BEGIN:VCALENDAR VERSION:2.0 PRODID:-// - ECPv6.17.4.1//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-ORIGINAL-URL:https://www.communityarchives.art/en/ X-WR-CALDESC:Events for REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:Europe/Rome BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20250330T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20251026T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20260329T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20261025T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20270328T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20271031T010000 END:STANDARD END:VTIMEZONE BEGIN:VTIMEZONE TZID:UTC BEGIN:STANDARD TZOFFSETFROM:+0000 TZOFFSETTO:+0000 TZNAME:UTC DTSTART:20250101T000000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT 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:20260706T170000 DTEND;TZID=Europe/Rome:20260706T174500 DTSTAMP:20260627T152015Z CREATED:20260619T062213Z LAST-MODIFIED:20260627T152015Z UID:847-1783357200-1783359900@www.communityarchives.art SUMMARY:Duccio Dogheria: Archives of Italian Underground at Mart DESCRIPTION:with Mariarosa Mariech \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\nDuccio Dogheria \n\nHe is responsible for the ‘900 Archive at the Mart\, where he has been working since 2009\, primarily dealing with artist archives from the second half of the 20th century\, experimental publishing\, and the museum’s digital library. His publications include Internet Archive: Unofficial Guide to the World’s Most Innovative Digital Library (2024)\, Luther Blissett: Bibliography of a Psychological Warfare (2021\, with Silvano Zingoni)\, Banksy (2020)\, Pirates and Fake Editorials in 1970s Italy (2018)\, and Street Art: History and Counterhistory\, Techniques and Protagonists (2015). He has curated several exhibitions\, mostly focused on the connections between avant-garde and neo-avant-garde art; he has collaborated with magazines such as “Art e Dossier\,” “Exibart\,” “L’Illustrazione\,” “Pretext\,” “Charta\,” “International Yearbook of Futurism Studies\,” “Ricerche di s/confine\,” “Piano B\,” and “Studi di Memofonte\,” mainly writing articles related to the history of graphic design\, illustration\, and underground publishing. \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/duccio-dogheria-the-aesthetics-of-the-underground-in-italy/ LOCATION:Mart\, Corso Bettini 43\, Rovereto\, TN\, 38068\, Italy ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260704T110000 DTEND;TZID=Europe/Rome:20260704T120000 DTSTAMP:20260621T071157Z CREATED:20260621T070457Z LAST-MODIFIED:20260621T071157Z UID:1060-1783162800-1783166400@www.communityarchives.art SUMMARY:Alessandro Armani: Memoriale Brion. Un capolavoro di Carlo Scarpa in un camposanto di paese DESCRIPTION:Not far from Treviso\, Tomba Brion designed by Carlo Scarpa is an absolute masterpiece of modernism\, Venetian art and oriental philosophies inspired by the theme of true love. Immersed in the Treviso countryside\, this is a masterpiece of the 20th Century Architecture: A silent\, peaceful and harmonious place where different cultures and religions are blending for a unique experience.The Memoriale Brion\, donated to FAI by Ennio and Donatella Brion\, was commissioned in 1969 by their mother Onorina Brion Tomasin\, in memory of the deceased husband\, Giuseppe Brion\, born in San Vito di Altivole\, founder and owner of the Brionvega Firm\, a leading company in the production of electronics design devices during the Second post-war period.This is Carlo Scarpa’s last work\, one of his most complex\, original\, significant and expensive creation. It was realized between 1970 and 1978\, the year of the architect’s death in Japan. \n\nThe monumental funerary building is surrounded by the Treviso countryside\, set against the Asolo’s Hills\, on the edge of the city of San Vito D’Altivole and close to its small graveyard. The access is through a monumental entrance\, called propylei\, characterized by a scenic entrance in the shape of two intertwined circles\, as a symbol of the conjugal love on which the whole project is based on. The whole area is a L-Shaped 2200 square meters\, raised above the country floor and surrounded by an inclined wall\, in order to allow the view of the surrounding landscape. Made of green meadows and furrowed by canals with water lilies\, it is designed with geometric shapes reminiscent of Islamic paradises and Japanese gardens. There you can find four buildings. The building’s heart is the so-called arcosolio\, a low arch-bridge made of a shimmering mantle of glass tiles with gold leaf behind\, which protects the sarcophagi of the two spouses Giuseppe and Onorina Brion\, symbolically inclined as if eternally are facing each other. On one side of the space stands\, there is an isolated meditation pavilion on the water\, specially placed in front of the arcosolio; on the other side\, there are the so-called ‘’tomb of parents’’ and the ‘’chapel or temple’’ used for funeral ceremonies\, which can also be accessed from the outside of the cemetery\, surrounded by water and a garden of cypresses. Consequently\, in a subdued and discreet space\, on the border between the private memorial and the public cemetery\, there is the Carlo Scarpa’s tomb\, who wanted to be buried here and today hosts his wife Nini Lazzari and it was designed by their son Tobia (with Fabio Lombardo)\, also an architect. \n\nThe Memoriale Brion is a family cemetery\, made by the beautiful mind of Carlo Scarpa\, who here expresses himself with freedom of means and languages in an extraordinary virtuosity\, synthesis and climax of his culture and experience connected to his sensibility and vision. Carlo Scarpa has given the shape and atmosphere of a large garden open to everyone\, creating a place of silence\, peace and harmony\, pervaded by a deep sense of the sacred\, where different cultures and religions blend together through architectures dense with sophisticated symbols and hidden references\, in order to invite all visitors to a universal meditation on life and death with a memorable\, unique and engaging experience. \n\nAlessandro Armani \n\nBorn in Rovereto\, a graduate in cultural heritage sciences\, he has worked for the FAI – Italian Environment Fund since 2018\, initially as director of Avio Castle\, Avio\, Trentino-Alto Adige. Since 2025\, he has been responsible for the Foundation’s North-Eastern Heritage. He is also responsible for the FAI Operational Management – Brion Memorial\, Altivole\, Veneto\, a mature work by Carlo Scarpa\, and for Villa dei Vescovi\, Torreglia\, Veneto. \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/alessandro-armani-memoriale-brion-un-capolavoro-di-carlo-scarpa-in-un-camposanto-di-paese/ LOCATION:Palazzo Pizzini\, Piazza Malfatti\, 27\, Rovereto\, TN\, 38068\, Italy CATEGORIES:Architecture,History,Landscape,Visual Arts ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260704T100000 DTEND;TZID=Europe/Rome:20260704T110000 DTSTAMP:20260629T150817Z CREATED:20260627T191224Z LAST-MODIFIED:20260629T150817Z UID:1496-1783159200-1783162800@www.communityarchives.art SUMMARY:Thomas Dalla Costa: The Collections of the Miniscalchi-Erizzo Foundation Museum DESCRIPTION:The Miniscalchi-Erizzo Museum\, home of the eponymous Foundation established in 1964\, is located in a complex of buildings with a late medieval layout in the heart of Verona\, between Piazza delle Erbe and the Cathedral. Its diverse collection includes fossils\, Etruscan and Roman artifacts\, paintings\, ancient drawings\, sculptures\, bronzes and plaques\, as well as majolica\, porcelain\, antique furniture\, weapons and armor\, along with an impressive library and family archives. The collection has a layered history\, being the result and consequence of the merging of collections from different families\, and a fundamental component is what remains of the famous Wunderkammer created by the scholar Ludovico Moscardo from around 1630 to 1681. The presentation will primarily focus on the events related to this latter part of the collection\, its partial dispersion\, and the memories it still preserves and allows us to reconstruct. \n\nThomas Dalla Costa \n\nArt historian and curator\, Thomas Dalla Costa studied at the University of Verona\, where he earned his PhD in 2012. In 2014\, he served as Assistant Curator at the Castelvecchio Museum in Verona\, and between 2019 and 2020\, he worked as a Curatorial Fellow at the National Gallery in London. From 2022 to 2025\, he has been working as an Associate Curator at the Miniscalchi-Erizzo Museum in Verona. He has curated and contributed to various exhibitions in Italy and abroad: Verona\, Venice\, London\, Moscow\, Madrid\, Vienna. Thomas has received several research grants from international research organizations\, including the Ermitage Italia Foundation\, Save Venice Inc.\, and the Getty Museum (as part of The Getty Paper Project). He has published numerous articles in journals\, books\, and exhibition catalogs on topics such as the history of Venetian art criticism and painting from the 15th to 17th centuries; the organization of Venetian artistic workshops; and the use and function of drawing in the creative processes of Venetian artists of the 15th and 16th centuries. Thomas is also involved in curating or co-curating volumes focusing on these themes\, such as the recent Venetian Disegno. New Frontiers 1420-1620\, edited with Maria Aresin (Paul Holberton Publishing\, 2024)\, and the Catalogo ragionato dei disegni – Fondazione Museo Miniscalchi-Erizzo (Silvana Editoriale\, 2025). Additionally\, he authored the monograph Venere e Adone by Titian: Art\, Culture\, and Society between Venice and Europe (Marsilio\, 2019). Currently\, he is the scientific coordinator of research and exhibition activities related to the celebrations for the 450th anniversary of Titian’s death\, a two-year project investigating the use and function of landscape in Cadorino art. \n\n \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/thomas-dalla-costa-the-collections-of-the-miniscalchi-erizzo-foundation-museum/ LOCATION:Palazzo Pizzini\, Piazza Malfatti\, 27\, Rovereto\, TN\, 38068\, Italy CATEGORIES:Architecture,History,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:20260702T180000 DTEND;TZID=Europe/Rome:20260702T183000 DTSTAMP:20260703T134729Z CREATED:20260621T090244Z LAST-MODIFIED:20260703T134729Z UID:1097-1783015200-1783017000@www.communityarchives.art SUMMARY:Elena Bini: Sven Sachsalber. Mapping an artistic practice: a Museion research project DESCRIPTION:Sven Sachsalber (Silandro\, 1987 – Vienna\, 2020) was a prominent artist who\, with irony and determination\, worked across various artistic media\, and whose evolution Museion closely followed from the very beginning. Recognizing the regional and international importance of his work\, the museum decided\, in the year following his death\, to systematically map his oeuvre\, ensure its preservation\, improve its accessibility\, and reconstruct the network of relationships surrounding the artist. The project was carried out in two main phases: the first focused on his years of study in London and his artistic activities\, as well as his network of relationships across Europe (2009–2013); the second concentrated on the years spent in New York (2014–2020). This multi-year research initiative (2021–2025)\, funded by the German Cultural Division of the Autonomous Province of Bolzano\, was initiated and directed by Museion in collaboration with BAU – Institute for Contemporary Art and Ecology\, in ongoing exchange with Sachsalber’s family. The research concluded with a public presentation (December 6\, 2025 – June 21\, 2026)\, accompanied by a publication designed by Studio Claudia Polizzi\, and the online release of the collected data. The exhibition and publication serve as reflective pauses that continue the ongoing research on the artist\, acting as moments of suspension and reorganization to further explore his work across the coming years and decades. They are active storytelling efforts aimed at keeping alive the memory and legacy of the artist. Mapping an artistic practice: Museion’s research project exemplifies how working with (and engaging with) an artist’s legacy contributes to the preservation of cultural heritage within a territory\, fostering new interpretations and international connections. \n\nElena Bini \n\nElena Bini is Head of Collections and Archives at Museion – Museum of Modern and Contemporary Art in Bolzano and coordinates the Museion Passage projects. She graduated in Cultural Heritage Conservation from the University of Udine\, developing a specific interest in the protection\, promotion\, and documentation of contemporary artistic heritage. Before joining Museion\, she taught art history and cultural mediation\, collaborating freelance with museums\, institutions\, and artistic projects in South Tyrol. She has worked at Museion since 2000\, where she has held various roles in art mediation\, collection management\, and the development of archiving\, cataloging\, and promotion projects. Her work focuses on the conservation and management of the museum’s holdings\, while also promoting research practices and archive accessibility as fundamental tools for the understanding and dissemination of contemporary art. \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/elena-bini-sven-sachsalber-mapping-an-artistic-practice-a-museion-research-project/ LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy CATEGORIES:Critics Theory,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:20260702T170000 DTEND;TZID=Europe/Rome:20260702T173000 DTSTAMP:20260701T163004Z CREATED:20260623T094135Z LAST-MODIFIED:20260701T163004Z UID:1241-1783011600-1783013400@www.communityarchives.art SUMMARY:Ruffo Wolf: The Architecture Project in the Exhibition Experience. The Role of References DESCRIPTION:The exhibition project on Luigi Bonazza at the MART in 2026\, developed by Ruffo Wolf\, is a concrete opportunity to reflect on the role of “references” in a specific project. In this case\, the strong presence of Secessionist culture in the artist’s formation gives rise to a series of cultural references that become “materials” underlying the project\, without ever giving in to naive formalism or issues of “style.” \n\nRuffo Wolf \n\nHe studied architecture at IUAV in Venice\, where he also engaged in teaching activities. From 2002 to 2015\, he was an assistant and then a lecturer in architectural and urban design at the Politecnico di Milano. He has lectured and given conferences at several universities\, including Politecnico di Milano\, University of Venice\, T.U. of Innsbruck\, and Tongji University in Shanghai. He is a RIBA Chartered Member (Royal Institute of British Architects\, UK); a member of ARB (Architects Registration Board\, UK); and registered with the Ordine degli Architetti of Trento. He is the owner of the architecture firm RWA_RUFFO WOLF ARCHITETTI\, with offices in Rovereto\, Milan\, and Vienna. He has designed projects in Austria\, Brazil\, China\, Germany\, India\, Italy\, Qatar\, Poland\, Romania\, Rwanda\, Russia\, Vanuatu\, and Zambia. From 2012 to 2015\, he designed over 60 shops for the GIORGIO ARMANI brands in many cities worldwide. Recently\, he designed the new PASTIFICIO FELICETTI headquarters in Val di Fiemme\, the new VALMORA Mineral Water headquarters in Turin\, and the new FLIS Biscotti headquarters in Warsaw. In 2023\, he was selected by Architettura21 and the FFG (Austrian Research Promotion Agency) for an “Impact Innovation” project to requalify a building with 100 apartments in Vienna. He has published “Sequenze – Architetture” (Alinea\, Florence 2002) and “RWA_WIP – Citogenesi e altri progetti” (List/Actar\, Rome/Barcelona\, 2007). He is a founding member of SINERGIE – an Interprofessional Group based in Trentino. He holds a diploma in music. Currently\, he is the director of the RWA_architettura della produzione division at Lombardini22 in Milan. \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/ruffo-wolf-the-architecture-project-in-the-exhibition-experience-the-role-of-references/ LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy CATEGORIES:Architecture,Critics Theory,History,Landscape,Visual Arts ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260702T160000 DTEND;TZID=Europe/Rome:20260702T170000 DTSTAMP:20260703T133700Z CREATED:20260619T044931Z LAST-MODIFIED:20260703T133700Z UID:829-1783008000-1783011600@www.communityarchives.art SUMMARY:Gino Gianuizzi: No Neon No Cry DESCRIPTION:“In 1981\, Neon appeared on the Bologna art scene without a predetermined program\, proposing itself as a laboratory of ideas\, available to artists and curators who wanted to engage and develop new paths. The history of Neon in Bologna: conceived as a consequence of Settantasette\, a “spazio di utopia nato quando le utopie rivoluzionarie si scioglievano” (space of utopia born when revolutionary utopias dissolved) Neon was born from Gino Gianuizzi’s intuition\, taking shape as an original and unconventional experience.” \n\nIn thirty years of activity\, operational until 2011\, the Neon Bologna space – run on Via Solferino by Gianuizzi along with Francesca Alinovi first\, and Roberto Daolio later – has gathered and fostered the development of artistic experiences and experiments. In 2022\, MAMbo dedicated an exhibition to it\, which led to the 2023 publication of the volume NO\, NEON\, NO CRY. \n\nText by Livia Montagnoli\, for which we thank her\, published on https://www.artribune.com/ \n\n\n\nGino GianuizziIn 1981\, he co-founded Neon\, one of the first independent spaces in Italy. Neon’s work has spanned three decades of cultural life not only in the city of Bologna\, but throughout the entire region and the country. The Neon cultural association is an independent organization that supports and promotes contemporary artistic research\, with a particular focus on the work of emerging generations. Founded in 1981 in Bologna as an artist’s space\, in 1988 it established itself as an exhibition space\, establishing itself over the years as an independent experimental platform where artists\, critics\, and curators interact. This has enabled it to generate an information network aimed at both specialist audiences and those outside the art system. Neon is not an art gallery\, nor has it established a permanent roster of artists: sometimes it’s simply a place of passage\, stimulating and useful to include on a CV; more often\, it’s more of a transition\, and in these cases\, the time spent together is longer\, people get along well\, exchange ideas\, and develop projects. In some cases\, when the connection is strongest\, neon becomes a space for sharing. After the experience of Enfatismo and the collaboration with Francesca Alinovi\, starting in 1988 neon takes on the character of an exhibition space and devotes its attention to the promotion of new generations of artists\, favoring research free from market constraints. During this phase\, neon promotes the debuts of Maurizio Vetrugno\, Maurizio Cattelan\, Luca Vitone\, Eva Marisaldi\, Cesare Viel\, Francesco Bernardi\, Tommaso Tozzi\, Alessandro Pessoli\, Cuoghi Corsello\, Marco Samoré\, Alberto Zanazzo\, Emilio Fantin\, Giancarlo Norese\, Mala\, Formento and Sossella\, Patrizia Giambi\, M+M\, Alessandra Tesi\, Maurizio Bolognini\, Italo Zuffi\, Maurizio Mercuri\, Dörte Meyer\, Marcello Maloberti\, Silvia Cini\, Francesco Gennari\, Massimo Uberti\, and Sergia Avveduti. \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/gino-gianuizzi-no-neon-no-cry/ LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260702T153000 DTEND;TZID=Europe/Rome:20260702T160000 DTSTAMP:20260619T045143Z CREATED:20260619T043623Z LAST-MODIFIED:20260619T045143Z UID:821-1783006200-1783008000@www.communityarchives.art SUMMARY:Giuliano Perezzani: Close to art\, close to artists DESCRIPTION:Giuliano Perezzani in his life met key artists in the experience of contemporary art: from his encounter with Francis Bacon in London\, to his associations with Gino De Dominicis\, Emilio Prini\, Giulio Paolini\, and the younger artists. Not only artists\, but also gallerists\, critics\, and curators. This is an opportunity to meet friends Stefano Arienti and Gino Gianuizzi and to speak with them publicly\, freely. \n\nGiuliano Perezzani \n\nPlayer profile: Sanguinetto; position: Midfielder; current team: Retirement. A great passion for art\, collector\, member of the Scientific Committee for the authentication and archiving of Gino de Dominicis’s works. \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/giuliano-perezzani-close-to-art-close-to-artists/ LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260702T150000 DTEND;TZID=Europe/Rome:20260702T153000 DTSTAMP:20260701T164144Z CREATED:20260619T040642Z LAST-MODIFIED:20260701T164144Z UID:813-1783004400-1783006200@www.communityarchives.art SUMMARY:Stefano Arienti: The Stefano Arienti Archive Association DESCRIPTION:The Stefano Arienti Archive Association E.T.S.\, established in 2026 at the initiative of Stefano Arienti\, is based in Milan\, at via Canelli 25. It pursues no profit and aims to safeguard the artist’s work\, promote it\, and spread awareness. The Association specifically handles the archiving and cataloging of Stefano Arienti’s works\, manages his archive (consisting of paper and digital materials collected by the artist during his career)\, and promotes initiatives aimed at deepening understanding of his work. The President of the Association is Stefano Arienti\, the Vice President is Gianni Rosei\, and the Director is Ilaria Bernardi. The first public activity developed by the Association is the creation of the website https://www.stefanoarienti.it\, launched online in May 2026. “Given the number of images of my works and exhibitions that anyone can easily find online today\,” explains Stefano Arienti\, “I want my website to mainly contain texts\, minimizing illustrations\, in order to provide an exclusively critical insight into my work. To pursue this purpose\, I also prefer that there be no news section included. Additionally\, since I am Italian\, I want my website to initially be published only in Italian.” On the site\, it is also possible to read the following text: \n\nThe encounter with the unknown often starts precisely from there\, from an embarrassing feeling of discomfort in front of what we did not expect. \n\nIs it the same feeling of discomfort as when witnessing an unexpected performance? \n\nYes\, secretly gathering\, collecting with love\, accumulating treasures always has a decisive moment: coming out into the open\, displaying one’s passions. \n\nConfusion is a spontaneous emotion that gives a sense of personal involvement\, but it is often just a fleeting sensation. The first impression is what matters in the logic of the show\, but more easily than it seems\, the first impression is easily replaced by a more stable appreciation\, which arises precisely from the need for a second look\, to discover its solidity\, whether it was positive\, or to assess its qualities\, if it was based on a mix of contrasting sensations. \n\nOne can remain indifferent and move on\, but curiosity often prevails\, and the contagion of passions that led to that spectacle\, can break through\, even bit by bit. \n\nArtists spend their lives gathering their passions to give them a form to showcase. New works? Not always so new\, but renewed by the pleasure of creating more. Their collections originate from anything\, including art itself. Or rather\, let’s not forget those fetishes that\, collected for us by dedicated collectors and institutions\, become the still-present body of artistic pleasures. \n\nThe moment of showing intentionally must have something festive about it and always be of exemplary clarity. To avoid the risk of displaying signs of a violent and ruthless act\, like discovering a pile of stolen goods. That is why the Carabinieri display their recoveries in good order\, to make up for the disappointment of the plunder. \n\nIt may be enough to align carefully\, without setting in motion hierarchies of value. Put everything\, because there was really everything. \n\nThe logic of display can stop at this first level of happy recovery. Giving up the lavish and elegant frames of works placed on the altar\, praised in their somewhat stiff and a bit too official brilliance\, those few right pieces in the right prominence. \n\nAccording to an archaeological excavation\, it can be an outcrop of precious and unpublished artifacts. There must be the happiness of seeing again with new eyes what time has kept good for us. \n\nS. Arienti\, From Disconcertment to Passion\, in –2+3: Stefano Arienti\, Massimo Bartolini: La Collezione di Museion\, (Stefano Arienti\, Massimo Bartolini: The Museion Collection)\, exhibition catalog curated by L. Ragaglia and F. Carazzato (Museion\, Bolzano\, October 31\, 2010 – October 16\, 2011)\, curated by L. Ragaglia and F. Carazzato\, Museion\, Bolzano\, 2011\, pp. 42-43. \n\n\n\nStefano Arienti \n\nStefano Arienti was born in Asola\, in the province of Mantua\, in 1961. A graduate in agriculture\, he made his debut as an artist in the mid-1980s in Milan\, where he lives and works. \n\nAmong the numerous international exhibitions he participated in are: Venice Biennale. Open (1990); Istanbul Biennale (1992); Cocido y Crudo\, Reina Sofia Museum\, Madrid (1994); XII Rome Quadriennale\, Rome (1996); Made in Italy\, Centre d’Art Contemporain\, Geneva and ICA\, London (1997); Gwangju Biennale (2008); Italics\, Palazzo Grassi\, Venice and Museum of Contemporary Art\, Chicago (2008); Decorum. Musée d’Art Moderne\, Paris and Power Station of Art\, Shanghai (2013-2014); Ennesima\, Triennale\, Palazzo dell’Arte\, Milan (2015); Wall to Wall\, MOCA Museum of Contemporary Art\, Cleveland (2016); The Sculpture Park at Jaigarh\, Jaigarh Fort\, Jaipur (2025). \n\nAmong the exhibition spaces where he held the most significant solo shows are: MAXXI\, Rome (2004); Sandretto Re Rebaudengo Foundation\, Turin (2005); Isabella Stewart Gardner Museum\, Boston (2007); Querini Stampalia Foundation\, Venice (2008); MAMbo\, Bologna (with Cesare Pietroiusti\, 2008); Palazzo Ducale\, Mantua (2009); Museion\, Bolzano (with Massimo Bartolini\, 2011); Isabella Stewart Gardner Museum\, Boston (2012); Palazzo Te\, Mantua (2016); Civic Gallery of Modena (2017); Villa Croce Museum of Contemporary Art\, Genoa (2017); Chiostri di Sant’Eustorgio\, Milan (2019); Civic Gallery of Trento (2021); The Drawing Hall\, Grassobbio\, BG (2022); Modern and Contemporary Art Gallery\, San Marino (2022); Villa Carlotta\, Tremezzina\, CO (2023); Palazzo Marchi\, Parma (2025). \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/stefano-arienti-the-stefano-arienti-archive-association/ LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260702T120000 DTEND;TZID=Europe/Rome:20260702T123000 DTSTAMP:20260622T180637Z CREATED:20260621T050407Z LAST-MODIFIED:20260622T180637Z UID:1026-1782993600-1782995400@www.communityarchives.art SUMMARY:Roberto Antolini: Having a "stanza e mensa" [room and table] in Palazzo Pizzini in the mid-1700s: Giuseppe Felice Matteo Givanni\, a priest/rationalist intellectual\, and a dialect poet singer of the Rovereto silk era. DESCRIPTION:Giuseppe Felice Givanni was an 18th-century rationalist priest from Rovereto. He was also a poet\, who in his short stories written in dialect verse (almost all still unpublished) narrates – in a playful and metaphorical way – life and especially the conflicts of the Roveretano silk age. Around the mid-18th century\, he was the chaplain of the Pizzini family and tutor to the children of Baron Gian Giulio Pizzini (Gian Giacomo and Orazio\, who would become important figures of their time). During the pastoral visit of the bishop to the Church of San Marco in 1750\, Givanni explains that he has – for these services – a “room and table” in the Pizzini Palace. \n\nRoberto Antolini\, bibliography on the person \n\n– Origine familiare e condizione sociale del sacerdote roveretano Giuseppe Felice Matteo Givanni\, poeta dialettale (1722-1787). IN: Studi Trentini. Storia\, A.92\, 2013\, n.2\, p. 391-438 \n\n– La Musa sgrovia di Giuseppe Felice Givanni. IN: Atti della Accademia roveretana degli Agiati\, 264 (2014) = ser.IX\, vol. IV\, A\, fasc.1\, p. 7-28 \n\n– El Prior el magneva giust dei fonghi: la Novela Dodese (1752) di Giuseppe Felice Givanni. IN: Il Furore dei libri\, A.VI\, marzo/giugno 2015\, p.15-33 \n\n– Tracce “cimbre” nel Settecento roveretano. IN: Studi Trentini. Storia\, A.96\, 2017\, n.2\, p. 243-251 \n\n– Una famiglia nella storia del Borgo San Tommaso: i Givanni. IN: Verso il Brennero. Pergine\, PubblistampaEdizioni\, 2018\, p.43-53 \n\n– Givanni\, l’Accademico roveretano che scriveva in dialetto [podcast del 2026]\, IN Regiostoria\, Ep.3 di Lo splendente Settecento roveretano\, all’indirizzo internet: https://regiostoria.it/ep-3-givanni-laccademico-roveretano-che-scriveva-in-dialetto/ \n\n \n\nRoberto Antolini \n\nRoberto Antolini\, a graduate in philosophy\, librarian\, and archivist\, was born in Trento in 1950. In addition to ‘Towards the Brenner’\, he published the novel ‘Ivan the Terrorist’ (Robin Editions\, 2009)\, and edited the volume ‘Explosive\, Sharp\, and Bright Books: Artistic Vanguards and the Book between Futurism and the Artist’s Book’ (Nicolodi\, 2005). \n\n\n\nAttachment \n\nOrigine familiare e condizione sociale del sacerdote roveretano Giuseppe Felice Matteo GivanniDownload\n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/roberto-antolini-having-a-stanza-e-mensa-room-and-table-in-palazzo-pizzini-in-the-mid-1700s-giuseppe-felice-matteo-givanni-a-priest-rationalist-intellectual-and-a-dialect-poet-singer-of-the/ LOCATION:Palazzo Pizzini\, Piazza Malfatti\, 27\, Rovereto\, TN\, 38068\, Italy CATEGORIES:Architecture,History,Visual Arts ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260702T110000 DTEND;TZID=Europe/Rome:20260702T120000 DTSTAMP:20260627T194038Z CREATED:20260620T065742Z LAST-MODIFIED:20260627T194038Z UID:997-1782990000-1782993600@www.communityarchives.art SUMMARY:Michelangelo Lupo: The restoration of the main floor of Palazzo Pizzini. Guided tour DESCRIPTION:Michelangelo Lupo and Amedeo Chizzola will accompany us in this preview of the recently restored rooms on the noble floor of Palazzo Pizzini in Rovereto\, “the most beautiful Rococo palace in the Trentino area”: the central salon\, the decorations and stuccoes that run along the walls and ceiling\, the large central painting\, and the Hall of Mirrors overlooking Piazza del Grano. Amedeo Chizzola\, owner of the spaces on the noble floor open to the public during Archivi di Comunità\, strongly advocated for the restoration of this important cultural heritage site. \n\nMichelangelo Lupo \n\nMichelangelo Lupo\, born in Turin in 1948\, completed classical studies and graduated in architecture from the Polytechnic of Turin in 1972. Between 1972 and 1974 he studied paleography and diplomatics at the State Archives of Turin and specialized in Art History at the Faculty of Letters of the University of Padua in 1975. An official of the Autonomous Province of Trento and responsible for the protection of historical and artistic heritage (1975-1983)\, he was director of the restoration laboratory of the Province of Trento (1977-1983) and director of the Provincial Art Museum of Trento (1979-1983). Between 1983 and 1998 he was a consultant for the auction house Christie’s\, Rome branch. Since 1984\, he has had architectural design studios in Trento and Rome and carries out restoration work in Italy\, Egypt\, Libya\, and Jordan. He is the author of numerous museum installation designs and art-historical exhibitions. He is also the author of numerous art-historical publications\, primarily on architecture and the decorative arts from the 15th to the 18th centuries. \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/michelangelo-lupo-the-restoration-of-the-main-floor-of-palazzo-pizzini-guided-tour/ LOCATION:Palazzo Pizzini\, Piazza Malfatti\, 27\, Rovereto\, TN\, 38068\, Italy CATEGORIES:Architecture,History,Visual Arts ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260702T100000 DTEND;TZID=Europe/Rome:20260702T103000 DTSTAMP:20260626T144147Z CREATED:20260619T152453Z LAST-MODIFIED:20260626T144147Z UID:938-1782986400-1782988200@www.communityarchives.art SUMMARY:Alessandro Andreolli: Family memories and city stories. The case of the de Cobelli archive: preservation\, research\, and enhancement. DESCRIPTION:Giovanni Cobelli\, a professor of natural history in Rovereto\, was an Italian official and amateur naturalist. After studying in his hometown of Rovereto\, he went to Vienna to study natural history. Upon returning to his hometown\, he taught at the technical institute\, a position he held until 1902. He was the brother of Ruggero Cobelli (1838-1921\, a physician and former assistant of physiology at the University of Padua). Giovanni directed the Rovereto museum from 1879 to 1937. \n\nAlessandro Andreolli \n\nAlessandro Andreolli (Rovereto\, 1986). He obtained a master’s degree in Italian Studies\, European Literary Cultures\, and Linguistic Sciences from the University of Bologna in 2012\, subsequently earning a second degree in Historical Sciences from the University of Verona. Over the years\, he has collaborated with various institutions\, including the Roveretana Academy of the Agiati\, the Civic Library “G. Tartarotti” of Rovereto\, the Civic Museum of Rovereto\, and the Italian War History Museum\, promoting the production of publications\, conferences\, exhibitions\, and participating in research projects. He has primarily focused on linguistic and literary issues between the 19th and 20th centuries\, First World War memorial literature\, and more recently\, the history of libraries. Since 2025\, he has been a member of the Roveretana Academy of the Agiati\, for which he also serves as librarian. Regarding the history of Roveretan culture and the world of libraries\, in particular\, he has edited the volumes Private Goods and Public Interests. History and Current Affairs of Italian Academic Libraries (2022) and (with Paola Maria Filippi) Intellectual\, Wife\, Mother. Bianca Laura Saibante\, a Woman of the 18th Century (2025). He made an initial attempt at a comprehensive treatment of the history of academic heritage in the book The Library of the Academy of the Agiati. History and Documents\, with a preface by Fabrizio Rasera (2025). He is preparing\, on behalf of the Tommaso Gallarati Scotti Study Center in Milan and the Olympic Academy of Vicenza\, the edition of the correspondence between Antonio Fogazzaro and Tommaso Gallarati Scotti. \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/alessandro-andreolli-family-memories-and-city-stories-the-case-of-the-de-cobelli-archive-preservation-research-and-enhancement/ LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy CATEGORIES:History 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:20260701T173000 DTEND;TZID=Europe/Rome:20260701T180000 DTSTAMP:20260630T175006Z CREATED:20260629T144743Z LAST-MODIFIED:20260630T175006Z UID:1582-1782927000-1782928800@www.communityarchives.art SUMMARY:Michele Dal Bosco presents "Doppia natura morta" [Double still life] by Francesco Dal Bosco DESCRIPTION:« This video is stunning. The perfect intertwining of two worlds\, so distant and yet so close\, containing within them millions of lives\, thoughts. I can’t even explain what this work evokes in me: so many things. Beautiful » Clementina Dal Bosco \n\n“Archivi di Comunità” hosts a work by Francesco Dal Bosco titled “Doppia Natura Morta\,” a two-channel stereo video lasting 20 minutes\, created in 2003. The piece will be presented by Michele Dal Bosco\, Francesco’s son. \n\n\n\nFrancesco Dal Bosco\, Doppia Natura Morta [Double still life]\, video 2CH\, 20′\, 2003\, video frame.\n\n\n\nMichele Dal Bosco \n\nMichele Dal Bosco is a Trentino-born director\, musician\, and artist. He has participated in the organization of international exhibitions (Max Ernst\, Leonardo da Vinci\, Rubens\, Raffaello\, Olivetti\, Depero\, Giotto\, Chagall\, Miró\, Donatello\, Tintoretto) and has collaborated with various cultural institutions\, including the Gioachino Rossini National Museum. \n\nFrancesco Dal Bosco \n\nFrancesco Dal Bosco (Trento\, August 26\, 1955 – Trento\, January 9\, 2019) was an Italian filmmaker\, screenwriter\, and producer. From 1976 to 1983\, in partnership with Fabrizio Varesco\, he was a leading figure in the Italian avant-garde theater scene\, creating numerous performances in theaters and art galleries across Italy and Europe\, including Beat ’72 at the National Gallery of Modern Art\, Palazzo delle Esposizioni in Rome; Out-Off at the Brera Academy\, Sforza Castle in Milan; and the Institute of Contemporary Art in London. In 1982\, he was one of the founders of the Rome-based cooperative Missione Impossibile\, which organized the festival “Ladri di Cinema” in the same year. Also in 1982\, he shot the feature film La notte che vola in three days in Bologna\, which was presented at the Salsomaggiore Terme Film Meetings and at Rotterdam. This film won the Best Research Film award at the Milano Filmmaker Festival and was screened at the Cinémathèque Française in Paris. In 1991\, he directed La camera da letto\, a three-hour film co-directed with Stefano Consiglio\, featuring Attilio Bertolucci reading his poem of the same name in front of the camera. The film was shown at the Venice Film Festival in 1992 over four evenings and was broadcast on RAI3’s Fuori Orario\, in a nonstop program that lasted an entire night. In 1993\, he directed the video Francis Bacon\, broadcast on RAI1 and published on VHS by Electa. In 1994\, he created the video 23 Songs from the Home\, presented at the Venice Film Festival and at the Cultural Institute of Toronto (Canada) in the same year. In 1995\, together with Daniele Costantini\, he published the book-interview Nuovo Cinema Inferno on Dario Argento’s cinema\, published by Pratiche Editrice. In 2001\, he participated in festivals in Berlin\, Edinburgh\, Brisbane\, Singapore\, and Manila with the feature film Commesso Viaggiatore\, starring Claudio Bigagli and Maddalena Crippa. In 2003\, he directed the documentary Jackson Song\, the official video for Jackson Pollock’s exhibition at the Correr Museum in Venice. In 2005 and 2006\, he filmed readings of Lawrence Ferlinghetti and Jack Hirschman for the Cultural Services Center of S. Chiara in Trento. Also in 2006\, he presented the video Niente è Vero Tutto è Permesso at the Pesaro Film Festival. In 2008\, he made the film Apocalisse in Rome\, which was shown at the Religion Today Film Festival in Trento and at CINESPI in Louvain-la-Neuve\, Belgium. In 2012\, he co-directed with Stefano Consiglio the documentary Il Centro\, produced with BiBi Film in Rome and RAI3. \n\nFILM AND VIDEO. PARTIAL FILMOGRAPHY \n\nSTANZE\, 1980\, Super8mm\, Collective for Living Cinema\, New York. LA NOTTE CHE VOLA (The Flying Night)\, 1982\, 16mm\, B&W\, 85’\, produced by Missione Impossibile. Salsomaggiore Film Festival 1982\, Milano Filmmaker 1983\, Cinémathèque Française Henri Langlois 1983\, Rotterdam Festival 1983\, Paris 1983; broadcast by RAI3. FOGLIE MORTE (Dead Leaves)\, 1984\, Video\, Color\, 30’\, produced by Francesco Dal Bosco. Salsomaggiore Festival 1984\, Filmmaker Milano 1985\, Locarno Film and Video Festival 1985 TRAMONTO ROSSO (Red Sunset)\, 1985\, 16mm\, B&W\, 86’\, produced by Missione Impossibile. Salsomaggiore Festival 1985\, Filmmaker Milano 1985\, Bellaria Festival 1985 LA CAMERA DA LETTO (The Bedroom)\, 1992\, Video\, Color\, 540’\, produced by The Film Company (co-directed with Stefano Consiglio). 49a Venice Film Festival 1992\, Prix Italia\, Parma 1992; broadcast by RAI1 and RAI3 FRANCIS BACON\, 1993\, Video\, Color\, 40’\, produced by Film Work. Museo d’Arte Moderna\, Lugano. “Francis Bacon” 1993\, broadcast by RAI1 23 SONGS FROM THE HOME\, 1994 Video\, Color\, 40’\, produced by Film Work. 49a Venice Film Festival 1994\, Italian Cultural Institute\, Toronto 1994\, Arcipelago Festival 1995 STATO DI QUIETE (State of Quiet)\, 1996 Video\, Color\, 80’\, produced by Francesco Dal Bosco Studio; International Mountain Festival\, Trento 1998 FANTASMA (Ghost)\, 1997 Video\, Color\, 60’\, produced by Francesco Dal Bosco Studio. Senzatitolo Festival\, Rovereto (TN) 1997\, Civic Gallery of Contemporary Art\, Trento 2001 IL CORO (The Chorus)\, 1997 Video\, Color\, 65’\, produced by Francesco Dal Bosco Studio. International Mountain Festival\, Trento 1998 COMMESSO VIAGGIATORE (Traveling Salesman)\, 2000 35mm\, B&W/Color\, 95’\, produced by Monti Pallidi Film Festival\, Berlin International 2001\, Edinburgh International 2001\, Brisbane International 2001\, Singapore International 2002\, Manila International 2002\, “Discovering the New Italian Cinema” New York 2004; broadcast by SKY JACKSON SONG\, 2002 Video\, Color\, 45’\, produced by Francesco Dal Bosco Studio. Palazzo Correr\, Venice; “Jackson Pollock” April-June 2002; Palazzo Venezia Festival 2004 LIGHT OF THE DEAD\, 2002 Video\, Color\, 13’\, produced by Francesco Dal Bosco Studio. Galleria Civica d’Arte Contemporanea\, “Words\, Words\, Words” Trento 2002 FRAGILE (Voices from the Theater after September 11)\, 2002 Video\, Color\, 85’\, produced by Francesco Dal Bosco Studio/Centro S. Chiara Trento. Piazza Duomo\, September 11\, 2002 DOPPIA NATURA MORTA (Double Still Life)\, 2003 Color\, Video\, 2 channels\, 18’ TOLEDO\, 2004 Video\, B&W\, 17’\, produced by Francesco Dal Bosco Studio. MAN Museum of Contemporary Art Nuoro\, “(In)visible-(In)corporeal” July-September 2005 Strade Bianche (White Roads)\, Casale Marittimo (Pistoia)\, July 2006 MIRACLE\, 2004 Video\, Color\, 4’\, produced by Francesco Dal Bosco Studio. Galleria Civica d’Arte Contemporanea\, Trento June 2005 SEIZERO/SEINOVE\, 2005 Video\, Color\, 3’\, produced by Francesco Dal Bosco Studio. Riva del Garda Civic Museum\, “The Sixties. Costume and Society\,” May-October 2005 CORRENTE CONTINUA (Direct Current)\, 2005 Video\, Color\, 73’\, produced by Francesco Dal Bosco Studio/Province of Trento NIENTE È VERO TUTTO È PERMESSO (Nothing is True\, Everything is Permitted)\, 2005 Video\, Color\, 39’\, produced by Francesco Dal Bosco Studio; Pesaro New Cinema Festival 2006 L’ORA AZZURRA DELL’OMBRA (The Blue Hour of the Shadow)\, 2007 Video\, Color\, 67’\, Francesco Dal Bosco Studio / Autonomous Province of Trento. APOCALISSE\, 2010\, Video\, Color\, 88’\, Produced by Francesco Dal Bosco Studio; Religion Today Festival Trento 2010; CINESPI Louvain-La-Neuve (Belgium) 2010. THE ARTIST’S WORK\, 2011\, Video\, Color\, 64’\, Produced by Francesco Dal Bosco Studio; (La Magnifica Ossessione) Mart\, Rovereto 2013. THE CENTER\, 2012\, Video\, Color\, 70’\, Produced by Francesco Dal Bosco Studio and BiBi Film (directed by Stefano Consiglio); Bologna\, Cinema sotto le stelle 2013; broadcasted by RAI3. AMNESIA (THE DEAD RETURN)\, 2014\, Video\, 30’\, Produced by Francesco Dal Bosco Studio\, Wurmkos Gallery\, Sesto San Giovanni (MI). \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/michele-dal-bosco-a-work-by-francesco-dal-bosco/ LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy CATEGORIES:Archives,Critics Theory,Landscape,Multimedia,Visual Arts ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260701T160000 DTEND;TZID=Europe/Rome:20260701T163000 DTSTAMP:20260622T195029Z CREATED:20260622T193905Z LAST-MODIFIED:20260622T195029Z UID:1151-1782921600-1782923400@www.communityarchives.art SUMMARY:Vittorio Carrara: Die Bibliothek eines Kunstsammlers. Die VAF Stiftung in der BUC von Trient DESCRIPTION:Over 16\,000 volumes\, collected over 50 years of passionate research on contemporary art and thought by the German collector Volker W. Feierabend\, are now hosted at the Central University Library of Trento. An important cultural treasure\, the documents closely linked to Feierabend’s works\, stored at the Mart\, Museum of Modern and Contemporary Art of Trento and Rovereto\, provide a truly valuable opportunity to deepen the understanding of 20th-century artists and masterpieces. \n\nVittorio Carrara \n\nVittorio Carrara (1963)\, born in Verona and now living in Trentino\, is director of the Central University Library of Trento. He studied medieval history at the University of Bologna and the Catholic University of Milan. He has studied the history of medieval monasticism\, the religious and civil history of Trentino between the 19th and 20th centuries\, and bibliography. \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/vittorio-carrara-die-bibliothek-eines-kunstsammlers-die-vaf-stiftung-in-der-buc-von-trient/ LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy CATEGORIES:Archives,Critics Theory,History,Visual Arts ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260701T153000 DTEND;TZID=Europe/Rome:20260701T160000 DTSTAMP:20260630T115415Z CREATED:20260622T093417Z LAST-MODIFIED:20260630T115415Z UID:1127-1782919800-1782921600@www.communityarchives.art SUMMARY:Anna Zinelli: Kunsthaus of Merano. Practices of activation\, mediation\, and critical reinterpretation of archives DESCRIPTION:The intervention presents three case studies exhibited at the Kunsthaus\, which engaged with archives through different approaches: from working on the legacy of the Meranese artist and photographer Christian Martinelli\, to the educational project Alpitypes\, which led to a contemporary reinterpretation of graphic archival sources\, to the exhibition by Belinda Kazeem-Kamiński\, which offered a decolonial reading of the memories preserved in archives. In these projects\, archives were considered not only as places of preservation and protection but also as devices capable of generating new narratives. \n\nThe possibility of action of an artist’s legacy. Curated by BAU. Photo by Davide Perbellini \n\nAerolectics – Belinda Kazeem-Kamiński. Curated by Lucrezia Cippitelli and Simone Frangi. Photo by Ivo Corrà \n\nAlpitypes. Curated by Antonino Benincasa\, Massimo Martignoni\, Anna Zinelli. Photo by Ivo Corrà \n\nAnna Zinelli \n\nAnna Zinelli is an art historian (Ph.D.). She has published numerous articles in scientific and popular magazines and essays in various catalogs. Among her publications are: Socin and Carmassi (Tamassia Zinelli\, Skira 2016)\, 1955–1968: Italian Artists at Documenta in Kassel (Mimesis 2017); Meeting Christian Martinelli (begegnen) (Schnitzer Zinelli\, Esperia 2024). Since 2012\, she has been collaborating on the MoRE project A Museum of Refused and Unrealised Art Projects and\, since 2017\, she has been a scientific collaborator\, assistant to the management\, and responsible for communication in the Italian language at Kunst Meran Merano Arte. \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/anna-zinelli-kunsthaus-of-merano-practices-of-activation-mediation-and-critical-reinterpretation-of-archives/ LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy CATEGORIES:Archives,Critics Theory,History,Landscape,Visual Arts ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260701T120000 DTEND;TZID=Europe/Rome:20260701T123000 DTSTAMP:20260630T121401Z CREATED:20260630T121051Z LAST-MODIFIED:20260630T121401Z UID:1676-1782907200-1782909000@www.communityarchives.art SUMMARY:Area Studio\, colore\, matrice\, carta. L’atelier delle stampe\, gli artisti e Astrazione Oggettiva: Guided tour of the exhibition at the Museo della Città [City Museum] DESCRIPTION:Archivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/area-studio-colore-matrice-carta-latelier-delle-stampe-gli-artisti-e-astrazione-oggettiva-guided-tour-of-the-exhibition-at-the-museo-della-citta-city-museum/ LOCATION:Museo della Città\, Via Calcinari\, 18\, Rovereto\, Trento\, 38068\, Italy CATEGORIES:Archives,History,Visual Arts ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260701T111500 DTEND;TZID=Europe/Rome:20260701T120000 DTSTAMP:20260627T153305Z CREATED:20260620T054654Z LAST-MODIFIED:20260627T153305Z UID:971-1782904500-1782907200@www.communityarchives.art SUMMARY:Gloria Canestrini: Radio meets art graphics: the book RadioDepero DESCRIPTION:Gloria Canestrini introduces the editorial experience related to the publication of the book RadioDepero\, printed by Area Studio in serigraphy in the 50×70 cm format\, with interviews and texts from the eponymous program produced for RAI. The event takes place at the City Museum\, where the exhibition Area Studio\, color\, matrix\, paper is underway. The print workshop\, the artists\, and Abstract Objectivity are dedicated to an artisanal and artistic project that\, over two decades of activity\, has served as a reference point for artists\, publishers\, gallerists\, collectors\, standing out for technical precision\, experimentation\, and ongoing dialogue with visual research. Not only a place of production but also a space for meeting and discussion\, the print shop has embodied a cultural model based on the transmission of knowledge\, the quality of craftsmanship\, and the centrality of the creative process. \n\nGloria Canestrini \n\nBorn in Rovereto in 1953\, after graduating in the fall of 1972\, she moved to Milan to work at Renato Volpini’s large art printing house Multirevol. The following year\, returning to Rovereto\, she founded the Area Studio printing house with Maurizio Giongo\, which later opened in Milan and later in Paris. In 1977\, she designed and directed Area Studio Film\, which quickly became an audiovisual production center for auteur animated films. This experimentation\, and in particular the cut-out and silhouette technique\, led her to collaborate with Rai 2 in Milan for the programs Clorofilla and Occhio al cielo\, with the Rai headquarters in Trento for programs and programs (Laboratorio ‘80\, Strips\, Brevi di Rosa\, il Guardarte etc.) for animated theme songs (L’acchiappafarfalle\, Oriente Occidente) and various short films (Giochi di Anguàne\, l’Orso il frate lo stregone (which opened the Filmfestival della montagna in Trento in 1981)\, Boxing the drums\, La polenta\, La giara (made with the students of the Ala Middle School) and Conosce i tuoi diritti? (made with the cinematography students of the Depero Institute in Rovereto). Some of these films were presented in national and international festivals (Milan\, Turin\, Lucca comics\, Pergine Spettacolo aperto\, Rome\, Montreal\, Paris\, Marseille\, Ljubljana). Since 1980\, after the After graduating in law and starting his legal career\, he began writing radio plays for RAI\, screenplays\, novels\, essays (including RadioDepero\, a 50×70 cm volume entirely screen-printed by Area Studio and bound in bolts\, which features the transcription of the eponymous Rai Radio1 radio program)\, and illustrated stories. He also began collaborating regularly with newspapers and magazines\, particularly with Hachette’s Home\, for which he created illustrations for a column. Since 2012\, he has directed the art publishing house Disegnograve together with Maurizio Giongo. \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/gloria-canestrini-radio-meets-art-graphics-the-book-radiodepero/ LOCATION:Trento ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260701T100000 DTEND;TZID=Europe/Rome:20260701T103000 DTSTAMP:20260620T070026Z CREATED:20260620T053029Z LAST-MODIFIED:20260620T070026Z UID:959-1782900000-1782901800@www.communityarchives.art SUMMARY:Maurizio Giongo: Studio Area. An art print shop in Trentino in the 70s-80s DESCRIPTION:Area Studio\, an art print workshop in Trentino during the 70s-80s\, engaging with artists and galleries to promote the knowledge and dissemination of art multiples. A visit to the exhibition Area Studio\, Color\, Matrix\, Paper. The printmaking studio\, artists and Objective Abstraction will follow\, currently held at the City Museum in its Palazzo Sichardt location in the historic center of Rovereto. Area Studio\, Color\, Matrix\, Paper. The printmaking studio\, artists and Objective Abstraction is an exhibition project dedicated to an artisanal and artistic reality that\, over two decades of activity\, has served as a reference point for artists\, publishers\, gallery owners\, and collectors\, distinguished by technical precision\, experimentation\, and ongoing dialogue with visual research. Not only a place of production but also a space for meeting and exchange\, the print workshop has embodied a cultural model based on the transmission of knowledge\, the quality of craft\, and the centrality of the creative process. \n\nMaurizio Giongo \n\nBorn in Innichen (BZ) in 1947\, he graduated in sociology\, initially dedicating himself to music and then to painting after attending courses by Emilio Vedova in Venice. In 1973\, he founded the art printshop Area Studio in Rovereto together with Gloria Canestrini\, which was also open in Milan from 1980 to 1985 and later in Paris. Over two decades of activity\, the Rovereto-based Area Studio has served as a reference point for artists\, publishers\, gallerists\, and collectors\, distinguished by its technique\, experimentation\, and constant dialogue with visual research. From 1976 to 1982\, he focused particularly on photographic research. In 1988\, he obtained a position in photogravure at the Depero Art Institute\, where he taught until 2012. In 1991\, he joined Gruppe 91 along with Ottavio Giacomazzi\, Italo Antico\, Fritz Klier\, and other Bavarian artists\, with whom he promoted exchanges and art exhibitions in Italy and Germany. In 1999\, he founded and co-directed GAMS (Gallery Museum of Print Art) at Villa Lagarina with Mauro Cappelletti\, aimed at promoting the knowledge and practice of art printing. He has numerous solo and group exhibitions to his name\, both nationally and internationally\, as well as the performance Boxing the Drums\, created with Tony Rusconi (for musical improvisations) and Gloria Canestrini (for multimedia images)\, which has been presented in France\, Slovenia\, and Italy. Since 2012\, he has been co-directing the art editions Disegnograve with Gloria Canestrini. \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/maurizio-giongo-studio-area-an-art-print-shop-in-trentino-in-the-70s-80s/ LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260630T160000 DTEND;TZID=Europe/Rome:20260630T163000 DTSTAMP:20260623T140822Z CREATED:20260623T124501Z LAST-MODIFIED:20260623T140822Z UID:1267-1782835200-1782837000@www.communityarchives.art SUMMARY:Lorenzo Pevarello: From family film to community film DESCRIPTION:The intervention traces the experience of the Cineteca of the Fondazione Museo storico del Trentino\, starting from a reflection on the transition from family film to community film\, a path developed over nearly thirty years of activity involving archiving\, historical research\, and public dissemination. The archive of family films initially arose from the need to recover\, safeguard\, and digitize amateur reels in small formats — 8mm\, Super8\, and 16mm — preserved in Trentino families’ homes. From the early oral history projects and particularly with the experience of the Memorie di comunità\, it became clear that these materials were not only private documents linked to family memory but also held a visual heritage capable of telling\, in a remarkably direct way\, the transformations of the territory and communities. Within these images\, one finds landscapes now profoundly changed\, vanished agricultural and forestry practices\, moments of sociality\, collective rituals\, forms of work\, and relationships that belong to the recent history of Trentino. Gradually\, there emerged an awareness that these films told much more than the story of a single family: they narrated the history of a community. From this\, the conceptual shift from family film to community film was born. This transition also redefined the role of the Cineteca\, no longer seen solely as a place for conserving audiovisual materials\, but as a relational space where archive\, memory\, and research meet. The true specificity of the Cineteca lies in the fact that the collections are never disconnected from the people\, families\, and communities that produced and safeguarded them over time. Through the work of collection\, digitization\, historical contextualization\, and public sharing\, images born in private contexts are brought back to life in the collective space\, becoming historical sources and tools of public history. From this perspective\, the Cineteca becomes not only a place of preservation but also a laboratory of knowledge and shared storytelling of the territory. \n\n\n\nTommasino Andreatta Alpine Estate \n\n\n\nSummer in Valfloriana by Paolo Arnoldi \n\n \n\nLorenzo Pevarello \n\nLorenzo Pevarello is an author\, director\, and researcher at the Trentino Historical Museum Foundation\, where he is responsible for the Film Archive. Active for over thirty years in the field of audiovisual documentation and documentary production\, he has developed his professional path through directing\, historical research\, and the enhancement of visual memory. After initial experiences as a cinematographer and director of photography\, he worked as an author and director in the fields of historical\, artistic\, and anthropological documentary filmmaking\, creating over one hundred works selected at national and international festivals. Alongside\, he has gained extensive experience in collecting oral testimonies\, conducting over a thousand audiovisual interviews dedicated to the social history of the twentieth century\, mountain life\, labor\, agriculture\, and territorial transformations in Trentino. Within the Trentino Historical Museum Foundation\, he is among the promoters of campaigns for the recovery and digitization of slow-motion footage\, which led to the creation of the Family Films Archive. His current work focuses on the relationship between audiovisual archives\, oral history\, and public history\, with particular attention to the processes of public restitution of community memories. \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/lorenzo-pevarello-from-family-film-to-community-film/ LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy CATEGORIES:Architecture,Critics Theory,Landscape,Multimedia,Sociology ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260630T153000 DTEND;TZID=Europe/Rome:20260630T160000 DTSTAMP:20260623T122359Z CREATED:20260623T102421Z LAST-MODIFIED:20260623T122359Z UID:1252-1782833400-1782835200@www.communityarchives.art SUMMARY:Matteo Fadini: The library of the Bruno Kessler Foundation DESCRIPTION:The library of the Bruno Kessler Foundation holds an ancient collection\, personal archives\, personal and institutional libraries\, audio recordings of conferences held by the research centers ISIG – Italian-German Historical Institute and ISR – Center for Religious Sciences\, cartographic materials\, and microfilms. Donated collections are processed\, organized\, and cataloged in accordance with their integrity and archival constraints; only the old volumes are physically removed from the library collection\, but not managed separately\, to ensure their preservation under appropriate environmental conditions. In cases where a subject has both a bibliographic and an archival collection\, efforts are made to facilitate communication between the two collections.[https://biblio.fbk.eu/archivi/] \n\nMatteo Fadini \n\nMatteo Fadini\, Head of the Library and Publishing at FBK. He earned his Ph.D. in Literary\, Linguistic\, and Philological Studies from the University of Trento and a diploma in Archival Science\, Paleography\, and Diplomatics from the State Archives of Bolzano. He has been a researcher at the University of Trento\, a contract professor at Ca’ Foscari University of Venice\, and a collaborator at the Universal Short Title Catalogue of St Andrews (Scotland). His research interests include 16th-century Italian literature\, the history of books and libraries\, and the digitization of archival and library assets. He has managed several digitization projects of scientific journals\, including “HeyJoe-History\, Religion and Philosophy Journals Online Access” (https://heyjoe.fbk.eu/)\, whose content recently reached 1 million downloads\, as well as projects related to historical audio resources and scientific and cultural monographs (https://archive.org/details/biblio-fbk?sort=-downloads). \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/matteo-fadini-the-library-of-the-bruno-kessler-foundation/ LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy CATEGORIES:Archives,Critics Theory,History ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260630T150000 DTEND;TZID=UTC:20260630T153000 DTSTAMP:20260617T092228Z CREATED:20260615T143244Z LAST-MODIFIED:20260617T092228Z UID:543-1782831600-1782833400@www.communityarchives.art SUMMARY:Donatella Turrina: Society and Petitions. Letters sent by members or their families to request assistance DESCRIPTION:Donatella Turrina \n\nPresident of Fondazione Trentina per il Volontariato Sociale – a philanthropic organization – and member of the Board of Directors of the ETS Hospice Foundation\, she has long been involved in volunteer work. URL:https://www.communityarchives.art/en/evento/donatella-turrina/ LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy CATEGORIES:History,Social volunteering ATTACH;FMTTYPE=image/jpeg:https://www.communityarchives.art/wp-content/uploads/2026/06/Header-verde.jpg ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260630T100000 DTEND;TZID=Europe/Rome:20260702T100000 DTSTAMP:20260629T153952Z CREATED:20260629T153252Z LAST-MODIFIED:20260629T153952Z UID:1596-1782813600-1782986400@www.communityarchives.art SUMMARY:Community-Archiv Pantone 802 U: a manifesto by Maurizio Nannucci DESCRIPTION:“Community Archives Pantone 802 U\,” in German\, is the third manifesto created by Maurizio Nannucci for ‘Archivi di Comunità.’ Printed on handmade paper in a limited edition of 200 copies\, it is distributed free of charge to the public in the gallery. \n\n\n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/community-archiv-pantone-802-u-a-manifesto-by-maurizio-nannucci/ LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy CATEGORIES:Archives,Critics Theory,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:20260626T180000 DTEND;TZID=Europe/Rome:20260718T200000 DTSTAMP:20260625T133526Z CREATED:20260619T091814Z LAST-MODIFIED:20260625T133526Z UID:872-1782496800-1784404800@www.communityarchives.art SUMMARY:Ramifications. Family trees and archives from the collections of the Civic Library of Rovereto\, curated by the library's archivists. DESCRIPTION:Branchings. Family trees and family archives from the collections of the Rovereto City Library\, maintained by the library’s archivists. \n\nThe Library constantly pays attention to the archival heritage\, implementing multi-year intervention plans for its conservation\, inventory\, and enhancement. Among the documents preserved in the historical archive\, one can appreciate numerous family trees\, some decorated and hand-colored\, as well as rich family archives. Particular mention should be made of the genealogies developed by Quintilio Perini (1865-1942)\, a pharmacist\, well-known bibliophile\, and coin and medal collector\, who conducted much of his research in the fields of numismatics and genealogy\, publishing numerous works that earned him associations with international cultural institutions. Some of the most important noble families of the Trentino-Tyrolean area\, the Moll and Lodron families\, have entrusted their archives to the Library. As part of the Moll archive\, the collections of the Ceschi di Santa Croce\, Fedrigazzi\, and Gonzales de Rivera families are also preserved\, which held jurisdiction over Nomi before the Moll family. As part of the archive of the Municipality of Lizzana\, a small collection of the Frizzi family of Rovereto is preserved. The latest and significant acquisition (2013): the archive of the Bossi Fedrigotti family. The family trees from the collections of the Civic Library of Rovereto are exhibited in a display curated by the library’s archivists.Deutsch \n\nGLI ALBERIBOSSI FEDRIGOTTIThe Bossi Fedrigotti family\, probably originally from Lombardy\, settled in Sacco in the first half of the 15th century. The first historically certain ancestor is Nicolao del Buoso\, who died in 1434. The noble title was confirmed in 1592 by Ferdinand of Tyrol to Giovanni Bossi Fedrigotti.Starting from Nicolao de Buoso\, the history of the Bossi Fedrigotti family is closely intertwined with that of Borgo Sacco\, Rovereto\, and Vallagarina. Initially\, the family participated in the Expedition Company\, which managed commercial traffic on the Adige River from Bronzolo to Sacco\, using rafts; from 1750\, they held the privilege to manage the postal traffic between Calliano and Torbole (called “Feudo Postale”)\, which lasted until the Great War. From the second half of the eighteenth century\, the Bossi Fedrigotti family increasingly engaged in silkworm breeding and viticulture. Filippo (1838-1908)\, in addition to being a member and president of the Rovereto Academy of the Agiati\, dedicated himself passionately to these activities. He was the creator and supporter of the Rovereto Agricultural Society and founder of the Agricultural School of Rovereto (1871-1877). He introduced modern and innovative solutions. It was his idea to use pruning shears for harvesting grapes\, replacing the traditional sickle. Federico (1906-1996) subsequently made the family business known at a national level\, being the first in Italy to introduce a “Bordelaise blend\,” vinifying Cabernet and Merlot simultaneously\, following the tradition of red wines from the French Bordeaux region. Additionally\, Isabella Bossi Fedrigotti is a well-known journalist and writer\, who in 1991 won the Campiello Prize with her novel “Di buona famiglia” (“From a Good Family”). \n\nEscutcheon. Quartered shield: in 1\, silver with a phoenix rising from its ashes; in 2\, blue with a gold lyre; in 3\, blue with a caduceus with silver wings and green serpents; in 4\, a green tree above a grassy terrain\, in front of the tree a natural-colored ox passing by; in the center\, a small shield of green with a gold hunting horn tied with a chain. \n\nBRUNATI (Brunatti di Brunenfeld)The Brunatti family of Brunnenfeld is a historic noble house already active and well-established in the social and administrative fabric of Trentino (among Rovereto\, Trento\, and Tenno) long before the eighteenth century. The elevation of the Brunatti family to noble rank with the title “de Brunnenfeld” officially dates back to December 30\, 1777. On that specific date (December 30\, 1777)\, the Emperor of Austria\, Joseph II\, granted in Vienna the original nobility diploma with the predicate de Brunnenfeld to Girolamo Brunatti\, son of Giacomo Brunatti. \n\nTACCHIThe Tacchi family profoundly marked the economic\, social\, and architectural history of Rovereto between the 18th and 20th centuries. Originating from Zelbio (Como)\, the Tacchi moved to the city to manage the thriving silk trade\, becoming one of the most influential and respected dynasties and dedicating themselves to construction.The Tacchi architects\, particularly Bernardo and Bernardino Tacchi\, played a decisive role in building historic buildings such as Palazzo Rosmini “Al Frassem” between 1733 and 1737 and in designing Corso A. Bettini. They also took care of religious buildings like the Church of the Beata Vergine del Loreto\, commissioned by the Confraternity of Saints Rocco and Sebastian in 1737\, and the Convent and Church of the Order of the Visitation of St. Francis\, erected between 1740-1741 and demolished in 1902.On the Castel Dante hill stands the Tacchi Mausoleum (or de Tacchi)\, built by the family in 1862 and considered one of the most important examples of 19th-century architecture in Trentino.In July 1854\, Emperor Franz Joseph of Austria granted Giovanni Battista Tacchi the noble title with the predicate of Monte Maria\, as a tribute to an ancient sanctuary owned by the family\, which they restored and reopened for worship. \n\nCoat of arms. Field of the shield: azure with a silver church façade placed on a grassy ground. \n\nTARTAROTTIThe Tartarotti family\, originating from Pomarolo\, is a historic and affluent family from Rovereto\, known especially for being the birthplace of the renowned scholar and pre-Enlightenment thinker Girolamo Tartarotti (1706–1761). Girolamo was an abbot\, philosopher\, historian\, and literary figure. In 1764\, the Municipality of Rovereto acquired his extensive book collection\, creating one of Italy’s first public libraries—our municipal library.The main branches of the family distinguished themselves in law\, the city council\, and the promotion of culture in the 18th century. Francesco Antonio Tartarotti\, Girolamo’s father\, was a famous jurist and member of the prestigious “Council of the Thirty-One\,” an political and administrative body that governed Rovereto during the Ancien Régime.Maria Teresa\, with a diploma dated August 12\, 1743\, in Vienna\, granted nobility of the Holy Roman Empire to Federico Tartarotti\, marking a key step in the family’s social rise. A few years later\, further confirming imperial favor\, she elevated the rank of another prominent family member\, Giovanni Battista Tartarotti\, by appointing him “Knight of the Holy Roman Empire” with a new diploma dated January 22\, 1754.The family lived in various residences in the center of Rovereto; among these are the house at Piazza Podestà 13 (inhabited from 1715 to 1730 and today the offices of the municipality) and Casa Serbati alla Torre in Via della Terra 15. \n\nCoat of arms. Quartered shield: in the 1st and 4th quarters\, silver with a green pavilion bordered in gold; in the 2nd quarter\, blue with an eight-pointed star above a radiant sun; in the 3rd quarter\, red with a silver band on which a silver lamb is seated\, holding a silver banner also in silver. \n\nRIDLERThe Ridler family is one of the oldest and most influential families of the patriciate of Munich of Bavaria\, a select group of great merchants and landowners\, who held not only economic power but also political influence. The Ridler family became prominent in the 13th century\, quickly establishing themselves in the local political scene and rightfully entering the “Inner Council\,” the body that de facto governed the city. The earliest documents mentioning them date back to 1295. Their wealth mainly came from the textile trade with Flanders. They were recognized as a Bavarian noble family in 1628\, when\, together with the Ligsalz and Bart families\, they obtained equality with the nobility. Among the most important members of the family was Heinrich Ridler\, who founded one of the most significant charitable institutions for women’s assistance in 1295. \n\nCoat of arms. Field of the shield: red\, with a silver diagonal band crossed by a black arrow arranged in a bend. \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/genealogical-trees-and-family-archives-from-the-collections-of-the-civic-library-of-rovereto-curated-by-the-librarys-archivists/ LOCATION:Biblioteca Civica di Rovereto\, Corso Angelo Bettini\, 43\, Rovereto\, Trento\, 38068\, Italy CATEGORIES:History,Visual Arts ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260626T180000 DTEND;TZID=Europe/Rome:20260626T183000 DTSTAMP:20260621T050038Z CREATED:20260619T093725Z LAST-MODIFIED:20260621T050038Z UID:882-1782496800-1782498600@www.communityarchives.art SUMMARY:Stefano Giovanazzi: Family Trees and Family Archives from the Collections of the Civic Library of Rovereto DESCRIPTION:Introduction to the exhibition \n\nAmong the documents preserved in the historical archive are numerous genealogical trees\, some decorated and hand-colored\, and rich family archives. Notably\, the genealogies developed by Quintilio Perini (1865-1942)\, a pharmacist\, renowned bibliophile\, and coin and medal collector\, are worth mentioning; he conducted much of his research in numismatics and genealogy\, publishing numerous works that led to his association with international cultural institutions. \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-family-trees-and-family-archives-from-the-collection-of-the-civic-library-of-rovereto/ LOCATION:Biblioteca Civica di Rovereto\, Corso Angelo Bettini\, 43\, Rovereto\, Trento\, 38068\, Italy CATEGORIES:Archives,History,Visual Arts ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260626T170000 DTEND;TZID=Europe/Rome:20260626T180000 DTSTAMP:20260625T175117Z CREATED:20260621T043328Z LAST-MODIFIED:20260625T175117Z UID:1009-1782493200-1782496800@www.communityarchives.art SUMMARY:Roberto Adami: Genealogy of a house. Methodological observations for the historical reconstruction of the events of buildings DESCRIPTION:Buildings are constructions\, architectural structures created by humans\, intended to shelter people or related activities inside. They are essentially built to meet the diverse needs of human life. The presence of different people over time inevitably leaves traces. Buildings thus become witnesses that can survive the passage of time\, and sharing their stories helps to preserve history. \n\n\n\nRoberto Adami \n\n\n\nHistorian and researcher\, he graduated in Civil Engineering from the University of Padua with a thesis in the History of Architecture on the building activity in the Lagarina Valley in the first half of the 17th century. For over 30 years\, he was director of the municipal libraries of Villa Lagarina and Volano. A passionate about local history and an expert in the Lagarina archives\, he is the author of several publications dedicated specifically to the community of Volano and those living in the area on the right bank of the Adige. \n\n\n\n\n\n\n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/roberto-adami-genealogy-of-a-house-methodological-observations-for-the-historical-reconstruction-of-the-events-of-buildings/ LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy CATEGORIES:Architecture,History,Landscape ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260626T163000 DTEND;TZID=Europe/Rome:20260702T170000 DTSTAMP:20260628T044941Z CREATED:20260626T101604Z LAST-MODIFIED:20260628T044941Z UID:1395-1782491400-1783011600@www.communityarchives.art SUMMARY:Community Archives Pantone 807 U: a manifesto by Maurizio Nannucci DESCRIPTION:“Community Archives Pantone 807 U” is the second manifesto created by Maurizio Nannucci for ‘Community Archives’. Printed on off-white paper in a edition of 200 copies\, it is distributed free of charge to the public in the exhibition space. \n\n\n\nMaurizio Nannucci \n\nMaurizio Nannucci\, artist (Florence 1939). Maurizio Nannucci trained between Florence and Berlin and began his career in the mid-1960s in concrete poetry and electronic music\, attending Pietro Grossi’s Studio di phonologia musicale S2FM (1965/1969). In 1965 Nannucci created the “Dattilogrammi” (Dactylograms)\, which were published in various anthologies\, including Emmett Williams‘ “Anthology of Concrete Poetry” in 1967. He then participated in the exhibitions “Poesia concreta indirizzate concreti\, visuali e fonetici\,” organized by the Venice Biennale at Ca’ Giustinian in 1969\, and in “Concrete Poesie?” at the Stedelijk Museum in Amsterdam in 1970. “Alfabetofonetico” inaugurated an anthology of neon texts still in progress\, implementing a shift in the field of artistic intervention from the blank page to urban and architectural space\, investigated in its primary structures to create dialectical tensions between its points of spatial definition (such as the floor\, walls\, and ceiling). In 1969 he created his first neon multiple\, “box\,” written in his own handwriting (a constant in his research) and intended for a box of multiples (“Multibox”) produced by the first self-managed and non-profit artists’ organization he co-founded in 1967 in Florence: the Centro ricerche estetiche F/uno. The work is emblematic of his research\, not only for its technique\, but also because it indicates his propensity to promote collective experiences\, centered on a Situationist-inspired ethic of participation and action marginal to the official art system\, which saw him open\, also in Florence\, the self-managed and non-profit spaces Zona (1974/1985) and Base (1998). With a view to creating a more streamlined system for the dissemination of ideas and for up-to-date and rapid information on experimentation\, Nannucci edited the magazine «Mèla» (1976/1981) and published multiples\, artist’s books\, and ephemera by other artists\, founding Exempla Editions with Mario Mariotti and Claudio Parmiggiani in 1970 (with which he had already published his own multiples and books since 1967)\, and the record label Recorthings in 1975. This sensitivity toward alternative publishing realities\, politically marginal to the institution\, emerged in the exhibition he curated at Zona in 1975\, “Small Press Scene\,” and was applied to the creation of a personal archive composed of thousands of documents “concerning any artistic marginal practice from the 1960s up to the present day\,” a project that is an integral part of his artistic practice as a “great collective and personal diary” on the cultural identity of the second half of the twentieth century. His research has recently been presented at the MAXXI in Rome (Maurizio Nannucci. “Where to start from\,” 2015)\, at the Museion in Bolzano\, and at the Museo Marino Marini in Florence (Maurizio Nannucci. “Top Hundred\,” 2015–2016). \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/community-archives-pantone-807-u-a-manifesto-by-maurizio-nannucci/ LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy CATEGORIES:Archives,Critics Theory,Sociology,Visual Arts ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT END:VCALENDAR