Elena Salza is a doctoral candidate in History of the Arts at Ca’ Foscari University, Venice. Her thesis focuses on the development and peculiarities of Italian art, seen through the lens of the literary and artistic activity of Mario Diacono from the 1960s to the 1980s. She examines in an interdisciplinary way artistic literature and visual culture, and investigates the cultural exchanges between Italy and the United States by studying the role that a revisitation of the historical avant-gardes has played in fostering artistic experiments during those decades.
Salza studied at the University Roma Tre in Rome and at the School of the Vatican Library. She has degrees in both the humanities and art history, with a postgraduate qualification in Library Science. She has worked at the Fondazione Alighiero e Boetti in Rome, and been a member of the research team for the National Research Project The Multiplication of Art/Visual Culture in Italy, and a member of the cataloguing team of the Harald Szeemann Archive at the Getty Research Institute. She also studied at the École de Printemps in Paris in 2012, and at the Digital Humanities Fall School, Venice in 2015. In 2016 she was a recipient of the Branca Research Scholarship at Fondazione Giorgio Cini, also in Venice. Her articles have appeared in L’Uomo Nero (2011); “Arte moltiplicata. L’immagine del Novecento italiano nello specchio dei rotocalchi” in Studi di Memofonte (2013); and Arte a Firenze 1970-2015 (2016).
For her CIMA Fellowship, she will be evaluating the historical circumstances leading to Alberto Savinio’s re-appraisal in the 1970s and 1980s. In this context, she will investigate the terms and modalities of the reception of Savinio’s visual and literary imagery as a source for Francesco Clemente’s painting, placing Savinio’s rediscovery within the framework of the growing critical attention given to some of the new positions in the field of contemporary art.
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.
Giulia Tulino is a Ph.D. candidate in contemporary art history at the University La Sapienza of Rome. Her thesis project, “La galleria dell’Obelisco e il surrealismo a Roma 1940-1960,” emerges from her interest in surrealism and the fantastic in Italian art during the first half of the 20th century, with a special focus on the contacts between Rome and New York. She is also currently an assistant professor for academic activities at the University La Sapienza of Rome. She has published two essays on the Obelisk Gallery in Rome: Dalla Margherita all’Obelisco: arte fantastica italiana tra Roma e New York negli anni ’40 (in the proceedings of the Irene Brin e l’Obelisco conference organized by Vittoria Caterina Caratozzolo, Ilaria Schiaffini e Claudio Zambianchi) and La galleria dell’Obelisco e il surrealismo a Roma 1944/1961: gli anni ’50, i rapporti con l’estero, le nuove generazioni post surrealiste (in the proceedings of In Corso d’Opera 2. Giornate di studio dei dottorandi di ricerca in storia dell’arte della Sapienza Università di Roma conference, Rome, 2016). As an independent curator, she has worked for both private galleries and public institutions including the MLAC (Laboratory Museum of Contemporary Art at La Sapienza University of Rome). From March 2015 she has served as the managing director and curator for the Jacorossi Collection in Rome, which holds some three thousand art works of Italian contemporary art, dating between the beginning of the 20th century to the present day.
At CIMA her research will examine the relation between Savinio the writer/critic and Savinio the painter, in connection with the legitimacy of an Italian “fantastic art.” Beginning from the art scene in Rome between 1943 and 1946 and the friendship between Savino and the artists who gravitated around the Obelisk Gallery, she aims to reconstruct a history of fantastical art in Italy and its promotion in the United States, particularly at the Julien Levy Gallery and later at the Hugo Gallery.