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DTSTART;TZID=Europe/Rome:20260706T174500
DTEND;TZID=Europe/Rome:20260706T183000
DTSTAMP:20260627T082126Z
CREATED:20260619T063106Z
LAST-MODIFIED:20260627T082126Z
UID:845-1783359900-1783362600@www.communityarchives.art
SUMMARY:Mariarosa Mariech: Archives of Italian Underground at Mart
DESCRIPTION:with Duccio Dogheria \n\nThe Mart’s Archivio del ‘900 [20th-Century Archives] are recognized by the international scholarly community for their extraordinary archival and book heritage dedicated to Futurism\, art criticism\, architecture\, and the neo-avant-garde movements of the late 20th century. In recent years\, the Mart has initiated a systematic acquisition program to document the aesthetics of Italian countercultures: a time span spanning the 1960s to the early 2000s\, from the Beat Movement to the Luther Blissett Project\, through the Metropolitan Indians\, punk\, and cyberpunk. Presented here to the public for the first time in all their complexity\, these materials include collections of rare uniqueness in the national panorama: underground magazines from the 1960s and 1970s from the Archivio di Nuova Scrittura collection\, an exceptional corpus of music fanzines (donations from Pautasso\, Piccolrovazzi\, and Assenzio)\, the complete documentation of the first Italian exhibition dedicated to fanzines (1984\, donated by curator Luciano Trevisan Fricchetti)\, posters from legendary hardcore punk venues such as Virus and Helter Skelter\, and the personal archives of “Pablo” Echaurren\, Giancarlo Pavanello\, Piermario Ciani\, Luther Blissett\, and Gianluca Lerici\, aka Prof. Bad Trip. The meeting will be led by Duccio Dogheria\, head of the historical archives\, and Mariarosa Mariech\, head of the Mart library. \n\n\n\nPablo Echaurren\, drawing from the notebook Oask?! Facciamo un giornale anormale [Oask ?! Let’s make an unusual newspaper]\, ink on paper\, 1977. Mart\, Archivio del ‘900\, Pablo Echaurren’s documents.   \n\nMariarosa Mariech \n\nMariarosa Mariech holds a degree in Literature\, with a focus on Modern Studies; she has worked at the Provincial Superintendence managing historic book collections; since 2005\, she has been working at the Mart Library\, which she has been coordinating as the head since 2012. Over time\, she has overseen various Civil Service projects\, while also hosting interns\, volunteers\, and external collaborators.  \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu
URL:https://www.communityarchives.art/en/evento/mariarosa-mariech-the-aesthetics-of-the-underground-in-italy/
LOCATION:Mart\, Corso Bettini 43\, Rovereto\, TN\, 38068\, Italy
CATEGORIES:Architecture,Archives,Critics Theory,History,Landscape,Theatre,Visual Arts
ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20260702T180000
DTEND;TZID=Europe/Rome:20260702T183000
DTSTAMP:20260630T120519Z
CREATED:20260622T203521Z
LAST-MODIFIED:20260630T120519Z
UID:1193-1783015200-1783017000@www.communityarchives.art
SUMMARY:Andrea Benoni and Stefano Giovanazzi: Redefining utopia\, refining utopia
DESCRIPTION:From here\, to infinity \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu
URL:https://www.communityarchives.art/en/evento/andrea-benoni-and-stefano-giovanazzi-redefining-utopia-refining-utopia/
LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy
CATEGORIES:Architecture,Archives,Critics Theory,History,Landscape,Social volunteering,Theatre,Visual Arts
ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20260702T173000
DTEND;TZID=Europe/Rome:20260702T180000
DTSTAMP:20260701T021005Z
CREATED:20260630T103248Z
LAST-MODIFIED:20260701T021005Z
UID:1638-1783013400-1783015200@www.communityarchives.art
SUMMARY:Emilie Lauriola (Archivorum Library)\, Mariamargherita Maceli (Archivorum Ark)\, Cristina Meli\, (Archivorum Library)\, Cristina Mosconi (Grants & Partnerships)\, Alice Rigo Saitta (Archivorum): Living Archives: Building Collective Memory for the Future
DESCRIPTION:video call \n\nArchivorumArchivorum is an international platform dedicated to the preservation\, activation\, and transmission of artist archives through research\, publishing\, and education. Founded in Luxembourg by the passionate art lover Mia Rigo\, Archivorum was created with the aim of rethinking the archive as a living\, continuously evolving structure rather than a static repository of the past. The name derives from the Latin term for “archive\,” reflecting a commitment to preservation that actively dialogues with the present and future. Growing up in Modena\, Mia was always surrounded by books; her mother played a key role in opening many libraries in the city. The story of Archivorum begins with a poem by Oriol\, dedicated to the “disappointment of the collector” — the pain of seeing works once loved become dispersed and forgotten. That poem became a vow. Mia transformed that feeling into a mission: to ensure that artists and their creations are remembered through their own voices\, not just through others’ narratives. From this conviction\, Archivorum was born—a non-profit public association dedicated to preserving artists’ legacies through their words\, books\, and testimonies—so that memory continues to live as a conversation between generations\, and not just an echo of the past. Archivorum was created from the desire to let artists speak with their own words\, ensuring that their voices\, along with their works\, can endure over time. Mia envisioned a more open and dynamic view of the archive: a structure that supports artists and helps them carry forward their work and ideas over time. Archivorum operates as a platform that supports artists in safeguarding\, activating\, and transmitting their legacies through research\, publishing\, and training. Rather than fixing works and narratives\, Archivorum aims to keep them moving—accessible\, evolving\, and meaningful across generations.            \n\n\n\n\n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu
URL:https://www.communityarchives.art/en/evento/cristina-meli-cristina-mosconi-alice-rigo-saitta-mariamargherita-maceli-emilie-lauriola-archivorum-is-a-project-that-enlightens-the-world-of-artists-archives-through-its-innovative-pre-philosop/
LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy
CATEGORIES:Architecture,Archives,Critics Theory,Landscape,Multimedia,Sociology,Theatre,Visual Arts
ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20260701T180000
DTEND;TZID=Europe/Rome:20260701T183000
DTSTAMP:20260629T150508Z
CREATED:20260619T102949Z
LAST-MODIFIED:20260629T150508Z
UID:890-1782928800-1782930600@www.communityarchives.art
SUMMARY:Stefano Giovanazzi: AAC Contemporary Art Archive Rovereto. Documents on contemporary art and thought
DESCRIPTION:Resources for the community \n\n \n\naac Archive of Contemporary Art is a project born in the early 1980s. Designed\, created\, and maintained by Stefano Giovanazzi\, aac is a collection of 200\,000 documents conceived\, written\, and published primarily by artists\, critics\, and art historians\, but also by writers\, philosophers\, anthropologists\, sociologists\, and epistemologists. The materials come from Italian and international artists\, publishers\, institutions\, and collectors and are largely dedicated to artistic research as well as reflections on the conditions of contemporary life.Deutsch  \n\nBorn from a deep desire to collect and preserve the testimonies of the movements and protagonists of 20th-century art and to actively participate in promoting contemporary artists\, over time the project has expanded to include materials from many other disciplines. Thus\, from its beginnings in the early 1980s in Venice during the formative experience at the Academy of Fine Arts\, in contact with highly active figures in the international scene such as Emilio Vedova and Luigi Nono\, and then in Rovereto through a multitude of curatorial experiences that fostered a clear awareness of contemporary issues\, particularly through activities promoted within the festival “Senzatitolo. Events\, Actions\, Exhibitions\,” the flow of acquisitions never ceased; in fact\, it accelerated over time. Certainly\, the richness of art events between the 1990s and the early years of the new millennium allowed the collection to be enriched with documents of absolute theoretical and critical importance and contributed to making the collection a complex and articulated whole\, well-organized from the perspective of disciplines and bibliographic cataloging. Encounters with the protagonists of the artistic experiences of those years\, and with some of the most important figures of contemporary philosophical and literary thought and reflection — from Joseph Kosuth to Illja Kabakov\, from Giuseppe Panza di Biumo to Giuliano Gori\, from Michael Snow to Stefano Boeri\, from Benoît Mandelbrot to Daniele Del Giudice to Paolo de Benedetti — shed light on an extremely lively national and international panorama\, rich in reflections and proposals regarding both the creative dimension and the human condition in general.  \n\n\n\nThe activity carried out over these three decades has allowed us to weave a network of international relationships with a wide variety of authors: artists\, creatives\, gallerists\, museum directors\, collectors\, publishers\, and so on\, and consequently with numerous institutions: museums\, foundations\, research centers\, residencies\, alternative spaces\, and associations. These relationships have enabled us to redefine\, at least partially\, the environment of the art world and the world of thought: today\, as a result of this experience\, a database contains more than 130\,000 contacts in over 150 countries worldwide\, a testament to the persistence of relationships beyond the unpredictable events that inevitably involve the lives of individuals\, which can perhaps be considered antithetical to the growing ‘dematerialization’ of practices related to the art world and culture in general.  \n\nThe Contemporary Art Archive AAC is a documentation center that has a collection exceeding 200\,000 documents\, acquired starting from the mid-1980s\, mainly dedicated to art\, design\, architecture\, philosophy\, and contemporary thought. To date\, the following have been indexed: \n\n\n105\,000 printed documents: monographs\, periodicals\, sound recordings.Instead\, the following need to be cataloged:\n\n\n\n10\,000 other printed documents.\n\n\n\n50\,000 “minor” materials or gray literature: invitations\, brochures\, posters\, press kits. Among these materials is a very rare collection of exhibition invitations held between the 1960s and 1970s by artists active in the fields of conceptual art\, minimalism\, and Povera. \n\n\n\n3\,000 sound and video recordings: vinyl records\, magnetic tapes\, CDs\, CDRs\, DVDs;\n\n\n\n600 works of art: paintings\, drawings\, photographs\, but mainly graphic works\, multiples\, and limited edition prints\, numbered and signed by the artists.\n\n\n\n2\,000 posters: among these\, some very rare\, created in the 1920s by artists belonging to the historical avant-gardes.\n\n\n\n5\,000 original photographic documents: F.lli Alinari Archive Florence\, Pavilions at the International Art Exhibition “La Biennale di Venezia\,” Francesca Cristellotti Digital Photo Archive\, Rovereto.The archive also contains other types of printed documents: maps\, postcards\, religious images (holy cards)\, totaling several thousand.\n\n\nWorks in collection: artist multiples\, posters\, books\, records \n\nVincenzo Agnetti\, Joseph Albers\, Robert Barry\, Ubaldo Bartolini\, Carlo Battaglia\, Duccio Berti\, Alighiero Boetti\, Agostino Bonalumi\, Achille Bonito Oliva\, Silvano Brugnara\, Daniel Buren\, Pierpaolo Calzolari\, Nicola Carrino\, Giuseppe Chiari\, Alfred L. Copley\, Enzo Cucchi\, Gino De Dominicis\, Hamish Fulton\, Alberto Garutti\, Joseph Kosuth\, Joseph Kosuth/Sarah Charlesworth\, Urs Lüthi\, Ugo La Pietra\, Bertrand Lavier\, Felice Levini\, Sol Lewitt\, Sergio Lombardo\, Arrigo Lora Totino\, Robert Mangold\, Amedeo Martegani\, Fausto Melotti\, Elio Mariani\, Maurizio Mochetti\, Hidetoshi Nagasawa\, \, Bruce Nauman\, Mario Nigro\, Dennis Oppenheim\, Giulio Paolini\, Umberto Postal\, Emilio Prini\, Niki de Saint Phalle\, Remo Salvadori\, Maria Salvati\, Lucas Samaras\, Antonio Trotta\, Tim Ulrichs\, Bernard Venet\, Claudio Verna\, Andy Warhol\, Lawrence Weiner\, Heimo Zobernig. \n\nStefano Giovanazzi \n\nGraduated from the Rovereto (TN) Magistral Institute and subsequently from the State Institute of Art in Trento. In the early 1980s\, he attended the Accademia di Belle Arti in Venice\, where he earned his diploma in Painting with artist Emilio Vedova. Founder and curator of AAC Contemporary Art Archive of Rovereto\, since 1994 he has been president of the cultural association Numero Civico. Over more than thirty years of activity\, he has curated hundreds of events related to contemporary art and thought. He has numerous collaborations with artists\, musicians\, writers\, museums\, cultural institutions\, academies\, governments\, and governmental bodies. He has worked with Mario Airò\, Stefano Arienti\, Vincenzo Cabiati\, Andrea Crociani\, Francesco Dal Bosco\, Eva Marisaldi\, Chiyoko Miura\, Liliana Moro\, Fabio Polvani\, Luca Quartana\, Andrea Rabbiosi\, Federico Tanzi-Mira\, Grazia Toderi\, Marco Vaglieri\, Vedova Mazzei\, Francesco Voltolina; curated exhibitions featuring works by Rita Ackermann\, Richard Ambleton\, John Currin\, Joseph Kosuth\, Sean Landers\, Sherrie Levine\, Raymond Pettibon\, Richard Prince\, Jim Shaw\, Jeffrey Wallace. He has organized events in collaboration with the Italian Senate\, Ministry of Cultural Heritage and Activities\, Canadian Embassy\, Basque Government (Spain)\, Cervantes Institute of Culture (Spain)\, The British Council (UK)\, French Ministry of Culture\, Institut Français (France)\, Goethe Institute (Germany). As a genealogist\, he manages an extensive genealogical archive\, “The Trees and the Leaves\,” which contains over one million genealogical entries.     \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu
URL:https://www.communityarchives.art/en/evento/stefano-giovanazzi-aac-archivio-arte-contemporanea-rovereto-documenti-sullarte-e-il-pensiero-contemporaneo/
LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy
CATEGORIES:Architecture,History,Landscape,Theatre,Visual Arts
ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20260629T100000
DTEND;TZID=Europe/Rome:20260704T190000
DTSTAMP:20260630T101312Z
CREATED:20260621T072202Z
LAST-MODIFIED:20260630T101312Z
UID:1068-1782727200-1783191600@www.communityarchives.art
SUMMARY:Claudia Castellucci: The aesthetic question of an artistic archive\, in its conception and use
DESCRIPTION:Claudia Castellucci participates in Archivi di Comunità with a text titled: Some notes on the historical archive of Socìetas Raffaello Sanzio. The document will be distributed at TSpace starting Monday\, June 29\, 2026\, along with “Bollettino dell’Archivio No. 1\, October 13\, 2018” and “Bollettino dell’Archivio No. 2\, November 24\, 2018.” As Claudia writes\, the texts delivered to “Archivi di comunità” highlight some issues regarding the functions of the physical archive of Socìetas Raffaello Sanzio (1981–2006)\, raised during a seminar held in 2018: in particular\, the ability “to awaken the preserved objects\, both visually and intellectually.” The artist will not be present in person.    \n\nAmleto. La veemente esteriorità della morte di un mollusco\, by Romeo Castellucci/Socìetas Raffaello Sanzio (on stage: Paolo Tonti). Cesena\, Teatro Comandini\, 1992. © archiviostoricosocietas.eu (All rights reserved)   \n\nClaudia Castellucci / Societas \n\nWith training in the visual arts\, Claudia Castellucci\, in 1981\, co-founded with her brother Romeo\, Chiara Guidi\, and others\, the Societas Raffaello Sanzio\, a theatrical company that became renowned worldwide for its primarily visual\, plastic\, and sonic approach to theater. When\, in 2006\, the company members began pursuing separate research paths\, C. Castellucci continued her engagement with plastic art through the creation of works based on a philosophical practice centered on rhythm\, which also led her to establish several schools with an ancient inspiration\, focused on the pleasure of knowledge rather than formal training: the Theatre School of Descent (1989-93); Stoa (2003-07); and Mòra (2015-19). In 2011\, she directed the École du rythme in Bordeaux\, on the occasion of the Urban Art Biennale. Since 2014\, she has been leading Movement Rhythmic Exercises worldwide\, starting in Athens. Among her writings are: Uovo di bocca (Bollati Boringhieri 2000)\, Setta Scuola di tecnica drammatica (Quodlibet 2015)\, and Bollettini della Danza (Edizioni Sete 2019). In 2020\, she received the Silver Lion from the Venice Dance Biennale.      \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu
URL:https://www.communityarchives.art/en/evento/claudia-castellucci-the-aesthetic-question-of-an-artistic-archive-in-its-conception-and-use/
LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy
CATEGORIES:Theatre,Visual Arts
ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20260623T160000
DTEND;TZID=Europe/Rome:20260623T163000
DTSTAMP:20260626T104009Z
CREATED:20260622T044153Z
LAST-MODIFIED:20260626T104009Z
UID:1110-1782230400-1782232200@www.communityarchives.art
SUMMARY:Andrea Benoni / Stefano Giovanazzi: Archivi di Comunità. Acts of transforming personal memories into shared memories
DESCRIPTION:Presentation by the curators of the first edition of “Community Archives”:Thirty-two encounters with artists\, collectors\, curators\, art historians\, archivists;Inviting twenty-six institutions;An exhibition in Rovereto;Twelve guided tours of archives\, foundations\, and museums;A logo and a manifesto designed by the artist Maurizio Nannucci. \n\nRovereto • Trento • Bolzano • Merano • Verona • AltivoleJune 23 – July 31\, 2026 \n\nThe guests of the scheduled working days for the first edition of Community Archives will present specific study cases dedicated to the theme: \n\nActs of transforming personal memories into shared memories \n\n \n\nPresentation \n\nCommunity archives perhaps represent the last ‘utopia\,’ a precious\, complex\, and at the same time fragile heritage\, bearing witness to the ‘becoming’ of cultures\, identities\, and differences\, of generations of living beings. Unlike big data concealed within data centers—collections of personal and collective data so vast and complex that they cannot be processed and decoded with traditional methods but only through algorithms and artificial intelligence\, primarily for private use and exploitation—the utopia of community archives offers a different history of ideas.  \n\nLibraries and archives are seemingly composed of collections of material objects\, such as printed documents\, ancient and modern books\, printed or handwritten music\, sound or video recordings\, graphic documents\, drawings\, engravings\, photographs\, artworks\, collages\, sculptures\, digital works\, technical inventions\, objects from Wunderkammer—those theatrical rooms of curiosities (like the two-headed calf housed in the Civic Museum of Rovereto until the 1970s)—or minor materials: invitations\, leaflets\, ephemeral items. However\, they always revolve around thoughts and reflections—by authors\, publishers\, producers\, and disseminators—primarily: ‘immaterial objects\,’ utopias in the strict sense. All together\, they testify to the ‘wealth’ but also the ‘poverty’ of an impermanent social fabric in space and time\, contaminated by multiple influences of nature and by cultural\, historical\, artistic\, scientific\, and technological factors. The variety of documents and testimonies that have reached us—preserved as genealogies\, manuscripts\, photographs\, letters\, maps\, artworks\, and everyday objects—tactile\, visual\, olfactory\, auditory\, and gustatory—allows the intertwining of very different disciplines. From this diversity\, ‘community archives’ derive density and immeasurable potential.    \n\nValidation \n\nThe approach to an ever-expanding array of documents highlights the urgency of redefining the concepts of competence and validity\, and at the same time calls for an integrated approach to the theory of knowledge. Private\, unique collections represent the condensation of countless\, indefinable memories and personal and interpersonal passions—materialization of Borges’ ‘Library of Babel’ in memory—while public libraries and archives play a role in preservation\, organization\, and providing easier access to mostly indexed documents. Documentary and testimonial resources often allow us to reconstruct personal and collective stories in great detail and with remarkable precision\, which would otherwise be difficult to comprehend. The complexity of the knowledge contained in these archives requires ongoing personal and collective efforts—such as verifying sources\, validating and attributing information\, reading and interpreting—as well as continuous work of transcription\, sometimes translation. When applied with the necessary care and attention\, validation\, attribution\, protection\, organization\, study\, and enhancement are tasks that future generations will be able to continue\, even in contexts we cannot yet foresee but can only imagine.     \n\nComplexity beyond rituality \n\nCommunity archives define the points of contact between disciplines and knowledge\, reflecting the plurality of identities\, memories\, and unique practices that shape various social bodies. They are not merely repositories of documents but dynamic spaces where history\, sociology\, anthropology\, archival science\, and cultural studies intertwine to reshape the world and interpret traces of life — from the earliest testimonies to the most recent\, from the essential to the complex. Their complexity and heterogeneity become evident when interpretation for investigative work requires integrating methodologies and perspectives: from qualitative analysis to statistical management\, from participatory engagement with multiple stakeholders in evaluating critical and interpretive positions\, to improving conservation and restoration techniques often adapted to specific climatic and environmental needs. Moreover\, those working with community archives must address how to represent the multiplicity of narratives [Data Visualization] and the safeguarding of both singular and collective memory\, often fragmented or subject to manipulation\, sometimes marginalized. Consider\, for instance\, the countless objects in collections and museums originating from formerly colonized countries\, whose country of origin\, creators\, or communities that valued and exchanged them are unknown: these represent a kind of ‘history of technique and art without names or places\,’ driven by political events\, domination\, theft\, or sometimes by excessive zeal or the desire to preserve and safeguard objects from neglect\, time\, and natural decay. Multistrategy and multidisciplinary approaches are increasingly essential to attempt to restore a hypothetical zero point of the object of thought — the moment of its emergence on the horizon of events: rediscovering the object at its origin allows us to understand its power and definition (bestimmung)\, and to reawaken the specific ‘state of the art’ in which it was born and established. An inverse process to ritualization. One last remark: all tools of knowledge can be conceived as means of social and cultural empowerment. In a time of rapid change\, community archives serve as spaces of resistance against homogenization\, questioning the concept of identity\, and require new forms of knowledge and approaches to coexist social history\, science and technology\, aesthetic practices\, sensitivity\, desire and passion\, ethics\, and solidarity.         \n\nGenealogy and iconology \n\nParaphrasing Michel Foucault\, we can consider genealogy as the art of uncovering the origins and hidden histories behind interpersonal and institutional practices\, revealing how the present results from complex\, often unsuspected historical processes\, sometimes subject to distortions. Genealogies play a fundamental role in community archives because they help trace and document isomorphic lines or historical fractures\, natural and cultural dynamics. Through the collection and analysis of information evaluated using tools from semiotics\, iconography\, genetics\, anthropology\, and other complex disciplines\, archives sometimes enable us to trace the unfolding of relational\, familial\, and community forms\, as well as sedentary or migratory dynamics\, along with changes in ideologies and thought trajectories. Critical analysis of genealogies allows us to reconfigure\, confirm\, or refute personal and collective memories\, reinforcing the delicate approach needed when dealing with such a sensitive subject as the space-time dimension of vital dynamics: autonomy and belonging\, distance and continuity across generations. Genealogies present themselves as an ‘field’ still waiting to be explored from various perspectives—historical\, anthropological\, sociological\, demographic\, urbanistic\, architectural\, geographic\, and scientific. The sources for such genealogical research must include grand mythic narratives\, religions\, philosophies\, linguistic theories\, and theoretical positions—all ‘texts’ that have reached us in the form of hypotheses\, stories\, essays\, catalogs\, registers of births and deaths\, marriage records\, statistical data from censuses\, notarial acts (property or sales)\, laws and regulations\, as well as personal or collective archives\, both public and private. Seen as a whole\, these states of thought often appear opaque\, arid\, unproductive\, sometimes insubstantial or even harmful or devastating—fertile ground for the ‘banality of evil’ as Hanna Arendt describes. However\, when realigned\, reread\, and integrated\, they can serve as sources for a generative grammar capable of opening new fields of investigation and new perspectives. Similarly\, a reflection on iconology as an immaterial genealogy of images allows us to go beyond markedly ideological and teleological obstacles\, approaching the mental and symbolic spaces where thoughts and behaviors take shape.         \n\nReality and social behaviors \n\nWe can consider community archives and vast genealogical collections as true ‘zones of flow’ between the imaginary and the real (in the sense given by Jacques Lacan): fundamental stages that allow us to attempt to traverse the material and immaterial heritage of individuals and communities\, whether more or less articulated\, intersecting or overlapping. These zones of flow sometimes present themselves as inaccessible due to the presence of barriers and obstacles—real or metaphorical—while at other times they open up to new vantage points\, revealing unexpected horizons\, valleys\, and expanses that come into our view and consequently generate further opportunities for reflection and interpretation. It is up to us\, through our actions\, to live these landscapes as battlegrounds\, theaters of war\, conflict zones—or rather\, as places of utopian transit\, coexistence\, and material and immaterial growth. Even language\, like any other process\, can become a tool of offense or an expression of resentment\, or it can be used to mediate\, welcome\, safeguard\, or simply to bear witness to gratitude.    \n\nKnowledge and participation \n\nArchives and libraries\, because they regularly address issues related to the preservation and sharing of knowledge\, also play an active role in transforming the social fabric: a key point is that access to culture\, information\, and thought in its many forms cannot be considered neutral. It requires\, over time\, a transformation of roles and skills\, as well as an active and stimulating relational and spatial approach. Community engagement initiatives\, events\, and collaborative projects enable open dialogue between researchers and the community\, citizens and institutions. They strengthen the sense of belonging\, transparency\, and participation in a democratic process—transforming personal memories into history.  \n\nTo survey\, share\, and design \n\nEveryone recognizes the potential of private archives—those of artists\, researchers\, historians\, and writers: the challenge is to connect this promise of the future with a more open\, widespread relational fabric\, capable of creating opportunities for its “shaping.” A crucial task is to identify these collections of thoughts or material objects and invite each individual to participate in expanding the boundaries of their actions\, sharing their knowledge to collaboratively design new scenarios.  \n\n\n\nAndrea Benoni \n\nAndrea Benoni is president of the Artieri Foundation. Former mayor of Calliano (TN)\, he was president of the Vallagarina Artisans Association for many years\, and is the creator and organizer of numerous craft fairs\, exhibitions\, and events dedicated to the history of violin making in Trentino.  \n\nStefano Giovanazzi \n\nA graduate of the Rovereto Teacher Training Institute (TN) and the Trento State Art Institute\, he attended the Academy of Fine Arts in Venice in the early 1980s\, where he graduated in Painting under the artist Emilio Vedova. Founder and curator of AAC Archivio Arte Contemporanea in Rovereto\, he has been president of the Numero Civico cultural association since 1994. In over thirty years of activity\, he has curated hundreds of events related to contemporary art and thought. He has collaborated numerous times with artists\, musicians\, and writers\, with museums and cultural institutions\, academies\, and with governments and governmental institutions. He has worked with Mario Airò\, Stefano Arienti\, Vincenzo Cabiati\, Andrea Crociani\, Francesco Dal Bosco\, Eva Marisaldi\, Chiyoko Miura\, Liliana Moro\, Fabio Polvani\, Luca Quartana\, Andrea Rabbiosi\, Federico Tanzi-Mira\, Grazia Toderi\, Marco Vaglieri\, Vedova Mazzei\, and Francesco Voltolina; He has curated exhibitions featuring works by Rita Ackermann\, Richard Ambleton\, John Currin\, Bruce Elder\, Joseph Kosuth\, Sean Landers\, Sherrie Levine\, Raymond Pettibon\, Richard Prince\, Jim Shaw\, Michael Snow\, Bill Viola\, and Jeffrey Wallace. He has curated events in collaboration with the Italian Senate\, the Ministry of Cultural Heritage and Activities\, the Canadian Embassy\, ​​the Vasco-Basque Government (Spain)\, the Instituto Cervantes de Cultura (Spain)\, the British Council (Great Britain)\, the French Ministry of Culture\, the Institut Français (France)\, and the Goethe Institute (Germany). A genealogist\, he is responsible for an extensive genealogical archive\, „Trees and Leaves\,“ which contains over a million genealogical positions.     \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu
URL:https://www.communityarchives.art/en/evento/andrea-benoni-stefano-giovanazzi-archivi-di-comunita-acts-of-transforming-personal-memories-into-shared-memories/
LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy
CATEGORIES:Architecture,Archives,Critics Theory,History,Landscape,Social volunteering,Theatre,Visual Arts
ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org
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