Full Professor, L-ART/03, University of Bologna
Federica Muzzarelli is Full Professor of Photography and Visual Culture at the Department of Arts, University of Bologna. She is Coordinator of the Photography Art Feminism Research Centre and Editor-in-Chief of the scientific series “Cultures, Fashion and Society” (Pearson). She is Principal Investigator for a 2022-25 PRIN Project on Feminist Italian Photography. Among her recent books and papers: Femmes Photographes. Emancipation et performance 1850-1940 (Hazan, Paris 2009); Moderne icone di moda. La costruzione fotografica del mito (Einaudi 2013); From Family Album to Snapshot Style. Notes on the Aesthetics of the Snapshot Style between Art and Fashion (Pearson 2015); Lee Miller and Man Ray. Photography, Fashion, Art (Atlante 2016); Women Photographers: Annemarie Schwarzenbach, New Dandy and Lesbian Chic Icon ("Visual Resources" 2018); I nudi maschili di Elio Luxardo. Fotografia e virilità nell’estetica fascista (Rosenberg & Sellier 2020); Fotografia, estetica femminista e pratiche identitarie (Postmedia books 2021); Feminism and Italian Photography: Notes on the Inheritance of New Generations from the 1970s (JACCP 2022).
Assistant Professor, L-ART/03, La Sapienza - University of Rome.
Raffaella Perna is Assistant Professor of 19th-21st Art History at Sapienza University of Rome. She has authored the following books: Piero Manzoni e Roma (2017), Pablo Echaurren, il movimento del ‘77 e gli Indiani metropolitani (2016), Arte, fotografia e femminismo in Italia negli anni Settanta (2013), In forma di fotografia. Ricerca artistiche in Italia dal 1960 al 1970 (2009). She has curated and co-curated the exhibitions: The Unexpected Subject 1978 Art and Feminism in Italy (Frigoriferi Milanesi, Milan 2019), L’altro sguardo. Fotografe italiane 1965-2018 (Triennale, Milan and Palazzo delle Esposizioni, Rome), and Ketty La Rocca 80. Gesture, Speech and Word, 17th Biennale Donna, Contemporary Art Pavilion, Ferrara (2018). From 2018 she is the Director of the editorial series “Quaderni della Fondazione Echaurren Salaris” (Postmedia Books, Milan), and since 2022 she has been in charge of the “Interuniversity Network” project on behalf of the Quadriennale Foundation of Rome.
Associate Professor, L-ART/03, University of Parma
Cristina Casero is contemporary art historian and professor of the History of Photography at the University of Parma. His studies were initially focused on the experiences of World War II Italian figurative culture and nineteenth-century Italian sculpture, with particular interest in the production of visual links with the political, social and civil rights of the 'Italy of the time (Enrico Butti. Un giovane scultore nella Milano di fine Ottocento, Franco Angeli, Milano 2013 and La “scultura sociale”, tra il vero e l'ideale. Realismo e impegno nella plastica lombarda di fine Ottocento, Scripta Edizioni, Verona 2013). On this line are the most recent surveys, over the last forty years of the twentieth century, especially dedicated to the photographic image, in its various meanings. He recently edited with Elena Di Raddo, Anni ’70: l’arte dell’impegno. I nuovi orizzonti culturali, ideologici e sociali nell’arte italiana (Silvana Editore, Cinisello Balsamo 2009) and Anni Settanta. La rivoluzione nei linguaggi dell'arte (Postmedia, Milano 2015); with Michele Guerra, Le immagini tradotte. Usi passaggi trasformazioni (Diabasis, Reggio Emilia 2011). In 2016 she published Paola Mattioli. Lo sguardo critico di una fotografa (PostmediaBooks, Milano) and in 2020, Gesti di rivolta. Arte, fotografia e femminismo a Milano 1975 – 1980, Società per l'Enciclopedia delle Donne, Milano.
Full Professor, L-ART/03, Roma Tre University
Laura Iamurri, PhD, is Full Professor of History of Modern Art, and member of the PhD Program at the Università degli Studi Roma Tre. Her research interests mainly focus on the relationships between contemporary works and the discourses of art history and art criticism.
She has worked extensively on Carla Lonzi: after the first re-edition of the book Autoritratto (Milan 2010) she edited the 'Scritti sull’arte' (with L. Conte and V. Martini, 2012); besides a number of essays, she dedicated a monograph to the art historian and critic (Un margine che sfugge. Carla Lonzi and art in Italy, 1955-1970, Quodlibet, Macerata 2016); the small volume dedicated to Giulio Paolini’s Teresa in the part of Joan of Arc in prison, 1969 (Corraini, Mantua 2018) is also part of these studies.
In recent years she has worked on women artists, art system and feminism, and has published several essays on Cloti Ricciardi, on Carla Accardi, and on the first exhibition dedicated to women artists active in Italy in the 20th century derived from Simona Weller's book il complesso di Michelangelo. She has also worked on an international research project on the memory of fascism in contemporary arts (Le fascisme italien au prisme des arts contemporains, with L. Acquarelli and F. Zucconi, Rennes 2021).
Among her major publications:
Tempi, luoghi e presenze della performance a Roma, in Costellazioni della performance in Italia 1965-1982, a cura di Lara Conte e Francesca Gallo, Silvana Editoriale, Cinisello Balsamo 2024, pp. 90-105.
Segno, colore, simbolo: Carla Accardi, I Stella e II Stella, 1964, in Astratte. Nuove ricerche sull'astrazione delle donne tra avanguardia e neoavanguardia in Italia, a cura di Elena Di Raddo e Bianca Trevisan, Electa, Milano 2024, pp. 212-219.
Gina Pane a Bologna, 1976-1978, in La performance a Bologna negli anni ’70, a cura di Uliana Zanetti, MAMbo – Museo d’Arte Moderna di Bologna, Bologna 2023, pp. 268-275.
Cloti Ricciardi, Vietato l’ingresso agli uomini, in Pensiero in immagine. Forme, metodi, oggetti teorici per un Italian Visual Thought, a cura di Angela Mengoni e Francesco Zucconi, Mimesis Editore, Sesto San Giovanni 2022, pp. 118-135.
Dalla parte delle artiste. Appunti su militanze femministe e storie dell’arte a Roma, in “Palinsesti. Contemporary Italian Art On-line Journal”, 10/2021 [2022], pp. 130-151.
Obstinées et expérimentales: les femmes artistes en Italie, 1960-1975, in Vita nuova. Nouveaux enjeux de l’art en Italie 1960-1975, catalogo della mostra (Nice, MAMAC, 14 maggio-2 ottobre 2022) a cura di Valérie Da Costa, MAMAC/Snoeck, Nice-Gand 2022, pp. 58-67.
Corps, espace, écriture et féminisme dans l’œuvre de Cloti Ricciardi, 1968-1975, in L’espace des images. Art et culture visuelle en Italie, 1960-1975, a cura di Valérie Da Costa et Stefano Chiodi, Manuella Éditions, Paris 2022, pp. 171-184.
«Così non rimane alla pittura, probabilmente, / che attraversare le stanze della morte»: Giosetta Fioroni, Galleria L’Indiano, Firenze 1970, in Le fascisme italien au prisme des arts contemporains. Réinteprétations, remontages, déconstructions, a cura di Luca Acquarelli, Laura Iamurri e Francesco Zucconi, Presses Universitaires de Rennes, Rennes 2021.
Tende e altri ambienti, in Carla Accardi. Contesti, catalogo della mostra (Milano, Museo del 900, 9 ottobre 2020-27 giugno 2021), Electa, Milano 2020, pp. 52-71.
Reinventing Language : Cloti Ricciardi and Writing, in Deculturalize, catalogo della mostra (Bolzano, Museion) a cura di Ilse Lafer, Mousse Publishing, Milano 2020, pp. 223-230, 326, 327.
Un libro e una mostra per la storia delle artiste italiane del XX secolo: Il complesso di Michelangelo di Simona Weller, 1976, “Studiolo”, 15, 2018, pp. 82-97.
Femmes artistes italiennes au XXe siècle: Il complesso di Michelangelo, 1977, “Artl@sBulletin”, vol. 8, n. 1 (Spring 2019), pp. 243-254.
Giulio Paolini, Teresa nella parte di Giovanna d’Arco in prigione (tavola ottica), 1969, Fondazione Giulio e Anna Paolini, collana In/collezione, Corraini Edizioni, Mantova 2018.
Geschlechter- und Generationenverhaeltnisse in der Kunstwelt: Carla Lonzi, Selbstbildnis und die neuen Praktiken der Kunstkritik, in Jahrbuch für Historische Bildungsforschung. Schwerpunkt. Generationen- und Geschlechterverhaeltnisse in der Kritik: 1968 Revisited, ed. by Meike Sophia Baader, Rita Casale, Klinkhardt, Bad Heilbrunn 2018, pp. 70-93.
Ni pauvreté ni théâtre : les silences de Carla Lonzi dans Autoritratto, in Les Cahiers du Musée National d’Art Moderne. Arte Povera hier et aujourd’hui, Centre Pompidou, Paris 2018, pp. 24-37.
Agnese De Donato, il movimento femminista e la rivista “effe”, in Arte fuori dall’arte. Incontri e scambi fra arti visive e società negli anni Settanta, a cura di Cristina Casero, Elena Di Raddo, Francesca Gallo, postmedia books, Milano 2017, pp. 137-144.
On the Threshold. Carla Lonzi, the End of Art Criticism and the Beginnings of Feminism, “nparadoxa”, 40, pp. 52-59.
Una cosa ovvia. Carla Accardi, Tenda, 1965-1966, “L'Uomo Nero”, XIII, n. 13, dicembre 2016, pp. 150-165.
Un margine che sfugge. Carla Lonzi e l'arte in Italia, 1955-1970, Quodlibet, Macerata 2016.
Space oddities. Immaginario spaziale e arti visive a Roma, 1957-1969, “Predella”, 37, 2016, pp. 51-61.
Dell’autenticità. Carla Lonzi, l’arte, gli artisti, in L’immagine tra materiale e virtuale. Contributi in onore di Silvia Bordini, a cura di Francesca Gallo e Claudio Zambianchi, Campisano Editore, Roma 2013, pp. 113-123.
Voix d'artistes : image de soi et processus créatif dans les entretiens des artistes italiens avec Carla Lonzi, in Image de l'artiste, atti del convegno (Paris, INHA, 17-18 juin 2010) a cura di Éric Darragon e Bertrand Tillier, Territoires contemporains, nouvelle série, n. 4, mis en ligne le 3 avril 2012 : (http://tristan.u-bourgogne.fr/UMR5605/publications/image_artiste/Laura_Iamurri.html).
Carla Lonzi, Scritti sull'arte, a cura di L. Conte, L. Iamurri, V. Martini, et al./edizioni, Milano 2012
Prefazione, ivi, p. XI-XVI;
Carla Lonzi sul “marcatré”, ivi, pp. 705-723.
Lionello Venturi e la modernità dell’impressionismo, Quodlibet, Macerata 2011.
Intorno a Autoritratto: fonti, ipotesi, riflessioni, in Carla Lonzi: la duplice radicalità, a cura di Lara Conte, Vinzia Fiorino, Vanessa Martini, ETS, Pisa 2011, pp. 67-86.
Prefazione, in Carla Lonzi, Autoritratto, [De Donato, Bari 1969] et al./edizioni, Milano 2010, pp. VII-XV.
Questions de genre et histoire de l’art en Italie, “Perspective”, 4/2007, pp. 716-721.
autoritratto / autobiografia, catalogo della mostra (Roma, Museo H.K. Andersen, 26 ottobre 2007-20 gennaio 2008) a cura di Laura Iamurri, Palombi Editore, Roma 2007.
“Un mestiere fasullo”: note su Autoritratto di Carla Lonzi, in Donne d’arte. Storie e generazioni, a cura di Maria Antonietta Trasforini, Meltemi, Roma 2006, pp. 113-132.
Adjunct professor, L-ART/03, University of Bologna
She is PhD at the Department of the Arts of the University of Bologna and her research is focused on relationship beetween photography, contemporary art, fashion and new media. She is also Managing Editor of the “piano b. Arti e culture visive” scientific journal and Scientific Coorndinator (Fashion Area) of the Master in Design and Technology for Fashion Communication at the University of Bologna.
Previously she was research scholar at the University of Bologna – Rimini Campus for “Fashion Device” project, aimed at developing a web portal focused on the communication and representation of Italian fashion from ’60s up to the present day. She was tutor for the degree course in Culture e Tecniche della Moda (University of Bologna – Rimini Campus) for which she organized set-up, events and exhibitions.
PhD Student, L-ART/03, University of Bologna
Giorgia Ravaioli is a PhD student in Photography and Visual Culture at the University of Bologna (XXXVI cycle). Her research interests focus on photographic sedimentations, related aesthetic practices, and the photographic archive as a theoretical object, specifically in the post-digital era. Since 2020, she has been a Junior Fellow of the International Research Centre CFC – Culture Fashion Communication and a Fellow of the Research Centre FAF – Photography Art Feminism. Since 2022, she has been a member of the Global Art Archive (GAA) Grupo de Investigación of the University of Barcelona.
Research Fellow, L-ART/03, University of Bologna
Giulia Brandinelli is a Research Fellow at the Department of Arts of Alma Mater Studiorum - Università di Bologna within the PRIN project “La fotografia femminista italiana. Politiche identitarie e strategie di genere”. She is also Curator of the Maria Lai Archive with which she has been collaborating regurarly since 2019. In 2022 she obtained her PhD from the Università degli Studi di Roma "Tor Vergata" with the thesis “Cesare Vivaldi pastore di parole (1925 – 1969”. Her study interests are particularly focused on the Roman artistic environment between the 1940s and 1960s, the artist Maria Lai and the practices of female and feminist photography in Italy between the 19th and 20th centuries.