venturi, MART 2018, 384 pp. with 7 essays, more than 100 pp. of colours and b/w pictures, Writings by Lo Savio (excerpts), Chronology, Critical anthology,... more

Publication Date: 2018

Research Interests:
Contemporary Art, Abstract Art, and 20th century Italian art

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The day after Fidel Castro's death, three Colombian artists began a journey through Cuba, from Havana to Santiago de Cuba, with the intention of drawing a cartography of the island's cultural and social actors, by inviting different groups of people to play with the counters of (d)estructura. The game begins with the question "How do you see your life in ten years and what do you need to make that happen?" and ends with the realization of a collaborative and participatory structure. By (d)estructura individual intentions and experiences are dissolved in collective decisions, while art becomes an opportunity to imagine the future of the country together.

El día después de la muerte de Fidel Castro tres artistas colombianos iniciaron un viaje a través de Cuba, desde La Habana hasta Santiago de Cuba, con la intención de dibujar una cartografía de los actores culturales y sociales de la isla invitando a diferentes grupos de personas a jugar con las fichas de (d)estructura. El juego comienza con la pregunta "¿Cómo imaginas tu vida en diez años y qué necesitas para lograrlo?" y termina con la creación de una estructura colaborativa y participativa. Con (d)estructura las intenciones y experiencias individuales se disuelven en decisiones colectivas, mientras que el arte se convierte en una oportunidad para imaginar juntos el futuro del país. (Cecilia Guida)

Publication Date: 2018

Research Interests:
Latin American Studies, Contemporary Art, and Latin American Art

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I authored the biographies, list of exhibitions and publications per several artists: Max Bill, Daniel Buren, Marcel Duchamp, Yves Klein, Artur Lescher, François Morellet, Bruno Munari, Joel Shapiro, Xavier Veilhan, Cerith Wyn Evans

Research Interests:
Contemporary Art, History of Sculpture, and History of Exhibitions

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Among the most meaningful artists of the second half of the 20th century, Francesco Lo Savio (1935 – 1963) produced his works over a very short time span, terminating with his death at only twenty-eight years of age: a high-charged career, full of intuitions grasped only after his disappearance. In Passione dell’indifferenza. Francesco Lo Savio, the art historian Riccardo Venturi reconstructs the final years of the artist’s life in a narrative form, in a two-voice text. The first looks backwards, like a noir flashback, over the key episodes of Lo Savio’s life and work. We meet the artist in Rome at the deserted vernissage of his last solo show; we follow him to a hotel in Turin where he has an appointment with Pierre Restany; we accompany him in his tragic final gesture in Marseille, in a unité d’habitation designed by his great maestro Le Corbusier. The counterpoint to this voice is offered by a second one, a divining thought that reconstructs the artistic and human environment in which Lo Savio found himself living. Within the framework of the 1960s, he was boycotted in Milan by Fontana and Manzoni; acclaimed in Leverkusen amid Reinhardt and Verheyen; opposed in Rome by the artists of Caffè Rosati; and lastly watched over, throughout the last days of his life in Marseille, by his beloved Marianne and his brother Tano Festa. The volume is completed with a profile on the work of Lo Savio. The publication fills a critical void on an artist who is ever more widely appreciated in Italy and throughout the world, published in the wake of the exhibition ‘Francesco Lo Savio’ at the Mart Museo di arte moderna e contemporanea of Trento and Rovereto.

Research Interests:
Contemporary Art, Abstract Art, and 20th century Italian art

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An exhibition to rediscover the work of one of the most interesting artists in the Italian and international arts scene in the second half of the twentieth century.

More than fifteen years after the last major exhibition of his works in an arts institution, Francesco Lo Savio (1935-1963) is again the focus of a monographic museum exhibition that draws on new research to cast fresh light on the artist’s oeuvre. Archival materials, sketches, plans and photographs, many exhibited for the first time, provide the basis for this novel project.
Among the preeminent names in the Italian and international arts scene, Lo Savio introduced a wealth of ideas that would be picked up by the minimalists and conceptual artists during a brief but blazing career that was cut short by his death at the age of twenty-eight.
A relationship with architecture underpins not just his projects, but also his entire creative thought process, a theoretical device that guided him in rethinking the role of art in contemporary society. Indeed, the distinctive style of his works – few of which were exhibited during the artist’s lifetime – is more architectural than minimal.
Through a selection of fifty works, the exhibition spans Lo Savio’s entire creative arc, highlighting the principal elements that best define his quest: the study of space and the rendering of light. The exhibition traces out a trajectory from his Filtri, heavily textured layers whose surface becomes a vibrant pattern of images, through the paintings in the Spazio-Luce series, to the Metalli and the Articolazioni totali, structures engaging in a manifesto-dialogue with the architectural space in which they are situated.
The itinerary concludes with Lo Savio’s architectural and urban design projects, where the artist redefines the elements of his sculptural, visual and conceptual practice in his well known studies for the Maison au soleil, the prototype for a dwelling unit inspired by Le Corbusier’s buildings.
A central figure in the Roman art scene in the 1960s, Lo Savio has exhibited internationally and his works are now preserved in public museums and private collections, including the Museo d’arte della Svizzera italiana, the Museo d’arte contemporanea Donnaregina, Fondazione Prada and the Pinault Collection, which have provided important loans for the Mart exhibition.
The exhibition will be followed by the publication of a monograph with contributions from some of the foremost Lo Savio specialists, a critical edition of the artist’s writings, and a collection of unpublished documents.

Research Interests:
Contemporary Art, Abstract Art, and Modern and Contemporary Italian Art

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Unisono (1974) è il titolo dell’unico video realizzato da Giulio Paolini. E’ composto di novantadue riproduzioni fotografiche in bianco e nero di sue opere realizzate tra il 1960 e il 1974, da Disegno geometrico a Post-scriptum. La durata è fissata a un minuto. Le immagini si susseguono così a una velocità così sostenuta da impedire alla nostra percezione di distinguerle una dopo l’altra.
Unisono è rimasto un episodio marginale nella produzione di Paolini, un’incursione in un medium che non sentiva finalmente appartenergli. Non ha precedenti e non costituisce un modello per opere successive, sebbene sia formato esclusivamente da quanto lo precede. Pertanto, Unisono entra in risonanza con Idem, il suo primo libro d’artista pubblicato poco dopo e che, come il video, ricapitola l’opera passata di Paolini.
In che modo l’immagine video si prestava a veicolare quel fascio di temi e figure propri della ricerca grafica e pittorica di Paolini? Che in Unisono lo schermo sia in grado di sottrarre i quadri dell’artista al loro destino di immagine? La sfida non era quella di “fare un video”, quanto di piegare le capacità espressive ed enunciative del video al disegno e alla pittura, di alzare la temperatura del confronto tra lo schermo e la tela. È su questo piano che Unisono dovrà misurarsi ed essere misurato.

Research Interests:
Art History, Contemporary Art, Video Art, Modernism, and 20th century Italian art

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I rapporti tra storia dell’arte e film studies non sono pacifici. Disciplina giovane e metodologicamente permeabile, i film studies si sono costituiti grazie all’apporto di diverse discipline: dalla psicoanalisi alla semiotica, dall’iconografia alla teoria critica, dallo strutturalismo al post-strutturalismo. La storia dell’arte ha invece dimostrato una resistenza più o meno attiva a una considerazione critica delle immagini in movimento. Significative le eccezioni, a partire, per citare due esempi fondativi, dalla conferenza pubblicata da Erwin Panofsky nel 1936 – lo stesso anno del saggio di Walter Benjamin sull’opera d’arte all’epoca della sua riproducibilità tecnica – e dall’intero corpus di scritti del regista russo Sergej Ejzenstein.
Nondimeno, una forma di resistenza, spesso sottaciuta, resta uno dei tratti specifici della tradizione modernista, da Clement Greenberg a Michael Fried o, al di là della storia dell’arte, da Franz Kafka a Roland Barthes. Le ragioni che si nascondono dietro tale chassé-croisé restano da indagare nella loro complessità. Al riguardo, i rapporti tra storia dell’arte e film studies suscitano sempre più l’interesse degli studiosi. Una tendenza che, da una parte, corre parallela al ripensamento, ormai ineludibile, della storia dell’arte in quanto disciplina all’interno del contesto più ampio della cultura visiva (cultural studies, visual studies, media archaeology). Dall’altra, è il riflesso della situazione artistica contemporanea, con la migrazione delle immagini in movimento verso ambienti una volta riservati alle immagini fisse. Sin dalla fine degli anni sessanta, gli spazi museali si sono così confrontati con il dispositivo cinematografico ovvero, per semplificare: con la presenza fisica del proiettore; con il fascio di luce che attraversa un ambiente oscurato; con la superficie immacolata dello schermo; con l’esperienza d’immersione dello spettatore. Un dispositivo che, elaborato almeno sin dal XIX secolo attraverso la spettacolarizzazione dell’esperienza estetica, come nel caso del panorama, trova la sua istituzionalizzazione nella sala cinematografica, in cui l’immobilità dello spettatore si accompagna alla mobilità dello sguardo.
In tal senso, la migrazione delle immagini in movimento dal loro supporto, il loro ingresso negli spazi d’esposizione ha costituito una trasgressione degli aspetti coercitivi delle sale cinematografiche: l’immobilità dello sguardo, l’invisibilità del proiettore, la presenza esclusiva di un solo schermo, la collettività e simultaneità dell’esperienza e così via. Una conseguenza inattesa, se consideriamo che gli spazi espositivi presentavano a loro volta altrettanti aspetti coercitivi se non un vero e proprio apparato ideologico, la cui incarnazione più diabolica ai tempi del modernismo è stato il white cube. In altri termini, le immagini in movimento e il dispositivo cinematografico sono riusciti ad aprire dal suo interno il white cube, se non a scardinare la sua logica cronofoba e la sua supposta autonomia. Un fenomeno oggi esteso alla smaterializzazione delle immagini in movimento, alla loro proliferazione sugli schermi della televisione, del computer, dei palmari e in generale a quella che Rosalind Krauss ha identificato come la condizione post-mediale dell’arte contemporanea.
Che qualcosa di simile sia pensabile – e praticabile – anche sul piano disciplinare oltre che su quello delle pratiche artistiche? Oppure la storia e la critica dell’arte, la storia e la critica del cinema, l’estetica, i visual studies e la sfera culturologica sono destinate a riaffermare, davanti alle immagini in movimento, la specificità del proprio approccio? Molti sono concordi nell’affermare che non è più possibile considerare il cinema nei confini della storia del cinema e che è necessario ridefinirlo nel campo allargato della storia dell’arte. Tuttavia la storia dell’arte – una disciplina di cui negli anni ottanta si decretava la fine, in Europa come negli Stati Uniti, e che, a partire dagli anni novanta, è stata sottoposta a verifica, se non minacciata, dall’agenda dei visual studies – è nelle condizioni di garantire tale apertura disciplinare?
Questo numero monografico di “Predella” intende affrontare la questione dei rapporti tra storia dell’arte e film studies sia attraverso incursioni teoriche e metodologiche, sia attraverso l’analisi di alcuni incontri – effettivi e mancati – occorsi nel XX secolo tra immagini fisse e immagini in movimento.

Research Interests:
Art History and Film Studies

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“La scultura suggerisce il movimento, la pittura suggerisce la profondità o la luce. Calder non suggerisce niente: afferra dei veri e propri movimenti viventi e li plasma. I suoi mobiles non significano niente, non rimandano ad altro che... more

Research Interests:
Art History, American art/ Art of the United States, and Modernism

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“Ora, affinché possano vivere, [i clown] devono anzitutto godere di una libertà plenaria. Non dobbiamo affrettarci ad assegnare loro un ruolo, una funzione, un senso; bisogna concedergli la licenza di non essere nient’altro che un gioco insensato. La gratuità, l’assenza di significato è, se così posso esprimermi, la loro aria natale. E’ solo al prezzo di questa vacanza, di questo vuoto primo che possono assumere il significato che gli abbiamo attribuito. Hanno bisogno di una riserva illimitata di non senso per potere passare al senso. In un mondo utilitario, percorso dalla rete stretta delle segnaletiche, in un universo pratico in cui viene attribuita una funzione a ogni cosa, un valore d’uso o di scambio, l’entrata del clown fa vacillare alcune maglie della rete e, nella pienezza soffocante dei significati accettati, apre una breccia attraverso cui potrà scorrere un vento d’inquietudine e di vita” (Jean Starobinski)

Research Interests:
Art History, Abstract Art, American art/ Art of the United States, and Modernism

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Black paintings. Eclissi sul modernismo è il primo libro pubblicato in Italia sull’opera di due tra i maggiori artisti americani del dopoguerra: Ad Reinhardt e Frank Stella. I loro monocromi neri sono tra i dipinti più radicali che siano mai stati realizzati e che ancora oggi, a cinquant’anni di distanza, sconcertano la critica e il pubblico.
Nessun ciclo pittorico precedente ai Black paintings aveva combattuto con tanta violenza ogni facile lettura simbolica. Questi non sono infatti immagini della depressione, della distruzione, della rovina; oscurità degli inferi e del peccato, riflessioni visive sulla mortalità, concrezioni della pulsione di morte; presenze dell’ombra, ritagli nell’universo, vuoti di silenzio, metafisiche della disperazione, Goya e Redon e così via…
Reinhardt e Stella – il primo con una ferocia inedita e formidabile, il secondo con giovanile spericolatezza – si sono sbarazzati con un solo gesto di tale armamentario, svuotando quella cassetta degli attrezzi che lo storico dell’arte ha ereditato dai suoi maestri e “va bene” per ogni secolo.
Il libro raccoglie la sfida lanciata da questi dipinti, che sembrano scoraggiare e sfuggire a ogni trattazione verbale, avvalendosi di materiale in gran parte inedito, proveniente dagli archivi d’arte americana dello Smithsonian Institution di Washington DC.
Il percorso proposto è suddiviso in quattro parti:
1) Conformazione. Tracciati dell’all over;
2) Esecuzione. L’anima e il polso di Stella;
3) Percezione. Impronta visiva e inesauribilità;
4) Composizione. Pathos dell’impersonale.
In ogni sezione, con congruenti rimandi alle foto d’autore nell’album, viene stretto il confronto tra Reinhardt e Stella, il quale diventa produttivo non davanti ai punti di tangenza ma là dove qualcosa non torna, là dove le parti entrano in rotta di collisione. Attraverso questo confronto serrato, a emergere è la crisi del modernismo, di cui i Black paintings sono assieme l’apice e la catastrofe.
Incentrato sui dipinti di Reinhardt e Stella ma anche sui loro scritti, Black paintings non è pedissequamente cronologico e rende piuttosto conto del destino dell’astrazione nell’arte americana quanto, più in generale, della straordinaria avventura del XX secolo che ha avuto come protagonisti Malevič e Mondrian. Solo in questo modo è possibile cogliere la posizione degli artisti nella società e nel sistema dell’arte in seguito al vortice delle avanguardie, un tema ancora oggi attuale. In questo senso, Black paintings si rivolge non solo agli studiosi e agli appassionati d’arte contemporanea, ma anche ai giovani artisti che hanno difficoltà a situare la loro pratica in un contesto sociale più ampio e nel fermento che segna le attuali espressioni visive.
A tal fine, l’autore si smarca dalla piatta ricostruzione dei fatti, dalla mera ricerca compilatoria prendendo altresì le distanze da quello che resta della tradizione delle belles-lettres, ovvero da quella commistione tra critica d’arte e letteratura artistica che andava bene ai tempi di Baudelaire. Al contrario, Black paintings è attraversato dall’intento di esercitare, verso le opere di Reinhardt e Stella, una critica militante e rigorosa, accattivante, radicale e fedele al suo oggetto. Che la militanza non si eserciti solo sull’arte contemporanea a noi più vicina ma si estenda a tutto il XX secolo è quanto hanno dimostrato bene gli studiosi raccolti attorno alla rivista americana October. Una tradizione di studi conosciuta in Italia soprattutto attraverso gli scritti di Rosalind Krauss.
Black paintings vuole costituire un primo passo nella direzione di una ricerca che sappia dialogare con la prospettiva critica più influente negli Stati Uniti degli ultimi trent’anni.

Research Interests:
Art History, Contemporary Art, Abstract Art, and Modernism

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In 1952, despite Alfred Jensen’s critical statements (“I assaulted him [...] for his lack of dualities”; “It was a constant battle between [my] dualities and [his] presence”), a top-secret friendship between him and Mark Rothko began, one that grew in the haven of the atelier. In spite of a progressive and inexorable unraveling of their relationship at the end of the 1950s, Jensen continued to admire Rothko and to hold him in higher esteem than any other living artist. The two artists continued to see one another occasionally during the early ’60s, and to greet one another warmly even at the end of the decade.
During the period in which they saw one another most frequently, Jensen, unbeknownst to Rothko, began to transcribe their studio conversations. ..

Research Interests:
Art History, Contemporary Art, and Modernism

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« Look again. I am the most violent of all the New Americans. Behind the color lies the cataclysm », Mark Rothko 1959

Mark Rothko (1903-1970), uno degli artisti più importanti del ventesimo secolo, ha creato una forma inedita e intensa di pittura astratta nel corso della sua carriera. L’artista redasse inoltre alcuni saggi e recensioni critiche, associando la sua voce ponderata, intelligente e intransigente ai dibattiti del mondo dell’arte contemporanea. Sebbene l’artista non pubblicò mai un libro sulle sue posizioni articolate e complesse, gli eredi rivelano che egli parlò occasionalmente ad amici e colleghi dell’esistenza di un siffatto manoscritto. Riposto in un magazzino sin dalla scomparsa dell’artista, avvenuta più di trent’anni fa, questo manoscritto eccezionale, intitolato La Realtà dell’artista, è ora pubblicato per la prima volta.
Redatto con ogni probabilità attorno al 1940-41, questo testo rivelatore discute le idee di Rothko sul mondo dell’arte moderna, la storia dell’arte, il mito, la bellezza, la difficoltà di essere un artista nella società, la vera natura dell’“arte americana” e molto altro. La Realtà dell’artista contiene altresì un’introduzione di Christopher Rothko, figlio dell’artista, che descrive il ritrovamento del manoscritto nonché l’intricato e avvincente processo che ha condotto alla sua pubblicazione. L’introduzione è arricchita da una selezione circoscritta di esempi perspicaci del lavoro dell’artista e dalla riproduzione del frontespizio del manoscritto originale.
La Realtà dell’artista diventerà nei prossimi anni un classico, gettando luce sull’opera quanto sul pensiero artistico di questo grande pittore.

One of the most important artists of the twentieth century, Mark Rothko (1903–1970) created a new and impassioned form of abstract painting over the course of his career. Rothko also wrote a number of essays and critical reviews during his lifetime, adding his thoughtful, intelligent, and opinionated voice to the debates of the contemporary art world. Although the artist never published a book of his varied and complex views, his heirs indicate that he occasionally spoke of the existence of such a manuscript to friends and colleagues. Stored in a warehouse since the artist’s death more than thirty years ago, this extraordinary manuscript, titled The Artist’s Reality, is now being published for the first time.
Probably written around 1940–41, this revelatory book discusses Rothko’s ideas on the modern art world, art history, myth, beauty, the challenges of being an artist in society, the true nature of “American art”, and much more. The Artist’s Reality also includes an introduction by Christopher Rothko, the artist’s son, who describes the discovery of the manuscript and the complicated and fascinating process of bringing the manuscript to publication. The introduction is illustrated with a small selection of relevant examples of the artist’s own work as well as with a reproduction of a page from the actual manuscript.
The Artist’s Reality will be a classic text for years to come, offering insight into both the work and the artistic philosophies of this great painter.

Research Interests:
Art History, Abstract Art, American art/ Art of the United States, and Modernism

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Research Interests:
Art History, Abstract Art, Modernism, and 20th Century American Art

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Research Interests:
Art History, Abstract Art, Painting, and Modernism

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Già Barnett Newman, davanti alle immagini dialettiche di Rothko, si chiedeva con fare provocatorio: “perché dovrei guardare queste immagini di morte?"

Research Interests:
Art History, Abstract Art, Painting, American art/ Art of the United States, and Modernism

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Papers

Research Interests:
Contemporary Art and History of Collections

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Research Interests:
Gender Studies, Art History, Contemporary Art, Angelology, and American art/ Art of the United States

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Research Interests:
Contemporary Art, Abstract Art, Italian art, and Modernism

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Research Interests:
Contemporary Art, Arte Povera, Wunderkammer, Storia Della Critica D'Arte, and Arte Italiana XX Secolo

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Research Interests:
Franz Kafka and Asbestos

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Research Interests:
French Literature and Environmental Humanities

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Research Interests:
Contemporary Art, Environmental Humanities, Cave and Karst Studies, and John Berger

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Research Interests:
Film Studies and Animal Studies

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Research Interests:
Geology, Ecology, and Contemporaty Art

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Research Interests:
History of Medicine, Contemporary Art, Horror Cinema, Cinema, Body Art, and 5 moreDavid Cronenberg, Anatomy, Wax sculpture, ANATOMIA HUMANA, and Anatomical Waxworks

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Research Interests:
Contemporary Art, Painting, American art/ Art of the United States, and Abstraction

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Research Interests:
Drawing, Abstraction, and Conteporary Art

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Research Interests:
Contemporary Art, Drawing, and Abstraction

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Research Interests:
Extinction Studies and Anthropocene

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Research Interests:
Ecology and Anthropocene

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Research Interests:
Visual Studies, Surrealism, and Modern and Contemporary Art

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Contemporary Art

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Research Interests:
History of photography and Pyrotechnics

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Contemporary Art and History of music

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Research Interests:
Contemporary Art and History of Music Theory

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Research Interests:
Art History, History of Art, German Philosophy, and Aethetics

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Research Interests:
Art History, Water, Climatic Changes, Visual Arts, Anthropocene, and Blue Humanities

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Research Interests:
Landscape Ecology, Visual Studies, Art History, Photography, History of photography, and 2 moreLandscape and Visual Arts

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Research Interests:
Visual Studies, Art History, Ecology, and Anthropocene

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Research Interests:
Ethology, Philosophy, Critical Animal Studies, and Modern and Contemporary Art

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Research Interests:
Ecology, Land Art, and 19th and 20th Century American Art

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Research Interests:
Funeral Practices and Sculpture

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Research Interests:
History of Sculpture and Funeral Practices

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Research Interests:
Design, Italian art, and Visual Arts

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Research Interests:
Photography, Visual Arts, and Nuclear

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Gatti verdi e viola. Verdi e viola perché radioattivi. Schivati come la peste dagli umani. Solo così questi umani riusciranno a sopravvivere. La sinossi monca di un romanzo apocalittico o di un film di fantascienza? Acqua. Facciamo un... more

Research Interests:
Semiotics, Aesthetics, and Nuclear

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Research Interests:
Botany, Wildlife Ecology And Management, Ecology, Human-wildlife conflicts, Wildlife Conservation, and Anthropocene

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Research Interests:
Landscape Architecture and Lichenology

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Research Interests:
Literature and Iceland

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Research Interests:
Art History, Ecology, and Land Art

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pour la version intégrale: https://plastik.univ-paris1.fr/archives-deau-vatnasafnlibrary-of-water-de-roni-horn/

Research Interests:
Installation Art, Water, and Contemporary Art

Research Interests:
Contemporary Art, Sculpture, and Land Art

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Research Interests:
Contemporary Art, History of Sculpture, and 20th century Italian art

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Contemporary Art and 20th century Italian art

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Contemporary Art and Anthropocene

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Art History

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And 115 more

Reviews

Research Interests:
Anthropocene and Conemporary Arts

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Oceanography, Contemporary Art, Biology, Ecology, Visual Arts, and Antropocene

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Research Interests:
Film Studies, Ecology, and Anthropocene

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Research Interests:
Oceanography

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Research Interests:
Contemporary Art, French art, and History of photography

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Research Interests:
Comparative Literature and Film Studies

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Research Interests:
Film Studies

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Research Interests:
Visual Studies, Contemporary Art, and Word and Image Studies

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Contemporary Art

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Research Interests:
Geology and Contemporary Art

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"there will be an exchange of information between the rock and me, while I'm living inside it"

Research Interests:
Geology, Contemporary Art, and Anthropocene

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Research Interests:
Media Studies, Film Studies, and Contemporary Art

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Research Interests:
Contemporary Art

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Research Interests:
Contemporary Art

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Research Interests:
Contemporary Art

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Research Interests:
Contemporary Art

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Research Interests:
Contemporary Art

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Nel campo dell’arte contemporanea, l’artista anglo-indiano Anish Kapoor è rimasto folgorato dalle potenzialità del Vantablack sin dal settembre 2014. Le ragioni sono evidenti per chi ha familiarità con la sua opera. Nei primi anni ottanta realizza delle sculture con il pigmento, forme che rendono porosa la soglia tra pittura e scultura, originale animazione dell’inorganico. In seguito realizza oggetti vuoti riempiti di colore, cavità uterine come la recente installazione Dirty Corner, o crateri neri ritagliati nel suolo che rappresentano la discesa al limbo. Il colore lo interessa per il suo potere affettivo, per le sue risonanze psicologiche, per la sua ambivalenza tra materialità e illusione.

Research Interests:
Contemporary Art and Colour Theory

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Contemporary Art

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Research Interests:
Contemporary Art

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Research Interests:
Contemporary Art

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De la spécificité du médium à celle du lieu, de la forme à la site specificity : voici la charnière qu’Uroskie voit dans le cinéma élargi. “To change the total situation within which the moving image was exhibited and seen as well as the... more

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Art History and Film Studies

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Contemporary Art

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Contemporary Art

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Research Interests:
Contemporary Art and Abstract Art

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Research Interests:
Art History, Art Theory, and Contemporary Art

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Research Interests:
Contemporary Art

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Contemporary Art

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Contemporary Art

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Research Interests:
Art History, Media Studies, and Film Studies

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DOI: 10.4000/critiquedart.97797

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Walter Benjamin

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DOI: 10.4000/critiquedart.97799

Research Interests:
Philosophy and Paris

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Research Interests:
Contemporary Art, Botanica, and Anthropocene

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Research Interests:
Ecology and Anthropocene studies

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Research Interests:
Visual and Cultural Studies and Anthropocene studies

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Research Interests:
Ecology, Community gardens, and Anthropocene

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Research Interests:
Animal Studies

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Research Interests:
French Literature and Photography

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Research Interests:
Anthropology, Animals, Anthropocene, and Human-Nonhuman relations

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Research Interests:
Contemporary Art, Abstract Art, 20th century Italian art, and History of Exhibitions

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Research Interests:
Contemporary Art, Philosophy of Nature and the Environment, and Anthropocene

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Research Interests:
Visual Studies, Science Fiction, Astronomy, and Astrobiology/Exobiology

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Research Interests:
Contemporary Art and Natural Sciences

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Contemporary Art

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Research Interests:
Contemporary Art

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Research Interests:
Contemporary Art

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“Un ghiacciaio che muore ha l’aria triste e fragile, e sparisce senza far rumore”. Così nasce l’idea del funerale dell’agosto 2019, raccontato da Lacy M. Johnson (How to Mourn a Glacier. In Iceland, a memorial ceremony suggests new ways to think about climate change, “The New Yorker”, 22 luglio 2019) o da Julien Achache: “Fino alla linea d’orizzonte non si vede più la strada, né una città, né una casa, né alcun segno di attività umana. È una sensazione strana, considerando che sei venuto qui a testimoniare gli effetti dell’attività umana”.

Research Interests:
Contemporary Art, Anthropocene, and Contemporary Art and Ecology

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Research Interests:
Contemporary Art and Prehistory

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Research Interests:
Museum Studies, Contemporary Art, and Prehistory

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Sun & Sea (Marina) reinventa il tableau vivant – l’irruzione del vivente nell’immagine – all’epoca dei reality show. È, ipotizzo, una performance espansa non per la sua durata reale, visto che un ciclo si compie in poco più di un’ora ma... more

Research Interests:
Contemporary Art, Baltic Studies, and Performance

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Conferences

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Contemporary Art, Environmental Humanities, and Mines

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Research Interests:
Film Studies, Ecology, Environmental Humanities, Anthropocene, and Italian Contemporary artists

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Un'altra spazialità. Per una storia naturale dell’astrazione pittorica, in Spazi astratti. Interferenze fra architettura e arti a Milano 1945-1970, a cura di Annalisa Viati Navone, Letizia Tedeschi, Stefano Setti, Archivio del Moderno, Accademia di architettura, Università della Svizzera italiana, CRALIT Centro di ricerca sull’arte astratta in Italia, Università Catolica di Milano, Balerna, 9-10 giugno 2023

Research Interests:
Abstract Art and Natural History

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Research Interests:
Animal Studies and Deep sea ecology

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Research Interests:
Visual Studies, English Literature, Art History, Visual Arts, and John Berger

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Contemporary Art

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Research Interests:
Media Studies, Performance Studies, American art/ Art of the United States, 20th century Italian art, and Anthropocene

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https://www.quodlibet.it/libro/9788822904089
https://www.maxxi.art/events/elena-bellantoni/

Research Interests:
Contemporary Art

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https://www.accademiadibrera.milano.it/it/giorgio-de-chirico-e-giulio-paolini.html

Research Interests:
Contemporary Art and 20th century Italian art

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https://www.maxxi.art/events/della-materia-spirituale-dell-arte-presentazione-catalogo/

Research Interests:
Contemporary Art

Primo incontro di The Mind is a Muscle, public program della Fondazione ICA Milano a cura di Riccardo Venturi ICA Milano presenta The Mind is a Muscle. Danza e arti performative Un calendario culturale di incontri e conversazioni per il pubblico dedicati ai temi della danza e della performance. A cura di Riccardo Venturi Da ottobre 2019 ad aprile 2020

Research Interests:
Contemporary Art and Performance

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Research Interests:
Museum Studies and 20th century Italian art

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Research Interests:
Contemporary Art, American art/ Art of the United States, and Modernism (Art History)

Research Interests:
Contemporary Art

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Riccardo Venturi partagera ses recherches sur la question du rapport entre art et nature. Son intervention traitera notamment des catastrophes naturelles qui ont marqué l’Italie au début des années 1960 et qui ont durablement influencé les pratiques artistiques ultérieures en Italie.
http://www.frac-centre.fr/rendez-vous/universite-populaire-561.html

Research Interests:
Contemporary Art, 20th century Italian art, and Anthropocene

https://www.hangarbicocca.org/evento/diventare-geologici-discesa-nella-materia/
Con l’opera “Produttivi” Giorgio Andreotta Calò ha dislocato nello spazio espositivo oltre 1500 metri lineari di carotaggi della città di Venezia, che Le Corbusier considerava come una “città verticale”, una “catastrofe… sebbene una catastrofe bella e necessaria”. A partire dalla mostra e dal lavoro di Calò, Riccardo Venturi, critico e storico dell’arte, rifletterà sulla geologia.
Da scienza della terra al cuore delle speculazioni di scienziati e di teologi, oggi, a seguito di una nuova sensibilità per le questioni ecologiche che attraversa le pratiche artistiche all’epoca dell’Antropocene, è diventata una forma di sapere necessaria con cui si misurano gli artisti.
Nel contesto di una vera e propria estetica geomorfica che include figure diverse quali Gilbert Clavel, John Berger, Michael Heizer, Abraham Poincheval, ci si soffermerà in particolare sul caso dello speleologo o, come preferisce essere chiamato, speleonauta Michel Siffre. Entrando nelle viscere della terra e vivendo sottoterra per diversi mesi, Siffre compie un’operazione spaziale quanto temporale.
Il suo caso permetterà di comprendere la linea sottile che divide il vivere dentro una roccia e il vivere come una roccia, ma permetterà anche di indagare la tensione produttiva tra l’uomo e la pietra, tra il biologico e il geologico, tra il vivente e l’inanimato. Queste intersezioni tra il geologico e il vivente costituiscono la nozione di “vita geologica” elaborata da Kathryn Yusoff. La geologia è qui intesa in tutta la sua corporeità, in quanto incarnazione materiale che ha un impatto sulla biologia e persino sulla definizione e sui limiti dell’umano.

Research Interests:
Geology, Contemporary Art, and Anthropocene

Dispatrie is a word that does not exist in French dictionaries nor in spoken language. It does not exist in other languages neither, English included. Notwithstanding, its meaning can be easily fond out: dispatrie clearly derives from – and alters – “expatriate”. The different prefixes indicate a major shift in the formation of those compound words: “ex-” refers to someone being outside, being banished from his or her native land. It survives in expressions such as exiled, ex-boy/-girlfriend or exit. Whereas “dis-” refers to something abnormal, ill or bad, such as dysfunction or dystopia.
Dispatrie addresses an unresolved issue with the idea of patrie (or homeland, from “pater”) and motherland or, to put it in other terms, with the idea itself of father and mother, of what constitutes our family and the sense of familiar.
In the era of tourist industry and low coast airlines, dispatrie is a shared and still largely overlooked condition of our contemporary life.
In this talk I will share my thoughts and concerns on dispatrie. This would be also a public attempt to cope with my current situation: born in Rome, I am fellow at the Villa Medici in Rome. Having spent the last 15 years or so in Paris, I am finally back to my native city. Hosted at the heart of the city, I live in a French territory. Day by day, here I learn to see my native city through the eyes of my French mates. Being in a permanent and all-embracing state of dispatrie, I made the firm resolution of tackling dispatrie as my fieldwork.

Research Interests:
Postcolonial Studies, Contemporary Art, and Migration Studies

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I Metalli di Francesco Lo Savio sono la serie più numerosa in termini di produzione (10 metalli grandi, 8 modelli e metalli più piccoli, 22 progetti), così come la più eterogenea in termini di medium. Generalmente ricondotti alla storia della scultura, offrono allo sguardo e al pensiero molto più.
E se siano, al di là di ogni apparenza, degli oggetti mentali? Se la loro materialità fosse un risvolto della loro natura mentale?
Oggetti che vivono in una sospensione irrisolta tra la razionalità tecnologica e industriale della loro fattura, e la vita psichica di queste forme ottuse e intransitive lontane dalla realtà. Una lettura coerente con il corpus di Lo Savio.

Research Interests:
Contemporary Art, History of Sculpture, and 20th century Italian art

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A oltre cinquant’anni dalla sua scomparsa, Francesco Lo Savio (1935-1963) resta un artista tanto ammirato quanto poco conosciuto, nonostante il crescente interesse espositivo e critico a livello internazionale. Il catalogo della mostra prodotta dal Mart attraversa l’intero arco della carriera dell’artista. Una parabola bruciante e intensa, consumatasi tra il 1958 e il 1963, quando il suicidio interruppe lo sviluppo delle molteplici intuizioni elaborate in soli sei anni d’attività febbrile e che saranno raccolte, in modo non sempre consapevole, dall’arte minimalista e dall’arte concettuale, in Italia e all’estero.
Il volume, frutto di una scrupolosa ricerca d’archivio, s’incardina sullo studio di documenti finora inediti. Questo materiale permette di ripensare il quadro storiografico e critico dell’arte di Lo Savio e di correggere alcuni luoghi comuni sulla sua opera che la sua prematura scomparsa ha alimentato.
https://www.artissima.art/open/francesco-lo-savio/

Research Interests:
Contemporary Art, Abstract Art, and 20th century Italian art

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Research Interests:
Abstract Art

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Nel 1899 lo zoologo tedesco Carl Chun cattura il primo esemplare di Vampyroteuthis Infernalis o vampiro degli abissi, un mollusco marino lungo una decina di centimetri che vive nelle profondità degli abissi marini. Nello stesso periodo un dottore austriaco, Sigmund Freud, fonda una nuova disciplina, la psicoanalisi. Le forme di vita sottomarine vengono scandagliate al contempo di un’altra distesa inesplorata, quella dell’inconscio…

Research Interests:
Contemporary Art, Animal Studies, Visual Semiotics, Vilem Flusser, and Animals and non-humans

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Research Interests:
Contemporary Art, Abstract Art, and 20th century Italian art

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“what’s here is here now, only because of how it was then, and it won’t be this way forever” (Anne Reeve),
https://imagocv.hypotheses.org

Research Interests:
Geology, Visual Studies, Contemporary Art, and Anthropocene

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Steam was “the dream substance of childhood fantasies: visible, yet, in a way, immaterial, seemingly dematerializing what it engulfs, capable of being entered by a viewer, amenable to control, yet unpredictable in behavior when released", Joan Brigham 1977

“Steam works are events in which responses is undictated, in which a single view of reality is unintended” (Brigham, 1979).

A History of Cinema Without Names, “Exposing the Moving Image: the Cinematic Medium across World Fairs, Art Museums, and Cultural Exhibitions, Gorizia, March 1-3, 2018

Research Interests:
Film Studies and Contemporary Art

“When I was in California, I often visited the Death Valley. The idea came from there, but then in the painting it became something else. I only wanted to demonstrate the energy of the surface.”
Alberto Burri

Research Interests:
Italian Studies and Contemporary Art

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Research Interests:
Contemporary Art

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Program_Art_and_Presence5maj-ver2.pdf

Art-and-Presenceposter-and-call.pdf

Research Interests:
Contemporary Art

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Conference_presentations.pdf

Conference_Program_copy.pdf

En 1972, Pierre Restany promeut l’Operation Vésuve : un projet d’actions artistiques in situ, afin de transformer le sommet du Vésuve en Parc culturel international et réaliser le « mariage géopolitique de Naples et du Vésuve, de la ville et du volcan, de l’histoire et de la géographie, de l’homme et de la nature». Étaient conviés des artistes italiens, japonais et américains. Dans un moment de grande instabilité politique en Italie, le sommet du Vésuve devenait aussi, selon Restany, une « zone franche ». Avec cette intervention, 1) il s’agira de revenir sur le projet inaccompli et méconnu de Restany, en le contextualisant dans la réalité artistique et sociale des années soixante-dix à Naples et en Italie ; 2) en tenant compte de la morphologie particulière du volcan et du temps géologique propre à la porosité, il s’agira de considérer l’Opération Vésuve à travers l’approche non anthropocentrique de l’éco-critique.

Research Interests:
Contemporary Art and Environmental Studies

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“When we get into the question of what the image actually looks like, I use a lot of art-historical references as a way to suggest how contemporary forms of seeing (and not seeing) rhyme with other historical circumstances that artists have responded to. I look at a lot of abstract painting as a response to its historical moment.”,
Trevor Paglen to Julian Stallabrass, October, 138, novembre 2011

Research Interests:
Film Studies and Contemporary Art

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I vulcani costituiscono un fenomeno e un ecosistema singolare, sospeso tra materialità e atmosfera, tra la sostanza magmatica delle rocce porose e l’atmosfera nebulosa che segue le eruzioni. Storicamente limitati all’estetica del sublime, i vulcani – luoghi panoramici e simboli di cataclismi imminenti – sono anche al centro di ambiziose esperienze artistiche che sfidano lo spazio museale e necessitano uno spettatore visceralmente coinvolto. E’ il caso del Vesuvio, icona e piega dell’area napoletana. Mettendo la storia dell’arte alla prova delle “environmental humanities”, mi soffermerò in particolare su tre tentativi elementali di affrontare la tensione irrisolvibile tra l’elemento vulcanico e l’elemento acquatico propria del duplice genius loci di Napoli: 1) l’Operazione Vesuvio (1972-73) del critico francese Pierre Restany; 2) la mostra di sculture di lava Creator Vesevo (2008) dello scrittore Jean-Noël Schifano; 3) il film The Empirical effect (16mm., 2010) di Rosa Barba dove, secondo le parole dell’artista, “Il Vesuvio diventa una metafora dei rapporti complessi che esistono tra la società e la politica italiane”.

Research Interests:
Art History, Contemporary Art, and Environmental Studies

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Despite the Italian sculptor Corrado Feroci (alias Silpa Bhirasri, 1892-1962)
was pivotal to the promulgation of modern art in Thailand and South-East Asia, he remains a largely unknown figure. In 1923, by the request of King Rama VI to the Italian government, he left the Fine Arts Academy in Florence, where he studied and taught, and set out for Bangkok. Expected to spend there 3 years, he finally stayed for 39 years, until the end of his life...

Research Interests:
Art History, South-East Asia, Italian art, and Modernism

On the occasion of the International Surrealist Exhibition in London (July 1, 1936) the artist Salvador Dalì delivers the lecture “Authentic paranoid ghosts” (“Fantomes paranoiaques authentiques”) wearing a deep-sea diving suit. In this risky performance – and in the ensuing, unforeseen difficulties evoked in details in The Secret Life of Salvador Dalì – the artist offers a marvelous metaphor of the subconscious.
During the same years (June 1930-August 1934), the naturalist William Beebe and the explorer Otis Barton descended more than 16 times into the Atlantic ocean’s depths, in a small, steel submersible called the Bathysphere. This was the first real-life deep-sea expedition in the pelagic zone: “Together, Beebe and Barton would achieve what no one had done before – direct observation of life in the blackness of the abyss.”
In concomitance with Jakob von Uexküll’s biosemiotic researches on the invisible Umwelt of animals’ life, Dalì’s glass window helmet and Beebe’s Bathysphere eye-shape porthole are two attempts to make the abyss visible, be it the unconscious or the deep sea. This paper would measure their convergence.

Research Interests:
Art History, Media Studies, and Animal Studies

If asked what Modernism is in XXth century Italian art and culture, most Italian scholars would be puzzled. Far from being an established and widespread concept, Modernism is indeed an alien word. My project aims to offer new insights on Italian Modernism – that is post-war art and culture – through the concept of “porosity” that Walter Benjamin developed on the occasion of a long stay in Naples and the neighborhood during the 1920s.

Research Interests:
Art History, Italian art, and Modernism

"Lip through the 1960s television collaborated with the automobile in sustaining the dominant machinery of capitalist representation: in the virtual annexation of all spaces and the liquidation of any unified signs that had occupied them. The TV screen and car windshield reconciled visual experience
with the velocities and discontinuities of the marketplace. As windows, they seemed to open onto a visual pyramid of extensive space in which autonomous movement might be possible: instead, both were apertures that framed the subject's transit through streams of disjunct objects and affects, across disintegrating and hyperabundant surfaces." (Jonathan Crary, Eclipse of the Spectacle)

Research Interests:
Visual Studies, Art History, and Media Studies

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Research Interests:
Art History and Italian art

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En 1968 l’artiste italien Fabio Mauri (1926-2009) expose ses Cinema – multipli a luce solida à la galerie Mana Art Market de Rome. Ces sculptures en Plexiglas avec une lumière au néon à l’intérieur représentent proprement le faisceau de lumière de la projection cinématographique. Il s’agit ainsi d’une tentative de solidification de la lumière, de matérialisation d’un élément immatériel et changeant tel que la lumière. Dans cette exposition de la projection-projectile, l’image cinétique se transforme finalement en image plastique. Mauri considérait les Cinema a luce solida comme une “extroflexion cristallisée de l’écran”, un sujet central dans toute sa production : des monochromes des années cinquante (Schermi) au projections des films sur des objets ou des personnes des années soixante-dix1. En outre, la projection s’étalait entre le projecteur et l’écran autant que entre l’esprit et la réalité extérieure, selon une ambiguité entre projection et perception mentale qu’on retrouve dans les écrits de Mauri.
Après une première analyse des Cinema a luce solida dans le cadre de la production écranique de Mauri entre les années cinquante et soixante-dix, il s’agira de les considérer : 1) dans une histoire élargie de l’image projetée, signée selon Dominique Païni par une progressive invisibilité du dispositif mécanique de la projection et par l’illusionnisme des images en mouvement ; 2) dans une généalogie des technologies visuelles, récemment esquissée par Sean Cubitt (The Practice of Light. A Genealogy of Visual Technologies from Prints to Pixels) ; 3) dans un dépassement du cinéma proprement dit, en direction du paracinéma (Jonathan Walley), c’est-à-dire d’un cinéma non filmique, d’un cinématisme conceptuel réalisé en absence du médium, du matériel et du dispositif filmique traditionnels.

Research Interests:
Art History, Media Studies, and 20th century Italian art

Dans sa trilogie sur la théorie des médias, le philosophe tchèque Vilém Flusser explore le paysage médiatique et les nouvelles technologies de production et de diffusion des images. Cependant, ce paysage est hanté par une créature inquiétante : le Vampyroteuthis Infernalis, le calamar vampire qui vient de l’enfer. Au coeur du livre le plus curieux et le moins connu de Flusser, on retrouve un imperceptible mollusque marin découvert en 1899 par le biologiste allemand Carl Chun dans les abysses de l’océan. Les formes de vie sous-marine dans la zone pélagique et l’inconscient furent sondées simultanément.
Vampyroteuthis Infernalis (1988) est un roman et un traité scientifique, un reportage de science-fiction et un essai philosophique sur notre condition post-humaine, autant qu’un bestiaire marin du XXème. Il a été conçu en collaboration avec Louis Bec – « zoosystémiste » et directeur de l’Institut scientifique de recherche paranaturaliste – qui a enrichi le texte de 16 dessins inspirés librement des traits du calamar vampire.
Loin de présenter un récit scientifique de l’évolution des formes vivantes – des céphalopodes à l’être humain – l’intention de Flusser est plus radicale, explorant un territoire inconnu qui menace notre expérience dans le monde. Le monstre gélatineux est une figure radicale de l’altérité qui excède la subjectivité humaine à l’époque des sociétés post-industrielles.
Avec cette intervention on se propose de revenir sur le Vampyroteuthis Infernalis dans le cadre de la pensée de Vilém Flusser et de celui plus large de l’anthropocène.

Research Interests:
Art History, Media Studies, and Animal Studies

In his trilogy on media theory, Czech-born philosopher Vilém Flusser explored the mediascape and its innovative technologies of production and diffusion of images. However an alien creature looms over these books: the Vampyroteuthis Infernalis – the main character of his most peculiar book2. Making an abrupt turn typical of his way of thinking, Flusser brought to the fore the vampire squid from hell3. This minuscule marine mollusk, known only to few specialists, was discovered in 1899 by the German biologist Carl Chun in the abyss of the ocean. The undersea forms of life in the pelagic zone and the unconscious were fathomed simultaneously.
Vampyroteuthis Infernalis is a novel and a scientific treatise, a science-fiction report and a philosophical essay on our post-human condition, as much as a marine bestiary of the end of the XX century. It was conceived in collaboration with Louis Bec – “zoosistemiste” and director of Institut Scientifique de Recherche Paranaturaliste – who embellished the text with 16 visionary drawings freely inspired by the features of the vampire squid.
Rather than presenting a scientific account of lifeforms evolution – from cephalopod to the human – Flusser’s intention is more malicious: hovering between art and science, he explores an uncharted territory that threatens our experience in the world. This gelatinous marine monster is a radical figure of alterity that exceeds human subjectivity, unveiling our anxieties in post-industrial societies.
Jean Painlevé realized several scientific films on crustaceans that had a profound impact on Surrealists and cinema critics such as André Bazin. The hypothetical influence of Flusser’s Vampyroteuthis Infernalis, still largely unrecognized, is what this paper attempts to establish.

Research Interests:
Art History, Media Studies, and Animal Studies

This paper aims to reassess an overlooked project by Italian artist and writer Fabio Mauri, Language is War (1975). This book reproduced 116 black-and-white photographs on World War II and other violent events. Largely taken from English and German magazines and journals, it lacks chronological order, captions or additional commentaries. However, Mauri decontextualized, cropped and rubber-stamped each image with the inscription “Language is War”. Giving to these war images the status of official documents, it was as if they emerged from a secluded archive and not from the public media sphere.
The images were subsequently exhibited as photo installation – the archive and the atlas were thus both operating in Mauri’s practice. Moreover, on the same year, he started projecting films on objects and bodies.
With this threefold operation – the printed book, the photo installation and the projection series – Mauri tackled the correspondences between visual sphere and power.

Research Interests:
Art History, Contemporary Art, and Italian art

“In quanto colonizzatori del mondo, vogliamo che tutto ci parli, gli animali, i morti, le statue. E queste statue qui sono mute. Hanno delle bocche e non parlano. Hanno degli occhi ma non vedono." (Les statues meurent aussi, documentario... more

Research Interests:
Art History and Museum Studies

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“La realtà stessa diventa costantemente più colorata. Pensi a come erano le fabbriche, specialmente in Italia all’inizio del XIX secolo, quando cominciava appena l’industrializzazione: grigie, marroni e fumose. Il colore non esisteva. Oggi, invece, quasi tutto è colorato. Il tubo che va dallo scantinato al dodicesimo piano è verde perché porta vapore. Quello che porta l’elettricità è rosso e quello dell’acqua è viola. Inoltre, i colori della plastica hanno riempito le nostre case, addirittura rivoluzionato il nostro gusto. La pop art è nata da questo ed è stata possibile a partire proprio da questo cambiamento di gusto." (Michelangelo Antonioni)

Research Interests:
Art History, Film Studies, Italian art, and Italian Film

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In 1965 the Roman and leftist director Elio Petri directed La decima vittima, an eccentric and so far underrated case of an Italian distopian science-fiction movie, whose script was based on american Robert Sheckley’s 1953 short story Seventh Victim. As Petri declared, this was “a pop film”, “a collage on americanism”, where America was considered as “a background, a decor”: “It was not a film on America but on americanism, that is, on the brutality of inter-subjective relationships”. Along with these explicit political stances, La decima vittima is a visually flamboyant film, its futuristic atmosphere being deeply influenced by Italian pop artistic painting and artistic practices that were flourishing in Rome in the mid-sixties. It is not by chance that Petri also realized a not achieved documentary on Jim Dine. Unsurprisingly, La decima vittima had an impact on american artists such as Dan Graham and especially Robert Smithson, who visited Rome twice, in 1961 and in 1969.
Hovering between art history and film studies, between painting and screen, this paper will insist on the specific visuality of Petri’s La decima vittima and its
coalescence not only of sci-fi and pop but also of modernism and pop, an unresolved one. Admittedly, the history of post-war Italian art makes rarely recourse to modernism, a widespread historical narrative in English-speaking milieu, what needs to be considered when transatlantic issues are at stake. “In Italy, a country impoverished even of science, we view science fiction as imported goods: in Italy the future hasn’t begun, we are still liquidating feudal residues; and when we prophesy about what will happen the day after tomorrow our imagination is left at the post” (Tullio Kezich).

Research Interests:
Art History, Film Studies, Italian art, Italian Cinema, and Modernism

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“Peut-être qu’au lieu de faire une mauvaise œuvre révolutionnaire, il vaut toujours mieux faire une œuvre la plus négative possible, une œuvre qui veuille détruire. […] au mieux, on peut arriver à jouer les charognards d’un monde en pleine autodestruction, et c’est tout. […] Pleurer sur le personnage, l’aliénation de l’individu, la destruction du monde – très bien, mais il n’y a jamais de solutions. Le suicide cinématographique n’est pas interdit.” (Marco Ferreri)

Research Interests:
Art History, Film Studies, and Italian Cinema

“It is as if Bob took the rational, Faustian dream of man ordering nature into a re-found and progressive Eden, and knowing its futility he sought instead to build some corners of hell here and there” (Carl Andre on Robert Smithson)

Research Interests:
Art History, American art/ Art of the United States, and Modernism

L’icona infinita indica una nozione che resta da costruire, in cui si convogliano alcuni tratti specifici dell’arte astratta, del monocromo e del minimalismo, per come furono pensati e visti da Panza di Biumo, nei suoi scritti e nelle interviste, nelle installazioni di villa Menafoglio e nelle mostre all’estero della sua collezione. In questo pensiero complessivo – che include ovvero gli scritti, le interviste e le scelte espositive – l’astrazione viene considerata all’interno di quella che propongo di chiamare appunto icona infinita. Ne evocherò brevemente quattro elementi.

Research Interests:
Art History, Modernism, and 20th century Italian art

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Is Cinema a Modernist Art?

Research Interests:
Art History, Film Studies, and Modernism

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“[Si può essere avventista del settimo giorno, ecc. (ovvero un sé scisso dal mondo). Secondo me non è vero: io abito sulla sesta Avenue, dipingo sulla 63sima strada, subisco l’influsso della televisione, ecc. ecc. (ovvero diverse... more

Research Interests:
Aesthetics, Art History, Film Studies, Contemporary Art, Abstract Art, and 2 moreAmerican art/ Art of the United States and Modernism

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“les livres n’ont plus l’air de livres” (T.W. Adorno, 1959)

Research Interests:
Art History and Media Studies

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In October 1969, on the occasion of his second trip to Italy, American artist Robert Smithson (1938-1973) realized Asphalt Rundown in Capa di Selce, an abandoned gravel and dirt quarry in the outskirts of Rome. This was his first pouring, a site-specific outdoor intervention. On the top of a jagged hill, a liquefied and viscous fluid of black asphalt was poured down from a dump track. Only the force of gravity controlled the shape assumed by the asphalt dispersal and collapse, as the ceaseless metamorphosis of this moldable material. As Nancy Holt aptly put it, this outdoor dripping was “entropy made visible” or, in Smithson’s own words, a “sedimentation of the mind”. A map of the site and a series of photographs (exhibited for the first time at the gallery L’Attico in Rome) were the sole documents of this earthwork, all within Rundown, a film by Bob Fiori. In this paper, I will examine Asphalt Rundown visual output through the geological notion of porosity.

Research Interests:
Art History, Film Studies, American art/ Art of the United States, and Modernism

“Dillinger peut servir à vingt personnes… Je fais un cinéma qui ensuite est vu et apprécié par les milles personnes que je déteste le plus, parce que ce sont toutes des petites castes, d’hommes cultivés, ceux des galeries, des cinémas d’essais, les clans, les gens les plus odieux en somme, qui me sont les plus antipathiques… Mon prochain film [La semence de l’homme] sera, justement à cause de ça, un film à mon ancienne manière, bien plus provocateur ; je vais faire un cinéma de mauvais goût, voilà. Je ne sais même pas si c’est la bonne voie.” (Marco Ferreri)

Le 25 avril 1947, peu avant sa mort, Artaud répond au peintre Hartung, qui souhaite illustrer ses œuvres, une lettre visionnaire qu’on connaît trop peu. L’heure approche, écrit-il, des bidons de pétrole auxquels réellement on fout le feu. Artaud, sur le tard, est ce prophète de malheur qui nous révèle d’un mot la face cachée de l’apocalypse, plus actuelle que jamais. Ce workshop d’une espèce inédite n’est pas un colloque sur Artaud, lequel n’est ici qu’un fantôme, qui est à la fois partout et nulle part. C’est une expérience collective de réflexion critique, où ce qui compte n’est pas le savoir, mais le questionnement. Chacun des intervenants, que la lettre inspire, se propose ici d’en mesurer l’écho dans le champ de ses propres recherches : ce qu’elle y produit d’effets en tout genre. Il s’agit en fait de penser le monde après Artaud. Et ce brassage ambitieux d’idées et d’images, dont la diversité donne le vertige, est un salubre exercice d’anthropologie culturelle au seuil des ténèbres qui nous sont assignées.

Research Interests:
Art History and Italian Cinema

And 9 more

Seminars

Research Interests:
Contemporary Art, Painting, Italian art, and Fluxus

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More Info: L'enregistrement de la journée est disponible sur le site du Fresnoy: https://www.lefresnoy.net/fr/evenement/nuage-pourpre

Research Interests:
Anthropology, Contemporary Art, and Anthropocene

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Presentazione del Libro “I baffi del bambino. L’arte che è e che verrà” (Quodlibet). Luca Bertolo si confronta con dei nuclei tematici ben precisi, come il rapporto tra arte e politica o lo statuto della pittura contemporanea nel contesto... more

Research Interests:
Contemporary Art and Painting

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http://icamilano.it/it/public-program/susanne-franco-danza-musica-partecipazione

Research Interests:
Performing Arts and Contemporary Art

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Research Interests:
Contemporary Art

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Secondo appuntamento del public program "The Mind isa Muscle. Danza e arti performative" giovedì 5 dicembre 2019 alle ore 18.00.
"Cammino quindi sono": i gesti ordinari del Judson Dance Theater con Rossella Mazzaglia, esperta di storia della danza e docente di Discipline dello Spettacolo all'Università di Messina e all'Università di Bologna. Ogni incontro del public program si articola attorno a una parola suggerita dall'invitato. Per questo appuntamento il concetto chiave è il Quotidiano, per sottolineare come la danza contemporanea abbia assimilato nel tempo i gesti quotidiani, decostruendo i codici ereditati dal balletto e dalla danza moderna. È nei primi anni Sessanta che il gesto quotidiano irrompe nella danza rappresentando uno strumento di rottura, segno della contro cultura che avanzava sotterranea, spingendosi oltre i limiti ammessi dalla società.In questo contesto Simone Forti insieme a Yvonne Rainer, Steve Paxton e Trisha Brown sono alcuni tra i protagonisti di quel cambiamento che trae le sue radici dai desideri e dalle urgenze comuni di quegli anni, dalle collaborazioni e dagli scambi con compositori, artisti visivi, attori e registi come John Cage, Robert Morris, Robert Rauschenberg, Fluxus e il Living Theatre.
L'incontro si inserisce nell'ambito del public programThe Mind is a Muscle. Danza e arti performative, un calendario di incontri e conversazioni con scrittori, curatori ed esperti di varie discipline, che da novembre2019 ad aprile 2020 o[re riflessioni e momenti di approfondimento sulle tematiche della danza e della performance dando vita a un fil rouge tra le mostre di Masbedo, Simone Forti e Charles Atlas in programma durante la stagione invernale negli spazi dell'istituzione. Il titoloThe Mind is a Muscle vuole essere un omaggio a una delle performance più innovative della danzatrice, coreografa e filmmaker americana Yvonne Rainer e alla fertile stagione degli anni Sessanta di cui è stata protagonista SimoneForti.

Research Interests:
Performance Studies and Contemporary Art

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Primo incontro di The Mind is a Muscle, public program della Fondazione ICA Milano a cura di Riccardo Venturi ICA Milano presenta The Mind is a Muscle. Danza e arti performative

Research Interests:
Dance Studies, Contemporary Art, and Performance

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Deadline for submissions: January 15th, 2019. Notification of acceptance: February 28th, 2019. Please provide a title, an abstract of 350 - 450 words in length, a short biographical note of no more than 100 words, a CV, your institutional affiliation (if any), reference letters from supervisors, a list of publications, etc. Please submit your proposal uploading all documents as one PDF file at the following link: http://www.ciha-italia.it/florence2019/2018/04/07/upload-your-paper/
More info: http://www.ciha-italia.it/florence2019/ciha-florence-2019/

Publication Date: 2018

Research Interests:
Art History, Environmental Humanities, and New Materialism

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Dérèglement climatique, acidification des océans, sixième extinction massive, dégradation des sols, épuisement des énergies fossiles, explosion démographique... Le temps du constat est derrière nous, l’Anthropocène n’est pas la fin des temps mais un temps de la fin.
Nous n’arrivons pas à croire ce que nous savons et nous assistons à l’effondrement, hébétés et impuissants. Pourquoi alors le souci du monde et notre capacité à imaginer la fin – inquiétudes légitimes – ne sont-ils pas des leviers suffisants pour une mobilisation générale ?
Mettant en commun philosophes et scientifiques, militants et artistes, ce chantier est l’occasion d’échanger sur les stratégies à adopter pour inventer d’autres représentations, récits et pratiques : reconstruire le regard.

Research Interests:
Contemporary Art and Anthropocene

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Geology has been a topic of interest and attraction for artists, at least since JMW Turner’s geological sublime, as it was famously put forward by John Ruskin. During the 1960s, a time of cybernetics, technological upheaval and subsequent reshaping of our relations to time and space, Robert Smithson
suggested the notion of abstract geology, tracing connections between geological, body and mental processes.
In the 1960s and 1970s, what artists found particularly fascinating in the aesthetics of geology was the challenge of its double invisibility: on one side, the relation to ‘deep time’ threatened the three classical temporal dimensions within which we arrange our life experience, i.e., past, present and future; on the other the withdrawal of visibility made it a complex object to imagine and visualise. An Earth Science, with its unyielding remoteness and inert temporality, geology has become today a model for the material conditions of our contemporary life. In the digital and anthropocene era, and in the midst of an irresolute – and politically undermined – relation between Gaia and anthropos, natural history and human history, several artists deal with geological imagination.
Enhancing the still unexploited convergences between the history of contemporary art and the politics of ecology, between visual humanities and environmental humanities, the session aims to explore the multiple ways artistic projects, art historical research, exhibitions and curatorial practices focus on the challenges posed today by the geological turn beyond anthropocentric humanities.

Research Interests:
Geology, Aesthetics, Contemporary Art, and Anthropocene

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Organisé dans le cadre du programme de recherche « Art contemporain, cinéma, médias » du domaine Histoire de l’art contemporain de l’INHA en partenariat avec l'université Paris 3 Sorbonne-Nouvelle / LIRA (Laboratoire International de Recherches en Arts), la Goethe-Universität Frankfurt-am-Main, la Ruhr-Universität Bochum et l'IKKM-Weimar.

Dans une certaine mesure, les usages des termes « médium » et « média(s) » sont encore organisés aujourd'hui autour d’un strict partage théorique et disciplinaire : d’un côté, l’étude des médiums – les médiums artistiques entendus comme ensembles de supports, techniques et dispositifs de représentation étudiés, par exemple, par l’histoire et la théorie de l’art et du cinéma – et, de l’autre, l’étude des médias entendus au sens de mass media – les moyens de communication de masse abordés par les sciences de l’information et de la communication.

Cependant, depuis une vingtaine d’années on constate l’essor d’un vaste champ de recherche, ouvert et transdisciplinaire (pensons à la Medienwissenschaft allemande, aux media studies anglophones, aux études médiatiques canadiennes, ou encore à la médiologie et aux travaux sur les appareils et la philosophie de la technique en France) qui concerne l’ensemble des médiations se manifestant à l’intérieur d’un contexte culturel donné : les conditions de possibilités technico-matérielles de toute forme de perception et d’expérience, de représentation et de communication, d’enregistrement et de transmission.

Le développement dans l’art contemporain de pratiques artistiques qui se situent à la croisée de plusieurs médiums (intermedia, mixed media, multimedia) ou qui ont recours aux « nouveaux médias », tout comme dans le domaine du cinéma le passage de l’argentique au numérique et l’apparition de nouveaux dispositifs et de nouvelles formes de captation, de manipulation, de visionnement et d’archivage des images en mouvement, ont précipité la nécessité de repenser ce qu’est un médium. Face à un panorama artistique, cinématographique et technologique en constante transformation, ce colloque se propose de rouvrir la question de la définition du médium en interrogeant la distinction entre « médium » et « média(s) ».

Pour cela, il convient d’opérer un retour sur les différentes significations et connotations qui ont été attribuées au terme d’origine latine « médium » dans le cadre d’une longue généalogie qui a ses racines dans les notions aristotéliciennes de metaxu et de diaphanes et trouve ses points focaux au XXe siècle dans les écrits de László Moholy-Nagy et Walter Benjamin, Rudolf Arnheim et Clement Greenberg, Marshall McLuhan et Friedrich Kittler. Il s’agit ainsi de faire un état des lieux de la recherche actuelle sur ces questions en contribuant simultanément au décloisonnement entre les disciplines de l’histoire de l’art, des études cinématographiques et audiovisuelles et de l’histoire et de la théorie des médias.

Organisation :
Larisa Dryansky, INHA/université Paris-Sorbonne
Oliver Fahle, Ruhr-Universität Bochum
Vinzenz Hediger, Goethe-Universität Frankfurt-am-Main
Antonio Somaini, université Paris 3 Sorbonne-Nouvelle/LIRA (Laboratoire international de recherches en arts)
Riccardo Venturi, INHA

To a certain extent, there is still today a tendency to distinguish the terms “medium” and “media” following a strict theoretical and disciplinary divide: on the one hand, the study of mediums, that is, artistic mediums understood as the material supports, techniques, and forms of representation studied by the history and theory of art and cinema, and, on the other hand, the study of media in the sense of mass media, that is, the means of mass communication addressed by communication and information studies.

However, over the past twenty years, an important new field of research has emerged that addresses all forms of mediation occurring within a given cultural context. Transdisciplinary and open to a variety of methodological influxes, this expanding field, better known as Medienwissenschaft or media studies, looks at the technical and material conditions of all forms of perception and experience, representation and communication, as well as the different cultural techniques implied in the production of meaning, overcoming thereby the distinction between “medium” and “media”

The development within contemporary art of practices that combine different mediums (multimedia, mixed media) or move between and across mediums (intermedia, transmedia), just as, within the field of cinema, the transition from film to the digital, and the rise of new modes of recording, manipulating, and viewing moving images, have made it necessary to rethink what a medium actually is. Responding to an artistic, cinematographic, and technological landscape in constant flux, this conference seeks to investigate the definition of what a medium is by questioning the rigid distinction between “medium” and “media”.

In order to do so, it is important to consider the various meanings and connotations ascribed to the latin-derived word “medium” within a long genealogy that can be traced back to the Aristotelian notions of metaxu and diaphanes and that finds its key moments in the 20th century with the writings of László Moholy-Nagy and Walter Benjamin, Rudolf Arnheim and Clement Greenberg, Marshall McLuhan and Friedrich Kittler. Seeking to present the most recent research on these topics, this symposium aims at the same time to contribute to the dialog between the disciplines of art history, cinema studies, and media studies.

1. Medium, Specificity, Modernism
In the field of art history, the notion of “medium” is often used with reference to the geographically as well as theoretically circumscribed notion of “medium specificity” such as it was defined by Clement Greenberg’s formalist modernism. This is true even of attempts to transcend this model, several of which demonstrate in fact a return to modernist issues that appeared to have been discarded. Similarly, in the context of cinema studies, there is today a revived interest in the notion of medium specificity put forward most famously by Rudolf Arnheim, Siegfried Kracauer, André Bazin, and Robert Bresson, while in the field of Medienwissenschaft there is a new discussion about the way in which the reference to one specific medium (photography, film, radio, television) determines the production of an overall theory of media. To what extent is the medium a modernist concept? What is the current relevance of the notion of a strict compartmentalization of artistic mediums? How may we address the historical and cultural foundations of this notion? Particularly welcome are proposals for papers addressing approaches not limited to the American context.

2. Medium, Milieu, Environment

The understanding of the medium as a technical instrument or channel of communication, as well as the theories of medium specificity within the fields of art and film theory, have relegated to the background the concept of the medium as an intermediary entity or ambient space: a milieu, or an environment. However, this idea has gained new currency in contemporary art and cinema, starting with the “environments” of postwar art, Op and kinetic art, as well as with expanded cinema and video installations. This conception of the medium belongs to a long genealogy that has its origin in Aristotle’s philosophy, and that has known various developments among modern thinkers: in the theoretical biology of Jakob von Uexküll (with his notion of “Umwelt” ), in László Moholy-Nagy's idea of “light as a plastic medium of expression,” in Fritz Heider’s distinction between Medium and Ding (later reformulated by Niklas Luhmann in terms of a distinction between Medium and Form), in Benjamin’s understanding of the relation between the technical Apparate and the “medium of perception,” in McLuhan’s understanding of media as “environments,” as well as in the contemporary “meteorological,” “physical,” and “geological” approaches to media. This section considers works that explore the materialities and the densities of the medium conceived as an intermediary region, extending in space and plastic, capable of conditioning our forms of perception and experience.

3. Medium, Materialities, Gesture
Rethinking the notion of medium by exploring its long history and its several genealogical lines leads to a reconsideration of what is meant by matter and materiality in reference to art and cinema. How does the study of the technical networks that structure the recording, processing, and storing of knowledge and information (Kittler's Aufschreibesysteme) or that of the “cultural techniques” whose operations constitute the fabric of culture, help us understand in a new way the materialities and the technical dimension involved in artistic practices ? In which way do such approaches help us reconsider the idea of the immateriality of so-called “new media” ? Do the new materialities and techniques at work in contemporary artistic practices determine the development of new positions and gestures on the side of both the artist and the spectator ?

4. Medium, Memory, Transmission
After considering the archaeology of the concept of medium and how it contributes to the history and theory of contemporary art and cinema, this section considers the archaeology of media proper. How does the new approach known as media archaeology shed light on artistic practices and cinematographic and audiovisual forms that engage with the temporality of media and the way in which they record, process, and transmit cultural memory? How do contemporary artists and filmmakers depict the radical changes affecting the access to this memory and the places, forms, and technics of archiving such as the library and the book?

Research Interests:
Art History, Media Studies, Film Studies, and Contemporary Art

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Research Interests:
Art History and Film Studies

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Le champ de recherche connu en anglais sous le nom de « media archaeology » et en allemand sous celui de « Medienarchäologie » s'est imposé ces dernières années comme un des plus stimulants et des plus féconds pour ce qui concerne la théorie, l'histoire et l'esthétique des médias, et ce notamment dans le cadre des études cinématographiques et audiovisuelles. Les « médias » sont ici envisagés non seulement comme moyens de communication de masse (les « mass-media »), mais surtout comme formes de médiation matérielle et technique. Les travaux dans ce domaine – dont beaucoup, non traduits, restent peu diffusés en France – font référence au modèle épistémologique de l'archéologie dans toutes ses variantes (de la fouille à la « description de l'archive » foucaldienne) afi n d'étudier la perception, la représentation, la mémorisation et la transmission dans leurs aspects historico-techniques. Le double objectif du séminaire « Archéologie des médias et histoire de l'art » est, d'un côté, de rassembler certains des protagonistes, tant au niveau français qu'international, de ce domaine de recherche, et, de l'autre, d'en analyser les rapports avec l'histoire de l'art. Il s'agira de réfl échir sur la façon dont l'histoire de l'art a servi de modèle pour certains travaux menés dans ce cadre, et également à la manière dont cette approche permet d'ouvrir de nouvelles perspectives à l'intérieur de l'histoire de l'art elle-même. Il conviendra aussi d'aborder des oeuvres d'art contemporain qui se présentent comme une forme d'archéologie des médias et en même temps de situer l'art dit des « nouveaux médias » dans une généalogie plus longue.

Research Interests:
Art History, Media Studies, and Film Studies

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Dans son dernier fi lm, Adieu au langage (2014), Jean-Luc Godard fi lme longuement deux personnes en train de manipuler et de se montrer leurs téléphones portables respectifs. Ce fi lm en 3D atteste que les images se trouvent prises dans de nouveaux usagess: nous les produisons de plus en plus facilement, nous les manipulons aussi au sens où nous les faisons défi ler, les agrandissons ou les réduisons en touchant du doigt les écrans de nos tablettes et téléphones. Pour ce deuxième volet du séminaire Ecrans exposés, nous étendrons notre typologie des écranss: urbains, mobiles, mais aussi écrans installés dans les galeries et les musées. Nous continuerons à nous interroger sur ce que cette prolifération et cette diversifi cation des écrans modifi ent dans notre appréhension des images, dans une démarche où se croiseront histoire de l'art et histoire du cinéma.

Research Interests:
Art History, Media Studies, and Film Studies

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“Mon homme de douleur est paralysé dans une agonie divine, incapable d'exploser dans des Ismes faciles. Cela crée une tension presque insupportable. Je suis un artiste moderne mourant de modernisme” (Robert Smithson)

“My Man of sorrow is paralysed in a Divine agony, unable to explode into some cheap Ism. This creates an almost unbearable tension. I am a modern artist dying of Modernism” (Robert Smithson)

Research Interests:
Art History, American art/ Art of the United States, and Modernism

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La dimension cinématographique de l’œuvre de Joseph Cornell apparaît tardivement dans les expositions et la bibliographie qui lui sont consa- crées. Avant 1975, on étudie en effet ses célèbres boîtes, ses collages, mais pas vraiment davantage. C’est la reconnaissance par les artistes, auteurs, et acteurs du cinéma expérimental, au tournant des années 1970, qui va contribuer à favoriser un changement dont on peut apprécier les premiers apports innovants en termes de recherche scien- tifique au début des années 2000. La réception de l’œuvre de Cornell dans le champ du cinéma expérimental représente donc un enjeu fondamen- tal pour reconsidérer cette œuvre et ses enjeux du point de vue historiographique, esthétique et théorique. C’est par ailleurs en 1971 que l’artiste donne à l’Anthology Film Archive de New York sa collection de films, ainsi que l’ensemble de ses œuvres filmiques. Jonas Mekas et Stan Brakhage ont joué ici un rôle important. Aussi, conviendra-t- il dans un premier temps, de partir de ce moment historiographique qui fait sens pour ouvrir le col- loque, puis de remonter dans le temps afin d’ap- préhender la relation spécifique établie par Cornell avec le cinéma envisagé dans ses différentes oc- currences dès les années 1930.

Research Interests:
Art History, Film Studies, American art/ Art of the United States, and Modernism

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Journée d’études internationale qui s’est tenue le 27 mars 2014 au LaM (Musée d’Art moderne, d’Art contemporain et d’Art Brut), à Villeneuve d’Ascq. Lors de cette journée, il s’agissait de questionner sous un nouvel angle le statut des écrans en partant cette fois du point de vue d’artistes qui travaillent directement à partir d’écrans ou incluent une réflexion sur ses dispositifs dans leur pratique.

Research Interests:
Art History, Film Studies, and Contemporary Art

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À partir de la notion d'écran exposé, ce séminaire cherche à mettre en avant la convergence et les processus d'hybridation entre le cinéma, l'art contemporain et les médias pris dans une perspective archéologique. Plus précisément, il s'agira de s'intéresser à la notion d'écran, en en retraçant la généalogie, en s'interrogeant sur leur nature, format et mise en espace : des écrans pré-cinématographiques à celui du téléphone portable, en passant par les écrans multiples des installations. Ce sont donc également les nouvelles pratiques et les nouveaux usages de l'image via un écran qui seront ici questionnés. Élément constitutif des salles de cinéma, puis des installations dans les galeries d'art, l'écran, aujourd'hui, est en effet partout jusqu'à devenir partie intégrante de notre expérience quotidienne. Cette prolifération et l'élargissement de son champ obligent à décloisonner les disciplines et leurs méthodologies afin de repenser l'écran et ses dispositifs, le régime d'images ainsi que la manière de regarder qui lui sont liés. En croisant les approches – histoire de l'art et histoire du cinéma, esthétique et archéologie des médias –, ce séminaire voudrait ainsi participer à une réécriture de l'histoire des images en mouvement aux 20 e et 21 e siècles.

Research Interests:
Art History, Media Studies, and Film Studies

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L’atelier Clark-INHA est organisé conjointement par le Clark Art Institute (David Breslin, qui a remplacé Aruna D’Souza) et l’INHA (Philippe Sénéchal). Le premier atelier « Iconology Today » et le deuxième « What is connoisseurship ? » se sont tenus à Williamstown, Massachusetts, en 2007 et 2008 ; le troisième, intitulé « Description » et le quatrième, « Regarder l’art contemporain avec des yeux entraînés sur le passé » ont eu lieu à la Fondation Hartung Bergman, à Antibes, en 2009 et 2011. Le cinquième séminaire s’est déroulé également à la Fondation Hartung Bergman, du lundi 15 à vendredi 19 juillet 2013.
Les chercheurs invité par le Clark étaient : Darby English, le nouveau Starr Director of the Research and Academic Program au Clark Art Institute ; Michael Ann Holly, Starr Director of the Research and Academic Program au Clark Art Institute ; David Joselit, professeur à CUNY University ; Keith Moxey, Barbara Novak, Professor and Chair of Art History au Barnard College, New York ; Michael S. Roth, Président de la Wesleyan University ; et Mariët Westermann, Vice-Présidente de la Andrew W. Mellon Foundation.
Les chercheurs invité par l’INHA étaient : Pierre Leguillon, artiste ; Philippe-Alain Michaud, conservateur responsable des collections cinématographiques du Centre Georges Pompidou, Paris ; Philippe Sénéchal et Riccardo Venturi, pensionnaire à l’INHA.
François Hers, le directeur de la Fondation Hartung Bergman, et Xavier Douroux, codirecteur du Consortium et fondateur des Presses du réel, ont également participé au séminaire.
Les chercheurs invités par le Clark et l’INHA – un groupe dont les spécialités couvraient l’étendue de l’histoire de l’art – se sont réunis durant quatre jours de discussion et de débats, travaillant ensemble sur un même corpus hétérogène de textes, images ou vidéos, explorant des points épineux mais essentiels concernant des choix d’écriture de l’histoire de l’art, dans le but de parvenir à certaines conclusions individuelles ou collectives.
Le corpus de textes discutés comprenait des extraits de : Giorgio Agamben sur le dispositif ; Wendy Hui Kyong Chun et Thomas Keenan sur le passage du multimédia aux nouveaux média ; Alexander R. Galloway sur le rôle de l’interface ; Oliver Grau sur la relation entre histoire de l’art et media studies ; David Joselit sur les enjeux de l’art contemporain ; Friedrich Kittler sur l’archéologie des médias ; Alan Liu sur les digital humanities ; Lev Manovich sur les nouveaux média ; W.J.T. Mitchell et Mark B.N. Hansen sur le médium dans sa relation avec la mémoire ; et D.N. Rodowick sur les cinema studies.
Cet atelier a permis à des chercheurs européens et nord-américains de travailler ensemble sur le thème « When Images Meet New Media / Quand les images rencontrent les nouveaux médias », ou sur la manière dont l’histoire de l’art et les pratiques artistiques sont influencées, mises en œuvre et modifiées par les nouveaux médias.
Alors que les travaux de ses dernières années se sont concentrés sur les transformations des sciences sociales à l’ère numérique, ces rencontres ont envisagé ces questions au-delà d’un usage strictement utilitaire des nouveaux médias. À partir de ce constat et de l’argument de Frederick Kittler selon lequel l’innovation technologique modifie de façon décisive la subjectivité humaine, ces dialogues ont situé les nouveaux médias comme des dispositifs favorisant la réflexion philosophique sur la discipline de l’histoire de l’art, les notions d’objectivité et les théories de la perception.
Les discussions ont abordé des questions comme : le déterminisme technologique, l’optimisme technologique, la trace à l’époque numérique, la question de l’inscription, de la matérialité, de l’enchantement, de la mémoire, du corps, de l’écran, du futur des médias anciens et du « futur du passé ». Si la perception est entendue comme le va-et-vient qui nous permet de considérer de manière plus critique la nature des interactions entre sujet et objet, et si les nouveaux médias constituent de nouvelles formes d’objectivation du monde, comment, dans cette perspective, les images nous situent-elles ? Pourquoi sommes-nous fascinés par l’apparente originalité des manières dont les nouveaux médias nous permettent de comprendre notre situation ? Remplacent-ils ou s’ajoutent-ils aux ressources déjà existantes ?

Research Interests:
Aesthetics, Art History, Media Studies, and Film Studies

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This symposium focuses on the issues of perception and consciousness within Expanded Cinema. The term “Expanded Cinema” covers a variety of experimental practices in the fields of film, video, and new media that emerged in the United States in the 1960s before spreading to Europe and the rest of the world. Over the past decade, several exhibitions and publications have begun to examine Expanded Cinema from the perspective of art history in a move representative of the discipline’s extension to encompass moving images and live performance. These investigations have started to bring to light Expanded Cinema’s historical contribution to the dismantling of high modernism. In particular, they have shown how Expanded Cinema explored questions relating to site and medium, challenging both the model of the film theater and that of the “white cube,” as well as the Greenbergian notion of medium-specificity. However, there has been comparatively less attention devoted to the psychic, mental, and perceptual aspects that were a crucial concern of the early practitioners and theoreticians of Expanded Cinema. This symposium intends to examine notions such as “spiritualization of the image” (Jonas Mekas, 1964), “expanded consciousness” (Gene Youngblood, 1970), and “visionary cinema” (P. Adams Sitney, 1974) that were attached to Expanded Cinema in the 1960s and ’70s. The aim is to recover the original meaning and specific social and political context of the aspiration to create “mind-manifesting” art through the use of film, video, and new image processing technologies. Beyond the tropes of psychedelia, this discourse reflects an important shift away from representation toward a direct engagement with perception and consciousness. In this respect, Expanded Cinema heralds the increasing focus of contemporary artists and art historians on the perceptual and cognitive aspects of the viewer’s experience.

Research Interests:
Aesthetics, Art History, Media Studies, Film Studies, and Contemporary Art

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Purpose: This symposium celebrates the 10th anniversary of the Terra Foundation’s Summer Residency program in Giverny. As a tribute to the Foundation’s mission to foster exploration of American art across national boundaries, “Geographies of Art: Sur le Terrain” examines the state of the field of American Art in a global context. For three days, participants will explore the cultural and conceptual implications of such a context through papers and dialogue that provide international perspectives and encourage lively exchange—the two foundational premises of the Terra Summer Residency. The event will include artists and art historians who are alumni of the program, as well as other prominent scholars in the discipline. By including both artists and art historians, this symposium will reflect the vital and unique opportunity offered by the Residency: a site where practitioners and historians of art can interact and collaborate. In honour of this interdisciplinary and international model, the conference seeks to “put on the table”—as the French phrase suggests—the concept of a “geography” of American art.
Themes: The conference will aim to address a number of broad questions, with each day shaped to more specifically reflect on issues of “geography” and art. What is the relationship between American art and physical place? How has the “terrain” of American art shifted in the last ten years, and in what directions are artists and art historians moving in today? How have international perspectives changed the questions that scholars ask and the methods that they use?
The conference will begin with an evening keynote address given by Darcy Grimaldo Grigsby of the University of California, Berkeley, and then continue on the second day with two panels on the theme of “Terra Firma/Terra Incognita.” Art history has traditionally employed formal geographic descriptions from its own field, such as “horizon” or “landscape,” to explore conceptions of nation and territory derived from the social sciences. These spatial metaphors often result in accounts of artistic exchange between Europe and America based on conflict and competition. “Terra Firma/Terra Incognita” aims to offer a more nuanced account of transatlantic dialogue, covering not simply a geographical space but also a mental topography. This reconsideration of space proposes a related discussion of time, and anachronism’s role in an artwork. The two panels on this day will address geography’s disciplinary affinity with art history and how artistic practice can play a crucial role in making otherwise unknown spaces of “America” visible. Panelists in the morning will address different centuries, media, and concepts of time and space in American art. Panelists in the afternoon will be invited to reflect on the role of gender in constructing, or challenging, a geographical narrative of American art.
The third day will feature one panel and a roundtable discussion. The panel will be on the topic of “Translatitudes.” For many artists, working in a new location, taking up residence in another country, separating themselves from a familiar community and landscape—a literal shift in latitude—becomes the foundation of artistic production. Physical distance can facilitate a rupture with tradition, provoke memory, and reveal unexpected connections between different cultures. This day’s panel explores geographical movement as a conceptual catalyst for creativity, not only across oceans but also across borders and languages. We will embody our own small latitudinal shift when we travel from Giverny to Paris in the morning to conclude the conference in the new Terra facilities there. The roundtable at the end of the day will further consider the themes and questions proposed by the conference and the speakers, while allowing further chance for all participants to engage in discussion and debate.

Research Interests:
Art History and American art/ Art of the United States

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