{"id":4552,"date":"2024-06-05T10:29:08","date_gmt":"2024-06-05T10:29:08","guid":{"rendered":"https:\/\/www.centrorestaurovenaria.it\/?post_type=eventi&p=4552"},"modified":"2024-06-05T10:36:52","modified_gmt":"2024-06-05T10:36:52","slug":"linee-di-energia-produzione-conservazione-e-trasmissione-dellarte-italiana-del-900","status":"publish","type":"eventi","link":"https:\/\/www.centrorestaurovenaria.it\/eng\/eventi\/linee-di-energia-produzione-conservazione-e-trasmissione-dellarte-italiana-del-900\/","title":{"rendered":"Energy lines \u2013 Production, conservation and transmission of 20th-century Italian art"},"content":{"rendered":"
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Energy lines \u2013 Production, conservation and transmission of 20th-century Italian art<\/strong><\/h2>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>
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On the occasion of the publication of the proceedings of the first three editions of the conference \u2018Linee di Energia\u2019, an initiative promoted by the Fondazione Centro Conservazione e Restauro \u2018La Venaria Reale\u2019, the IGIIC Association \u2013 Gruppo Italiano International Institute for Conservation and Intesa Sanpaolo, proposes a reflection on the contexts of artistic production in the second half of the twentieth century in relation to current strategies for the conservation and presentation of works of art.<\/p>\n

Following the system that has characterized the previous appointments (Beyond the picture. Forms and experimentations of the Sixties<\/em>, 16-17 February 2017;\u00a0Beyond the museum. The Radicalization of Artistic Research in the 1970s<\/em>, 12-13 April 2018;\u00a0The Eighties, towards other horizons<\/em>, 16-17 May 2019), the meeting takes the form of a discussion between Artissima, art historians and critics, museum and instruction curators, conservators and restorers.
\nThe presence of different perspectives is intended to foster an exchange of views on the meaning of the work, its historical dimension and more generally on the possibilities of survival and transmission of its material and immaterial elements.<\/p>\n

In the frame of\u00a0Artissima<\/strong>, in contact with the living body of contemporary production and its protagonists, the meeting, which constitutes the 2020 edition of \u2018Linee di Energia\u2019, as well as being aimed at presenting the three volumes that collect the interventions of past events, will encourage guests to reflect on the way in which current artistic production proposes a dialogue between \u2018consumption\u2019 and \u2018conservation\u2019 of the cultural, technical and visual characteristics of the work, from a theoretical and concrete point of view.<\/p>\n

In closing, the curators will expose the themes identified for the next edition of the conference scheduled for 2021.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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PROGRAMME<\/strong><\/h3>\n\n\t\t<\/div>\n\t<\/div>\n\n\t
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10.00 Institutional greetings
\nMichele Coppola<\/strong>,\u00a0Executive Director Art, Culture and Historical Heritage Intesa Sanpaolo<\/em>
\nIlaria Bonacossa<\/strong>,\u00a0Director of Artissima<\/em>
\nO<\/strong><\/em>thephan Make-up,<\/strong>\u00a0President of the \u2018La Venaria Reale\u2019 Conservation and Restoration Centre Foundation<\/em>
\n\u00a0 \u00a0 \u00a0<\/strong><\/em>Lorenzo Appolonia<\/strong>,\u00a0President of the IGIIC Association \u2013 Italian Group of the International Institute for Conservation<\/em><\/p>\n

10.20 Presentation of the publication \u2018Linee di Energia\u2019 by\u00a0Giorgio Bonsanti<\/strong>,\u00a0<\/strong>already ordinary of
\nRestoration at the Universities of Turin and Florence, President of the Interministerial Commission
\nMIBAC-MIUR on the teaching of Restoration.<\/em><\/p>\n

10.30\u00a0 \u00a0<\/span>\u2018Consumption\u2019 and \u2018Conservation\u2019 of contemporary art<\/strong>: round table with artists and experts in dialogue with the curators of the conference.<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0INTERVENTION:<\/em>
\nCesare Pietroiusti<\/strong>,\u00a0Artist and President Azienda Speciale Palaexpo
\n<\/em>Gianfranco Maraniello<\/strong>, art critic and museologist
\n<\/em>Giorgina Bertolino<\/strong>, independent art historian
\n<\/em>Marzia Improves<\/strong>, artist<\/em>
\nAndrea Viliani<\/strong>,\u00a0art historian, Head and Curator of CRRI \u2013 Castello di Rivoli Research Centre and Curator of the \u2018Pompeii\u2019 project\u00a0<\/em>
\n\u00a0Commitment.\u00a0Archaeological Matters\u2019<\/em>
\nAlberto Peola<\/strong>,\u00a0gallerist Michele Guaschino, sculptor and creator of artistic models<\/em>
\nNorma Mangione<\/strong>,\u00a0gallerist, Archivio Salvo<\/em><\/p>\n

12.00 Q&A and Closing of the works<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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RAPPORTEUR: ANDREA VILIANI<\/strong><\/h3>\n\n\t\t<\/div>\n\t<\/div>\n\n\t
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Andrea Viliani (1973), art historian and curator, is the creator and co-curator of the multi-year project\u00a0Pompeii Commitment. Archaeological Matters \/ Archaeological Matters<\/em>, at the Archaeological Park of Pompeii, and Head and Curator of the CRRI-Centro di Ricerca Castello di Rivoli, the new department of the Castello di Rivoli-Museo d\u2019Arte Contemporanea aimed at collecting, researching, studying and enhancing archival materials from artists and collectives, curators and critics, institutions, galleries and collections. From 2013 to 2019 Viliani was General and Artistic Director of the Donnaregina Foundation for Contemporary Arts\/Mother of Naples, from 2009 to 2012 Director of the Fondazione Galleria Civica-Centro di Ricerca sulla Contemporaneit\u00e0 di Trento, from 2005 to 2009 Curator at the MAMbo-Museo d\u2019Arte Moderna in Bologna and from 2000 to 2005 Assistant Curator at the Castello di Rivoli. In 2006, he was in the 60s.\u00a0players\u00a0<\/em>of the\u00a0Biennale de Lyon<\/em>\u00a0and in 2010-2012 among the 6 components of theAgent-Core Group\u00a0<\/em>of\u00a0dOCUMENTA (13)<\/em>, co-curating with Carolyn Christov-Bakargiev and Aman Mojadidi positions in Kabul and Bamiyan (Afghanistan). For the project\u00a0NO MANIFESTO<\/em>\u00a0received in 2005 the\u00a0Lorenzo Bonaldi Prize for Art-EnterPrize<\/em>. He has curated exhibitions and research projects at Museion in Bolzano, Fondazione Querini Stampalia in Venice, GAMeC-Galleria d\u2019Arte Moderna e Contemporanea in Bergamo, Museo Marino Marini in Florence, FRAC Languedoc-Roussillon in Montpellier. He is the author of essays in scientific publications and artist\u2019s books and contributes to the magazines \u2018Artribune\u2019, \u2018Flash Art\u2019, \u2018Frog\u2019, \u2018Kaleidoscope\u2019 and \u2018Mousse\u2019.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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