Kit Quaderni d'arte italiana

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Quaderni d'arte italiana #1
Quaderni d'arte italiana #2
Quaderni d'arte italiana #3
Quaderni d'arte italiana #4
Quaderni d'arte italiana #5
Quaderni d'arte italiana #6
Quaderni d'arte italiana #7


Quaderni d’arte italiana is a quarterly magazine, created by the Rome Quadriennale foundation, which is aimed at providing a space for exploring 21st-century Italian art and how it is linked to the various national and international cultural, social and political scenarios. The editor-in-chief of the magazine is Gian Maria Tosatti. The editorial board consists of: Nicolas Ballario, Francesca Guerisoli, Nicolas Martino, Attilio Scarpellini and Andrea Viliani. This reflection involves not only the curators who contribute to the many activities of the Quadriennale, but also external authors.

The first issue of the new magazine Quaderni d’arte italiana aims to reconnect the story of contemporary Italian art to a history of art that has become global. If the first part, which constitutes a sort of identikit of the Italian scene of the present, offers a perspective of reading the trends of the beginning of the century, the second turns a more attentive look to the morphology of the artistic language. The issue therefore closes with an analysis of the state of the economy in support of the production of contemporary art in Italy.

The second issue of the journal draws a map to define the concept of ”popular”. From the political distinction between the noble roots of the popular and the current populist drifts, the articles move on to investigate the influence of pop culture on contemporary Italian philosophy and the artistic process of rewriting the visual grammar according to the logic of mass communication, up to an analysis of the modern mask-icons shared by society.

The third issue of Quaderni d’arte italiana reflects on the concept of History.
Writing History is an act that presupposes a temporal wholeness. The present is History and the future towards which it tends is also History. The production of documents must start out from this awareness. For that to be possible, it is necessary to have a method, but also the courage not to run away from open horizons, and to be able to look them in the eye, wrenching from them the truth that we can read within them.

The fourth issue of the magazine Quaderni d’arte italiana examines the concept of Identity: it is meant to take us on a journey somewhere in between two worlds, the universe and the metaverse, looking at the extent to which artists and several philosophers have analysed how humanity fluctuates between these two planes. The aim of the first section is to provide a general context by exploring the essence of a new dichotomy of being: online and offline. The second section describes two different yet parallel identities that can be observed in 21st-century Italian art and that can be found in two very different generations: one born before the Internet Age, and the other made up of digital natives. The third section delves into specific topics that came to light from such cultural scenarios, and explores the way in which the digital world (or its opposite) has contributed to the emergence of new artistic poetics or lifestyles.

The fifth issue of the magazine Quaderni d’arte italiana reflects on the theme of 'community,' reconstructing a journey through cultural communities, often activated by artists who belong to the very latest generation and who, despite the differences in each individual area, seem to chase a unity of purpose that posits the value of collaboration and sharing as the driving principle of a new vitality. 'Community' is one of the words that has most distinguished art in the 21st century. In fact, the connection between social practices and artists' work has its roots as far back as the 1970s in a clear and articulate way, especially in the Anglo-Saxon world. With the emergence of a more globalist view of History and a focus on the important contributions of every core of society - starting with those now facing a reinterpretation of the West's colonial past -, artistic paths began to emerge that moved out of the concentrated perimeter of the 'studio' and into the civic fabric of cities.

In the sixth issue of the magazine Quaderni d’arte italiana we talk about the future as if we were talking about the lack of air in a collapsed mine, while we wait for someone to pull us out. But it is unlikely that someone will come and pull us out of our current situation, because there is no one else here besides us. So maybe we need to make an effort and try to think of the future as something we can actually build, starting with real information about where we are, in an attempt to chart a course to where we want to go.

The seventh issue of Quaderni d’arte italiana examines the premise, the pre-text and the context for an entire artistic generation, namely, the generation born between the early 1970s and the mid-1980s: the street. In reality, that of ‘street’ is a broad notion, often associated with the idea of a public space, which is a highly pressing issue against the background of what is known as ‘telecracy’ or ‘videocracy’ and that nowadays could certainly be referred to as ‘networkcracy’. But what is public space in a regime in which representation is continuous? From 1980 to 1994, in Italy, television created a new narrative as the country set out to rewrite its history, shaking off the horrors of its past and, by adopting an imaginative and light-hearted approach, opening up lines of credit that would need to be paid off over the years. In 1994, Italian television demanded and took control of the country through its owner, Silvio Berlusconi. It took nearly two decades to develop an alternative narrative to that of its political leader and media tycoon. This change was driven by the desire to rediscover the notion of public space, but there was also a certain degree of impatience regarding the concept of representation and the rediscovery of the street, a place that had been taboo since 1977. We can see all of this reflected very clearly in a number of artworks, in particular in the ten-year period from 2010 to 2020. In fact, in the 21st-century, streets opened up to artists who walked around them again and found that they were just as they had been left more than 20 years earlier. They were bare, brutal, wounded, and still filled with rubble from the bombing of the Bologna railway station: it was as if the last quarter of a century had not happened, but was instead like a waking dream, disguising the fact that severe stagnation had set in.

Product details

Format: 14,8x21 cm
Pages: 126
Set up: thread
Cover with flaps

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