In this section, explore the profiles of the guests and the themes chosen for the 2026 edition of Archives of the Community.<\/p>\n\n
Roberto Adami<\/strong><\/a>, researcher and historian, Villa Lagarina Roberto Adami<\/strong><\/p>\n\n Historian 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. <\/p>\n\n Topic<\/strong> 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. <\/p>\n\n Alessandro Andreolli<\/strong><\/p>\n\n Alessandro 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. <\/p>\n\n Topic 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. <\/p>\n\n Roberto Antolini<\/strong><\/p>\n\n Roberto Antolini, a graduate in philosophy, librarian, and archivist, was born in Trento in 1950. In addition to ‘Towards the Brenner’, he published the novel ‘Ivan the Terrorist’ (Robin Editions, 2009), and edited the volume ‘Explosive, Sharp, and Bright Books: Artistic Vanguards and the Book between Futurism and the Artist’s Book’ (Nicolodi, 2005). <\/p>\n\n Tema<\/strong> Giuseppe Felice Givanni was an 18th-century rationalist priest from Rovereto. He was also a poet, who in his short stories written in dialect verse (almost all still unpublished) narrates \u2013 in a playful and metaphorical way \u2013 life and especially the conflicts of the Roveretano silk age. Around the mid-18th century, he was the chaplain of the Pizzini family and tutor to the children of Baron Gian Giulio Pizzini (Gian Giacomo and Orazio, who would become important figures of their time). During the pastoral visit of the bishop to the Church of San Marco in 1750, Givanni explains that he has \u2013 for these services \u2013 a “room and table” in the Pizzini Palace. <\/p>\n\n Roberta Giovanna Arcaini<\/strong><\/p>\n\n Experienced 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 \u2013 Master\u2019s 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). <\/p>\n\n Topic<\/strong><\/strong> On this occasion, some cases of institutional archives and private subjects\u2014individuals and associations\u2014subject to the safeguarding activities of the Office of archival, library, and Provincial Archive assets will be presented.<\/p>\n\n The 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\u2019s instrumental entities, territorial public entities, and public entities operating in areas within the Province\u2019s 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.<\/p>\n\n Stefano Arienti<\/strong><\/p>\n\n Stefano Arienti was born in Asola, in the province of Mantua, in 1961. A graduate in agriculture, he made his debut as an artist in the mid-1980s in Milan, where he lives and works. Among the numerous international exhibitions he participated in are: Venice Biennale. Open (1990); Istanbul Biennale (1992); Cocido y Crudo, Reina Sofia Museum, Madrid (1994); XII Rome Quadriennale, Rome (1996); Made in Italy, Centre d\u2019Art Contemporain, Geneva and ICA, London (1997); Gwangju Biennale (2008); Italics, Palazzo Grassi, Venice and Museum of Contemporary Art, Chicago (2008); Decorum. Mus\u00e9e d\u2019Art Moderne, Paris and Power Station of Art, Shanghai (2013-2014); Ennesima, Triennale, Palazzo dell\u2019Arte, Milan (2015); Wall to Wall, MOCA Museum of Contemporary Art, Cleveland (2016); The Sculpture Park at Jaigarh, Jaigarh Fort, Jaipur (2025). Among the exhibition spaces where he held the most significant solo shows are: MAXXI, Rome (2004); Sandretto Re Rebaudengo Foundation, Turin (2005); Isabella Stewart Gardner Museum, Boston (2007); Querini Stampalia Foundation, Venice (2008); MAMbo, Bologna (with Cesare Pietroiusti, 2008); Palazzo Ducale, Mantua (2009); Museion, Bolzano (with Massimo Bartolini, 2011); Isabella Stewart Gardner Museum, Boston (2012); Palazzo Te, Mantua (2016); Civic Gallery of Modena (2017); Villa Croce Museum of Contemporary Art, Genoa (2017); Chiostri di Sant\u2019Eustorgio, Milan (2019); Civic Gallery of Trento (2021); The Drawing Hall, Grassobbio, BG (2022); Modern and Contemporary Art Gallery, San Marino (2022); Villa Carlotta, Tremezzina, CO (2023); Palazzo Marchi, Parma (2025). <\/p>\n\n Topic The Stefano Arienti Archive Association E.T.S., established in 2026 at the initiative of Stefano Arienti, is based in Milan, at via Canelli 25. It pursues no profit and aims to safeguard the artist\u2019s work, promote it, and spread awareness. The Association specifically handles the archiving and cataloging of Stefano Arienti\u2019s works, manages his archive (consisting of paper and digital materials collected by the artist during his career), and promotes initiatives aimed at deepening understanding of his work. The President of the Association is Stefano Arienti, the Vice President is Gianni Rosei, and the Director is Ilaria Bernardi. The first public activity developed by the Association is the creation of the website https:\/\/www.stefanoarienti.it<\/a>, launched online in May 2026. <\/p>\n\n Alessandro Armani<\/strong><\/p>\n\n Born in Rovereto, a graduate in cultural heritage sciences, he has worked for the FAI \u2013 Italian Environment Fund since 2018, initially as director of Avio Castle, Avio, Trentino-Alto Adige. Since 2025, he has been responsible for the Foundation\u2019s North-Eastern Heritage. He is also responsible for the FAI Operational Management \u2013 Brion Memorial, Altivole, Veneto, a mature work by Carlo Scarpa, and for Villa dei Vescovi, Torreglia, Veneto. <\/p>\n\n Topic<\/strong> Not far from Treviso, Tomba Brion designed by Carlo Scarpa is an absolute masterpiece of modernism, Venetian art and oriental philosophies inspired by the theme of true love. Immersed in the Treviso countryside, this is a masterpiece of the 20th Century Architecture: A silent, peaceful and harmonious place where different cultures and religions are blending for a unique experience. Andrea Benoni<\/strong><\/p>\n\n Andrea 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. <\/p>\n\n Topic<\/strong><\/strong> 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 Societ\u00e0 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 Societ\u00e0 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 <\/p>\n\n Elena Bini<\/strong><\/p>\n\n Elena Bini is Head of Collections and Archives at Museion \u2013 Museum of Modern and Contemporary Art in Bolzano and coordinates the Museion Passage projects. She graduated in Cultural Heritage Conservation from the University of Udine, developing a specific interest in the protection, promotion, and documentation of contemporary artistic heritage. Before joining Museion, she taught art history and cultural mediation, collaborating freelance with museums, institutions, and artistic projects in South Tyrol. She has worked at Museion since 2000, where she has held various roles in art mediation, collection management, and the development of archiving, cataloging, and promotion projects. Her work focuses on the conservation and management of the museum\u2019s holdings, while also promoting research practices and archive accessibility as fundamental tools for the understanding and dissemination of contemporary art. <\/p>\n\n Topic<\/strong> Sven Sachsalber (Silandro, 1987 \u2013 Vienna, 2020) was a prominent artist who, with irony and determination, worked across various artistic media, and whose evolution Museion closely followed from the very beginning. Recognizing the regional and international importance of his work, the museum decided, in the year following his death, to systematically map his oeuvre, ensure its preservation, improve its accessibility, and reconstruct the network of relationships surrounding the artist. The project was carried out in two main phases: the first focused on his years of study in London and his artistic activities, as well as his network of relationships across Europe (2009\u20132013); the second concentrated on the years spent in New York (2014\u20132020). This multi-year research initiative (2021\u20132025), funded by the German Cultural Division of the Autonomous Province of Bolzano, was initiated and directed by Museion in collaboration with BAU \u2013 Institute for Contemporary Art and Ecology, in ongoing exchange with Sachsalber\u2019s family. The research concluded with a public presentation (December 6, 2025 \u2013 June 21, 2026), accompanied by a publication designed by Studio Claudia Polizzi, and the online release of the collected data. The exhibition and publication serve as reflective pauses that continue the ongoing research on the artist, acting as moments of suspension and reorganization to further explore his work across the coming years and decades. They are active storytelling efforts aimed at keeping alive the memory and legacy of the artist. Mapping an artistic practice: Museion\u2019s research project exemplifies how working with (and engaging with) an artist\u2019s legacy contributes to the preservation of cultural heritage within a territory, fostering new interpretations and international connections. <\/p>\n\n Gloria Canestrini<\/strong><\/p>\n\n Nata a Rovereto nel 1953, laureato in nell’autunno del 1972 si trasferisce a Milano per lavorare nella grande stamperia d\u2019arte Multirevol di Renato Volpini. L\u2019anno successivo, rientrata a Rovereto, fonda insieme a Maurizio Giongo la stamperia Area Studio , aperta poi anche a Milano e successivamente a Parigi. Nel 1977 progetta e dirige l\u2019Area Studio Film, che diviene in breve un centro di produzione audiovisiva per film d\u2019animazione d\u2019autore. Questa sperimentazione, e in particolare la tecnica del cut-out e della silhouette, la porta a collaborare con Rai 2 a Milano per i programmi Clorofilla e Occhio al cielo, con la sede Rai di Trento per programmi e rubriche( Laboratorio \u201880, Strips, Brevi di Rosa, il Guardarte ecc.) per sigle animate (L\u2019acchiappafarfalle, Oriente Occidente) e vari cortometraggi (Giochi di Angu\u00e0ne, l\u2019Orso il frate lo stregone (che apre il Filmfestival della montagna a Trento nel 1981), Boxing the drums, La polenta, La giara ( realizzato con gli alunni delle Scuole Medie di Ala) e Conosci i tuoi diritti? (realizzato con gli studenti di cinematografia dell\u2019Istituto Depero di Rovereto). Alcuni di questi film vengono presentati in rassegne nazionali e internazionali (Milano, Torino, Lucca comics, Pergine Spettacolo aperto, Roma, Montreal, Parigi, Marsiglia, Lubiana). Dal 1980, dopo la laurea in giurisprudenza e l\u2019avvio della professione forense, inizia a scrivere testi radiofonici per la Rai, sceneggiature, romanzi, saggi ( tra cui RadioDepero, un volume interamente stampato in serigrafia da Area Studio in formato 50×70, e rilegato in bulloni, che propone la trascrizione dell\u2019omonimo programma radiofonico di Rai Radio1) e racconti illustrati e a collaborare stabilmente con giornali e riviste, in particolare con Home di Hachette, per la quale realizza le illustrazioni di una rubrica. Dal 2012 dirige, insieme a Maurizio Giongo, le edizioni d\u2019arte Disegnograve. <\/p>\n\n Topic<\/strong> Gloria Canestrini introduces the editorial experience related to the publication of the book RadioDepero, printed by Area Studio in serigraphy in the 50\u00d770 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. <\/p>\n\n Vittorio Carrara<\/strong><\/p>\n\n Vittorio 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. <\/p>\n\n Topic<\/strong> 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. <\/p>\n\n Claudia Castellucci \/ Soc\u00ecetas<\/strong><\/p>\n\n With 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 M\u00f2ra (2015-19). In 2011, she directed the \u00c9cole 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. <\/p>\n\n Topic Claudia Castellucci participates in Archivi di Comunit\u00e0 with a text titled: Some notes on the historical archive of Soc\u00ecetas Raffaello Sanzio<\/em>. 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 comunit\u00e0” highlight some issues regarding the functions of the physical archive of Soc\u00ecetas Raffaello Sanzio (1981\u20132006), 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. <\/p>\n\n Michele Dal Bosco<\/strong><\/p>\n\n Michele 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, Mir\u00f3, Donatello, Tintoretto) and has collaborated with various cultural institutions, including the Gioachino Rossini National Museum. <\/p>\n\n Tema<\/strong> \u00ab 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\u2019t even explain what this work evokes in me: so many things. Beautiful \u00bb Clementina Dal Bosco<\/strong><\/p>\n\n \u201cArchivi di Comunit\u00e0\u201d hosts a work by Francesco Dal Bosco titled \u201cDoppia Natura Morta,\u201d a two-channel stereo video lasting 20 minutes, created in 2003. The piece will be presented by Michele Dal Bosco, Francesco\u2019s son. <\/p>\n\n Francesco Dal Bosco<\/strong><\/p>\n\n Francesco Dal Bosco (Trento, August 26, 1955 \u2013 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 \u201972 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 \u201cLadri di Cinema\u201d 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 Cin\u00e9math\u00e8que Fran\u00e7aise 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\u2019s 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\u2019s 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\u2019s 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 \u00e8 Vero Tutto \u00e8 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. Thomas Dalla Costa<\/strong><\/p>\n\n Art historian and curator, Thomas Dalla Costa studied at the University of Verona, where he earned his PhD in 2012. In 2014, he served as Assistant Curator at the Castelvecchio Museum in Verona, and between 2019 and 2020, he worked as a Curatorial Fellow at the National Gallery in London. From 2022 to 2025, he has been working as an Associate Curator at the Miniscalchi-Erizzo Museum in Verona. He has curated and contributed to various exhibitions in Italy and abroad: Verona, Venice, London, Moscow, Madrid, Vienna. Thomas has received several research grants from international research organizations, including the Ermitage Italia Foundation, Save Venice Inc., and the Getty Museum (as part of The Getty Paper Project). He has published numerous articles in journals, books, and exhibition catalogs on topics such as the history of Venetian art criticism and painting from the 15th to 17th centuries; the organization of Venetian artistic workshops; and the use and function of drawing in the creative processes of Venetian artists of the 15th and 16th centuries. Thomas is also involved in curating or co-curating volumes focusing on these themes, such as the recent Venetian Disegno. New Frontiers 1420-1620, edited with Maria Aresin (Paul Holberton Publishing, 2024), and the Catalogo ragionato dei disegni \u2013 Fondazione Museo Miniscalchi-Erizzo (Silvana Editoriale, 2025). Additionally, he authored the monograph Venere e Adone by Titian: Art, Culture, and Society between Venice and Europe (Marsilio, 2019). Currently, he is the scientific coordinator of research and exhibition activities related to the celebrations for the 450th anniversary of Titian\u2019s death, a two-year project investigating the use and function of landscape in Cadorino art.<\/p>\n\n Topic<\/strong><\/strong><\/strong><\/strong> The Miniscalchi-Erizzo Museum, home of the eponymous Foundation established in 1964, is located in a complex of buildings with a late medieval layout in the heart of Verona, between Piazza delle Erbe and the Cathedral. Its diverse collection includes fossils, Etruscan and Roman artifacts, paintings, ancient drawings, sculptures, bronzes and plaques, as well as majolica, porcelain, antique furniture, weapons and armor, along with an impressive library and family archives. The collection has a layered history, being the result and consequence of the merging of collections from different families, and a fundamental component is what remains of the famous Wunderkammer created by the scholar Ludovico Moscardo from around 1630 to 1681. The presentation will primarily focus on the events related to this latter part of the collection, its partial dispersion, and the memories it still preserves and allows us to reconstruct. <\/p>\n\n Mauro De Iorio<\/strong><\/p>\n\n Mauro De Iorio, a radiologist and healthcare entrepreneur, began collecting contemporary art in 2002. After exhibiting works in his homes and medical offices, he opened three art spaces to the public, connected to his medical centers, creating a synergy between medicine, art, and beauty. \u201eThe idea of \u200b\u200b\u200b\u200bcreating the medical and cultural centers in the same location stems from the desire to unite my two great passions, medicine and art, in a continuous osmosis between technology, art, and beauty.\u201c The De Iorio Collection is exhibited in three spaces: two in Trento, one connected to the Diagnostic Center, and the other in a historic building in the city center. The third space, in Verona, was inaugurated in 2021 in a renovated former sawmill from the 1930s, connected to the new Diagnostic Center.<\/p>\n\n Topic Duccio Dogheria<\/strong><\/p>\n\n He is responsible for the ‘900 Archive at the Mart, where he has been working since 2009, primarily dealing with artist archives from the second half of the 20th century, experimental publishing, and the museum’s digital library. His publications include Internet Archive: Unofficial Guide to the World’s Most Innovative Digital Library<\/em> (2024), Luther Blissett: Bibliography of a Psychological Warfare<\/em> (2021, with Silvano Zingoni), Banksy<\/em> (2020), Pirates and Fake Editorials in 1970s Italy<\/em> (2018), and Street Art: History and Counterhistory, Techniques and Protagonists<\/em> (2015). He has curated several exhibitions, mostly focused on the connections between avant-garde and neo-avant-garde art; he has collaborated with magazines such as “Art e Dossier,” “Exibart,” “L’Illustrazione,” “Pretext,” “Charta,” “International Yearbook of Futurism Studies,” “Ricerche di s\/confine,” “Piano B,” and “Studi di Memofonte,” mainly writing articles related to the history of graphic design, illustration, and underground publishing. <\/p>\n\n Topic [with Mariarosa Mariech] The Mart\u2019s 20th-Century Archives are recognized by the international scholarly community for their extraordinary archival and book heritage dedicated to Futurism, art criticism, architecture, and the neo-avant-garde movements of the late 20th century. In recent years, the Mart has initiated a systematic acquisition program to document the aesthetics of Italian countercultures: a time span spanning the 1960s to the early 2000s, from the Beat Movement to the Luther Blissett Project, through the Metropolitan Indians, punk, and cyberpunk. Presented here to the public for the first time in all their complexity, these materials include collections of rare uniqueness in the national panorama: underground magazines from the 1960s and 1970s from the Archivio di nuova scrittura collection, an exceptional corpus of music fanzines (donations from Pautasso, Piccolrovazzi, and Assenzio), the complete documentation of the first Italian exhibition dedicated to fanzines (1984, donated by curator Luciano Trevisan Fricchetti), posters from legendary hardcore punk venues such as Virus and Helter Skelter, and the personal archives of Pablo Echaurren, Giancarlo Pavanello, Piermario Ciani, Luther Blissett, and Gianluca Lerici, aka Prof. Bad Trip. The meeting will be led by Duccio Dogheria, head of the historical archives, and Mariarosa Mariech, head of the Mart library.<\/p>\n\n Matteo Fadini<\/strong><\/p>\n\n Diploma in Archives, Paleography, and Diplomacy, awarded after completing a two-year course and passing the state exam. Head of the Library and Publishing Unit \u2013 Bruno Kessler Foundation. Responsibility for the management and budget of the Unit\u2019s staff. In the Library department, the role involves coordinating the structures, services, resources, and projects for the preservation, management, development, and use of FBK\u2019s bibliographic heritage. In the Publishing department, the role involves coordinating the Foundation\u2019s publishing activities (FBK Press) and managing the editorial work of the Foundation\u2019s humanities research centers for national and international publishers. <\/p>\n\n Topic 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 \u2013 Italian-German Historical Institute and ISR \u2013 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\/<\/a><\/p>\n\n Maria Fratelli<\/strong><\/p>\n\n Director 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\u2019s 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. <\/p>\n\n Topic<\/strong> The opening of the CASVA headquarters in the QT8 district of Milan has entailed, from the very formulation of the museological project, the awareness that the archive would be an insertion\u2014albeit a relevant one\u2014of a knowledge infrastructure whose networks are woven on an urban scale, but above all at a national level and with a strong international vocation. The perception by citizens of the archive as an institution that carries social value cannot be taken for granted, just as the consolidation of this expectation can only derive from a careful dialogue with the concerns of the local community. The multiple operational levels of the Archive must therefore be oriented and promoted starting from the awareness that one of its primary purposes is to serve as a safeguard and foundation of community. <\/p>\n\n CASVA, the Center for Advanced Studies on Visual Arts, is a cultural institute of the Municipality of Milan established in 1999, which began operating in 2002. Over time, it has evolved into an \u201carchive of architects\u2019 archives,\u201d primarily focusing on those who worked in the Lombard region. It has become a center for study related to architecture, design, graphics, figurative arts, and visual arts in their entirety, with particular attention to cultural phenomena that have shaped our society since the early twentieth century. CASVA acquires relevant documentation related to architecture, design, graphics, and visual arts in the form of professional archives and personal archives of architects, designers, graphic artists, and artists, prioritizing those who have significantly worked in Milan and Lombardy during the twentieth century. Currently, the collection comprises 44 professional archives: Francesco Frizzera<\/strong><\/p>\n\n Francesco Frizzera holds a PhD from the University of Trento. Since November 2016, he has been a post-doctoral researcher at the Catholic University of Eichst\u00e4tt-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\u20131923), food and agriculture (1914\u20131933), technological transformations in the Alpine region (19th\u201320th centuries), nationalism and education in the Alpine area (1848\u20131945). <\/p>\n\n Topic The MITAG \u2013 Italian Historical Museum of War in Rovereto hosts one of the world\u2019s most extensive collections dedicated to the First World War. The exhibition pathway features weapons, uniforms, trench objects, archival documents, and testimonies that depict soldiers\u2019 lives and the impact of the conflict on civilian populations. The museum\u2019s 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. <\/p>\n\n Gino Gianuizzi<\/strong><\/p>\n\n In 1981, he co-founded Neon, one of the first independent spaces in Italy. Neon\u2019s work has spanned three decades of cultural life not only in the city of Bologna, but throughout the entire region and the country. The Neon cultural association is an independent organization that supports and promotes contemporary artistic research, with a particular focus on the work of emerging generations. Founded in 1981 in Bologna as an artist\u2019s space, in 1988 it established itself as an exhibition space, establishing itself over the years as an independent experimental platform where artists, critics, and curators interact. This has enabled it to generate an information network aimed at both specialist audiences and those outside the art system. Neon is not an art gallery, nor has it established a permanent roster of artists: sometimes it\u2019s simply a place of passage, stimulating and useful to include on a CV; more often, it\u2019s more of a transition, and in these cases, the time spent together is longer, people get along well, exchange ideas, and develop projects. In some cases, when the connection is strongest, neon becomes a space for sharing. After the experience of Enfatismo and the collaboration with Francesca Alinovi, starting in 1988 neon takes on the character of an exhibition space and devotes its attention to the promotion of new generations of artists, favoring research free from market constraints. During this phase, neon promotes the debuts of Maurizio Vetrugno, Maurizio Cattelan, Luca Vitone, Eva Marisaldi, Cesare Viel, Francesco Bernardi, Tommaso Tozzi, Alessandro Pessoli, Cuoghi Corsello, Marco Samor\u00e9, Alberto Zanazzo, Emilio Fantin, Giancarlo Norese, Mala, Formento and Sossella, Patrizia Giambi, M+M, Alessandra Tesi, Maurizio Bolognini, Italo Zuffi, Maurizio Mercuri, D\u00f6rte Meyer, Marcello Maloberti, Silvia Cini, Francesco Gennari, Massimo Uberti, and Sergia Avveduti. <\/p>\n\n Topic \u201cIn 1981, Neon appeared on the Bologna art scene without a predetermined program, proposing itself as a laboratory of ideas, available to artists and curators who wanted to engage and develop new paths. The history of Neon in Bologna: conceived as a consequence of Settantasette, a \u201cspazio di utopia nato quando le utopie rivoluzionarie si scioglievano\u201d (space of utopia born when revolutionary utopias dissolved) Neon was born from Gino Gianuizzi\u2019s intuition, taking shape as an original and unconventional experience.\u201d In thirty years of activity, operational until 2011, the Neon Bologna space \u2013 run on Via Solferino by Gianuizzi along with Francesca Alinovi<\/a> first, and Roberto Daolio<\/a> later \u2013 has gathered and fostered the development of artistic experiences and experiments. In 2022, MAMbo dedicated an exhibition to it, which led to the 2023 publication of the volume NO, NEON, NO CRY<\/a>. Text by Livia Montagnoli, for which we thank her, published on https:\/\/www.artribune.com\/<\/a> <\/p>\n\n Maurizio Giongo<\/strong><\/p>\n\n Born 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. <\/p>\n\n Topic Area Studio<\/strong>, 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, colore, matrice, carta. L\u2019atelier delle stampe, gli artisti e Astrazione Oggettiva<\/strong><\/em> [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,<\/em> The printmaking studio, artists and Objective Abstraction<\/em> 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. <\/p>\n\n Stefano Giovanazzi<\/strong><\/p>\n\n Graduated 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 Air\u00f2, 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 Fran\u00e7ais (France), Goethe Institute (Germany). As a genealogist, he manages an extensive genealogical archive, \u201cThe Trees and the Leaves,\u201d which contains over one million genealogical entries. <\/p>\n\n Topic The work of reading historical documents and transcribing them, along with a continuous effort of interviews, has allowed Stefano Giovanazzi to reconstruct over the years most of the genealogical successions of the families present for centuries in Monte Baldo and Vallagarina, in Brentonico, Ala, Avio, and Rovereto. The essential verification of the collected information, along with ongoing and planned activities, will enable the reconstruction of as much as possible of the entire history of 260 family names, from the earliest testimonies of settlement in Trentino territory up to the present day. <\/p>\n\n Topic AAC Archivio Arte Contemporanea di Rovereto is an archive of documents related to contemporary art and thought, collected, cataloged, and preserved by Stefano Giovanazzi. It can also be considered a formative process structured around over 200,000 rare and particularly valuable documents; a curatorial and exhibition project designed to share passions and promote talents among an engaged and attentive audience; a model of productive development that includes collaborative actions for the conceptualization and production of exhibitions and works of art, design, and architecture; and an editorial and dissemination program focused on creativity, education, the arts, social sciences, and training. The project, born in the early 1980s, is built around documents primarily created, written, and published by artists, critics, and art historians, but also by writers, philosophers, anthropologists, sociologists, and epistemologists. The materials almost exclusively originate from individuals\u2014artists, publishers, institutions, collectors from Italy and internationally\u2014and are largely dedicated to contemporary experiences. Founded on a deep desire to understand and preserve the thoughts of those who have lived their lives immersed in the art world, as well as to collect testimonies from the protagonists and movements of 20th-century art, the project has recently expanded to include materials from various other disciplines. Its beginnings can be traced back to the early 1980s in Venice during the formative experience at the Academy of Fine Arts, where contact with influential figures in the international scene such as Emilio Vedova and Luigi Nono fostered its development. Later, in Rovereto, through various curatorial experiences\u2014including activities promoted within the festival \u201cSenzatitolo. Events, Actions, Exhibitions\u201d\u2014a clearer awareness of contemporary issues was cultivated. Since then, the stream of acquisitions has never ceased; in fact, it has accelerated over time. The explosion of art events between the 1990s and the early 2000s allowed the collection to grow with documents of significant theoretical and critical value, contributing to its status as a complex, articulated, yet well-organized collection across disciplines and bibliographic cataloging. Manuela Iannetti<\/strong><\/p>\n\n Born in Turin in 1976, she works on cultural content and projects. Since 2018, she has been the director of Archivissima \u2013 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 Claroques\u00ed 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). <\/p>\n\n Tema<\/strong> 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\u2019Italia 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. <\/p>\n\n Emilie Lauriola<\/strong> (Archivorum Library), Mariamargherita Maceli<\/strong> (Archivorum Ark), Cristina Meli<\/strong> (Archivorum Library), Cristina Mosconi<\/strong> (Grants & Partnerships), Alice Rigo Saitta<\/strong> (Archivorum), Luxembourg – Torino<\/p>\n\n Tema<\/strong> Archivorum<\/strong><\/p>\n\n Archivorum is an international platform dedicated to the preservation, activation, and transmission of artist archives through research, publishing, and education. Founded in Luxembourg by the passionate art lover Mia Rigo, Archivorum was created with the aim of rethinking the archive as a living, continuously evolving structure rather than a static repository of the past. The name derives from the Latin term for \u201carchive,\u201d reflecting a commitment to preservation that actively dialogues with the present and future. Growing up in Modena, Mia was always surrounded by books; her mother played a key role in opening many libraries in the city. The story of Archivorum begins with a poem by Oriol, dedicated to the \u201cdisappointment of the collector\u201d \u2014 the pain of seeing works once loved become dispersed and forgotten. That poem became a vow. Mia transformed that feeling into a mission: to ensure that artists and their creations are remembered through their own voices, not just through others\u2019 narratives. From this conviction, Archivorum was born\u2014a non-profit public association dedicated to preserving artists\u2019 legacies through their words, books, and testimonies\u2014so that memory continues to live as a conversation between generations, and not just an echo of the past. Archivorum was created from the desire to let artists speak with their own words, ensuring that their voices, along with their works, can endure over time. Mia envisioned a more open and dynamic view of the archive: a structure that supports artists and helps them carry forward their work and ideas over time. Archivorum operates as a platform that supports artists in safeguarding, activating, and transmitting their legacies through research, publishing, and training. Rather than fixing works and narratives, Archivorum aims to keep them moving\u2014accessible, evolving, and meaningful across generations. <\/p>\n\n Michelangelo Lupo<\/strong><\/p>\n\nMichelangelo Lupo, nato a Torino nel 1948, compie studi classici e si laurea in architettura presso il Politecnico di Torino nel 1972. Tra il 1972 e il 1974 compie studi di paleografia e diplomatica presso l\u2019Archivio di Stato di Torino e si specializza in Storia dell\u2019Arte presso la Facolt\u00e0 di Lettere dell\u2019Universit\u00e0 di Padova nel 1975. Funzionario della Provincia Autonoma di Trento e responsabile per la tutela dei beni storici e artistici (1975-1983), \u00e8 direttore del laboratorio di restauro della Provincia di Trento (1977-1983) e direttore del Museo Provinciale d\u2019Arte di Trento (1979-1983). Tra il 1983 e il 1998 \u00e8 consulente della casa d\u2019aste Christie’s, sede di Roma. Dal 1984 ha studio di progettazione architettonica a Trento e a Roma e svolge attivit\u00e0 di restauro, oltre che in Italia, in Egitto, Libia e Giordania. \u00c8 autore di numerosi progetti di allestimenti museali e di mostre di carattere storico-artistico. \u00c8 inoltre autore di numerosissime pubblicazioni di carattere storico-artistico relative soprattutto all’architettura e alle arti decorative nel periodo tra il XV e il XVIII secolo.\n\n Topic Michelangelo Lupo takes us on this preview of the recently restored rooms on the main floor of Palazzo Pizzini in Rovereto, \u201cthe most beautiful Rococo palace in the Trentino area\u201d: the central hall, the decorations and stuccoes that run along the walls and ceiling, the large central painting, the mirror room overlooking Piazza del Grano. Along with art historian Amedeo Chizzola, who strongly advocated for the restoration of this important cultural \u2018treasure.\u2019 <\/p>\n\n Mariarosa Mariech<\/strong> [con Duccio Dogheria]<\/p>\n\n Mariarosa Mariech holds a degree in Literature, with a focus on Modern Studies; she has worked at the Provincial Superintendence managing historic book collections; since 2005, she has been working at the Mart Library, which she has been coordinating as the head since 2012. Over time, she has overseen various Civil Service projects, while also hosting interns, volunteers, and external collaborators. <\/p>\n\n Topic (with Duccio Dogheria) The Mart\u2019s Archivio del \u2018900 [20th-Century Archives] are recognized by the international scholarly community for their extraordinary archival and book heritage dedicated to Futurism, art criticism, architecture, and the neo-avant-garde movements of the late 20th century. In recent years, the Mart has initiated a systematic acquisition program to document the aesthetics of Italian countercultures: a time span spanning the 1960s to the early 2000s, from the Beat Movement to the Luther Blissett Project, through the Metropolitan Indians, punk, and cyberpunk. Presented here to the public for the first time in all their complexity, these materials include collections of rare uniqueness in the national panorama: underground magazines from the 1960s and 1970s from the Archivio di nuova scrittura collection, an exceptional corpus of music fanzines (donations from Pautasso, Piccolrovazzi, and Assenzio), the complete documentation of the first Italian exhibition dedicated to fanzines (1984, donated by curator Luciano Trevisan Fricchetti), posters from legendary hardcore punk venues such as Virus and Helter Skelter, and the personal archives of Pablo Echaurren, Giancarlo Pavanello, Piermario Ciani, Luther Blissett, and Gianluca Lerici, aka Prof. Bad Trip. The meeting will be led by Duccio Dogheria, head of the historical archives, and Mariarosa Mariech, head of the Mart library.<\/p>\n\n Maurizio Nannucci<\/strong><\/p>\n\n Maurizio 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\u2019s Studio di phonologia musicale S2FM (1965\/1969). In 1965 Nannucci created the \u201cDattilogrammi\u201d (Dactylograms), which were published in various anthologies, including Emmett Williams\u2018 \u201cAnthology of Concrete Poetry\u201d in 1967. He then participated in the exhibitions \u201cPoesia concreta indirizzate concreti, visuali e fonetici,\u201d organized by the Venice Biennale at Ca\u2019 Giustinian in 1969, and in \u201cConcrete Poesie?\u201d at the Stedelijk Museum in Amsterdam in 1970. \u201cAlfabetofonetico\u201d 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, \u201cbox,\u201d written in his own handwriting (a constant in his research) and intended for a box of multiples (\u201cMultibox\u201d) produced by the first self-managed and non-profit artists\u2019 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 \u00abM\u00e8la\u00bb (1976\/1981) and published multiples, artist\u2019s 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, \u201cSmall Press Scene,\u201d and was applied to the creation of a personal archive composed of thousands of documents \u201cconcerning any artistic marginal practice from the 1960s up to the present day,\u201d a project that is an integral part of his artistic practice as a \u201cgreat collective and personal diary\u201d 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. \u201cWhere to start from,\u201d 2015), at the Museion in Bolzano, and at the Museo Marino Marini in Florence (Maurizio Nannucci. \u201cTop Hundred,\u201d 2015\u20132016). <\/p>\n\n Topic Maurizio Nannucci was invited to exercise his signature style on the seemingly utopian public image [brand identity] of the project “Community Archives.” The visual proposal that emerged links Community Archives to the idea of a ‘world’ as a place of ‘anomalous reflection’ \u2013 a line that ‘mirrors’ differently \u2013 and the series of events proposed as opportunities for experimentation, hypotheses of theories and practices of becoming, projects, promises, and deliveries as desires, states of mind, and forms of impermanent thought. The Community Archives posters in Pantone 805 U, in Italian, Community Archives in Pantone 807 U, in English, and Community-Archiv in Pantone 802 U, in German, printed on handmade paper in the format 680 x 940 mm, will be distributed free of charge to the audience present in the room. <\/p>\n\n Giuliano Perezzani<\/strong><\/p>\n\n Player profile: Sanguinetto; position: Midfielder; current team: Retirement. A great passion for art, collector, member of the Scientific Committee for the authentication and archiving of Gino de Dominicis’s works. <\/p>\n\n Tema<\/strong> Giuliano Perezzani in his life met key artists in the experience of contemporary art: from his encounter with Francis Bacon in London, to his associations with Gino De Dominicis, Emilio Prini, Giulio Paolini, and the younger artists. Not only artists, but also gallerists, critics, and curators. This is an opportunity to meet friends Stefano Arienti and Gino Gianuizzi and to speak with them publicly, freely. <\/p>\n\n Lorenzo Pevarello<\/strong><\/p>\n\n Lorenzo 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. <\/p>\n\n Topic 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 \u2014 8mm, Super8, and 16mm \u2014 preserved in Trentino families’ homes. From the early oral history projects and particularly with the experience of the Memorie di comunit\u00e0, 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. <\/p>\n\n Ginevra Rapex<\/strong><\/p>\n\n Ginevra 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. <\/p>\n\n Topic The establishment of the Teche Department dates back to 1996, a decisive moment in the company\u2019s 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. The establishment of the Teche Department dates back to 1996, a decisive moment in the company\u2019s 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. L\u2019idea di costituire un centro archivistico con la specifica missione dell\u2019archiviazione del materiale aziendale televisivo, radiofonico, cartaceo e di altra natura era affiorata in realt\u00e0 pi\u00f9 volte sin dagli anni Ottanta, ma fu Barbara Scaramucci, prima direttrice di RAI Teche, che appunto nel 1996 riusc\u00ec nell\u2019impresa. Assistita dall\u2019allora Consiglio d\u2019amministrazione presieduto dal professor Roberto Zaccaria, da un team di dirigenti di fiducia, dal Centro Elettronico Aziendale di Torino e dal corpo dei documentatori aziendali, ide\u00f2 e mise in atto il progetto di procedere a una catalogazione del materiale aziendale con criteri univoci, coinvolgendo i supporti conservati e iniziandone il processo di digitalizzazione. L\u2019attivit\u00e0 riguardava gli archivi televisivi, radiofonici, musicali, cartacei (biblioteca, spartiti e partiture, copioni) e persino il magazzino costumi e attrezzi di scena. Il risultato pi\u00f9 significativo di questa attivit\u00e0 \u00e8 stato l\u2019avvio fra il 1999 e il 2000 del Catalogo Multimediale, un catalogo che includeva tutto il materiale aziendale e che presentava accanto alla scheda informativa l\u2019accesso al contenuto multimediale audiovisivo. Programmisti e registi hanno avuto cos\u00ec una straordinaria facilitazione nel ritrovare materiali di repertorio, anche da riutilizzare per nuove trasmissioni. L\u2019attuale impianto e la grafica del Catalogo multimediale risalgono invece al 2013. Regarding 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. <\/p>\n\n Donatella Turrina<\/strong><\/p>\n\n President of Fondazione Trentina per il Volontariato Sociale \u2013 a philanthropic organization \u2013 and member of the Board of Directors of the ETS Hospice Foundation, she has long been involved in volunteer work.<\/p>\n\n Topic A complex history, that of philanthropic entities. Re-reading the letters sent by members or their families requesting help, preserved in archives, allows one to trace an unprecedented historical and anthropological journey\u2014particularly delicate\u2014that explores relationships between people, states of mind, feelings, expectations, and the desire for a better future. It is a great cultural, social, and economic story\u2014 that of supplications. <\/p>\n\n Ruffo Wolf<\/strong><\/p>\n\n He studied architecture at IUAV in Venice, where he also engaged in teaching activities. From 2002 to 2015, he was an assistant and then a lecturer in architectural and urban design at the Politecnico di Milano. He has lectured and given conferences at several universities, including Politecnico di Milano, University of Venice, T.U. of Innsbruck, and Tongji University in Shanghai. He is a RIBA Chartered Member (Royal Institute of British Architects, UK); a member of ARB (Architects Registration Board, UK); and registered with the Ordine degli Architetti of Trento. He is the owner of the architecture firm RWA_RUFFO WOLF ARCHITETTI, with offices in Rovereto, Milan, and Vienna. He has designed projects in Austria, Brazil, China, Germany, India, Italy, Qatar, Poland, Romania, Rwanda, Russia, Vanuatu, and Zambia. From 2012 to 2015, he designed over 60 shops for the GIORGIO ARMANI brands in many cities worldwide. Recently, he designed the new PASTIFICIO FELICETTI headquarters in Val di Fiemme, the new VALMORA Mineral Water headquarters in Turin, and the new FLIS Biscotti headquarters in Warsaw. In 2023, he was selected by Architettura21 and the FFG (Austrian Research Promotion Agency) for an \u201cImpact Innovation\u201d project to requalify a building with 100 apartments in Vienna. He has published \u201cSequenze \u2013 Architetture\u201d (Alinea, Florence 2002) and \u201cRWA_WIP \u2013 Citogenesi e altri progetti\u201d (List\/Actar, Rome\/Barcelona, 2007). He is a founding member of SINERGIE \u2013 an Interprofessional Group based in Trentino. He holds a diploma in music. Currently, he is the director of the RWA_architettura della produzione division at Lombardini22 in Milan. <\/p>\n\n Topic The exhibition project on Luigi Bonazza at the MART in 2026, developed by Ruffo Wolf, is a concrete opportunity to reflect on the role of \u201creferences\u201d in a specific project. In this case, the strong presence of Secessionist culture in the artist\u2019s formation gives rise to a series of cultural references that become \u201cmaterials\u201d underlying the project, without ever giving in to naive formalism or issues of \u201cstyle.\u201d <\/p>\n\n Anna Zinelli<\/strong><\/p>\n\n Anna 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\u20131968: 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. <\/p>\n\n Topic The intervention presents three case studies displayed at the Kunsthaus that 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-Kami\u0144ski, which offered a decolonial reading of the memories preserved in archives. In these projects, archives were considered not only as places of preservation and safeguarding but also as devices capable of generating new narratives. <\/p>\n","protected":false},"excerpt":{"rendered":" In this section, explore the profiles of the guests and the themes chosen for the 2026 edition of Archives of the Community. Roberto Adami, researcher and historian, Villa LagarinaAlessandro Andreolli, … <\/p>\n