ABOUT

Since 2019 Federica Muzzarelli is Full Professor of Photography and Visual Culture at the University of Bologna in the Department of the Arts. She is Coordinator of the “Photography Art Feminisms Research Centre”, Co-Editor-in-Chief of the scientific Journal “Pianob. Arti e culture visive” and Co-editor-in-Chief of the scientific series "Fashion, Media and Culture: Perspectives on Global Lifestyle" (Bloomsbury). Coordinator of a three-years Project on Feminist Italian Photography, her main research focuses together with the role and identity of the women photographic experiences between XIX and XX century. In September 2025 she organized the International Conference titled “Photography and Feminist Aesthetics: Italian and Transnational Perspectives” at the University of Bologna. Her publications include: Femmes Photographes. Emancipation et performance 1850-1940 (2009); Lee Miller and Man Ray. Photography, Fashion, Art (2016); Women Photographers: Annemarie Schwarzenbach, New Dandy and Lesbian Chic Icon (2018). Photography and Modern Icons. The Visual plannng of Myth (2023); Photography and Feminism. Album, Diaries and Scrapbook (2026) among many others.

Linda Bertelli is Associate Professor of Aesthetics and Visual Studies and Vice-Rector for Gender Policies, Equal Opportunities, and Communication at IMT School for Advanced Studies Lucca. Her research concerns the theory of the image, the history of photography between the nineteenth and twentieth centuries, and the history of feminist movements in Italy in the second half of the twentieth century.  She has participated in national and international research groups on photographic and visual culture and is currently Principal Investigator of the PRIN PNRR 2022 project Fotografiste: Women in Photography from Italian Archives (1839–1939), in collaboration with the Brera Academy of Fine Arts.

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.

Lara Conte is Associate Professor of Contemporary Art History at the Department of Philosophy, Communication, and Performing Arts of Roma Tre University. Her research focuses on the study of art and criticism of the second half of the twentieth century, with particular attention to minoritarian trajectories and alternative narratives, within the dynamics of reception, transnational relations, exhibition history, and the relationships between artistic practices, criticism, and feminism.

She is a member of the Roma Tre University research unit for the PRIN 2017 project Transatlantic Transfers. The Italian Presence in Postwar America 1949–1972. She also serves on the scientific committee of the Center for the Conservation and Restoration of Cultural Heritage “La Venaria Reale” in Turin, and is involved in the project RESCUE – Regeneration of Disused Industrial Sites through Creativity in Europe, funded by Creative Europe Culture.

Together with Cecilia Canziani and Paola Ugolini, she curated the exhibition Io dico Io / I Say I, currently on view at the National Gallery of Modern and Contemporary Art in Rome.

Sergio Cortesini is Associate Professor of Modern and Contemporary Art at the University of Pisa. He has contributed essays on various aspects of political rhetoric, interactions, and critical discourses in Italian and American art in the 1930s, including the myth of the Italian Renaissance underpinning New Deal-era mural painting. His book, One Day We Must Meet: Le sfide dell’arte e dell’architettura italiana in America 1933–1941 (Monza: Johan & Levi, 2018), examines the diplomatic challenges assigned by the Italian fascist government to Italian modern art and architecture “exported” to New Deal America through traveling exhibitions and World’s fairs. He has also worked on post-WWII Italian art, focusing on Bice Lazzati, Emilio Vedova, and more recently on the visual culture of the Italian gay liberation movement and feminism. He is the director of CIRQUE (Centro Inter-universitario di Ricerche Queer) and has contributed essays on BDSM sexuality and art in Man Ray in the 1930s and Corrado Levi in the 1970s.

Patrizia Di Bello is editor-in-chief of History of Photography, and Professor of History and Theory of Photography at Birkbeck, University of London, where she directs the Murray Centre for the History of Art, Architecture, Photography and looks after the Jo Spence Memorial Library Archive. She has written on different aspects of women’s engagement with photography as practitioners, collectors and writers, from Julia Margaret Cameron to Ana Mendieta and Jo Spence. Her books include Sculptural Photographs from The Calotype to Digital Technologies (Bloomsbury 2017), The Photobook from Talbot to Ruscha (IB Tauris, 2012), edited with Colette Wilson and Shamoon Zamir, and Women’s Albums and Photography in Victorian Britain: Ladies, Mothers and Flirts (Ashgate 2007). She is currently working on a critical anthology of Jo Spence’s writings on photography. 

An art critic and historian, she is Full professor at the Catholic University of Milan where she teaches Contemporary Art History for the Faculty of Arts at the Catholic University of Brescia and Milan. She also directs the first level Master's degree Progettare Cultura. Art, design, cultural enterprises (ALMED). She is a member of the steering committee of the Research Centre for Abstract Art CRA.IT. (https://www.unicatt.it/centridiricerca/crait-home). 

From 2010 to 2014 she was a member of the board of directors of the National Council of Art Historians as secretary. 

At the Catholic University she has also promoted and curated study conferences and meetings on particularly topical issues such as the relationship between art and new technological languages; public art; art and the art system; artistic research in the 1970s.

Her studies are mainly oriented towards painting from the period between the end of the 19th and the beginning of the 20th century, with particular reference to decorative painting and the relationship between art and architecture. She has also dealt with the critical debate on European abstractionism in the 1930s, with particular attention to the comparison between Italy and Switzerland and the emergence of primordialist themes in the relationship between abstract and figurative research. Finally, various studies and publications, also the result of the coordination of research groups, are dedicated to the artistic trends of the 1960s and 1970s and to the investigation of the use of new technologies.

In addition to her university work, she is constantly involved in curating historical exhibitions and exhibitions of contemporary artists in public and private spaces.

She also works as a publicist, contributing to the cultural pages of newspapers such as La Provincia di Como, Domani, and the contemporary art magazine Titolo.

Katarzyna Gębarowska is a researcher of the history of photography, curator, and publisher. She holds a PhD in Art History from the Institute of Art in Warsaw and a Master’s degree in Humanities (English Studies and Gender Studies) from Humboldt University of Berlin. Her research focuses on reframing the history of photography by foregrounding women’s often overlooked photographic practices and labour.

She is a co-author of Une histoire mondiale des femmes photographes (2020) and A World History of Women Photographers (2022), edited by Marie Robert and Luce Lebart. She co-organised (with Prof. Anna Fox and Maria Kapajeva) the 6. edition of Fast Forward: Women in Photography, titled Beyond the Canon: exhibiting, curating and collecting photography by women, Toruń, Poland, October 2025.

Since 2015 she has been the director of the Vintage Photo Festival 2015. She has curated exhibitions including Unseen Legacies: Rediscovering Lotte Jacobi and Janina Gardzielewska (Centre of Contemporary Art Znaki Czasu, Toruń, 2025), The Gaze from Above: The Wanda Rutkiewicz Archive (Silesian Museum, Katowice, 2023), and Eros and Thanatos. Female Pioneers of Professional Photography in Bydgoszcz 1888–1945 (District Museum, Bydgoszcz, 2019).

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.

Susana Lourenço Marques is an Associate Professor at the Faculty of Fine Arts of the University of Porto and an integrated researcher at I2ADS. She holds a Ph.D. in Communication and Art from the Faculty of Social and Human Sciences at the New University of Lisbon. She has published on photography, with works including Ether/um laboratório de Fotografia e História (2018) and Pó, cinza, nevoeiro – um ensaio sobre a ausência(2018), and has co-edited several publications on Portuguese photography. She has curated exhibitions such as Opacity of Water (2021), Loss of Aura (2022), and Portugal Ano Zero, Livros de Fotografia em Portugal (2024). In 2014, she co-founded the publishing house Pierrot le Fou. Her research focuses on the history of photography, women photographers in Portugal, and the intersections between curatorship, archival work, and historiography. She leads the funded project O que elas viram / o que nós vemos – mulheres fotógrafas em Portugal (1860–1920).

Raffaella Perna is Associate 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. 

Chiara Pompa is a tenure-track researcher in the Department of the Arts at the University of Bologna, where she earned her PhD in Visual, Performing and Media Arts. She serves as Managing Editor of the peer-reviewed journal piano b. Arti e Culture visive, Coordinator of the International Research Centre CFC—Culture Fashion Communication, and Fellow at the Research Centre FAF—Photography Art Feminisms.
Her research focuses primarily on two areas: the theories and practices of photography, with a particular emphasis on the exchanges and mutual influences between art and fashion in the late twentieth century; and the enhancement of fashion heritage, with a specific interest in the use of immersive technologies within corporate archives and museums.

Marie Robert is Chief Curator of Heritage at the Musée d’Orsay, where she is responsible for photography and film. A specialist in the history of these media from the nineteenth century to the present, she has curated around twenty exhibitions informed by the social sciences and interdisciplinary approaches, including Misia, Reine de Paris; Splendeurs et misères. Images de la prostitution; Qui a peur des femmes photographes ?; Enfin le cinéma !; and Lili Grenier, un modèle et ses images.

After teaching the history of photography through a gender-based perspective at the École du Louvre, she co-edited in 2020, together with Luce Lebart, Une histoire mondiale des femmes photographes. In 2023, she undertook a research residency at the French Academy in Rome (Villa Medici), focusing on the emotional and sentimental uses of photography. She is the curator of the exhibition Gabrielle. Amour fou à la Villa Médicis, which will be presented at the Musée d’Orsay in October 2025.

Mette Sandbye is a professor of photography studies at the Department of Arts and Cultural Studies, University of Copenhagen. She has published numerous books and articles on contemporary art photography and photography as part of visual culture. She was the editor of the first Danish history of photography (Dansk Fotografihistorie, 2004) and coeditor (with J. Larsen) of Digital Snaps. The New Face of Photography (2014). More recent publications include: “A New Path to Visibility: The Role of Photography for Women during the Modern Breakthrough,” in Bech, I. M. & Rønberg, L.B. (eds.), Women Artists in Denmark 1880-1910 (2025); “In 1973: Family Photography as Material, Affective History”, in Parry, K. & Lewis, J. W. (eds.) Ubiquity: Photography’s Multitudes (2021). In april 2026, she and Sigrid Lien (eds.) will publish Striving for Independence. Nordic Women Studio Photographers, 1860-1920 with De Gruyter.

Carla Subrizi is Professor of Contemporary Art History at Sapienza University of Rome, where she also serves as Director of the School of Specialization in Art History and Heritage. She is co-editor of the journal Novecento Transnazionale. Letterature, Arti e Culture. She is President of the Baruchello Foundation and Scientific Director of the artist’s Catalogue Raisonné. Her research interests focus on post–World War II art history and on art historical methodologies in relation to feminism, ecology, and postcolonial studies. Her monographs include: Storia dell’arte e femminismo. Una questione aperta (Milan, 2025); Lorenza Trucchi. Fare subito storia (with B. Drudi, Pistoia, 2024); La storia dell’arte dopo l’autocoscienza. A partire dal diario di Carla Lonzi (Rome, 2020); Note a margine. L’arte come esperimento del sapere (Rome, 2020); Gianfranco Baruchello. Archive of Moving Images (with A. Rabottini, Milan, 2017); Azioni che cambiano il mondo. Donne, arte e politiche dello sguardo (Milan, 2012); Baruchello. Certe idee (Milan, 2011); Introduzione a Duchamp(Rome–Bari, 2008; 2024). Among her recent essays: Reduction and Anachronism in the Archive. The Small Systems of Gianfranco Baruchello, in E. van Alphen (ed.), Productive Archiving. Artistic Strategies, Future Memories, and Fluid Identities (Amsterdam, 2023); Contradictions and the Re-Invention of One’s Own Role: The Publishing House Scritti di Rivolta Femminile in the Life/Work of Carla Lonzi, in S. Hecker, C. Ramsey-Portolano (eds.), Female Cultural Production in Modern Italy. Literature, Art and Intellectual History (London, 2023); Narrazioni e memoria del totalitarismo: storia, frammentazione e montaggio nell’arte italiana del secondo dopoguerra, in F. Sinopoli, F. Baldasso (eds.), Eredità culturale e memoria dei totalitarismi (London, 2024); Conversation with Carla Subrizi, in S. Hecker, T. Kittler (eds.), Art and Intimacy in Modern Italy (London, 2025); Il Catalogo ragionato tra archiviazione e digitalizzazione: prospettive e metodologie di ricerca, in D. Dal Sasso (ed.), L’archivio di domani. Memoria, organizzazione umana, web (Bologna, 2025).

Mariko Takeuchi is a writer and critic of photography. She received an M.A. in Arts from Waseda University. In 2008 she received a Fulbright Grant. Takeuchi was also a guest researcher at the National Museum of Modern Art, Tokyo (2004-2009) and at the National Museum of Art, Osaka (2011-2014). She has organized numerous exhibitions, including the Spotlight on Japan of Paris Photo (2008) as guest curator, Japan section at Dubai Photo Exhibition (2016), and the touring exhibition titled I’m So Happy You Are Here: Japanese Women Photographers from the 1950s to Now which premiered at Rencontres de la Photographie d’Arles (2024) as co-curator. Published works include her bilingual collection of essays titled Silence and Image: Essays on Japanese Photographers and her translation (bilingual) of Disclosure: Rwandan Children Born of Rape by Jonathan Torgovnik among many others. She is a professor and the head of the Arts Major at the Graduate School of Kyoto University of the Arts.

Graduated in Semiotics at Alma Mater Studiorum University of Bologna with a thesis in Visual Studies, he is currently enrolled in the National PhD program ILF (Image, Language, Figure: forms and modes of mediation), Visual Culture curriculum, managed by the University of Milan in collaboration with Alma Mater Studiorum University of Bologna. His interests revolve around visual culture, particularly image theory and the relationship between images and technologies, images and algorithms. His research project focuses on Artificial Intelligence as a device for image generation.

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.

Giorgia Ravaioli is an adjunct professor of the history and theory of photography at both the University of Turin and ISIA Urbino, where she also serves as research coordinator. She holds a PhD in the history of photography from the University of Bologna. Her research focuses on photography in relation to feminist and archival theory, with a focus on critical aesthetics informed by intellectual history and material analysis. Since 2020, she has been a Fellow at the ’Fotografia Arte Femminismi’ (Photography, Art, and Feminisms) Research Centre. In 2022, she joined the Global Art Archive Research Group at the University of Barcelona and is currently part of the research team for the national project ’Italian Feminist Photography’, funded by the Italian Ministry of University and Research.

Benedetta Susi is a Ph.D. student in "Arts, History, Society" at the University of Bologna, Department of Arts, where she is collaborating on the PRIN project (2022 - 2025) "Italian Feminist Photography". She is also a Fellow of the Research Centre "Photography Art Feminism. Identity politics and gender strategies". In 2022, she earned her master's degree in Visual Arts from the University of Bologna, with a thesis on the 1970s "ghetto exhibitions". Her research interests range from photography to valorization of cultural heritage, from digitization practices to cataloguing, with a particular interest in gender studies and photography as a feminist practice. 

Chiara Tessariol is a PhD student in “Arts, History, Society” (XXXIX cycle) at the Department of Arts, University of Bologna, where she conducts research with gender and feminist perspective and collaborates on the PRIN 2020 (Research Projects of National Interest) Italian Feminist Photography. At the same university, she is a fellow at the Research Centre "FAF - Photography Art Feminism", a junior fellow at the International Research Centre "CFC - Culture Fashion Communication" and an editorial assistant at the "ZoneModa Journal". Her research interests focus on historical feminist photography and its legacy.