1,720,960 research outputs found
Tracce di un’eredità culturale: la mostra I Longobardi e la Lombardia
Get PDFVeicolando le più recenti conquiste dell’Archeologia medievale in terra lombarda attraverso un linguaggio di pronta presa, la mostra milanese "I Longobardi e la Lombardia" (Palazzo Reale, 1978) toccava le corde più profonde di una memoria collettiva strettamente legata al territorio. L’ampio successo di pubblico ottenuto impone di ampliare l’angolo d’analisi da una prospettiva specialistica all’interrogazione sulle ricadute dell’evento in ambito museale e identitario tra anni Settanta e Ottanta
“Un museo di esposizioni temporanee”: il Padiglione d’arte contemporanea di Ignazio Gardella nel contesto culturale milanese tra anni Quaranta e Cinquanta
Get PDF“A museum of temporary exhibitions”: the architect-engineer Ignazio Gardella used this formula to describe the PAC (Contemporary Art Pavilion) in Milan, summarising the prerogatives and destiny of his first museographic project, opened in 1954, which stood out for its originality in the Italian cultural panorama of the immediate post-war period. The ambiguity of the architectural structure, precariously balanced between an uncertain museum identity, permanent by vocation, and a flexible space designed for a variable palimpsest, was coupled with the uncertainty of its content. The interweaving of the project’s documentary history and the specificities of its underlying cultural plan reveal the identity and political strategies of what, at least in its intentions, was to be the first civic museum of contemporary art in Italy
«Civico per volontà, vocazione e significato». Il CIMAC di Mercedes Precerutti Garberi (1969-1992)
No full textLa ricerca ricostruisce e analizza le azioni intraprese da Mercedes Precerutti Garberi (Lomello 1927 – Milano 2007) al fine di istituire il primo Museo Civico d’Arte Contemporanea di Milano, noto anche come CIMAC e aperto provvisoriamente al secondo piano di Palazzo Reale nel maggio 1984 dopo anni di gestazione.
Direttrice delle Civiche Raccolte d’Arte del capoluogo lombardo dal 1971 al 1992, Garberi si dedicò all’aggiornamento e alla revisione generale di tutti gli istituti di cui era a capo, comprendenti il Castello Sforzesco, la Galleria d’Arte Moderna e il Padiglione d’Arte Contemporanea.
Il ruolo determinante da lei assunto nelle fasi di costituzione, ideazione e realizzazione di un progetto museale stabile specifico per l’arte contemporanea fa del CIMAC un caso particolarmente rilevante. Esso, infatti, è interrelato con le esigenze e le aspirazioni culturali della Milano socialista tra i cosiddetti anni di piombo e l’avvio dell’inchiesta giudiziaria Mani Pulite, quando la città tentava di ricucire le ferite del terrorismo affermando il proprio statuto di “capitale morale” del Paese a livello sia nazionale sia europeo.
Attraverso un’ampia ricognizione di materiali d’archivio, la tesi prende le mosse dal processo che ha visto prima l’individuazione e poi la trasformazione di Palazzo Reale in sede espositiva per poi soffermarsi sull’ingente campagna di acquisizioni portata avanti da Garberi tra anni settanta e ottanta mappando dal primo Novecento fino alla più stringente attualità. La disamina della fisionomia del CIMAC al momento della sua apertura, affrontata nel terzo capitolo, riflette questioni storico-artistiche e architettoniche, contestuali e strategiche che concorrono a delineare un ritratto sia dell’orientamento museologico di Garberi, sia del difficile percorso di istituzionalizzazione dell’arte contemporanea in Italia, calato in un contesto di transizione i cui effetti si mostrano quanto mai vivi nel presente.The research reconstructs and analyses the actions undertaken by Mercedes Precerutti Garberi (Lomello 1927 – Milan 2007) aimed at establishing the first Civic Museum of Contemporary Art in Milan, also known as CIMAC, which was provisionally opened on the second floor of Palazzo Reale in May 1984 after years of planning.
As Director of the Civic Art Collections of Milan from 1971 to 1992, Garberi focused on updating and comprehensively revising all the institutions under her management, including the Castello Sforzesco, the Galleria d’Arte Moderna, and the Padiglione d’Arte Contemporanea.
Her decisive role in the establishment, conceptualization, and realization of a permanent museum project dedicated to contemporary art makes CIMAC a particularly fitting case, as it was closely intertwined with the cultural needs and aspirations of Milan, firmly governed by the Socialist Party. During the period between the so-called “years of lead” and the onset of the Mani Pulite judicial investigation, the city was striving to heal the wounds of terrorism and reaffirm its role as the “moral capital” of Italy at both national and European levels.
Drawing on extensive archival research, the thesis begins by examining the process that led to the initial identification and subsequent transformation of Palazzo Reale into an exhibition venue, before focusing on the extensive acquisition campaign spanning from the early 20th century to contemporary works, spearheaded by Garberi during the 1970s and 1980s. The analysis of CIMAC’s configuration at the time of its opening, discussed in the third chapter, reflects art-historical and architectural, contextual and strategic issues, that contribute to portraying both Garberi’s museological orientation and the challenging process of institutionalizing contemporary art in Italy, set within a transitional context whose effects remain relevant to this day
Jole de Sanna: due monografie intorno allo spazio moderno / Jole de Sanna: two monographs about modern space
No full textDurante la sua carriera di storica, teorica, docente e critica militante Jole de Sanna (Martina Franca, 29 novembre 1947 – Massafra, 25 giugno 2004) ha intrecciato differenti discipline e approcci metodologici per dar forma a un pensiero che ancora oggi si distingue per acume, originalità e attualità.Focalizzando l’attenzione sull’analisi delle due monografie Medardo Rosso o la creazione dello spazio moderno (1985) e Lucio Fontana. Materia spazio concetto (1993), affiorano quali tratti distintivi dell’attività di de Sanna una concezione orizzontale delle esperienze del passato e del presente; una solida attenzione per le scienze intese come mezzi per condurre un’analisi lontana dai percorsi tradizionali; un uso sempre intelligente e calibrato del linguaggio che corrisponde a un consistente apparato storico e teorico.La loro contestualizzazione permetterà di vagliare, per la prima volta, il portato di de Sanna nella ridefinizione di alcune delle più significative vicende artistiche della contemporaneità. During her career as a historian, scholar, professor, and militant critic, Jole de Sanna (Martina Franca, 29 November 1947 – Massafra, 25 June 2004) intertwined different disciplines and methodological approaches to give shape to a thought that still today is distinguished by acumen, originality, and topicality.This essay focuses on two monographs she authored: Medardo Rosso o la creazione dello spazio moderno (1985) and Lucio Fontana. Materia spazio concetto (1993). Their examination will bring out as landmarks a horizontal conception of past and present experiences; a robust attention to sciences as a means to conduct an analysis far from traditional paths; an always intelligent and calibrated use of language that corresponds to solid historical and theoretical apparatus.Their contextualization will allow to evaluate, for the first time, de Sanna’s contribution in a redefining process of some of the most significant artistic events of contemporary age.
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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