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Longing for Eternity
This book, edited and curated by Mary Angela Schroth, tells the story of the acquisitions in the private collection of Hussain Ali Harba, which started out with a 1970s painting by Fa'iq Hassan, one of the protagonists of Iraqi modern art, through to experimental contemporary artists such as Adel Abidin. Born in Babylon (Iraq) in 1961 and living in Turin, Italy since 1979, Harba received his first artwork from his father at the age of 15, and through the years has become one of the most impassioned Iraqi collectors in the world. Together with his family, he is building a private museum in Babylon that will one day permanently house this major collection. The book bears witness to Harba's work of dedication and conservation of the artistic patrimony of his native country.00.
Women, the Arts, and Dictatorship in the Portuguese-Speaking Context
This book deals with the work of twentieth-century women artists and literary authors from Portugal, Brazil and Portuguese-speaking African countries against the backdrop of political dictatorships. The essays in this volume reflect upon and challenge canonical perspectives on the arts and literature, bringing to light some of the hidden and silenced faces of Lusophone culture. By doing so, they highlight how dominant ideologies marked the artistic and literary practices of Portuguese-speaking women, and how these women in turn developed strategies of resistance through their creative work. The volume brings together contributors working in a range of disciplines, including literary criticism, the visual arts, and film studies, all of whom reflect on themes such as the reactions of women artists to authoritarianism, the representations of political repression in their work, the colonial war, and the critical revision of this historical moment by a younger generation of artists. It addresses scholars, critics, students and cultural workers with an interest in post-colonial and feminist studies in the Portuguese-speaking context.
Reclaim
Little has been published about African women artists to date. This is due to a general Western hegemony over the construction of histories and discourses, but also to discrimination against women across national borders. This publication attempts to fill some of the gaps and explore the patterns underlying these dynamics. It brings together research on the practices and lives of women from different African countries, from modernist artists to independence activists to contemporary voices. These proceedings emerge from the symposium "Reclaim: Narratives of African Women Artists," organised by AWARE: Archives of Women Artists, Research and Exhibitions in partnership with the Ecole du Louvre as part of the Africa2020 Season. They are a contribution to the revalorisation of the role of African women artists in cultural history, but also to broader reflections on the mechanisms of knowledge production both in Africa and in the West.
International Women Artists and War, 1560-2023
Like many of their male peers, women artists have used their chosen mediums to explore and express their reactions to the violence of war, which they frequently experienced firsthand. The 345 named artists discussed in this book come from diverse backgrounds across hundreds of years. The book divides the 652 covered works of art into five general categories: those that provide support for the war effort, those that oppose war and/or support peace, those that document the impacts of war on the individuals who fight and the civilians who experience it, those that commemorate and memorialize the events and participants in war, and general representations of those who fight. While most of the women who documented the impact of war on those who experienced it were professional artists, self-taught artists have told equally compelling stories in their works. Whether working in a studio or on the battlefield, the women's professionalism and dedication allowed them to convey the impact of war powerfully.
Mémoires 1967 - 2007
Il Centro sperimentale per l'arte contemporanea Sala 1, fondato da Tito Amodei nel 1967 a Roma nel complesso architettonico della Scala Santa, ripercorre i propri quaranta anni di vita attraverso le testimonianze dei protagonisti della vita culturale dello spazio. Una storia corale, polifonica, frutto d'intrecci di singole voci, veicoli di pensieri e di esperienze individuali che incontrandosi hanno delineato traiettorie e fughe, determinando, nel loro interagire per inclusione ed esclusione, il senso del proprio operato. La diacronia serrata dei singoli eventi di tanto in tanto rallenta il proprio ritmo per accogliere approfondimenti e racconti analitici, dei veri e propri zoom narrativi, nel tentativo di fornire ulteriori chiavi di lettura e di comprensione di un operare - tanto denso, quanto effimero - quale quello che caratterizza la nostra arte contemporanea. Con una appassionata prefazione di Toni Maraini.
Carte 7. Works on Paper by Seven Italian Women Artists
The idea for this exhibition was inspired by a previous project with Ambassador Roberto Toscano and his wife Francesca (both of whom are instrumental in the organization of this exhibition in New Delhi) during their tenure in Teheran. The title of the exhibition, Carte7, is an idea by Elisa Montessori, and alludes to a series of themes and concepts implicated in this exhibition but also a play on words that is too complex for translation. Suffice it to say that the country of India has inspired all of us to conceive an exhibition that is both linked to that country but also reflects artistic practice in Italy. Given the strong interest in international art in India, it seemed timely to explore the possibility of bringing our exhibition of Italian artists to the country. And what better idea than to bring women painters from Rome for the first time: a symbol of exchange and future collaboration between the two countries. Curated by Mary Angela Schroth
Parables
"The first Bangladesh Pavilion represents the first participation of the People's Republic of Bangladesh in the International Art Exhibition at la Biennale di Venezia. Furthermore this event occurs during an important year for one of the youngest, most vibrant and fastest growing countries in South Asia celebrating the 40th Anniversary of Bangladesh's Independence. ... Five renowned representatives of the lively Bangladesh art scene, who live and work in Dhaka - Promotesh Das Pulak, Kabir Ahmed Masum Chisty, Imran Hossain Piplu, Mahbubur Rahman and Tayeba Begum Lipi - have conceived and produced site-specific installations, utilizing the local Venetian architecture, and the history of the Gervasuti Foundation, to explore universal contemporary political, environmental and social concerns, beginning from their own personal, native symbolism and history."--Gervasuti Foundation Press Release http://www.gervasutifoundation.com/2011/bangladesh-pavilion.
Inventing the Council inside the Apostolic Library
The book provides a detailed study of the Biblioteca Apostolica Vaticana and its interior decoration which today still remains inaccessible to the ordinary visit. Placing the history of the Vatican Library in the larger context of how erudition was administered and organized within the Early Modern Roman Curia, the book will also take into consideration how the Vaticana was used in contrast to other newly founded libraries.
Tatsumi Orimoto - Art Mama
Tatsumi Orimoto (classe 1946) è tra i maggior artisti sperimentali contemporanei. Scapolo e senza figli, Orimoto vive da anni solo con l’anziana madre malata di Alzheimer e di depressione, nei confronti della quale rivolge ogni sua cura. Da questa esperienza ha tratto una serie di performance dal titolo Art Mama e Breadman, per la prima volta esibite in una veste antologica in Italia.
The Courier
"European Community-African-Caribbean-Pacific" (varies).
