Engramma issue No. 180, all art has been contemporary, curated by Vittoria Magnoler and Lucrezia Not, is dedicated to different artistic expressions of contemporary art. The essay by Piersandra Di Matteo focuses on the relationship between tragedy and history in Romeo Castellucci’s Episodio R. #07 ROMA (2003), part of Tragedia Endogonidia (2002-2004). Vito Ancona’s essay investigates the largely unexplored area of research of Alberto Burri's theatre productions, focusing specifically on “teatro danza”. Silvia De Min proposes a reflection on In Your Face, a theatrical exploration of identity, which is the outcome of the stage workshop organized by IUAV and coordinated by the theatre company Anagoor. An interview with the workshop participants, curated by Daniela Sacco, accompanies the text. A section of this issue is dedicated to the presentation of recent publications, providing some extracts of the following volumes: La Tetralogia del Lemming. Il mito e lo spettatore (2021) by Massimo Munaro, La camera meravigliosa. Per un atlante della fotografia di danza (2020) curated by Samantha Marenzi, Simona Silvestri and Francesca Pietrisanti, and Miriam Gualtieri’s biography on Aby Warburg, Resartus. Viaggi, scoperte e visioni di Aby M. Warburg (2020). The issue also features two reviews. The first one by Emily Verla Bovino reflects on Aby Warburg’s notions of Zwischenraum and Denkraum, linking them to the concept of ‘thinking studio’ used by Hong Kong artist Ha Bik Chuen. The second by Vittoria Magnoler presents L' arte astratta. Una storia globale (2021) by Pepe Karmel. This review deals with the origin of Abstract Art and its significance, emphasizing the crucial role of the subject, even if it is not so recognizable in this specific visual language. An anthology of interventions on Salvatore Settis’s Incursioni. Contemporary Art and Tradition (2020), conceived and curated by Monica Centanni and Giuseppe Pucci, closes the issue. The contributions collected here are written by: Anna Anguissola, Maurizio Bettini, Marilena Caciorgna, Maria Luisa Catoni, Monica Centanni, Maria Grazia Ciani, Claudia Cieri Via, Gabriella De Marco, Giuseppe Di Giacomo, Elisabetta Di Stefano, Eva Di Stefano, Roberto Diodato, Dario Evola, Claudio Franzoni, Maurizio Harari, Franco La Cecla and Anna Castelli, Alessandro Poggio, Valentina Porcheddu, Daniela Sacco, Antonella Sbrilli, and Salvatore Tedesco.
all art has been contemporary
lucrezia not;
2021-01-01
Abstract
Engramma issue No. 180, all art has been contemporary, curated by Vittoria Magnoler and Lucrezia Not, is dedicated to different artistic expressions of contemporary art. The essay by Piersandra Di Matteo focuses on the relationship between tragedy and history in Romeo Castellucci’s Episodio R. #07 ROMA (2003), part of Tragedia Endogonidia (2002-2004). Vito Ancona’s essay investigates the largely unexplored area of research of Alberto Burri's theatre productions, focusing specifically on “teatro danza”. Silvia De Min proposes a reflection on In Your Face, a theatrical exploration of identity, which is the outcome of the stage workshop organized by IUAV and coordinated by the theatre company Anagoor. An interview with the workshop participants, curated by Daniela Sacco, accompanies the text. A section of this issue is dedicated to the presentation of recent publications, providing some extracts of the following volumes: La Tetralogia del Lemming. Il mito e lo spettatore (2021) by Massimo Munaro, La camera meravigliosa. Per un atlante della fotografia di danza (2020) curated by Samantha Marenzi, Simona Silvestri and Francesca Pietrisanti, and Miriam Gualtieri’s biography on Aby Warburg, Resartus. Viaggi, scoperte e visioni di Aby M. Warburg (2020). The issue also features two reviews. The first one by Emily Verla Bovino reflects on Aby Warburg’s notions of Zwischenraum and Denkraum, linking them to the concept of ‘thinking studio’ used by Hong Kong artist Ha Bik Chuen. The second by Vittoria Magnoler presents L' arte astratta. Una storia globale (2021) by Pepe Karmel. This review deals with the origin of Abstract Art and its significance, emphasizing the crucial role of the subject, even if it is not so recognizable in this specific visual language. An anthology of interventions on Salvatore Settis’s Incursioni. Contemporary Art and Tradition (2020), conceived and curated by Monica Centanni and Giuseppe Pucci, closes the issue. The contributions collected here are written by: Anna Anguissola, Maurizio Bettini, Marilena Caciorgna, Maria Luisa Catoni, Monica Centanni, Maria Grazia Ciani, Claudia Cieri Via, Gabriella De Marco, Giuseppe Di Giacomo, Elisabetta Di Stefano, Eva Di Stefano, Roberto Diodato, Dario Evola, Claudio Franzoni, Maurizio Harari, Franco La Cecla and Anna Castelli, Alessandro Poggio, Valentina Porcheddu, Daniela Sacco, Antonella Sbrilli, and Salvatore Tedesco.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
