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: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 BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260624T173000 DTEND;TZID=Europe/Rome:20260624T180000 DTSTAMP:20260622T034138Z CREATED:20260621T080236Z LAST-MODIFIED:20260622T034138Z UID:1090-1782322200-1782324000@www.communityarchives.art SUMMARY:Manuela Iannetti: Remember or forget? Archives\, memory\, and storytelling in the Archivissima experience DESCRIPTION:Archivissima is Italy’s first festival dedicated to promoting the heritage preserved in the historical archives of entities\, institutions\, and companies. Conceived by Promemoria Group and organized by the cultural association Archivissima APS\, the event was born in 2018 following the success of the format “La Notte degli Archivi.” Year after year\, the festival renews its commitment to promoting the stories preserved in historical archives to the wider public and to enhancing Heritage through a blend of different languages and media. In 2026\, the event reached its ninth edition\, held from June 4th to 7th in Turin at the Turin headquarters of the Museum Hub of the Gallerie d’Italia of Intesa Sanpaolo\, and on June 5th across Italy\, maintaining the goal of renewing tools\, media\, and formats to serve archive content. The main objective of Archivissima is to promote the richness of patrimonies. To do so\, it is necessary to change the perspective on the past stored in papers and documents\, viewing it as a space of possibilities rather than something fixed and given forever. Archives speak to the present and help shape new paths for the future\, from the valorization of assets to widespread cultural participation\, shared knowledge\, and the development of new models for the growth of the cultural industry. To maximize opportunities for participation and engagement by entities\, large and small\, present in various territories\, Archivissima invests in creating forms of involvement that include both traditional and digital formats\, supporting the development of original products and formats alongside in-person meetings and experiences. \n\nManuela Iannetti \n\nBorn in Turin in 1976\, she works on cultural content and projects. Since 2018\, she has been the director of Archivissima – The Festival and Night of Archives\, the first Italian event dedicated to the promotion and valorization of the historical archives of organizations\, institutions\, and companies. She oversees cultural programming\, partner relations\, and overall coordination. She also collaborates with Promemoria Group\, a leading company in heritage valorization\, to create digital itineraries for archival content. In the publishing field\, she managed the editorial department of the Alicubi agency for over ten years and continues to design cultural products for associations\, non-profit organizations\, and companies. Her publications include: The Continent Next Door. Travels\, Encounters\, and Stories from Another South East (2025) and Those Wonderful Stories. Stories of Women in the South East (2021)\, published by Kurumuny Edizioni; the narrative reportage Claroquesí was also published by Antonio Tombolini Editore. Postcards from the Revolution (2018) and the short story collection Boris and the Strange Case of the Yellow Pig (2016). \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/manuela-iannetti-remember-or-forget-archives-memory-and-storytelling-in-the-archivissima-experience/ LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy CATEGORIES:Archives ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260624T160000 DTEND;TZID=Europe/Rome:20260624T163000 DTSTAMP:20260619T032755Z CREATED:20260617T145659Z LAST-MODIFIED:20260619T032755Z UID:762-1782316800-1782318600@www.communityarchives.art SUMMARY:Roberta Giovanna Arcaini: There is life in the archives. Voices of the community in institutional and private archives. DESCRIPTION:On this occasion\, some cases of institutional archives and private subjects—individuals and associations—subject to the safeguarding activities of the Office of archival\, library\, and Provincial Archive assets will be presented. \n\n\n\nThe Office of archival\, library\, and provincial archive assets preserves and ensures public access to the archives and historical documents of the Provincial Council and its subordinate structures\, provincial schools of all levels\, and archives and documents owned or deposited by the Province by law or other means; it exercises similar responsibilities over the archives and documents of the Province’s instrumental entities\, territorial public entities\, and public entities operating in areas within the Province’s competence or delegated to it\, and\, when required\, over those of the Provincial Council; it preserves the historical archives and documents of the State Archive of Trento entrusted to its custody and maintenance and collaborates with it for the study\, enhancement\, and enjoyment of the documentary heritage contained therein; it oversees the current and deposited paper and digital archives of the Provincial Council and its subordinate structures and manages the archives of its respective organizational units; it functions as the general deposit archive for the archives of the Provincial Council and its subordinate structures; it manages activities related to the protection\, conservation\, restoration\, study\, and enhancement of library assets and archives within provincial competence\, providing the necessary authorizations and certifications; it collaborates with the Director in the development of functional and financial planning; through specialized laboratories\, it conducts research\, experimentation\, and educational activities in the field of book and document restoration and manages safeguarding and enhancement interventions for the archival and library heritage through reproduction activities using analog and digital technologies; it undertakes activities aimed at the training and updating of the Trentino toponymic dictionary\, as well as issuing authorizations related to toponymy; it performs services for managing the electronic protocol\, document flow management\, archives\, and related preservation activities. \n\n\n\nRoberta Giovanna ArcainiExperienced official at the Office of Archival\, Library\, and Provincial Archive Assets of Trento of the ST-Technical Service of the Superintendence for Cultural Heritage and Activities of the Autonomous Province of Trento\, formerly a contract lecturer in Archival Science at the University of Trento – Master’s Degree course at the Department of Letters and Philosophy. Her activities include managing health-hospital\, school\, business\, tourism promotion company\, banking\, architect\, engineer\, and construction company archives through projects such as censuses\, inventories\, selection and disposal guidelines\, and activities to enhance archival heritage\, also as an author and curator of various publications. She has collaborated and collaborates with scientific committees and local and national working groups (e.g.\, the ANAI-Italian National Archival Association Working Group on Guidelines for the training\, management\, and preservation of digital and hybrid archives of design studios). \n\n\n\n\n\n\n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/roberta-giovanna-arcaini-there-is-life-in-the-archives-voices-of-the-community-in-institutional-and-private-archives/ 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:20260624T110000 DTEND;TZID=Europe/Rome:20260624T113000 DTSTAMP:20260623T132632Z CREATED:20260617T144451Z LAST-MODIFIED:20260623T132632Z UID:758-1782298800-1782300600@www.communityarchives.art SUMMARY:Maria Fratelli: Archives and Communities DESCRIPTION:The opening of the CASVA headquarters in the Milanese neighborhood of QT8 has involved\, from the very formulation of the museological project\, the awareness that the archive would be an addition\, as relevant as it may be\, to a knowledge infrastructure whose networks are woven on an urban scale\, but above all on a national level and with a strong international vocation. The perception by citizens of the archive as an institution carrying social value cannot be taken for granted\, just as the consolidation of this expectation can only result from careful dialogue with the local community’s needs. The multiple operational levels of the Archive must therefore be targeted and promoted based on the awareness that one of its primary reasons is to serve as a safeguard and foundation of community. \n\nMaria FratelliDirector of Fabbrica del Vapore\, CASVA\, and Casa della Memoria\, she has worked for the City of Milan for thirty years. She graduated in Modern Literature from the University of Milan in 1993 and specialized in Archaeology and Art History from the University of Siena in 1999. In 2016\, she earned a Master’s Degree in Public Management for Federalism (EMMPF) from the Graduate School of Business at the Polytechnic University of Milan. She has curated museum exhibitions\, cataloging\, and restorations. She has published books and essays on art history\, museology\, and conservation\, and created editorial series for the museums she managed. She has curated and promoted modern and contemporary art exhibitions\, with a particular focus on the close relationship between archives\, museums\, and the contemporary world. She is a member of ICOM\, the Scientific Committee of CESMAR7\, and the Technical Scientific Committee of the Association of Italian World Heritage Sites. She is the director of the Alfredo Pizzo Greco House Museum in Suisio. \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/maria-fratelli-archives-and-communities/ LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy CATEGORIES:Architecture,Archives,History,Visual Arts ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260624T103000 DTEND;TZID=Europe/Rome:20260624T110000 DTSTAMP:20260622T202318Z CREATED:20260617T145246Z LAST-MODIFIED:20260622T202318Z UID:752-1782297000-1782298800@www.communityarchives.art SUMMARY:Ginevra Rapex: Teche RAI DESCRIPTION:e-meeting \n\nThe presentation will cover the history and activities of Rai Teche\, the department responsible for the preservation\, cataloging\, and enhancement of Rai’s audiovisual and documentary heritage. It will discuss Rai Libraries\, their historical evolution\, the main collections preserved\, and their role as research and documentation centers for scholars\, students\, and professionals. Organizational changes that occurred in 2026 will also be presented\, along with the activities related to the protection and management of the company’s cultural heritage. The presentation will delve into some documentary discoveries that emerged during the reorganization of the collections\, highlighting how archives can offer new perspectives on the history of Italian radio and television. Finally\, concrete examples of Rai’s heritage valorization will be illustrated through cultural projects\, research activities\, outreach initiatives\, and collaborations for exhibitions and events. \n\nGinevra Rapex \n\nGinevra Rapex was born in Rome in 1978. She graduated in Classical Literature in 2003 from the University of RomaTre\, and obtained a Master’s in Art and Culture Management from MART in Rovereto in collaboration with the Trento School of Management (TSM) in Trento in 2004. After an internship at the National Central Library of Rome in 2007\, she earned a diploma in Library Science from La Sapienza University of Rome in 2009. Since 2013\, she has worked at Rai’s Archives\, initially in the Documentation sector and from 2024 at Rai’s Bibliomediateche in Rome. She currently works in the Mass Communications Library located at the production center on Via Teulada 66. In 2019\, she represented the company at the 50th annual conference of IASA (International Association of Sound and Audiovisual Archives) in the Netherlands\, focused on the preservation of audiovisual archives. In 2021\, she published a biographical novel about her grandfather\, a magistrate in Tripolitania and a judicial consul in Shanghai in the first half of the 20th century\, with the publishing house Il Convivio. \n\nKeep reading\n\n\n\n\nThe birth of the Archives \n\n\nThe establishment of the Teche Department dates back to 1996\, a decisive moment in the company’s history\, as previously\, the management and cataloging of everything produced or owned by RAI in various capacities were the responsibility of the television and radio production centers. These production structures\, focused on directing all their efforts toward daily broadcasting\, could only dedicate limited resources to the preservation and cataloging of historical material. \n\n\nThe idea of creating an archive center with the specific mission of archiving the company’s television\, radio\, paper\, and other materials had actually emerged several times since the 1980s\, but it was Barbara Scaramucci\, the first director of RAI Teche\, who succeeded in the endeavor in 1996. Assisted by the then Board of Directors chaired by Professor Roberto Zaccaria\, a team of trusted managers\, the Corporate Electronic Center in Turin\, and the company’s documentation staff\, she devised and implemented a project to catalog the company’s material using univocal criteria\, involving the stored media and starting the digitization process. The activity involved television\, radio\, music\, paper archives (library\, sheet music and scores\, scripts)\, and even the costume and stage equipment warehouse. The most significant result of this activity was the launch between 1999 and 2000 of the Multimedia Catalogue\, a catalog that included all the company’s materials and provided\, alongside the informational sheet\, access to audiovisual multimedia content. Programmers and directors thus had an extraordinary ease in retrieving archival materials\, even for reuse in new broadcasts. The current layout and graphics of the Multimedia Catalogue date back to 2013. \n\n\nRegarding the paper archives (besides the collections of books and magazines\, as we will see now\, as well as the Radiocorriere\, musical scores\, etc.)\, a special mention goes to the collection of radio scripts\, which boasts about 90\,000 titles\, some dating back to the Fascist period\, an era when recordings were practically never made and which\, for this reason\, constitute one of the main sources for reconstructing programming from that time. \n\n\nCurrently\, the Teche Directorate is organized internally into the following Structures: Support Digitization and Preservation\, Digital Documentation and Bibliomediateques\, Customer Service\, Editorial Support\, Management of Copyright and Related Rights\, Rights Archive. The Support Digitization and Preservation unit handles the high-definition transfer of audiovisual holdings to achieve the digitization of the entire Rai heritage. The Documentation team is responsible for recovering all daily broadcasts\, both television and radio\, as well as all historical material\, known as “historic\,” a task that involves ensuring each documented resource is accompanied by a content analysis (including\, among other things\, the use of keywords based on the principle of nominalization)\, necessary for retrieving documents within the Multimedia Catalog. Nowadays\, the major challenge in this sector is that they have started to use artificial intelligence\, which will soon lead to new approaches and a possible streamlining of the processing of all material. Customer Service is the structure that interfaces between Rai and external entities such as organizations\, foundations\, institutions\, as well as private individuals\, who request copies of material primarily for non-profit and mainly cultural purposes. Editorial Support is Rai Teche’s production sector\, which represents an increasingly growing channel\, helping to enable public and free access to Rai’s heritage not only through the RaiPlay platform but also on the dedicated Rai Teche website https://www.teche.rai.it/. The area of Copyright and Related Rights Management\, together with the Rights Archive\, finally ensures the correct handling and dissemination\, at the legislative level\, of any audiovisual document.https://www.teche.rai.it/ \n\n\nThe Rai Libraries \n\n\nRai Libraries constitute the main access point to the company’s cultural heritage. They are aimed at scholars\, students\, researchers\, authors\, and anyone interested in consulting Rai’s book and periodical collections\, internal publications\, and the Multimedia Catalog of the Archives. Through these resources\, it is possible to trace the history of Italian radio and television and observe the country’s cultural and linguistic evolution. \n\n\nCurrently\, two locations are open to the public: the “Dino Villani” Media Library in Turin\, located at Via Verdi 31\, and the Mass Communications Library in Via Teulada 66 in Rome. Access is by appointment\, requested via email\, with a division that designates the Turin Library for Northern Italy and the Rome Library for Central and Southern Italy. \n\n\nThe Paolo Giuntella Library \n\n\nThe Paolo Giuntella Library\, currently temporarily closed\, was established at the end of the 1940s at Rai’s headquarters on Via delle Botteghe Oscure as support for radio activities and\, later\, television. In 1952\, it was moved to the Hotel de Russie on Via del Babuino\, and in 1966 it found its definitive location in the new complex on Viale Mazzini. \n\n\nIts central position within the building was not accidental: the library was conceived as one of the fundamental points of the company\, symbolizing the cultural and informational role played by public radio and television. \n\n\nThe holdings include over 80\,000 volumes and about 400 periodicals. The collections have always represented a valuable resource for Rai program production as well as for students and researchers. In addition to sectors such as communication\, radio\, television\, cinema\, theater\, and journalism\, the library possesses a rich selection of works dedicated to music\, art\, literature\, history\, politics\, philosophy\, and sociology. Some sections also contain rare and valuable old volumes. \n\n\nAn important part of the collections comes from the donation of Fulvio Palmieri\, director of the second radio program in the 1950s. In the 1960s\, the growth of the library’s collection was overseen by a committee composed of prominent Italian intellectuals and writers. The first printed catalog of the library also reflects the strong humanistic orientation of the collections. \n\n\nOver the years\, the library has continuously collaborated with other Rai structures\, providing materials and documentation for broadcasts\, cultural celebrations\, historical anniversaries\, and current affairs analyses. Additionally\, it has been used as a setting for various television programs. \n\n\nThe Mass Communications Library \n\n\nThe Mass Communications Library was established in the first half of the 1960s within the Documentation and Studies Service. Initially housed at Viale Mazzini\, it was later moved to Via Col di Lana and finally to its current location at Via Teulada. \n\n\nThe library holds approximately 13\,000 specialized volumes in the field of mass communications and over 130 collections of Italian and foreign magazines related to the same field. Among these are important publications dedicated to semiotics\, sociology\, communication\, journalism\, and media. \n\n\nA particularly significant presence is that of specialized journals in the law of information and telecommunications\, documenting the evolution of Italian and European regulations and the provisions issued by the competent authorities. \n\n\nIn addition to books and magazines\, the library preserves a vast amount of corporate documentation\, which is virtually unique: conference proceedings\, studies\, research\, materials produced by internal Rai services\, historical projects such as Telescuola\, and numerous theses by students who used the facility for their research. \n\n\nThe location features four computer stations that allow access to the Teche multimedia catalog\, as well as spaces dedicated to consulting printed materials. \n\n\nThe Changes of 2026 In 2026 \n\n\nRai libraries faced two significant transformations. The first was the adoption of a new management system\, transitioning from the Aleph 500 platform to Sebina software\, an operation that required the transfer and verification of about 80\,000 bibliographic records\, involving intensive data control work. \n\n\nThe second innovation was the temporary closure of the Paolo Giuntella Library and the subsequent transfer of its collections. This process provided an opportunity to deepen knowledge of the preserved heritage and to reflect on the institution’s history. Following the closure of Viale Mazzini\, staff was transferred to the Communications Library of Massa\, which today is the main reference point in Rome\, along with the Mediateca of Turin. \n\n\nRare Materials and the Discovery of the 1940 EIAR \n\n\nReferendum During the moving operations\, rare materials of great historical interest emerged\, including some internal Rai publications and the “Quaderni de la nostra Rai\,” containing scripts and photographs of famous television productions. \n\n\nAmong the documents found is a study dedicated to the 1940 EIAR Referendum. The investigation gathered the opinions of radio listeners\, invited to express preferences and suggestions about the programs and lessons broadcast via radio. \n\n\nThe analysis divided the audience by profession\, age\, listening times\, and cultural interests\, considering various genres such as music\, theater\, information\, sports\, education\, foreign languages\, and religious broadcasts. This demonstrates the desire to build programming attentive to the needs of different social groups. \n\n\nThe document reveals that radio was already a fundamental tool for education and the dissemination of culture\, foreshadowing the role that television would later assume. The statistics and histograms contained in the study also provide a valuable testimony of Italian society of that era\, its habits\, interests\, and the historical context in which it lived. \n\n\nThe Work of Cultural Transmission and the Teche (Archives) \n\n\nDuring my personal journey within the Rai Archives\, which began in 2013\, I had the opportunity to engage in various types of work and to be involved in unexpected documentary discoveries. In this regard\, in the documentation sector\, in addition to working on programs almost entirely radio-based\, I had the chance to participate in building a website\, whose page\, titled “MitoRai\,” is accessible at https://www.teche.rai.it/mitorai/. The richness of themes related to classicism within the audiovisual heritage has been impressive\, and in this sense\, we hope that the range of contributions presented on the site can stimulate curiosity and research among the general public\, especially on topics related to classical culture. \n\n\nMusic is also an immense Rai heritage. Without dwelling on the activities of the great symphony orchestras that in the past marked high-level lyric and concert seasons\, both nationally and internationally—such as the orchestras of Naples\, Rome\, and Turin—and the vast collection of scores\, preserved in paper form today in Turin but partly included in the Multimedia Catalog\, classical music on radio was an essential component of programming in the twentieth century. During the recovery of the so-called historical recordings\, as I already mentioned\, many hours of musical performances were digitized\, often without sufficiently detailed documentation. This led to a fascinating investigative work: retrieving basic information about performers and interpreters and utilizing all available details (found in small recording cards\, which were stored together with the recording media\, then digitized into PDFs and attached to the sound documents). This was done to cross-reference not only with the programming listed in Radiocorriere but also with concert programs\, in order to identify the titles of all performed compositions\, the context of the performances\, and their broadcast dates (which often did not coincide with the recording dates). Naturally\, concert programs like Radiocorriere\, related to various Rai concert seasons\, are also available in digital form within the Multimedia Catalog databases. \n\n\nLibraries\, as well as all other structures within the Archives and Rai in general\, participate synergistically in the collection of exceptional materials to create exhibitions and installations. In 2024\, I participated in the exhibition celebrating the 100th anniversary of radio and the 70th anniversary of television\, held at the MAXXI in Rome. In addition to numerous brochures and archival materials available at our Libraries\, one of the most personally exciting research experiences was at the archive of the Florence regional office\, mentioned in the introduction\, which contains an extraordinary wealth of documents: scripts\, sometimes autographed\, of dramas and radio dramas\, correspondence between the editorial offices and external collaborators\, and the magazines L’Approdo and Il Terzo Programma (connected to their respective radio broadcasts). Without dwelling too much on the letters and manuscripts that include signatures of figures such as Raffaele La Capria\, Eduardo De Filippo\, Ennio Flaiano\, Natalino Sapegno\, and countless other cultural personalities of the time… \n\n\n \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/ginevra-rapex-teche-rai/ LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260623T183000 DTEND;TZID=Europe/Rome:20260623T193000 DTSTAMP:20260626T100853Z CREATED:20260622T132121Z LAST-MODIFIED:20260626T100853Z UID:1139-1782239400-1782243000@www.communityarchives.art SUMMARY:Guided tour of Palazzo Savioli-Antonini-Monte\, now Fondazione Artieri 1852 DESCRIPTION:Andrea Benoni will guide us in discovering Palazzo Savioli-Antonini-Monte\, today owned by the Artieri Foundation 1852. Visitors will have the opportunity to explore the courtyard and some rooms of the palace\, walk through corridors and balconies\, and see what the Savioli\, Antonini\, and Monte families saw during the times they lived in the palace. Together\, we will trace the historical events of the building by reading this brief essay by Giuseppe Costisella\, a renowned Trentino historian and essayist\, author of numerous well-regarded monographs dedicated to local history\, architecture\, and traditions of the Trentino region. His research has particularly focused on historic buildings\, noble families\, institutions\, and the ancient dialects of Trentino-Alto Adige. \n\n« The Savioli and Monte houses in Rovereto \n\nIn the narrow streets of the city center\, so full of charm\, many houses attract the attention of passersby due to their architectural beauty and the grace of the worked stones that adorn them. Particularly noteworthy for the testimony they provide of distant events and for the memories they hold of ancient families are the two contiguous houses now marked with numbers 1 and 5 on Via della Terra\, located to the right of those proceeding from Piazza S. Marco towards the Tower. \n\nAlthough they completely differ in their external appearance today\, they originally had a common origin and\, for several years\, also shared the same function. This was until Gasparo Savioli bought the complex of existing buildings from the merchant Oliviero Olivieri\, as described in the deed of May 24\, 1564\, by notary Marco Porta: “a house covered with tiles with an apothecary’s shop\, a storeroom\, chambers\, underground vaults\, a courtyard\, in the district of La Campanella\, bordering the common road in front\, behind the walls of the land of Roverè\, on the side towards Trento Pietro Saibante and Via Consortale\, and on the other side the heirs of Gaspare Trentini.” \n\nThe agreed price for Ragnese was 1\,350. Gaspare paid part of it in cash and part in silk fabrics called “damaschi rasi e ormesini.” This reveals the type of activity carried out by the buyer. In fact\, the Savioli family\, originally from Bardolino and established in Rovereto since the second half of the 1400s\, is rightly credited with introducing the art of weaving to Rovereto\, which in turn gave an impulse to other activities\, particularly dyeing. Thanks to favorable conditions—such as the abundant availability of water for industries and its geographical position for trade—Rovereto became a leading center that attracted wealthy entrepreneurs from all over\, along with a large number of skilled workers and artisans. These collectively gave Rovereto society its distinctive character—open to progress\, civil development\, and culture—that found its best expression in the 18th century. \n\nIn 1562\, Gasparo\, together with his brothers Donato and Giovanni\, was made noble of the Holy Roman Empire for his merits in the industrial field\, and Emperor Ferdinand I also granted him a noble coat of arms. Shortly after\, he remodeled the house he had just purchased to suit his business\, placing the family crest in a key position above the main door of the larger building (via della terra n. 5). This house\, enhanced by the presence of a charming balcony\, has remained almost unchanged to this day. The house at number 1 was instead one story high\, while on the ground floor\, each had looms working tirelessly to produce precious fabrics destined for German merchants. \n\nUnchanged through the centuries is also the portico located between the two houses\, now called the “Scala della Torre\,” from which one descends into Piazza delle Erbe. In the past\, however\, when the “terra di Roverè” was still enclosed by Venetian walls that extended in a straight line from the porticos to the bastion of the Trivio alley\, the portico was a communal passage that allowed access to the houses built against the walls and to the rear part of those facing the Church of S. Marco; it was called “pontirola sotto la chiesa di S. Marco” or also “introlo” or “androna\,” often accompanied by the names of various owners of the houses—Saibanti\, Savioli\, Sbardellati\, etc. The Venetian walls\, which passed where the staircase leading down to the square now begins\, formed an impassable barrier. Beyond it\, exactly where the now-constructed Piazza delle Erbe and Piazza Malfatti are\, there was a “cesura” (a break or gap) belonging to the Convent of the Carmelites of S. Maria. \n\nThe industrial activity\, so well managed by Gaspare\, was not continued by his two sons: Federico\, who dedicated himself to commerce and moved to Nuremberg\, and Gian Nicolò\, who graduated in law and practiced as a lawyer in Rovereto. The only surviving son\, named Gasparo like his grandfather\, worsened the family estate with debts and\, dying still young in 1647\, left his wife Aquilina Eccaro the heavy task of arranging and adequately dowries for their five daughters born from their marriage. The widow succeeded in this task\, naturally resorting to additional debts. Of those daughters\, two\, Francesca and Diodata\, married in Rovereto: the first to the doctor Antonio Folgarait\, the second to the noble Francesco Fontana\, captain of Castel Penede; Camilla in Riva with the doctor Alessandro Salvadori\, and Angelina and Elena with two notaries from Mantua\, Antonio Tomasi and Francesco Valestra. Aquilina had to struggle a lot not only to gather the money but also\, for the daughters married in Mantua\, to transfer it to that city. At that time\, money\, valued for its silver and gold content\, was a scarce commodity. Transporting it from one place to another also involved some risks\, as well as expenses. Rovereto had to import wheat from Verona and Mantua and could not offer silk or wine to the producing countries. To meet the payment deadlines for the dowries of her daughters married in Mantua\, Aquilina had to resort to an unusual expedient: entrusting a tenant of Volano with two pairs of oxen to be driven and sold in that city. \n\nAquilina’s successive acts of sale were now aimed at settling the many debts by selling the properties as opportunities arose. On March 9\, 1678\, in an act by notary Bernardino Benvenuti de’ Chiusole\, the house now marked as number 1 was sold to Don Giovanni Monte\, and it was described as follows: “a house located in the Piazza di San Marco\, also known as the Torre\, which borders on one side Nicolò Andreotti\, in front the Imperial Road\, behind partly to Andreotti and partly to the courtyard\, on the other side the selling sisters with the large house\, below the canal belonging to the sold house with the deep canal which remains to the Savioli sisters.” \n\nFrom that moment\, with the separation of the two houses\, that branch of the Savioli family\, which was about to become extinct\, also lost all interest. Their old house was later transferred to Dr. Folgarait\, Aquilina’s son-in-law\, and around the mid-1700s\, to the merchant Giuseppe Battisti of Mori; gradually\, until the year 1884\, when it was transferred to the Property of the Society of Mutual Assistance of Artisans of Rovereto as a bequest from the philanthropist Enrico Antonini\, as recalled by the plaque mounted on the façade\, right above the old family coat of arms. \n\nThe buyer of house number 1\, with the deed dated April 1\, 1679\, by notary Pietro Malinverno\, subsequently sold it to his brother Valentino. The price of 900 Ràgnesi was paid with money coming from the dowry of his wife Elisabetta dal Rì\, from Mori. This is the moment when the house underwent a radical transformation that clearly distinguished it from the old Savioli house\, of which it had been a lesser part until then. \n\nShe adorns herself with the beautiful portal with the coat of arms adopted by ‘Valentino Monte and with the inscription: \n\nSOMMI DEI PRINCIPISQUE TUTUS GRATIA \n\nThe legend\, perhaps intentionally cryptic\, might lead one to believe that the Monte house had enjoyed the right of asylum\, but it is known that in Rovereto such a privilege was granted only to the palace built in the 16th century by Baldessar Trautson in Borgo S. Caterina (now via Garibaldi no. 82). It is certain\, however\, that no one fleeing justice ever sought refuge there. Therefore\, the inscription should be understood as an expression of gratitude to Providence for the possessions acquired\, on the part of a man who respected the laws and civil ordinances. The new owner compensates for the limited space by adding additional floors and arranging the interior in a practical manner\, where the layout of the rooms and the decorative details of stuccoes and wrought iron grilles contribute to creating an environment that displays a pronounced love for beauty\, surpassing the needs that a wealthy family could then desire. \n\nWho was Valentino Monte and what position did he hold in the Rovereto environment of his time? His father Antonio\, known as Zuane Monte\, moved to Rovereto from Cornè di Brentonico in the early 1600s\, and for many years he successfully practiced commerce\, running a shop in Rialto Square. Of his three children\, the eldest named Giovanni became a priest\, serving as an assistant to the archpriest of Rovereto\, and from 1676 onwards\, he also obtained the benefice of the church of S. Carlo\, attached to the Convent of the Clarisses founded by Beata Giovanna. He accumulated a significant estate of tithes and fixed assets\, which after his death in 1713\, intestate\, led to a long dispute among his heirs. The second daughter\, Lucia\, married the legal expert Pace Francesco Ceniga\, who received a dowry of 1\,500 florins (about 10-15 million lire today) from her brothers\, according to the deed dated June 16\, 1675\, by notary Bernardino Benvenuti. Finally\, Valentino\, who like his father initially practiced successful commerce and increased his wealth\, sought to rise in social prestige through honorary appointments. He served for some time as the administrator of the Rovereto Gymnasium founded in 1675\, and later directed the postal service of Rovereto and Torbole. He also obtained the rank of officer in the town militias. In 1704\, during the War of Spanish Succession\, holding the rank of lieutenant\, he intervened and succeeded in freeing Antonio Dossi of Cornè\, who was detained at Rovereto Castle and had been arrested for suspected dealings with the enemy during the French invasion the previous year. Monte\, in order to achieve this goal more easily\, found it appropriate to “make a donation to a notable person of twenty yards of velvet and money\,” and his fellow townsman Dossi\, upon being freed\, committed to repay him. (Act of February 10\, 1704\, notary Gio Francesco Turrini). \n\nWhile Valentino’s ambitions achieved significant satisfaction in every field\, his greatest desire to see his descendants continue was disappointed. From his marriage\, he had only two daughters: Lucia (1678 – 1750)\, who married Giacomo Cristoforo Hinitz (1665 – 1751) in 1705 and had descendants\, and Teresa\, who married Dr. Antonio Chiusole in 1719 but had no children. \n\nNow\, the origin of the coat of arms adorning the portal of that Monte house remains to be understood. It did not\, in fact\, come to Valentino along with a noble diploma\, although he was designated as noble in various notarial acts. Its characteristics show that it was granted by a Palatine Count: a dignitary who\, by imperial delegation\, had the authority not only to appoint notaries and legitimize illegitimate children but also to enable deserving individuals\, based on their condition\, to use a coat of arms for their dignity. During that time\, a multitude of such honors was bestowed upon many Rovereto families by Bartolomeo Pizzini (1644–1714)\, authorized by a diploma from Leopold I\, dated August 17\, 1770. Perini lists as many as 26 grants of coats of arms attributed by Pizzini through notarial acts\, between 1690 and 1714\, to as many families. However\, the Monte family does not appear in this group. But one cannot believe that Palatine Count Pizzini was inactive in granting coats of arms between 1670 and 1690 without paying attention to the ambitions of Rovereto merchants. \n\nIt is rather legitimate to suppose that in those years he directly issued the diploma without any trace of it remaining in a notarial deed\, as will be the case from 1690 onwards. But even if it is not known who conferred it upon him\, the use of the coat of arms by the Monte must have been entirely legal. It also appears in his secret will of December 14\, 1718\, which he claims to have written by his own hand\, “corroborated by my seal\, in which is impressed a shield with a lamb and above it two stars\, and above the shield two uppercase letters V and M”; a will that he entrusted to notary G. B. Mascotti to be published after his death. He resorted to this measure because he had left his daughter Teresa only the legitimate share\, reserving the other three-quarters for his daughter Lucia\, married to Hinitz. Evidently\, he must have been opposed to the marriage Teresa was about to enter into with Dr. Antonio Chiusole\, for which a dispensation from Rome for third-degree kinship was invoked. However\, the marriage took place two months later and was celebrated in the church of Madonna del Monte\, with Dr. Gio Felice Ceniga and Cristoforo Hinitz as witnesses—one being a cousin\, the other a brother-in-law of the bride. After returning to his previous decision\, on March 17\, 1727\, Valentino dictated a new will to the same notary Mascotti\, in which he designated his two daughters as equal heirs. \n\nIn subsequent divisions\, the house passed into the ownership of the Hinitz family. Members of this family\, originally from Silesia\, had held positions in the magistracy in Innsbruck\, where Giacomo Cristoforo was born. In 1686\, he came to Rovereto as the procurator of the Folkamer and Seitel house from Nuremberg\, and he immediately obtained citizenship there. Like his father-in-law Valentino Monte\, he was part of the urban militia\, in which he reached the rank of lieutenant of the white armor company. From the Rovereto branch of this family\, several notable individuals emerged\, including the lawyer Cristoforo (1737–1790)\, who\, together with his sister Lucia\, obtained a noble diploma from the Holy Roman Empire in 1765\, with the predicate of Gutentall and the coat of arms featuring a rampant lion. It is thanks to these two Hinitz siblings that the magnificent portal of the house has preserved its original appearance\, with the coat of arms of their great-grandfather Valentino Monte. \n\n \n\nFondazione Artieri 1852 \n\nSince 1852\, the Artieri Foundation has preserved and renewed a long tradition of solidarity\, participation\, and civic engagement. Originally founded as a mutual aid society\, it has endured through generations and social changes\, maintaining a strong connection with the community\, with the aim of promoting cultural\, social\, and collective interest initiatives. Its history tells of a heritage of values that still today guide the activities of the Foundation. \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/guided-tour-of-palazzo-savioli-antonini-monte-now-fondazione-artieri-1852/ LOCATION:Fondazione Artieri 1852\, via della Terra\, 5\, Rovereto\, Italy CATEGORIES:Architecture,Archives,History,Landscape,Visual Arts ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260623T173000 DTEND;TZID=UTC:20260623T183000 DTSTAMP:20260626T104331Z CREATED:20260615T143733Z LAST-MODIFIED:20260626T104331Z UID:549-1782235800-1782239400@www.communityarchives.art SUMMARY:Andrea Benoni: Genealogy of the Artieri Foundation 1852 DESCRIPTION:Fondazione Artieri 1852 has its roots in the social mutualism of the mid-1800s: its inspirer\, Don Francesco Fiorio\, a professor at the Ginnasio and a member of the Accademia degli Agiati of Rovereto\, established a mutual aid society to provide economic and cultural responses. Today\, Fondazione Artieri continues this story by offering new reflections on the concept of mutuality through the implementation of shared cultural and social projects\, aiming to foster volunteerism and social cohesion networks. Currently\, Fondazione Artieri 1852\, a Philanthropic Entity\, preserves and promotes the historical\, cultural heritage\, ideals\, and values of the Società di Mutuo Soccorso degli Artieri di Rovereto\, which was founded by workers and has served the community for over 170 years. History: In 1852\, in Rovereto\, the Società di Mutuo Soccorso degli Artieri was established by artisan workers. In 2013\, the Society founded the Fondazione Artieri 1852 to safeguard and enhance its historical and cultural heritage. In 2014\, the Foundation launched research\, archiving\, and promotion projects related to mutualistic culture. In 2026\, the Foundation Artieri 1852 amended its Statute to become a Third Sector Entity as a Philanthropic Organization\, strengthening its cultural and social initiatives. www.fondazioneartieri1852.it \n\nAndrea Benoni \n\nAndrea Benoni is president of the Artieri Foundation. Former mayor of Calliano (TN)\, he was president of the Vallagarina Artisans Association for many years\, and is the creator and organizer of numerous craft fairs\, exhibitions\, and events dedicated to the history of violin making in Trentino. URL:https://www.communityarchives.art/en/evento/andrea-benoni/ 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:20260623T170000 DTEND;TZID=Europe/Rome:20260623T173000 DTSTAMP:20260626T104229Z CREATED:20260623T080959Z LAST-MODIFIED:20260626T104229Z UID:1230-1782234000-1782235800@www.communityarchives.art SUMMARY:Francesco Frizzera: The Collections of the Italian Military History Museum DESCRIPTION:The MITAG – Italian Historical Museum of War in Rovereto hosts one of the world’s most extensive collections dedicated to the First World War. The exhibition pathway features weapons\, uniforms\, trench objects\, archival documents\, and testimonies that depict soldiers’ lives and the impact of the conflict on civilian populations. The museum’s collection is organized into several sections: The Great War: the main part of the collection includes uniforms\, headgear\, melee and firearms. Among the most iconic pieces is the historic Nieuport-Macchi Ni.10 aircraft.Ancient and Modern Weapons: in the towers of Rovereto Castle\, there are large collections of weapons covering a wide chronological span from the modern era to the 19th century. Photographic and Documentary Archive: houses hundreds of thousands of photographs\, letters\, diaries\, posters\, and archival films. Some of these materials are accessible digitally on the Archiui platform. Everyday Requisites and Objects: detailed exhibits show the harsh realities of trench warfare and the medical materials of the time. \n\nFrancesco Frizzera \n\nHolds a PhD from the University of Trento. Since November 2016\, he has been a post-doctoral researcher at the Catholic University of Eichstätt-Ingolstadt with a research project on food and agricultural policies in Germany from the Great War to 1933. Since 2019\, he has been the Director of the Italian Historical Museum of War in Rovereto. His research areas include: population movements in Europe (1914–1923)\, food and agriculture (1914–1933)\, technological transformations in the Alpine region (19th–20th centuries)\, nationalism and education in the Alpine area (1848–1945). \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/francesco-frizzera-the-collections-of-the-italian-military-history-museum/ LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy CATEGORIES:Archives,History,Landscape ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260623T160000 DTEND;TZID=Europe/Rome:20260623T163000 DTSTAMP:20260626T104009Z CREATED:20260622T044153Z LAST-MODIFIED:20260626T104009Z UID:1110-1782230400-1782232200@www.communityarchives.art SUMMARY:Andrea Benoni / Stefano Giovanazzi: Archivi di Comunità. Acts of transforming personal memories into shared memories DESCRIPTION:Presentation by the curators of the first edition of “Community Archives”:Thirty-two encounters with artists\, collectors\, curators\, art historians\, archivists;Inviting twenty-six institutions;An exhibition in Rovereto;Twelve guided tours of archives\, foundations\, and museums;A logo and a manifesto designed by the artist Maurizio Nannucci. \n\nRovereto • Trento • Bolzano • Merano • Verona • AltivoleJune 23 – July 31\, 2026 \n\nThe guests of the scheduled working days for the first edition of Community Archives will present specific study cases dedicated to the theme: \n\nActs of transforming personal memories into shared memories \n\n \n\nPresentation \n\nCommunity archives perhaps represent the last ‘utopia\,’ a precious\, complex\, and at the same time fragile heritage\, bearing witness to the ‘becoming’ of cultures\, identities\, and differences\, of generations of living beings. Unlike big data concealed within data centers—collections of personal and collective data so vast and complex that they cannot be processed and decoded with traditional methods but only through algorithms and artificial intelligence\, primarily for private use and exploitation—the utopia of community archives offers a different history of ideas. \n\nLibraries and archives are seemingly composed of collections of material objects\, such as printed documents\, ancient and modern books\, printed or handwritten music\, sound or video recordings\, graphic documents\, drawings\, engravings\, photographs\, artworks\, collages\, sculptures\, digital works\, technical inventions\, objects from Wunderkammer—those theatrical rooms of curiosities (like the two-headed calf housed in the Civic Museum of Rovereto until the 1970s)—or minor materials: invitations\, leaflets\, ephemeral items. However\, they always revolve around thoughts and reflections—by authors\, publishers\, producers\, and disseminators—primarily: ‘immaterial objects\,’ utopias in the strict sense. All together\, they testify to the ‘wealth’ but also the ‘poverty’ of an impermanent social fabric in space and time\, contaminated by multiple influences of nature and by cultural\, historical\, artistic\, scientific\, and technological factors. The variety of documents and testimonies that have reached us—preserved as genealogies\, manuscripts\, photographs\, letters\, maps\, artworks\, and everyday objects—tactile\, visual\, olfactory\, auditory\, and gustatory—allows the intertwining of very different disciplines. From this diversity\, ‘community archives’ derive density and immeasurable potential. \n\nValidation \n\nThe approach to an ever-expanding array of documents highlights the urgency of redefining the concepts of competence and validity\, and at the same time calls for an integrated approach to the theory of knowledge. Private\, unique collections represent the condensation of countless\, indefinable memories and personal and interpersonal passions—materialization of Borges’ ‘Library of Babel’ in memory—while public libraries and archives play a role in preservation\, organization\, and providing easier access to mostly indexed documents. Documentary and testimonial resources often allow us to reconstruct personal and collective stories in great detail and with remarkable precision\, which would otherwise be difficult to comprehend. The complexity of the knowledge contained in these archives requires ongoing personal and collective efforts—such as verifying sources\, validating and attributing information\, reading and interpreting—as well as continuous work of transcription\, sometimes translation. When applied with the necessary care and attention\, validation\, attribution\, protection\, organization\, study\, and enhancement are tasks that future generations will be able to continue\, even in contexts we cannot yet foresee but can only imagine. \n\nComplexity beyond rituality \n\nCommunity archives define the points of contact between disciplines and knowledge\, reflecting the plurality of identities\, memories\, and unique practices that shape various social bodies. They are not merely repositories of documents but dynamic spaces where history\, sociology\, anthropology\, archival science\, and cultural studies intertwine to reshape the world and interpret traces of life — from the earliest testimonies to the most recent\, from the essential to the complex. Their complexity and heterogeneity become evident when interpretation for investigative work requires integrating methodologies and perspectives: from qualitative analysis to statistical management\, from participatory engagement with multiple stakeholders in evaluating critical and interpretive positions\, to improving conservation and restoration techniques often adapted to specific climatic and environmental needs. Moreover\, those working with community archives must address how to represent the multiplicity of narratives [Data Visualization] and the safeguarding of both singular and collective memory\, often fragmented or subject to manipulation\, sometimes marginalized. Consider\, for instance\, the countless objects in collections and museums originating from formerly colonized countries\, whose country of origin\, creators\, or communities that valued and exchanged them are unknown: these represent a kind of ‘history of technique and art without names or places\,’ driven by political events\, domination\, theft\, or sometimes by excessive zeal or the desire to preserve and safeguard objects from neglect\, time\, and natural decay. Multistrategy and multidisciplinary approaches are increasingly essential to attempt to restore a hypothetical zero point of the object of thought — the moment of its emergence on the horizon of events: rediscovering the object at its origin allows us to understand its power and definition (bestimmung)\, and to reawaken the specific ‘state of the art’ in which it was born and established. An inverse process to ritualization. One last remark: all tools of knowledge can be conceived as means of social and cultural empowerment. In a time of rapid change\, community archives serve as spaces of resistance against homogenization\, questioning the concept of identity\, and require new forms of knowledge and approaches to coexist social history\, science and technology\, aesthetic practices\, sensitivity\, desire and passion\, ethics\, and solidarity. \n\nGenealogy and iconology \n\nParaphrasing Michel Foucault\, we can consider genealogy as the art of uncovering the origins and hidden histories behind interpersonal and institutional practices\, revealing how the present results from complex\, often unsuspected historical processes\, sometimes subject to distortions. Genealogies play a fundamental role in community archives because they help trace and document isomorphic lines or historical fractures\, natural and cultural dynamics. Through the collection and analysis of information evaluated using tools from semiotics\, iconography\, genetics\, anthropology\, and other complex disciplines\, archives sometimes enable us to trace the unfolding of relational\, familial\, and community forms\, as well as sedentary or migratory dynamics\, along with changes in ideologies and thought trajectories. Critical analysis of genealogies allows us to reconfigure\, confirm\, or refute personal and collective memories\, reinforcing the delicate approach needed when dealing with such a sensitive subject as the space-time dimension of vital dynamics: autonomy and belonging\, distance and continuity across generations. Genealogies present themselves as an ‘field’ still waiting to be explored from various perspectives—historical\, anthropological\, sociological\, demographic\, urbanistic\, architectural\, geographic\, and scientific. The sources for such genealogical research must include grand mythic narratives\, religions\, philosophies\, linguistic theories\, and theoretical positions—all ‘texts’ that have reached us in the form of hypotheses\, stories\, essays\, catalogs\, registers of births and deaths\, marriage records\, statistical data from censuses\, notarial acts (property or sales)\, laws and regulations\, as well as personal or collective archives\, both public and private. Seen as a whole\, these states of thought often appear opaque\, arid\, unproductive\, sometimes insubstantial or even harmful or devastating—fertile ground for the ‘banality of evil’ as Hanna Arendt describes. However\, when realigned\, reread\, and integrated\, they can serve as sources for a generative grammar capable of opening new fields of investigation and new perspectives. Similarly\, a reflection on iconology as an immaterial genealogy of images allows us to go beyond markedly ideological and teleological obstacles\, approaching the mental and symbolic spaces where thoughts and behaviors take shape. \n\nReality and social behaviors \n\nWe can consider community archives and vast genealogical collections as true ‘zones of flow’ between the imaginary and the real (in the sense given by Jacques Lacan): fundamental stages that allow us to attempt to traverse the material and immaterial heritage of individuals and communities\, whether more or less articulated\, intersecting or overlapping. These zones of flow sometimes present themselves as inaccessible due to the presence of barriers and obstacles—real or metaphorical—while at other times they open up to new vantage points\, revealing unexpected horizons\, valleys\, and expanses that come into our view and consequently generate further opportunities for reflection and interpretation. It is up to us\, through our actions\, to live these landscapes as battlegrounds\, theaters of war\, conflict zones—or rather\, as places of utopian transit\, coexistence\, and material and immaterial growth. Even language\, like any other process\, can become a tool of offense or an expression of resentment\, or it can be used to mediate\, welcome\, safeguard\, or simply to bear witness to gratitude. \n\nKnowledge and participation \n\nArchives and libraries\, because they regularly address issues related to the preservation and sharing of knowledge\, also play an active role in transforming the social fabric: a key point is that access to culture\, information\, and thought in its many forms cannot be considered neutral. It requires\, over time\, a transformation of roles and skills\, as well as an active and stimulating relational and spatial approach. Community engagement initiatives\, events\, and collaborative projects enable open dialogue between researchers and the community\, citizens and institutions. They strengthen the sense of belonging\, transparency\, and participation in a democratic process—transforming personal memories into history. \n\nTo survey\, share\, and design \n\nEveryone recognizes the potential of private archives—those of artists\, researchers\, historians\, and writers: the challenge is to connect this promise of the future with a more open\, widespread relational fabric\, capable of creating opportunities for its “shaping.” A crucial task is to identify these collections of thoughts or material objects and invite each individual to participate in expanding the boundaries of their actions\, sharing their knowledge to collaboratively design new scenarios. \n\n\n\nAndrea Benoni \n\nAndrea Benoni is president of the Artieri Foundation. Former mayor of Calliano (TN)\, he was president of the Vallagarina Artisans Association for many years\, and is the creator and organizer of numerous craft fairs\, exhibitions\, and events dedicated to the history of violin making in Trentino. \n\nStefano Giovanazzi \n\nA graduate of the Rovereto Teacher Training Institute (TN) and the Trento State Art Institute\, he attended the Academy of Fine Arts in Venice in the early 1980s\, where he graduated in Painting under the artist Emilio Vedova. Founder and curator of AAC Archivio Arte Contemporanea in Rovereto\, he has been president of the Numero Civico cultural association since 1994. In over thirty years of activity\, he has curated hundreds of events related to contemporary art and thought. He has collaborated numerous times with artists\, musicians\, and writers\, with museums and cultural institutions\, academies\, and with governments and governmental institutions. He has worked with Mario Airò\, Stefano Arienti\, Vincenzo Cabiati\, Andrea Crociani\, Francesco Dal Bosco\, Eva Marisaldi\, Chiyoko Miura\, Liliana Moro\, Fabio Polvani\, Luca Quartana\, Andrea Rabbiosi\, Federico Tanzi-Mira\, Grazia Toderi\, Marco Vaglieri\, Vedova Mazzei\, and Francesco Voltolina; He has curated exhibitions featuring works by Rita Ackermann\, Richard Ambleton\, John Currin\, Bruce Elder\, Joseph Kosuth\, Sean Landers\, Sherrie Levine\, Raymond Pettibon\, Richard Prince\, Jim Shaw\, Michael Snow\, Bill Viola\, and Jeffrey Wallace. He has curated events in collaboration with the Italian Senate\, the Ministry of Cultural Heritage and Activities\, the Canadian Embassy\, ​​the Vasco-Basque Government (Spain)\, the Instituto Cervantes de Cultura (Spain)\, the British Council (Great Britain)\, the French Ministry of Culture\, the Institut Français (France)\, and the Goethe Institute (Germany). A genealogist\, he is responsible for an extensive genealogical archive\, „Trees and Leaves\,“ which contains over a million genealogical positions. \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/andrea-benoni-stefano-giovanazzi-archivi-di-comunita-acts-of-transforming-personal-memories-into-shared-memories/ LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy CATEGORIES:Architecture,Archives,Critics Theory,History,Landscape,Social volunteering,Theatre,Visual Arts ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260623T100000 DTEND;TZID=Europe/Rome:20260702T180000 DTSTAMP:20260704T161859Z CREATED:20260626T091951Z LAST-MODIFIED:20260704T161859Z UID:1379-1782208800-1783015200@www.communityarchives.art SUMMARY:Archivi di Comunità Pantone 811 U: a manifesto by Maurizio Nannucci. Designing the future\, a logo and a manifesto for Community Archives DESCRIPTION:Maurizio Nannucci will not be present at the event \n\nMaurizio Nannucci was invited to exercise his distinctive style on the public image [brand identity] of the seemingly utopian project “Archivi di Comunità.” The visual proposal that emerged from this connects Archivi di Comunità to the idea of the ‘world’ as a place of ‘anomalous reflection’ – a line that ‘mirroringly’ reflects – and presents the proposed series of events as opportunities for testing\, hypotheses of becoming\, projects\, promises\, and deliveries as desires\, states of mind\, and forms of impermanent thought. The Archivi di Comunità Pantone 811 U manifesto\, in Italian\, printed on off-white paper in a 680 x 940 mm format using Pantone 811 U\, will be distributed free of charge to the audience present in the room. \n\n\n\nZona Archives Zona non profit space \n\nFlorence 1974/1985. Founded in 1974 in Florence\, Zona represents an unique example\, of internationally recognized\, non profit artist-run spaces. Situated in the historic quarter San Niccolò\, Zona’s involvement with the experimental art movements of the 1970s and 1980s: multimedia art\, concrete poetry\, Conceptual art\, performance\, contrasted with the everyday life of the neighborhood. In accordance with its mission – o show interdisciplinary work on an international level – Zona’s program sought a crossover of experimental visual arts\, music\, architecture\, and poetry. The aim of overcoming traditional borders between the disciplines was achieved through a radical\, anti-academic organization\, and through the confrontation of the audience with unusual insights into multifaceted art experiments and experiences that anticipated developments in the visual arts. Zona’s activities included more than 250 exhibitions/events as well as Zona publications and editions. In 1981 ZonaRadio went online\, broadcasting new music and sound by artists.“Zona People” formed a flexible collective\, without long term programming. Flexibility was important as there was no financial support either from private sponsors or from public institutions. Zona’s program was completely self-financed by the members of the space. Zona built up an international network that promoted new art movements and opened up the possibility of a global exchange between artists\, art critics\, and the public. Founders: Maurizio Nannucci\, Paolo Masi\, Mario Mariotti\, Giuseppe Chiari\, Massimo Nannucci\, Albert Mayr\, Alberto Moretti\, Gianni Pettena. Organization:The nonprofit art space Zona was founded and organized by artists\, musicians\, poets\, and architects\, who were living and working in Florence. Mission: Creation of a global network of interdisciplinary art practices and exhibition of international experimental art in Florence. Program: Avant-garde art movements of the 1970s and 1980s\, film and video\, Conceptual art\, Fluxus\, performance\, concrete and sound poetry\, radical architecture\, artists’ books and small press\, audioworks\, ZonaRadio. \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/maurizio-nannucci-drawing-memories-a-logo-and-a-manifesto-for-community-archives/ 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 BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260620T110000 DTEND;TZID=Europe/Rome:20260620T120000 DTSTAMP:20260617T091535Z CREATED:20260617T090943Z LAST-MODIFIED:20260617T091535Z UID:568-1781953200-1781956800@www.communityarchives.art SUMMARY:Press Conference Archivi di Comunità DESCRIPTION:Meeting with Andrea Benoni\, Fondazione Artieri 1852\, and Stefano Giovanazzi\, AAC Archivio Arte Contemporanea Rovereto\, curators of Archivi di Comunità\, Rovereto • Trento • Bolzano • Merano • Verona • Altivole\, 23 June – 31 July 2026 \n\n31 meetings with artists\, collectors\, curators\, historians and art historians\, archivists\, 27 invited institutions\, 2 exhibitions in Rovereto\, 12 guided visits to archives\, foundations and museums\, 1 logo designed by the international artist Maurizio Nannucci. \n\n \n\nAndrea BenoniAndrea Benoni is president of the Artieri Foundation. Former mayor of Calliano (TN)\, he was president of the Vallagarina Artisans Association for many years\, and is the creator and organizer of numerous craft fairs\, exhibitions\, and events dedicated to the history of violin making in Trentino. \n\nStefano GiovanazziA graduate of the Rovereto Teacher Training Institute (TN) and the Trento State Art Institute\, he attended the Academy of Fine Arts in Venice in the early 1980s\, where he graduated in Painting under the artist Emilio Vedova. Founder and curator of AAC Archivio Arte Contemporanea in Rovereto\, he has been president of the Numero Civico cultural association since 1994. In over thirty years of activity\, he has curated hundreds of events related to contemporary art and thought. He has collaborated numerous times with artists\, musicians\, and writers\, with museums and cultural institutions\, academies\, and with governments and governmental institutions. He has worked with Mario Airò\, Stefano Arienti\, Vincenzo Cabiati\, Andrea Crociani\, Francesco Dal Bosco\, Eva Marisaldi\, Chiyoko Miura\, Liliana Moro\, Fabio Polvani\, Luca Quartana\, Andrea Rabbiosi\, Federico Tanzi-Mira\, Grazia Toderi\, Marco Vaglieri\, Vedova Mazzei\, and Francesco Voltolina; He has curated exhibitions featuring works by Rita Ackermann\, Richard Ambleton\, John Currin\, Bruce Elder\, Joseph Kosuth\, Sean Landers\, Sherrie Levine\, Raymond Pettibon\, Richard Prince\, Jim Shaw\, Michael Snow\, Bill Viola\, and Jeffrey Wallace. He has curated events in collaboration with the Italian Senate\, the Ministry of Cultural Heritage and Activities\, the Canadian Embassy\, ​​the Vasco-Basque Government (Spain)\, the Instituto Cervantes de Cultura (Spain)\, the British Council (Great Britain)\, the French Ministry of Culture\, the Institut Français (France)\, and the Goethe Institute (Germany). A genealogist\, he is responsible for an extensive genealogical archive\, „Trees and Leaves\,“ which contains over a million genealogical positions. \n\nArchivio Arte Contemporanea329 4828149https://www.stefanogiovanazzi.euinfo@stefanogiovanazzi.eu URL:https://www.communityarchives.art/en/evento/press-conference-archivi-di-comunita-2/ LOCATION:TSpace\, via Scuole\, 24\, Rovereto\, Trento\, 38068\, Italy ORGANIZER;CN="Fondazione Artieri 1852":MAILTO:info@fondazioneartieri1852.org END:VEVENT END:VCALENDAR