Antonio David Fiore
Antonio David Fiore passed his Viva in November 2017, completing a fully funded PhD in History of Art at the Open University (UK) supervised by Tim Benton and Susie West. His research focused on the output of the Italian decorator Giulio Rosso (1895-1976), reconstructing Rosso’s career while considering the significance of his practice in the context of the decorative arts of the interwar period. Between September 2017 and January 2018, he worked as Associate Lecturer at the School of Art and Design of the University of Bath Spa, where he taught “Art and Design since 1945.”
Antonio graduated in Heritage Studies at the Tuscia University of Viterbo and was awarded a post-graduate diploma by La Sapienza University of Rome. Between 2006 and 2010, he worked as Assistant Lecturer for the Industrial Archaeology and History of Architecture course of the Faculty of Heritage Studies, Tuscia University, Viterbo. As an art historian researcher and cataloguer, Antonio has worked for various galleries and museums in Rome, including the Galleria Nazionale d’Arte Moderna, Museo della Centrale Montemartini, and Musei Vaticani – Modern Art Collection. He has contributed articles, studies, and catalogue entries to a number of different journals, conference proceedings, exhibition catalogues, and books. His monograph on the history of the Centrale Montemartini former power plant in Rome is to be published in summer 2018.
Antonio’s research at CIMA will focus on the Mario Sironi paintings gifted by Emilio and Maria Jesi to the Pinacoteca di Brera. Created between 1918 and 1920, these works are a testament Sironi’s engagement with pittura metafisica and demonstrate the artist’s troubled elaboration of a personal and original interpretation of the movement. The project will result in a detailed catalogue entry for each of painting, which will serve as references for Brera’s curators and researchers once the works go on view in the newly refurbished Palazzo Citterio.
Erica Bernardi received her Ph.D. from the University Ca’ Foscari in Venice. Her research focuses on Franco Russoli, the art historian, museologist, and director of the Pinacoteca di Brera in Milan; most recently she published the book Senza utopia non si fa la realtà. Scritti sul museo 1952-1977, based on her PhD dissertation. She is currently the curator of the Franco Russoli archive and collection, as well as collaborating with the Brera on historical research projects, and coordinating a work team regarding contemporary museology for ICOM – Italy.
After a specialization thesis on Gaudenzio Ferrari and the North Italian Renaissance, she ended up studying the criticism of the twentieth century—catalyzed by her work with Russoli’s archive. Her first project was the catalogue of La Raccolta Berenson (1962); during an internship at Villa I Tatti, Harvard University, she developed what became La nascita del Fogg museum nella corrispondenza Forbes-Berenson (1915-1928). She also catalogued and put online historical photographs from Berenson’s family archive.
During the fellowship Erica will examine the figure of Lamberto Vitali, as a critic and art collector, in relation to those artists he especially appreciated and which are featured in CIMA 2018-19 Metaphisical Masterpieces exhibition: Morandi, Carrà and Sironi.
Valeria Federici is a PhD candidate In Italian Studies as well as an MA student in History of Art and Architecture at Brown University, Providence, RI. Her interdisciplinary PhD thesis project, entitled “Network culture in Italy in the 1990s and the making of a place for art and activism,” explores how contemporary art practices, political activism, and information technology intertwine. In particular, her project focuses on political activism in Italy after 1989 and the use of information as an artistic medium. Valeria’s research interests revolve around themes of sovereignty, space, social movements, cultural identity, technology, and art. She graduated in Letters with a concentration in History of Art from the Università Roma Tre in Rome, Italy, with a thesis that explored the role of local and central government in controlling the cultural representation through the Museo Artistico Industriale (Applied Art School) and through initiatives such as the Universal Exposition held in Rome in 1911 to celebrate the fiftieth anniversary of the unification of the Italian kingdom. She has curated independent art projects and participated in several guest lectures and roundtables about arts management, art and activism, and the role of cultural institutions in place-making and community-building in post-industrial cities. As an independent art editor she published exhibition reviews, book reviews, and artist interviews for different magazines and online publications including The Oxford Art Journal. Her recent research projects include a study of the representation of women in Italian TV and cinema in the 1950s to be published in the volume Female Identity and Its Representations in the Arts and Humanities: Neoclassic to Twenty-first Century (Cambridge Scholars), and an investigation over the possibilities of exploring, displaying, and interacting with old and new digital artworks and artifacts. With the collaboration of the Center for Digital Scholarship at Brown University, she has completed a digital interface that explores the relationships between the Garibaldi Panorama (a painting, two hundred sixty feet in length, which has been digitized at Brown University) and the visual and textual materials collected in the Harvard Risorgimento Preservation Collection. She is a Research Team Associate for the project The Garibaldi Panorama and The Risorgimento at Brown University.
For her CIMA travel fellowship, Valeria will conduct research related to her dissertation in archives and other sources in Florence, Prato, Rome, and Venice. In particular, she is focused on studying the transformation of a former military fort located in Rome into a site for art and activism, through three spatial narratives—geographical, political, and relational.