Denis Ribouillault
I am Professor in Early Modern Art History at the University of Montreal, Canada, specializing in cultural landscape and garden studies, including urban landscape studies. I currently work on a book-length project entitled "Gardens of the Heavens: Astronomy and Cosmology in Early Modern European Gardens" at the intersection between the history of art and the history of science.
I gained my Ph.D. at Université Paris 1 Panthéon-Sorbonne in 2006. I was Visiting Assistant Professor at Paris I Panthéon-Sorbonne (2003-5), Lecturer at the Courtauld Institute of Art (2006-8), Fellow at Villa I Tatti (2008-9) ‘Pensionnaire’ at the French Academy in Rome - Villa Medici (2009-11) and more recently Fellow in Landscape and Garden Studies at Dumbarton Oaks (2017).
Address: Département d’histoire de l’art et d’études cinématographiques
Faculté des arts et des sciences
Université de Montréal
C.P. 6128, succ. Centre-ville, Montréal (QC) H3C 3J7, Canada.
I gained my Ph.D. at Université Paris 1 Panthéon-Sorbonne in 2006. I was Visiting Assistant Professor at Paris I Panthéon-Sorbonne (2003-5), Lecturer at the Courtauld Institute of Art (2006-8), Fellow at Villa I Tatti (2008-9) ‘Pensionnaire’ at the French Academy in Rome - Villa Medici (2009-11) and more recently Fellow in Landscape and Garden Studies at Dumbarton Oaks (2017).
Address: Département d’histoire de l’art et d’études cinématographiques
Faculté des arts et des sciences
Université de Montréal
C.P. 6128, succ. Centre-ville, Montréal (QC) H3C 3J7, Canada.
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Books by Denis Ribouillault
Through a careful description of its architecture, paintings and sculptures, this book offers the first comprehensive analysis of the Villa Barbaro at Maser, one of the most famous masterpieces of the Italian Renaissance. Commissioned and designed by Daniele Barbaro, a leading humanist of the Venetian Renaissance, and his brother Marc’Antonio, an important politician of the Republic of Venice and a talented amateur artist, the villa’s architecture and painted decoration were created by two canonical figures of Renaissance art: the architect Andrea Palladio and the painter Paolo Veronese. By offering a new and holistic reading of the iconographic program of Villa Barbaro, the study highlights in particular the importance of women, childbirth and motherhood. With a strong multidisciplinary approach, the book is also a contribution to the history of astronomy, philosophy and domesticity in sixteenthcentury Venice.
This issue of Intermediality brings together texts that offer critical reflections on the intermedial and interartial relations within the garden, and the way they shed light on – and even define – the relations that individuals have with each other and with the garden. Here, the intermedial approach intends to restore the collective and collaborative character of gardening and aims to point out the heuristic virtues of the study of the garden in general, notably on an ethical and social level. Methods from history and art history, literary history, urban planning, film and digital studies, and botany are represented, questioned and sometimes combined. The idea is not new: it had already occurred to Plato and his friends, gathered around the sciences and the arts, as they walked under the shady plane trees of the Academy’s gardens.
Questo volume riccamente illustrato raccoglie una serie di studi che trattano le complesse procedure di traslazione del passaggio dalla pittura al giardino, dal Rinascimento a oggi. La presenza ricorrente di immagini dipinte che partecipano alla semantica dello spazio riflette l’affinità tra le due arti, che sembrano giungere al loro culmine nel XVIII secolo con l’idea che si debbanno trarre direttamente dai dipinti paesaggistici alcuni principi dell’arte di formare giardini – anche se quest’ultima rimane agli occhi dei suoi teorici «superiore all’arte della pittura paesaggista, quanto la realtà rispetto alla rappresentazione». Come, più generalmente, la pittura può essere un modello per il giardino? Innanzitutto il giardiniere condivide con il pittore un certo numero di competenze tecniche; su questi legami pragmatici si innestano relazioni estetiche favorite dalla mediazione con la scenografia, la poesia o la fotografia, anche determinate da paradigmi comuni, come la prospettiva. I diversi contributi aprono una riflessione sulle nozioni di rappresentazione, trasposizione e intermedialità, e aiutano a comprendere meglio il ruolo della pittura nella concessione stessa di paesaggio. /
This richly illustrated volume brings together a series of studies examining the complex procedures for transferring the landscape from painting to gardens between the Renaissance and today. How can painting serve as a model for gardens? The different essays open up a reflection on the ideas of representation, transposition and intermediality, and offer insight into the role of painting in the conception of landscape.
Papers by Denis Ribouillault
1. The drawings by Giovannantonio Dosio in two codex of the Biblioteca Nazionale Centrale, Florence N.A.618 BNCF and N.A.1159 BNCF.
See G. Tedeschi Grisanti, « ‘Dis Manibus, pili, epitaffi et altre cose antiche’ : un codice inedito di disegni di Giovannantonio Dosio », Bollettino d’ Arte, LXVIII, s. VI, XVIII, 1983, p. 69-102 : 70; R. Olitsky Rubunstein, « A codex from Dosios’s Circle (BNCF NA 1159) in its mid-sixteenth-century Context”, Antikenzeichnung und Antikenstudium in Renaissance und Frühbarock. Akten des internationalen Symposions 8.10 September 1986 in Coburg, ed. R. Harprath, H. Wrede, Mainz am Rhein, Philipp von Zabern, 1989, p. 201-214; E. Casamassima, R. Rubinstein, Antiquarian Drawings from Dosio’s Roman workshop, Milano, Giunta Regionale Toscana – Editrice Bibliografica 1993, cat. 53, pp. 79-80, fig. 53.
2. Pianta della Vigna di Papa Giulio. Confini tra il Granduca di Toscana e i beni del Gran Connestabile del Regno di Napoli Fabrizio Colonna (August 22, 1733). Archivio di Stato, Roma, Collezione Disegni e mappe – Collezione I, 94-799/1. Accessible online at: https://imagoarchiviodistatoroma.cultura.gov.it/cartografica/cartografica.html
I owe this reference to Alessandro Cremona.
Read "Erik de Jong" instead of "Jan de Jongh", a wonderful Renaissance scholar, but not a garden specialist!
Through a careful description of its architecture, paintings and sculptures, this book offers the first comprehensive analysis of the Villa Barbaro at Maser, one of the most famous masterpieces of the Italian Renaissance. Commissioned and designed by Daniele Barbaro, a leading humanist of the Venetian Renaissance, and his brother Marc’Antonio, an important politician of the Republic of Venice and a talented amateur artist, the villa’s architecture and painted decoration were created by two canonical figures of Renaissance art: the architect Andrea Palladio and the painter Paolo Veronese. By offering a new and holistic reading of the iconographic program of Villa Barbaro, the study highlights in particular the importance of women, childbirth and motherhood. With a strong multidisciplinary approach, the book is also a contribution to the history of astronomy, philosophy and domesticity in sixteenthcentury Venice.
This issue of Intermediality brings together texts that offer critical reflections on the intermedial and interartial relations within the garden, and the way they shed light on – and even define – the relations that individuals have with each other and with the garden. Here, the intermedial approach intends to restore the collective and collaborative character of gardening and aims to point out the heuristic virtues of the study of the garden in general, notably on an ethical and social level. Methods from history and art history, literary history, urban planning, film and digital studies, and botany are represented, questioned and sometimes combined. The idea is not new: it had already occurred to Plato and his friends, gathered around the sciences and the arts, as they walked under the shady plane trees of the Academy’s gardens.
Questo volume riccamente illustrato raccoglie una serie di studi che trattano le complesse procedure di traslazione del passaggio dalla pittura al giardino, dal Rinascimento a oggi. La presenza ricorrente di immagini dipinte che partecipano alla semantica dello spazio riflette l’affinità tra le due arti, che sembrano giungere al loro culmine nel XVIII secolo con l’idea che si debbanno trarre direttamente dai dipinti paesaggistici alcuni principi dell’arte di formare giardini – anche se quest’ultima rimane agli occhi dei suoi teorici «superiore all’arte della pittura paesaggista, quanto la realtà rispetto alla rappresentazione». Come, più generalmente, la pittura può essere un modello per il giardino? Innanzitutto il giardiniere condivide con il pittore un certo numero di competenze tecniche; su questi legami pragmatici si innestano relazioni estetiche favorite dalla mediazione con la scenografia, la poesia o la fotografia, anche determinate da paradigmi comuni, come la prospettiva. I diversi contributi aprono una riflessione sulle nozioni di rappresentazione, trasposizione e intermedialità, e aiutano a comprendere meglio il ruolo della pittura nella concessione stessa di paesaggio. /
This richly illustrated volume brings together a series of studies examining the complex procedures for transferring the landscape from painting to gardens between the Renaissance and today. How can painting serve as a model for gardens? The different essays open up a reflection on the ideas of representation, transposition and intermediality, and offer insight into the role of painting in the conception of landscape.
1. The drawings by Giovannantonio Dosio in two codex of the Biblioteca Nazionale Centrale, Florence N.A.618 BNCF and N.A.1159 BNCF.
See G. Tedeschi Grisanti, « ‘Dis Manibus, pili, epitaffi et altre cose antiche’ : un codice inedito di disegni di Giovannantonio Dosio », Bollettino d’ Arte, LXVIII, s. VI, XVIII, 1983, p. 69-102 : 70; R. Olitsky Rubunstein, « A codex from Dosios’s Circle (BNCF NA 1159) in its mid-sixteenth-century Context”, Antikenzeichnung und Antikenstudium in Renaissance und Frühbarock. Akten des internationalen Symposions 8.10 September 1986 in Coburg, ed. R. Harprath, H. Wrede, Mainz am Rhein, Philipp von Zabern, 1989, p. 201-214; E. Casamassima, R. Rubinstein, Antiquarian Drawings from Dosio’s Roman workshop, Milano, Giunta Regionale Toscana – Editrice Bibliografica 1993, cat. 53, pp. 79-80, fig. 53.
2. Pianta della Vigna di Papa Giulio. Confini tra il Granduca di Toscana e i beni del Gran Connestabile del Regno di Napoli Fabrizio Colonna (August 22, 1733). Archivio di Stato, Roma, Collezione Disegni e mappe – Collezione I, 94-799/1. Accessible online at: https://imagoarchiviodistatoroma.cultura.gov.it/cartografica/cartografica.html
I owe this reference to Alessandro Cremona.
Read "Erik de Jong" instead of "Jan de Jongh", a wonderful Renaissance scholar, but not a garden specialist!
In this paper, I examine a few case studies at the Villa Borghese, the Villa Montalto and Palazzo Spada. Using an intermedial approach, I study the way these devices were spatially connected, thus intensifying the optical experience of the viewer, moving through the space of the garden and the villa. This enriched optical experience, I argue, was not only considered delightful. It possessed a strong pedagogical and moral dimension that was as important for the elite society that commissioned these gardens, as was the display of erudition and knowledge.
Edited by Nadja Aksamija, Antonio Brucculeri, and Denis Ribouillault
https://journals.fupress.net/call-for-paper/architectural-history-and-the-challenges-of-interdisciplinarity/
Italian and French versions of the call are in the PDF
The annual journal Opus Incertum dedicates the 2025 issue to architectural history and the challenges of interdisciplinarity. It is nearly impossible to define the discipline of architectural history in simple terms today. The field has become pluralistic and fragmented, marked by multi-, trans-, inter-, and even anti-disciplinarity (Mowitt, 1997). The adoption of various methods from the humanities and social sciences and the introduction of cultural approaches (e.g., visual studies, literary studies, intermediality, etc.) have resulted in extraordinary diversity in the writing of architectural history. Consequently, scholars from various disciplines now operating under the banner of architectural history often have little in common (Timbert, 2021). There also seems to be a discrepancy between how architectural history is taught in professional schools of architecture versus how it is studied in more traditional university settings, where it is often the domain of the departments of art history. Moreover, the different national contexts, some more and others less invested in interdisciplinarity, have created further fragmentation within the field on a more global scale. How have diverse academic formations shaped the range of architectural historians’ approaches to the discipline? What has happened to the relationship between the history of art and the history of architecture over the past twenty or so years (cfr. Payne, 1999 vs. Payne, 2016)? Where do we locate the “difficult dialogue” (Bardati and Rolfi, 2005) between these fields today, also in light of the different national developments? How has the discipline changed since the publication of the 2002 monographic issue of the Cahiers de la recherche architectural et urbaine (which focused on research methods specific to architectural history) and the special issue of the JSAH, “Learning from Interdisciplinarity” (Carpo, 2005)? What is the actual definition of the field today (cfr. Leach, 2010)?
This monographic issue of Opus incertum seeks to address a wide range of issues around the question of interdisciplinarity in architectural history. It attempts to deepen our understanding of how the encounters between architectural history and other fields in the humanities, social sciences, and engineering have opened up its research methods and transformed its narrative criteria, creating an expansive discipline whose contours are flexible, permeable, and increasingly wide-ranging. Its goal is not to take a position for or against interdisciplinarity, but rather to provide a broad “snapshot” of the field through diverse critical and methodological contributions.
Some of the general guiding questions for this volume include:
• What—if anything—still provides a sense of coherence in the field of architectural history given the current diversity of its approaches and its increasingly interdisciplinary character?
• What has been the contribution of critical theory to the writing of architectural history? Have post-colonial and feminist approaches affected architectural history as much as they have art history?
• If digital technologies have become one of the tools used by architectural and urban historians (cfr. Huffman Lanzoni, 2018), how have they redefined the discipline and transformed historical writing? Are they capable of creating new types of multi-disciplinary physical and virtual spaces of collaboration?
• How and to what extent has the ever-increasing interest in building technologies and construction history (cfr. Nègre, 2018), as well as maintenance and conservation (cfr. Edgerton, 2006; Davoine, d’Harcourt, L’Héritier, 2019), contributed to the development of interdisciplinary approaches in architectural history?
• In light of recent studies and reflections (cfr. Calder, 2021), how can architectural history benefit from a methodological and interdisciplinary dialogue with the field of environmental history?
• Have we reached a point where we must distinguish between material and “immaterial” architecture (e.g., design, planning, representation, architecture as an image, etc., where the scholar is not necessarily concerned with the physical structure itself)? How urgent is it to reconcile these two approaches, which in some cases require very different types of expertise?
• Has the monographic (i.e., focused on individual architects and/or architectural monuments) and/or single-author model become outdated? To what extent has collaboration become a desirable research and publication model and what does collaborative research in architectural history actually look like today?
• How and to what extent have the various scholarly traditions shaped the different countries’ engagement (or not) with interdisciplinarity in architectural history? (cfr. Karge, Frommel, and Walter, 2022).
• How is the meaning of interdisciplinarity different for scholars working on different time periods (e.g., early modern vs. modern or contemporary) and different architectural traditions (e.g., Asian vs. European)?
• Is the growing interest in hyper-contemporaneity a problem or an opportunity for the architectural historian? Are there chronological limits that should not be crossed to preserve the necessary critical distance or is the study of hyper-contemporaneity a stimulating challenge that could lead to methodological innovations and open up new interdisciplinary horizons in the field?
The editors invite innovative and thought-provoking scholarly contributions that investigate these and other related questions (the list is by no means exhaustive and submissions that fall outside the parameters outlined above will also be considered). We are interested in papers that engage the existing conceptual frameworks of the discipline and seek to bring in new theoretical perspectives, as well as papers that reflect on the very concept of interdisciplinarity by considering the complexity of this idea. We welcome essays – in Italian, English, French– which must not exceed 40,000 characters, including notes, with a set of 10 images (free of fees). There will also be short papers of 15,000 characters maximum, including notes, with 3-4 images (free of fees).
Proposals should be sent to: naksamija@wesleyan.edu; antonio.brucculeri@paris-lavillette.archi.fr; denis.ribouillault@umontreal.ca; emanuela.ferretti@unifi.it
Deadlines
30 May 2024: deadline for submission of abstract (max 2000 characters) and a short CV (max 1000 characters)
15 June 2024: notification of acceptance
1 October 2024: essay submission:
The fellowship is intended for doctoral students and postdoctoral scholars (who have graduated within the last five years) who are working on a project related to the topic WWomen, witches and enchantresses: The construction of the landscape and garden's ‘imaginaire’. Fellows are expected to maintain a presence at the ZI, to present the Fellowship project, and to partake in the activities of the ZI. The fellowship lasts three months and commences between April and July 2024.
Graduate fellows will receive a monthly stipend of 2000 Euros. Postgraduate fellows will receive 2300 Euros per month. In addition to a CV and a list of publications and presentations, applicants should submit a project précis of no more than three pages. Please send all application materials as a single PDF document. Applications should be submitted electronically by February 28, 2024 to: Zentralinstitut für Kunstgeschichte, to the attention of Prof. Dr. Iris Lauterbach, fellowships@zikg.eu.
For further questions please contact Prof. Dr. Iris Lauterbach, Zentralinstitut für Kunstgeschichte: fellowships@zikg.eu.
Cette journée d’étude est le troisième volet d’une série de colloques qui examinent la relation entre catastrophe et paysage à travers les siècles.
La date limite pour l'envoi des propositions est le 15 octobre 2023.
7e édition
Festival de l'histoire de l'art
2 - 4 juin 2017
à Fontainebleau
Le ministère de la Culture et de la Communication, l’Institut national d’histoire de l’art et le château de Fontainebleau s’associent, avec le concours du ministère de l'Éducation nationale, de l’Enseignement supérieur et de la Recherche, pour proposer la 7e édition du Festival de l’histoire de l’art (FHA). Le Festival explore chaque année un thème – 2017 sera consacré à la Nature – et propose quatre rendez-vous : l'invitation faite à un pays, cette année les États-Unis d'Amérique, le Forum de l’actualité, Art & Caméra, la section film et vidéo, le Salon du livre et de la revue d'art. Le Festival est également l’occasion de propositions pédagogiques pour l’enseignement de l’histoire des arts à l’école, au travers d'une Université de printemps et d’ateliers pédagogiques.
Using the case study of the Colonna family palace complex in the Urbs, known as the Santissimi Apostoli (or Palazzo del Vaso or della Torre) after its adjoining church and piazza, this panel (or series of panels?) will approach the question from multidisciplinary perspectives.
If, following Riegl, we posit the observer as an essential interlocutor of the painting, the palace shaped and was shaped by its occupants and visitors: family members, servants, courtiers, confessors, favor-seekers, and illustrious guests all walked the corridors, sat in the chairs, looked at the décor, slept in the beds, and tended the horses. How did their surroundings shape their experience? How did the goals and circumstances of the commissioners shape the decisions they made about room arrangements, paintings, building design, use of space?
The period 1560-1584 was particularly fraught for the Colonna family’s position in Rome and in the Spanish-Italian political landscape. After their return from disgrace and exile in 1560, under the leadership of Giovanna d’Aragona (1500-1576), formidable matriarch and widow of the disgraced Ascanio Colonna, the family worked to consolidate its financial position, regain title and control of confiscated properties including the palace at Santi Apostoli, and remake itself in a new, more docile and courtier-like version of aristocrat. Giovanna’s son Marcantonio Colonna II (“Il Grande”, 1535-1584) continued this process. Both Giovanna and Marcantonio oversaw substantial renovations and expansions of the Roman palace complex. How did their commissions operate in the context of efforts to position themselves in the new political landscape?
We invite papers on any aspect of Colonna involvement with the palace or its surrounding neighborhood. Topics might include: Architecture and decoration; social and literary life of the palace; history of the family as it relates to the palace; neighborhood and landscape; religious and cultural engagements. Papers on other Colonna commissions during this period offering comparative perspectives are also welcome.
Please submit an abstract (max. 150 words), brief CV, and keywords to Renée Baernstein at baernspr@miamioh.edu or Denis Ribouillault at denis.ribouillault@umontreal.ca by 27 May 2016. Please follow the formatting instructions of the RSA: http://www.rsa.org/page/2017Chicago#indiv.
The event will also be webcast via Zoom: https://us02web.zoom.us/j/85659345839?pwd=UmFZYU0xN1NxMGJ1MjlQM054NXgvZz09, Meeting ID: 856 5934 5839, Password: 148258. Recording of the event or parts of the event and screen shots are not permitted. By attending, you agree to these terms of use.
あるヴィラ・バルバロは、イタリアでもっとも有名なルネサ
ンス様式のヴィラの一つである。バルバロ兄弟（人文主義者
ダニエレ・バルバロとヴェネツィア共和国の政治家マルク・ア
ントニオ・バルバロ）および建築家アンドレア・パラディオ
と画家パオロ・ヴェルネーゼの協力により生み出されたこの
ヴィラについて、本講演では、なかでも邸宅の主賓室のアー
チ型天井の中央に位置する、ドラゴンに乗る女性像に光を当
てる。この神秘的な女性像は、ダニエレ・バルバロの専門で
ある天文学と、マルク・アントニオの妻ジュスティニアナ・
バルバロが体現していた女性の美徳（とりわけ豊穣）とい
う、二つの異なるテーマに関わるものであった。このモチー
フに注目しながら展開するヴィラの装飾の新解釈は、芸術家
たちとパトロンとの協力関係についての理解に資するもので
もある。このことによって、表層的な図像プランの作品を生
み出す「装飾画家」としての従来のヴェロネーゼ像とは異な
る側面が明らかになるだろう。
Zoom link:
Sujet : Journée d'étude: PAYSAGE ET INTERMÉDIALITÉ. UdeM
Heure : 20 juin 2023 10:00 AM Montréal
Participer à la réunion Zoom
https://umontreal.zoom.us/j/86319100204?pwd=cmpaeTRsSXc0RHJkVW1naHc5OUJiQT09
ID de réunion : 863 1910 0204
Code secret : 292196
Dans le sillage des Disaster Studies, le projet dans lequel s’inscrit ce colloque a pour ambition d’instaurer le concept de « paysage-catastrophe », et fait le choix d’une perspective globale sur la longue durée. Ce projet abordera le paysage-catastrophe dans toute sa diversité thématique, géographique et historique — paysages sublimes, « apocalypses urbaines », Trümmerfilme, films et jeux « apocalyptiques » ou « post-apocalyptiques », disaster et nuclear movies, musique bruitiste et noise music, etc. —, en mobilisant de nombreuses sources — peintures, estampes et photographies, architectures, plans urbains et cartes, jardins, ex-votos, guides et récits de voyages, ego-documents, correspondances, art sonore, etc. Outre le colloque de Bruxelles en 2023, deux autres événements scientifiques se tiendront à Genève et à Montréal en 2024.
Comité organisateur : Richard BÉGIN (Université de Montréal), Jan BLANC (Université de Genève), Ralph DEKONINCK (Université catholique de Louvain), Sébastien DUBOIS (Université Saint-Louis Bruxelles), Christophe LOIR (Université libre de Bruxelles), Denis RIBOUILLAULT (Université de Montréal)
jardins dans la peinture), les journées d’études visent à confronter usages, pratiques et techniques à l’œuvre dans les jardins de l’Europe et de l’Asie orientale car, à côté d’une certaine forme d’universalité de la fonction du jardin (divertissement, plaisir, fête, célébration), l’historien de l’art et l’architecte s’interrogent, d’un continent à l’autre, sur l’extraordinaire diversité des éléments qui le constituent, des formes et des dispositifs qui le mettent en œuvre et des représentations qui en expriment la nature.
systematic study of the physical or natural world, up to the nineteenth
century the term “scientia” referred to any branch of systematic
knowledge, including the arts and other fields currently associated
with the humanities. In the 1950s, the British philosopher C. P. Snow
famously coined the term “two cultures” as a major cultural force of
the nineteenth and twentieth century in order to describe the by then
fundamental divide between science and the humanities. Since then,
historians and anthropologists of science have raised the question of
how this increasingly hierarchical disciplinary divide came about.
How exactly did natural philosophy (the term for “science” until the
19th century), physics, and mathematics turn into “the paradigmatic
science,” exerting a dominant cultural impact on other disciplines.
The conference organized online in June 2021 seeks to flesh out
the period before such binary (and hierarchical) divisions were
established, in particular from a linguistic, rhetorical and poetic point
of view. In the sixteenth and seventeenth centuries, art and natural
philosophy were not rival disciplines but different forms of expressing
a profound curiosity about nature. The papers will be looking closely
at shared structures that connected both domains during the early
modern period, with a special focus on language as the nexus
between conceptual ideas and the sensible world. In examining the
dialogue in terms of sociocultural, epistemological and particularly
discursive patterns, “art” and “science” will be associated on a
deeper level than that of concrete connections and practical
activities.
XXI Scuola di primavera in Storia dell’arte
del Réseau International pour la Formation à la Recherche en Histoire de l’Art
Arte e scienza. Medialità e materialità
Dipartimento di Lettere e Filosofia
Università di Trento;
Fondazione Bruno Kessler, Trento
MUSE, Trento
26 giugno – 1° luglio 2023
Comitato organizzativo: Denis Ribouillault (Université de Montréal), Eva Struhal e Denis Viva (Università di Trento)
Assistente scientifica: Valeria Paruzzo (Officina espositiva, Dipartimento di Lettere e Filosofia, Università di Trento)
Staff di Dipartimento di Lettere e Filosofia
+39 0461 28 1788-2913
eventi.lett@unitn.it
Con il sostegno
del progetto di ricerca The Shared Languages of Art and Science, finanziato dal SSHRC (Social Sciences and Humanities Research Council of Canada), dell’Université de Montréal, dell’Officina espositiva e del Dipartimento di Lettere e Filosofia dell’Università di Trento.
in partnership con
FBK (Fondazione Bruno Kessler, Trento), MUSE (Museo delle Scienze, Trento)