{"id":24174,"date":"2022-03-31T17:15:41","date_gmt":"2022-03-31T15:15:41","guid":{"rendered":"https:\/\/quadriennalediroma.org\/quaderni-darte\/"},"modified":"2024-03-25T09:45:54","modified_gmt":"2024-03-25T08:45:54","slug":"quaderni-darte","status":"publish","type":"page","link":"https:\/\/quadriennalediroma.org\/en\/quaderni-darte\/","title":{"rendered":"quaderni d’arte"},"content":{"rendered":"\t\t
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Quaderni d'arte italiana<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Quaderni d’arte italiana is a quarterly journal that aims at providing a space for investigation and reflection on 21st-century Italian art and its relations with the various Italian and international cultural and socio-political scenes.<\/p>\n

The magazine, which is published by Treccani and is available in Italian and English, adopts an analytical approach that seeks to problematise contemporary creation by conceiving it as a privileged tool for reading the present.<\/p>\n

The magazine\u2019s articles are published weekly and free of charge in this section and on the digital platform quaderni.online<\/strong><\/a>.<\/p>\n

The editor-in-chief of the magazine is Gian Maria Tosatti. The editorial board is composed of: Nicolas Ballario, Francesca Guerisoli, Nicolas Martino, Attilio Scarpellini and Andrea Viliani.<\/p>\n

The production of the magazine sees the involvement of the curators who collaborate in the various activities of the Quadriennale and external authors.<\/p>\n

Below the first previews of the magazine, currently under registration.<\/i><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\"Quaderni d'arte italiana\" n. 09, March 2023 #criticism<\/b><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Issue no. 9 of the quarterly magazine ‘Quaderni d’arte italiana’ entitled #criticism has come out. What is criticism? What is it for? Why do we need it? And even as we see it slowly disappearing from the pages of the newspapers, why should we care? These questions first and foremost have to do with democracy. Discover the articles, published weekly in the form of posts, here. The ninth printed issue of the magazine is on sale at emporium.treccani<\/strong>.<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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A Critical Institution for Art. In Dialogue with the Artistic Director of the Quadriennale di Roma<\/a><\/h2><\/header><\/div>
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The Exhibition as a Critical Device. A Perspective between Past and Present<\/a><\/h2><\/header><\/div>
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Institutions and Critical Practice. An Organic Horizon<\/a><\/h2><\/header><\/div>
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An Intergenerational Discussion on Art Criticism. Between Harmless Nostalgia for an Era that One Never Lived Through, and Future Prospects that Are Difficult to Give Direction<\/a><\/h2><\/header><\/div>
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Between Criticism and Information. Magazines in Changing Times<\/a><\/h2><\/header><\/div>
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Story of a Schizophrenia. From Critic to Curator: A Changing Species<\/a><\/h2><\/header><\/div>
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Communicating Vessels. On the Relationship between Criticism and Art History<\/a><\/h2><\/header><\/div>
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Building Consensus. A Brief History of Forced Corporatism<\/a><\/h2><\/header><\/div>
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The Precarity of the Critic and Their Vulnerabilities Ancient Problems, and Current Ones<\/a><\/h2><\/header><\/div>
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Conflicts of Disinterest. A Conversation with Andrea Bellini<\/a><\/h2><\/header><\/div>
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The Eyes of Others. A Counterpart Perspective<\/a><\/h2><\/header><\/div>
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Criticism and the Negative. Some Notes on a Crisis<\/a><\/h2><\/header><\/div>
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Watchman, What Is Left of the Night? Or, Critique of (Critical?) Criticism<\/a><\/h2><\/header><\/div>
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\"Quaderni d'arte italiana\" n. 08, december 2023 #education<\/b><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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A path of understanding the state that the galaxy of Italian education is currently in, and the opportunities offered by the comparison with other systems internationally. First of all, however, we must ask what it means to construct knowledge.
The eighth issue of the magazine, in its printed version, is on sale at\u00a0<\/span>emporium.treccani.\u00a0<\/span><\/strong><\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The Void on the Walls. The Disappearance of Art from Middle-Class Lives<\/a><\/h2><\/header><\/div>
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Pedagogy in Artistic Practice. A Perspective on the Contemporary Italian Scene<\/a><\/h2><\/header><\/div>
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Autodidacts. The Ways of Art Are Infinite<\/a><\/h2><\/header><\/div>
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Art, Research, Education. A New Synergy<\/a><\/h2><\/header><\/div>
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Not for Qualifications, but for Passion\u2019s Sake. The Academy of Fine Arts as a Passageway<\/a><\/h2><\/header><\/div>
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Dreaming the Impossible Is the First Step to Achieving It. Doctorates in the Academies of Fine Arts, First Steps on a Pathway<\/a><\/h2><\/header><\/div>
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Twenty Years of Visual Cultures and Curatorial Studies. A Perspective on the Formation of Professional Roles in the Art System<\/a><\/h2><\/header><\/div>
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Learning to Teach Visual Art. A Journey into the Horizon of a Complex System<\/a><\/h2><\/header><\/div>
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Towards the Future. Some Reflections on the Role of University Education and Contemporary Art<\/a><\/h2><\/header><\/div>
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Studies on Colonialism and the Visual Arts. Notes for a Work in Progress<\/a><\/h2><\/header><\/div>
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If It Isn\u2019t Radical, It Isn\u2019t Pedagogy. On Didactic Models, and Their Failure<\/a><\/h2><\/header><\/div>
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On Education and Its Alternatives. A Wager on Polytechnics of the Arts<\/a><\/h2><\/header><\/div>
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\"Quaderni d'arte italiana\" n. 07, September 2023 #street<\/b><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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But what does public space mean, in a regime of constant representation? The seventh issue of the magazine, in its printed version, will soon be on sale at <\/span>\u00a0<\/span>emporium.treccani.\u00a0<\/span><\/strong><\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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All the Streets in the World. Marinella Senatore from Video to Performance<\/a><\/h2><\/header><\/div>
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The \u201cNeodimension\u201d as a Participatory Space. Behind the Work of Giuseppe Stampone<\/a><\/h2><\/header><\/div>
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Human Architectures. Il contesto civile in Andrea Mastrovito<\/a><\/h2><\/header><\/div>
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Out There. The Street and Public Space in the Poetics of Lara Favaretto<\/a><\/h2><\/header><\/div>
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The Monumentality of a Critical Era. The Italian Landscape by Alterazioni Video<\/a><\/h2><\/header><\/div>
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Journeying in the Present. The Urban Ambition in the Work of Gian Maria Tosatti<\/a><\/h2><\/header><\/div>
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Places on the Brink of Oblivion. The Poetics and the Lenses of Rosa Barba<\/a><\/h2><\/header><\/div>
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By Informal Routes. A possible Streetmap of Eugenio Tibaldi<\/a><\/h2><\/header><\/div>
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Walking Everywhere. The Search for Images in Giorgio Andreotta Cal\u00f2<\/a><\/h2><\/header><\/div>
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The City Is the People. Margherita Moscardini\u2019s Spaces of Immunity<\/a><\/h2><\/header><\/div>
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Making a construction site. Inertia and entropy in the contemporary monument<\/a><\/h2><\/header><\/div>
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Italy, Year Zero. The Street as an Essential Driver of a Generation<\/a><\/h2><\/header><\/div>
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Beauty Is in the Streets. Changing Prepositions, in Order to Change the World<\/a><\/h2><\/header><\/div>
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\"Quaderni d'arte italiana\" n. 06, giugno 2023 #future<\/b><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Today, when one speaks of the future, one does not speak of hypotheses, imaginations, or dreams: in this present, one speaks of the future as something that is felt to be missing. One speaks of the future as one might speak of the shortage of air after a mining disaster, while waiting for someone to come and pull us out. But it would be hard for anyone to come and pull us out of the present \u2014 for apart from us, there is no one else here.
The sixth issue of the magazine, in its printed version, is on sale at <\/span>emporium.treccani.<\/a>\u00a0<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The Laboratory of the Future. The Academy of Fine Arts as a Building Site for Regenerating Society<\/a><\/h2><\/header><\/div>
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Between Art and Innovation. A Road to Travel<\/a><\/h2><\/header><\/div>
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The History of 21st Century Art in Universities. A Multi-Voice Dialogue on Current Practices and Future Goals<\/a><\/h2><\/header><\/div>
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The Museum Ahead of Us. The Present and Future of the Contemporary Art Museum<\/a><\/h2><\/header><\/div>
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An Interspecies Perspective for the Survival of Humanity. Contemporary Art in the Dialectic between the Natural and the Posthuman<\/a><\/h2><\/header><\/div>
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Staring at the Environment. An Existential Theme for Art<\/a><\/h2><\/header><\/div>
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“There Are Other Worlds, but They Are in This One”. The Road as a Centre of Action on the Future<\/a><\/h2><\/header><\/div>
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In Front of the Mirror. The Tomorrow already Told in TV Series<\/a><\/h2><\/header><\/div>
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If Tomorrow Is Fragile. An Exhibition on the Future at the Baths of Diocletian<\/a><\/h2><\/header><\/div>
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What Remains. A Conversation on Death<\/a><\/h2><\/header><\/div>
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Hic Rhodus, hic salta!
Why the Future Ain\u2019t What It Used to Be<\/a><\/h2><\/header><\/div>
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An unsuccessful exorcism. The Dystopias of the 20th Century Are Mere Shadows of what Has Been Constructed in the 21st<\/a><\/h2><\/header><\/div>
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A future after the future. The Power of the Event, against the Nostalgia Trap<\/a><\/h2><\/header><\/div>
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\"Quaderni d'arte italiana\" n. 05, March 2023 #communiy<\/b><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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We are at the end of a winter in which the figure of the artist has been perceived as alone, independent of the collective intelligence that has always been the form in which art has developed, from the earliest times to the most recent. Art draws vital energies from the encounter of different sensibilities and from the generous spirit in which great insights are shared \u2014 from the physical spaces of the ateliers to the literary spaces of manifestoes. Today, shared studios and some artist-run spaces are <\/em>the places where art once again becomes a collective affair, a dialogue and no longer a series of monologues. Indeed, they do so with the existential delicacy which is characteristic of the younger generation.\u00a0
The fiftth issue of the magazine, in its printed version, is on sale\u00a0 at <\/span>emporium.treccani.<\/a>\u00a0<\/span><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Art Put to the Test. Palermo as a Training Ground for Dialogue<\/a><\/h2><\/header><\/div>
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Tra ulivi distrutti e progettualit\u00e0. Ultimi ragguagli dall\u2019arte contemporanea in Puglia<\/a><\/h2><\/header><\/div>
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Artists\u2019 Studios and Project Spaces. Making Communities in Naples<\/a><\/h2><\/header><\/div>
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Stati di aggregazione in Sardegna. Tra formule storiche e crew contemporanee<\/a><\/h2><\/header><\/div>
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Constellations of Communities. An Eye on Rome<\/a><\/h2><\/header><\/div>
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Artists as Activators of Communities. Collective and Shared Spaces in Florence and Prato<\/a><\/h2><\/header><\/div>
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Doing Things Together. Bologna, Between Communities and Spaces of Freedom<\/a><\/h2><\/header><\/div>
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From the Bevilacqua to Collective Ateliers. Communities of Relations in Venice*<\/a><\/h2><\/header><\/div>
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Physical, Digital and Literary Spaces. Groups, Collectives, and Networks in Milan<\/a><\/h2><\/header><\/div>
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Histories and Places. Independent Artistic Communities in Turin<\/a><\/h2><\/header><\/div>
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The Paul Street Boys. The Gang as a Form of Life<\/a><\/h2><\/header><\/div>
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A Generation That Didn\u2019t Agree? A Testimony Through a Decade<\/a><\/h2><\/header><\/div>
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Informal and Inoperative Communities. Pedagogical Models and Places of Ideas<\/a><\/h2><\/header><\/div>
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The End of Winter. A Perspective on the 2020s, Between Recognition and Hope<\/a><\/h2><\/header><\/div>
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\"Quaderni d'arte italiana\" n. 04, December 2022 #identity<\/b><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Identity, ontology, poetics. These themes overlap in contemporary ethical and aesthetic reflection, in the time of what an important book by Luciano Floridi termed \u2018the fourth revolution\u2019. This means that the digital is emerging no longer as a technology, but as a dimension of politics and of existence itself. This issue of Quaderni d’arte italiana<\/em> intends to take a journey suspended between two worlds \u2013 the universe, and the metaverse \u2013 and observe how humanity\u2019s oscillation between these two planes has been registered in artists\u2019 as well as some philosophers\u2019 analyses.
The fourth issue of the magazine, in its printed version, is on sale at <\/span>emporium.treccani.<\/a>\u00a0<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Being Time. A Dialogue with Francesco Arena<\/a><\/h2><\/header><\/div>
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Queer Art – Live Art. The Role of Art in Shaping Queer Identity, through Five Italian Artists<\/a><\/h2><\/header><\/div>
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The Body: Personal Dimension and Collective Memory. Notes on Italian Art of the Present<\/a><\/h2><\/header><\/div>
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Posthuman. A Perspective<\/a><\/h2><\/header><\/div>
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Identity as Performance. Art in the Metaverse<\/a><\/h2><\/header><\/div>
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Portraying the Present. Italian Painting between Meta-Dimension and Meta-Reality<\/a><\/h2><\/header><\/div>
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The Collective Body. Notes on Milan in the Early 2000s<\/a><\/h2><\/header><\/div>
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Two Parallels. Analysis of an Existential Paradox between Two Generations of Artists<\/a><\/h2><\/header><\/div>
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An Extended Reality. The Mask and Face of Contemporary Realism<\/a><\/h2><\/header><\/div>
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Diffuse Identity. Notes on the Current Relationship between Philosophy and the Visual Arts<\/a><\/h2><\/header><\/div>
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Technologies of Hope. A Conversation with Luciano Floridi<\/a><\/h2><\/header><\/div>
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In a Thousand Pieces. A Reading of Extreme Self by Basar, Coupland and Obrist<\/a><\/h2><\/header><\/div>
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A Scanner Darkly. Preliminary Remarks on the Metaverse<\/a><\/h2><\/header><\/div>
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\"Quaderni d'arte italiana\" n. 03, September 2022 #hystory<\/b><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Writing History is an act that presupposes a temporal wholeness. The present is History and the future towards which it tends is also History. The production of documents must start out from this awareness. For that to be possible, it is necessary to have a method, but also the courage not to run away from open horizons, and to be able to look them in the eye, wrenching from them the truth that we can read within them.\u00a0
The third issue of the magazine, in its printed version, is on sale at<\/span> su emporium.treccani.<\/a>\u00a0<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Archiving the Present. Artists\u2019 Point of View<\/a><\/h2><\/header><\/div>
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Touchstones. The Model of Teatro e Storia<\/a><\/h2><\/header><\/div>
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Writing Art History Today. Notes on an Open Discourse<\/a><\/h2><\/header><\/div>
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Twenty Years of Italian Art<\/a><\/h2><\/header><\/div>
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Fortunes of the Archive. From the First Decade of the Twenty-First Century to Today<\/a><\/h2><\/header><\/div>
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Archaeology of an Unwritten History. The Artwork as an Artefact of the Future<\/a><\/h2><\/header><\/div>
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Monuments and Shared Values Towards a New Relationship with History<\/a><\/h2><\/header><\/div>
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History of an Italian<\/a><\/h2><\/header><\/div>
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Journey to the End of History<\/a><\/h2><\/header><\/div>
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On the Interregnum, or the New Prehistory. Perspectives for a Civilisation Born in Auschwitz<\/a><\/h2><\/header><\/div>
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Ghosts, Fetishes and the Living Dead<\/a><\/h2><\/header><\/div>
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\"Quaderni d'arte italiana\" n. 02, June 2022 #popular<\/b><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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In\u00a0 this issue of the of the journal, we have tried to map out some boundaries that frame the concept of the “popular”, which we are interested in investigating within an interpretative grid that follows the evolution of Western civilisation from its origins. This\u00a0 small stratigraphic, analysis shows – beneath the walls that constitute the vast edifice of the current idea of the popular – the underlying Roman walls, submerged like roots, and, beneath them, the even more ancient Greek walls.
The second issue of the magazine, in its printed version, is on sale at emporium.treccani.<\/a><\/span>\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\n \"Quanto-e-riconosciuta-allestero-larte-contemporanea-italiana-BBS-Lombard\"\n <\/div><\/div>

On the Popularity of Italian Contemporary Art Abroad*<\/a><\/h2><\/header><\/div>
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A \u201cHappy Way\u201d*<\/a><\/h2><\/header><\/div>
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Knil\/Link<\/a><\/h2><\/header><\/div>
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The 2022 Biennale and Its Surroundings<\/a><\/h2><\/header><\/div>
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Public Art: A Battlefield<\/a><\/h2><\/header><\/div>
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The work as mirror through time<\/a><\/h2><\/header><\/div>
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The work as a tragic theatre<\/a><\/h2><\/header><\/div>
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The scorching object<\/a><\/h2><\/header><\/div>
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The Abyss Behind the Mask<\/a><\/h2><\/header><\/div>
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Italian Pop Philosophy<\/a><\/h2><\/header><\/div>
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TechnoPop<\/a><\/h2><\/header><\/div>
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Popular: the Boundaries of a Controversial Adjective<\/a><\/h2><\/header><\/div>
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\"quaderni d'arte italiana\" n. 01, April 2022 #italy<\/b><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The first issue of\u00a0 Quaderni d\u2019arte italiana<\/em> titled #italy<\/i> proposes to reconnect the narrative of contemporary Italian art to on art history that gone global. Doubtless, this has come with some delay – and perhaps there has been a certain difficulty in knowing how to tell our story. But, upon closer inspection clear lines of identity do emerge. There is also, then, a further question driving this issue what forces can Italy really count on, in the world of present day art?\u00a0
The first issue of the magazine, in its printed version, is on sale at emporium.treccani.\u00a0<\/a><\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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How do artists live?<\/a><\/h2><\/header><\/div>
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The Economy Sustaining Contemporary Art<\/a><\/h2><\/header><\/div>
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Betrayal or Tradition<\/a><\/h2><\/header><\/div>
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Digital or Post-digital<\/a><\/h2><\/header><\/div>
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Designing Wildness<\/a><\/h2><\/header><\/div>
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The Wunderkammer of the Living<\/a><\/h2><\/header><\/div>
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Lateral Incursions<\/a><\/h2><\/header><\/div>
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Mirror-conversation with Francis Offman<\/a><\/h2><\/header><\/div>
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Real Landscapes<\/a><\/h2><\/header><\/div>
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The return of the repressed: Carla Lonzi in the present<\/a><\/h2><\/header><\/div>
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A Finite History<\/a><\/h2><\/header><\/div>
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Prospects for the New Decade<\/a><\/h2><\/header><\/div>
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Italians a go go<\/a><\/h2><\/header><\/div>
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The Reception of Italian Art in the United States<\/a><\/h2><\/header><\/div>
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Open door<\/b><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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the magazine accepts the submission of critical essays on 21st-century Italian art by young critics aged under 35 and reserves the right to consider them for publication. <\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Quaderni d’arte italiana Quaderni d’arte italiana is a quarterly journal that aims at providing a space for investigation and reflection on 21st-century Italian art and its relations with the various Italian and international cultural and socio-political scenes. The magazine, which is published by Treccani and is available in Italian and English, adopts an analytical approach […]<\/p>\n","protected":false},"author":5,"featured_media":0,"parent":0,"menu_order":44,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"footnotes":"","_links_to":"","_links_to_target":""},"class_list":["post-24174","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/quadriennalediroma.org\/en\/wp-json\/wp\/v2\/pages\/24174","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/quadriennalediroma.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/quadriennalediroma.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/quadriennalediroma.org\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/quadriennalediroma.org\/en\/wp-json\/wp\/v2\/comments?post=24174"}],"version-history":[{"count":0,"href":"https:\/\/quadriennalediroma.org\/en\/wp-json\/wp\/v2\/pages\/24174\/revisions"}],"wp:attachment":[{"href":"https:\/\/quadriennalediroma.org\/en\/wp-json\/wp\/v2\/media?parent=24174"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}