Caterina Caputo received her PhD from the University of Florence, where she also worked as a tutor and gave academic support for the course in History of Contemporary Art. Her dissertation, “Collecting, Displaying, Selling: Market Strategies and Dissemination of Surrealism between 1938 and 1950: the case of the London Gallery,” focused on the internationalization of Surrealism in the 1930s and 1940s, as well as on the role that Surrealists’ collections played in this context.
She has presented papers related to her research subjects in several international conferences in Italy, France, and the UK, and has published articles on Surrealism, Giorgio de Chirico, and collecting in journals such as Ricerche di storia dell’arte and Archivio dell’arte metafisica. In 2017 she participated in the Ecole de printemps (the International Consortium on Art History) and contributed to the Centre Pompidou Summer School with a topic concerning Surrealists’ collections. She also took part in academic research groups at the University of Florence, and in 2016 became a member of the Paul Mellon Centre Doctoral Research Network (London). Recently, Caterina has been awarded a postdoctoral fellowship at the Center for the History of Collecting at the Frick Collection.
For the CIMA Fellowship Caterina will examine the Rino Valdameri’s collection of Contemporary Italian Art, in particular focusing on the metaphysical artworks presented in this significant collection assembled during the 1920s and 1930s.
Carlotta Castellani is an Italian art historian and archivist specialized in nineteenth- and twentieth-century art. She obtained her PhD in 2016 in Art History, Literature and Cultural Studies in a joint program with the Universities of Florence and Paris IV Sorbonne. Her thesis explored “The myth of the artist and of the work in Balzac’s Le chef d’œuvre inconnu.” She is currently completing a book edited by Max Seidel with her collaboration on this subject.
Since October 2017 she has been an associate scholar at the Kunsthistorisches Institut in Florenz – Max-Planck-Institut, where, since 2009, she has been the scientific assistant of Max Seidel, working on exhibitions and publications of twentieth-century Italian art (Francesco Clemente. Winter Flowers in New York City, Siena, Complesso museale Santa Maria della Scala, 28 June – 2 October 2016).
Since 2014, she has been responsible for the ordering and analytic study of the historical archive of the German artist residency Villa Romana, founded in Florence in 1905 by the painter Max Klinger. She published the results of this study in her book Il Salone Villa Romana. Uno spazio espositivo internazionale nella Firenze anni Ottanta curato da Katalin Burmeister. Ricostruzione di un archivio (Gli Ori, 2017). Her recent publications also include a book on the German avant-garde journal G. Material zur elementaren Gestaltung edited in Berlin between 1923-1926 (G. Una rivista costruttivista nella Berlino degli anni Venti «G» di Hans Richter, Cleup, 2018).
Elisabetta received her PhD from the School of Art History at the University of St. Andrews, Scotland (2017), with a thesis titled The Seasons in the City: Artists and Rural Worlds in the Era of Calvino and Pasolini. Her research, supervised by Dr Alistair Rider and presented internationally in Canada, Croatia, Sweden, England, and Scotland, explored notions of rurality in postwar Italy through the diverse art practices of nine Italian artists.
Prior to her doctorate, Elisabetta studied history of art in Torino and Urbino, and completed a Masters in Landscape, Culture and Art Management (Trentino School of Management, 2011). Since then, she has produced, researched, and co-curated participatory and community-based art projects in both Italy (Cittadellarte – Fondazione Pistoletto onlus, 2011, 2012; Master dei Talenti della Società Civile, 2013-15) and Scotland (Deveron Projects, 2012; 2017-18).
For her CIMA Travel Fellowship, Elisabetta will visit archives and libraries in Rovereto, Milan, Rome, Florence, Cuneo, Treviso, and Parma to develop her doctoral thesis into a book. Influenced by Environmental Humanities discourses, her research aims at presenting an alternative art-historical narrative of the experimental artistic panorama of the 1960s and 1970s, one that brings the countryside into the picture of the Italian art scene at the time.