Papers by Francesca Leonardi
Il Capitale Culturale, 2024
The article studies the institutional positioning of art makers who collaborate with artists and ... more The article studies the institutional positioning of art makers who collaborate with artists and who, far from being institutionally recognized in and by the art world, are fundamental in the artistic creation process. The article analyzes the working relationships between craft makers and artists and their institutional dynamics; it also critically assesses the problematics of the craft sector in relation to the artistic one. The qualitative research methodology is based on the thematic analysis of 15 semi-structured interviews with dif- ferent Italian artisans who work with different materials (glass, bronze, paper, marble, neon, ceramic). The article concludes that the art world’s institutional logic prevents the recognition of the artmaker, but potential opportunities can come from its recognition as a part of the value-creation of artworks without diminishing the role of the artist and also answering to the problems of the craft sector.
Bookmarks Related papers MentionsView impact
Engramma, 2021
The article focuses on the role and typology of project spaces within the contemporary art system... more The article focuses on the role and typology of project spaces within the contemporary art system and in particular in the city of Milan. By problematizing the notion of ‘independence’ and the terminology of ‘independent space’ in opposition to ‘project space’, the article investigates how an art space interacts with the system. The objective is twofold: firstly, the research displays the interrelation between project spaces through a network analysis; secondly, it outlines a morphology of project spaces based on similar organizational and managerial models. In the conclusive part the authors identify three main typologies of project spaces of the Milanese scene: the research space, the hybrid space and the proto-gallery.
Bookmarks Related papers MentionsView impact
Museum Management and Curatorship, 2020
How is history narrated through art exhibitions? Which are the curatorial tools used to represent... more How is history narrated through art exhibitions? Which are the curatorial tools used to represent the past? The article focuses on those methodologies of analysis which operate at the border of different disciplines in order to curate art exhibitions representing or re-enacting past events or periods. The curatorial practices analyzed are: re-enactment and historical reconstruction. How these practices influence the experience and knowledge of the past? The curatorial work of Germano Celant, in particular two of his recent projects, are analyzed as case studies: the re-enactment "When Attitudes Become Form: Bern 1969/Venice 2013" and the historical reconstruction "Post Zang Tumb Tuuum. Art Life Politics: Italy 1918–1943".
Bookmarks Related papers MentionsView impact
Call for Papers by Francesca Leonardi
ACHS Italian Chapter kick off event, 2024
We are pleased to invite scholars to the first meeting of the Italian Chapter of the Internationa... more We are pleased to invite scholars to the first meeting of the Italian Chapter of the International Association of Critical Heritage Studies, on Monday, April 22, 2024 (approximately 10:30 AM - 5:30 PM), at Ca’ Foscari University in Venice.
Bookmarks Related papers MentionsView impact
Re-interpreting difficult heritage has been at the center of recent public and academic debate, t... more Re-interpreting difficult heritage has been at the center of recent public and academic debate, through among others the Confederate monuments' discussion, the Rhodes Must Fall and the Black Lives Matter protest movements, addressing issues of occupying public space and reassessing the colonial, traumatic and difficult past. These phenomena also involve communities and scholarship worldwide, questioning the colonial and dissonant material traces and legacies that are still visible in public spaces (from small hamlets to global megalopolis), and urging cultural institutions and practitioners to come to terms with these issues. Which display processes and practices can be employed or designed by institutions preserving cultural heritage (museums, libraries, galleries, etc.)? How are scholarships of different orientations taking these instances into account? Which endeavours are art practitioners putting to work to deal with memories (collective, communitarian, personal) of traumatic, difficult pasts? Starting from the notion of difficult heritage (Macdonald 2010, Carter & Martin 2019, Malone 2019), we are interested in addressing and analyzing, on a case-study basis, the dissonances that emerge from conflictual interpretations of spaces and contexts (monuments, street names, museums, archives, collections, buildings, etc.) across different historical periods and geographies. The school is centered around an interdisciplinary approach, aiming at creating a dialogue among different fields of research and areas of inquiry from the social sciences (sociology, art management, cultural economy, anthropology, law, etc.) and humanities (art history, archaeology, aesthetics, digital humanities, curatorial studies, museum studies, history, etc.). Acknowledging the current growing interest in the decolonial option (Mignolo & Walsh 2018) as a lens through which we can scrutinize these cases, the Summer School does not limit itself to this theoretical framework but instead calls for multiple and diverse methodological approaches, questioning the very applicability of a single lens by centering the specificities of different case studies. The Summer School will offer the occasion to deepen those frameworks, propose new methodological approaches, and take inspiration from international case studies.
Bookmarks Related papers MentionsView impact
Uploads
Papers by Francesca Leonardi
Call for Papers by Francesca Leonardi