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Materika
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Sculpture
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Lucentizie
Ha perfettamente ragione Vincenzo Vitiello, quando, nell’Introduzione a questo volume afferma: “Pochi scrittori – poeti, romanzieri, ma anche critici e storici, filosofi e scienziati – abitano il linguaggio al modo in cui accade a Carlo Invernizzi, poeta”. Le cui parole vogliono davvero essere “cose”. E, proprio per questo, prendono drasticamente le distanze da quelle che tutti pronunciamo ogni giorno… parole vuote, magari efficaci, ma sempre fraintese, impotenti o quanto meno fragili. Carlo Invernizzi cerca, infatti, una parola che sia in grado di essere la cosa stessa. La roccia, l’altura, la luce, il colore, il confine, il dolore, la gioia… devono dunque lasciarsi contorcere, dire, ma anche disdire, dalle parole in cui “dovranno” a tutti i costi trovare casa. Per questo, nessuno dei lemmi “intuiti” dal nostro poeta avrebbe potuto risolversi nella mera conformità a una sintassi e a una concettualità che, del mondo, non sarebbero mai riuscite neppure a lambire il cuore imprendibile. Lo stesso in relazione a cui, invece, Invernizzi osa; azzardando il disegno di uno sguardo che, trapassando inquieto, di soglia in soglia, sappia farsi davvero poesia.
2014
The International Yearbook of Futurism Studies was founded in 2009, the centenary year of Italian Futurism, in order to foster intellectual cooperation between Futurism scholars across countries and academic disciplines. The Yearbook does not focus exclusively on Italian Futurism, but on the relations between Italian Futurism and other Futurisms worldwide, on artistic movements inspired by Futurism, and on artists operating in the international sphere with close contacts to Italian or Russian Futurism. Volume 4 (2014) is an open issue that addresses reactions to Italian Futurism in 16 countries (Argentina, Armenia, Brazil, Egypt, France, Germany, Great Britain, Greece, Holland, Hungary, Japan, Portugal, Russia, Slovenia, Spain, USA), and in the artistic media of photography, theatre and visual poetry.
Pier Luigi Meneghello
Since the early 80s, Meneghello has investigated the relationship between the environment and culture through work that draws on elements from nature and science: birds' nests, vegetal resins, seismographs, electroencephalograms. In this volume, we see work produced since the mid-90s which keeps to these themes of nature/culture, but explores them through the production of videos, installations and especially staged photographs.
Kitchens, Cooking, and Eating in Medieval Italy
The modern twenty-first century kitchen has an array of time saving equipment for preparing a meal: a state of the art stove and refrigerator, a microwave oven, a food processor, a blender and a variety of topnotch pots, pans and utensils. We take so much for granted as we prepare the modern meal – not just in terms of equipment, but also the ingredients, without needing to worry about availability or seasonality. We cook with gas or electricity – at the turn of the switch we have instant heat. But it wasn’t always so. Just step back a few centuries to say the 1300s and we’d find quite a different kitchen, if there was one at all. We might only have a fireplace in the main living spa...
Postwar Italian Art History Today
Postwar Italian Art History Today brings fresh critical consideration to the parameters and impact of Italian art and visual culture studies of the past several decades. Taking its cue from the thirty-year anniversary of curator Germano Celant's landmark exhibition at PS1 in New York – The Knot – this volume presents innovative case studies and emphasizes new methodologies deployed in the study of postwar Italian art as a means to evaluate the current state of the field. Included are fifteen essays that each examine, from a different viewpoint, the issues, concerns, and questions driving postwar Italian art history. The editors and contributors call for a systematic reconsideration of the artistic origins of postwar Italian art, the terminology that is used to describe the work produced, and key personalities and institutions that promoted and supported the development and marketing of this art in Italy and abroad.
