Conferences and Seminars Archives - Page 2 of 12

Expats-Foresti. Foreigners in Venice in the Modern Age. A Fluctating Population

The Institute for the History of the Venetian State and Society in collaboration with the Deputazione per la Storia Patria per le Venezie, the RiVe Study Center of the Department of Philosophy and Cultural Heritage of Ca’ Foscari University Venice and the Groupe de Recherche d’Histoire of the Université de Rouen Normandie is proposing a conference dedicated to foreigners in Venice in the modern age.

The program sees a rich harvest of papers, divided into four thematic sessions and spread over three days, two of which are at the Fondazione Giorgio Cini.

The sessions cover Nations/Communities/Esilii (with Elisa Andretta, José Pardo Tomas, Isabella Cecchini, Alessia Ceccarelli, Katerina B. Korrè, Igor Melani, Alana Mailes); Religious Alterities/Dissensions (with Magnus Ressel, Mario Infelise, Rachele Scuro, Marija Andrić, Bruno Pomara Saverino); the Structures/Institutions/Interactions (with Jean-François Chauvard, Rosa Salzberg, Sandra Toffolo, Massimo Galtarossa, Teresa Bernardi, Francesco Zambonin); the Biographies (with Claudia Terribile, Flavio Rurale, Despina Vlassi, Vittorio Mandelli).

The speakers come from a variety of universities and research institutions: University of Udine, CNRS Paris, CSIC Barcelona, CNR-ISEM Rome, University of Rome-La Sapienza, University of Patras, University of Florence, Trinity College Cambridge, Universität Bremen, University Ca’ Foscari Venice, Istorijski institut Beograd, Universitat de València, Université Paris 1 Panthéon-Sorbonne, University of Trento, University of St Andrews, University of Padua.

Vetro e Arti Decorative alla Biennale di Venezia. 1912–1930

In conjunction with the exhibition at Le Stanze del Vetro on the presence of Murano art at the Venice Biennale from the start of the twentieth century, the Glass Study Centre brings together glass historians and experts to explore various aspects of this extraordinary event. At the centre of the conference are not only the key figures of Venetian glass art and the critical
success of some of the most iconic works, but also the choice of colours and shapes made by the likes of Hans Stoltenberg Lerche, Teodoro Wolf Ferrari, Guido Balsamo Stella and Vittorio Zecchin.

h 9:30am | Free entry until capacity is reached
Download the program

Tomaso Buzzi, the Architect of Vittorio Cini

Valerio Terraroli, professor at the University of Verona and one of the leading scholars of the work of the brilliant and visionary architect Tomaso Buzzi from Lombardy, will speak at a conference held at the Castle of Monselice at 11:00 AM. During the lecture, he will discuss the special relationship between Tomaso Buzzi and Vittorio Cini. He will particularly focus on the work done for the Villa di Montericco, the Gallery of Palazzo Cini in Venice, and another prominent historical residence owned by Cini: the monumental complex of the Castle of Monselice and Villa Duodo Balbi Valier, for which the archive of the Institute of Art History preserves “thoughts,” designs, and original sketches.

The bond between Vittorio Cini and the brilliant and visionary architect Tomaso Buzzi (1900-1981), once described as “the most cultured of architects”, was a long-standing and affectionate one, originating from Buzzi’s established friendship with Count Cini from the 1930s, when the architect worked on the interior design of Cini’s Villa di Montericco in Monselice (1938-1942). These were the years of Tomaso Buzzi’s full professional success in the field of private architecture: he was a cultured designer, a respectful restorer, and a refined creator of homes and gardens for the rising bourgeoisie and the most progressive aristocracy. He became a sensitive arbiter of elegance, capable of blending sophisticated historicism—rich with antique references and ‘style’ setting with the Novecento and Art Deco influences of 1920s Milan. Among his many clients, the elite of the economy, politics, culture, and intellectual circles, many had ties to Vittorio Cini through business, friendship, intellectual relations, and collecting: from the Volpi di Misurata family to the antique dealer Alessandro Contini Bonacossi, from Minister Giovanni Gentile to the bibliophile and scholar Tammaro de Marinis. For Cini, Tomaso Buzzi was the architect of choice, able to give form to the desires for renewal expressed in numerous residences. In the early 1940s, alongside the furnishing and arrangement of the Villa di Rimini, Buzzi began his first interventions to modernize and update Cini’s residence on the Grand Canal, Palazzo Cini. This path culminated between 1956 and 1958 with the creation of the neoclassical oval drawing room, designed to scenographically display the 18th-century Cozzi porcelain service, and the famous spiral staircase.

The harmonious relationship between Buzzi and Count Cini, and with the Foundation established in 1951 on San Giorgio Island, led the architect to donate 138 drawings to the Cini Foundation. These included capricci, views, phantasmagorias, scenes of Venetian fêtes, ceremonies, and concerts, recently exhibited in the 2021 show Venezia è tutta d’oro. Tomaso Buzzi: disegni “fantastici” (1948–1976), curated by Valerio Terraroli, held in the evocative spaces of the Longhena Library, marking forty years since the passing of this key figure in modern Italian taste.

11:00 AM | Download the invitation.

Strategy Innovation Forum | ARTI-FACTS Alla ricerca dell’impresa totale

Since 2015, SIF – Strategy Innovation Forum – has been bringing together the only Italian think tank on strategic innovation every year in Venice.

Arti-facts. In search of the total enterprise is the theme of SIF 2024 to be held on 11 October 2024 at the ‘Lo Squero’ Auditorium of the Giorgio Cini Foundation on the Island of San Giorgio Maggiore.

The Forum involves entrepreneurs, managers, professionals, academics and political figures in order to create and disseminate knowledge and relationships, in favour of the transformation of the entrepreneurial system.
Strategy Innovation Forum was created with the aim of bringing the business world closer to the academic world, making scientific research available to businesses and bringing the topic of innovation, specifically strategic innovation, closer to entrepreneurs.

Each edition of SIF is conducted around a scientific research developed under the scientific direction of Professor Carlo Bagnoli of the Department of Management, and other Departments of Ca’ Foscari University, which analyses the possible impact of social and technological innovations on business models.
Are there similarities between the work of the entrepreneur and that of the artist? And how can the art world be an inspiration for the business world?
To try to answer these questions, SIF 2024 aims to explore the role of the arts as a catalyst for innovation in the corporate landscape.

The first part focuses on the visionary perspective of the arts, exploring how it can shape present, past and future scenarios that will guide businesses in new strategic directions, thus defining their role in a rapidly changing environment.
The second part will explore the link between art, corporate identity and strategic innovation. In particular, by defining the characteristics of the ‘total enterprise’, an attempt will be made to understand how art can become a structural element for change, capable of acting on every dimension of the enterprise and generating cultural and social value.

h 9:30am – 8:30pm | Admission by invitation only.

Dimensions of Current Compositional Practice: The Composers’ Perspective in Dialog with Musicologists

One of the distinctive features of twentieth-century musical culture is the intense publishing activity of its composers. A significant part of this is the theoretical reflection that can be manifested in didactics, conferences, radio and television broadcasts, articles for newspapers and magazines as well as treatises. Such reflection reveals the horizon of starting questions from which composers conceived and created their works; it also refers to the general context of music theory and to the even more general context of the history of thought.

This event takes its cue from the Leçons de musique that Pierre Boulez held at the Collège de France over the years 1976-1995; in the various cycles of lectures, the composer addressed the fundamental nodes of twentieth- century compositional technique from a historical and retrospective perspective, presenting not only his own view of the historical process but also providing a series of valuable stimuli for musicological exegesis.
From this model, the historical approach may be derived first and foremost, as well as the investigation of compositional questions right from
their origins and the various answers they received over the decades. In contrast to the ex cathedra approach of Boulez’s lectures, the conference intends to adopt a dialogical approach at various levels. The concepts of form, instrument, sound and timbre will be discussed alternately by two composers who have been at the centre of international interest for decades thanks to their works, their teaching and publishing activities: Agostino Di Scipio and Marco Stroppa. In turn, they will establish a dialogue with Mark Delaere and Ulrich Mosch, internationally renowned musicologists with a wealth of music theory, as well as with a group of young composers and musicologists.
The event will conclude with a concert by the mdi ensemble performing works by the two composers.

Repatriating/Rematriating sounds: a (digital) challenge for XXI-Century Sound Archives

The concepts of repatriation and rematriation are crucial for contemporary sound and audiovisual archives that preserve music of oral tradition. Indeed, these concepts are at the core of important issues in the contemporary debate of the ethnomusicological discipline, such as the processes of decolonization, the development of a participatory, shared, dialogic ethnomusicology, the accessibility of sources through new technologies, the historical dimension of research on music of oral tradition and the use of archival recordings for educational purposes.

Ethnomusicology has been concerned with repatriation for more than three decades. Recent technological, economic, and sociocultural changes, however, have brought forth new questions that call ethnomusicologists to engage in profound reflection. Who are the subjects (individual or collective) entitled of repatriation projects in a global context in which the bonds between territories, ethnicities, languages, and religions are becoming increasingly nuanced? Who holds the rights over the documentation of the past? How do local and global access to archival collections relate to each other in the age of the Web? How can cultural institutions balance the interests of entitled individuals with their mission of public service and make the repatriation and rematriation actions economically sustainable?

The seminar aims to provide an overview of the most up-to-date theories and research methodologies on the topic, but also, and especially, to present some significant good practices that are being implemented today in the perspective of a public ethnomusicology.

Scientific Committee:

Giovanni Giuriati, Fondazione Giorgio Cini
Gianluca Chelini, Università di Roma “La Sapienza”
Costantino Vecchi, Università Ca’Foscari Venezia

Download the programme

Neapolitan Mediterranean, Venetian Mediterranean

The seminar aims to highlight two perspectives and ways of being a Mediterranean state through the prism of medieval and modern history. Venice and Naples are two great capitals of the ancient sea and are above all two
unique places, cities that were able to express their own specific civilisations.
They are states located in the heart of the Mediterranean, both on the border with different worlds. The Kingdom of Naples and the Republic of Venice are also, in their own way, declinations of the history of Italy, the
history of the Mediterranean and indeed of Europe. The seminar is also a proposal to examine the inverse, Mediterranean perspectives of these civilisations.
The approach is thus comparative, intertwined with wide-ranging visions and interpretations of history and culture.

On the occasion of the seminar, the latest issues of Studi Veneziani, published by the Institute for the History of the Venetian State and Society, will be presented.

Materiality at the Intersection of Ecology and Religious Studies

The conference is organized jointly by the Giorgio Cini Foundation (the Centre for Comparative Studies of Civilisations and Spiritualities), Ca’ Foscari University of Venice (THE NEW INSTITUTE Centre for Environmental Humanities – NICHE, Center for the Study of Lived Religion, and Department of Asian and North African Studies), University College Dublin (Irish Research Council Government of Ireland), and Harvard Divinity School (Center for the Study of World Religions).

In this international, cross-disciplinary conference, we aim to investigate the literary, philosophical, anthropological, and political aspects of an ecological rematerialisation of religions and spiritualities, in dialogue with the ever-growing academic production related to the connection between religious thinking and environmental praxis.

Download the programme of the conference here.

Admission is free upon registration on Eventbrite:

-Registration for the Conference “Materiality at the Intersection of Ecology and Religious Studies” 21 – 23 May 2024

-Registration for the Film Lagunaria at Cinema Giorgione 22 May, 18:00 -20:00

For questions about availability, please contact: civilta.comparate@cini.it

Singing in the pool, with masks

The seminar Singing in the pool, with masks organised in collaboration with the Théâtre Performance et Societé of the Université Paris 8 and the École Universitaire de Recherche ArTeC – Nanterre, will be held from 5 to 7
March. During the seminar, financed by ANR (Agence Nationale pour la Recherche de France), both theoretical and practical teaching on the use of the mask in theatre, with particular reference to aquatic environments,
will be offered to the students of the University of Nanterre. During the Venetian meeting, which follows an initial seminar held in Paris, curated by Isabelle Moindrot and Giulia Filacanapa, participants will be able to
work on a selection of graphic and pictorial materials conserved in the various archive funds of the Institute for Theatre and Opera. The Institute will also be involved in a series of lectures on the history of contemporary
theatre and the theatrical heritage held at the Fondazione Giorgio Cini.

Accademia Vivaldi 2024. Masterclasses on the interpretation of the music of Antonio Vivaldi

In 2024, the advanced Masterclasses on the performance of Antonio Vivaldi’s music will continue in six encounters lasting three to four days each.
Over the course of the year, there will be six appointments dedicated to singing (sacred vocal music, secular vocal music and musical drama), held by Gemma Bertagnolli and Gianluca Capuano and one appointment
dedicated to the basso continuo, to be held by Antonio Frigé. The Masterclasses will take place on the following dates: 20 to 22 March, 8 to 11 April, 8 to 11 May, 12 to 15 June, 3 to 6 July 2024. The ten selected students
and scholarship winners will have the opportunity not only to enhance their own interpretation, but also to explore musicological aspects of the pieces examined, thanks to lectures given by musicologists in partnership
with the Italian Antonio Vivaldi Institute and with the research group La drammaturgia musicale a Venezia (1678–1792) of the Fondazione Ugo e Olga Levi. There will be a concert at the end of each of the encounters.
In February, prior to the start of the courses, an appointment will be held by Federico Maria Sardelli, entitled “Interpretare Vivaldi a partire dai suoi manoscritti” (‘Interpreting Vivaldi on the basis of his manuscripts’),
providing an introduction to the subsequent courses, aimed at instrumentalists, singers, conductors and musicologists who wish to enhance their understanding of the performance practices of Vivaldi’s music through
the study of his manuscripts and the many interpretative notes to be found therein. More than any of his contemporaries, Vivaldi was the composer who littered his scores with invaluable indications for the performer.
Gathering them from all his manuscripts, learning how to interpret them and contextualise them is of great help to performance practices, providing answers to many questions and allowing us to correct numerous errors
and misunderstandings of our time.

The courses will be held on the following dates:

March 20 – 23
Thursday, March 20 at 5 p.m. there will be a lecture at the Giorgio Cini Foundation organized in collaboration with the Levi Foundation

April 8 – 11

May 8 – 11

Singing (Gemma Bertagnolli)

Thursday, May 9 at 6 p.m. there will be a lecture by Professor Lucio Tufano (University of Palermo) organized in collaboration with the research group La drammaturgia musicale a Venezia (1678-1792) of the Ugo and Olga Levi Foundation.

June 12 – 15

Singing (Gianluca Capuano)

The course will be dedicated to Antonio Vivaldi’s Drammi per musica; concluding concert open to the public on Friday, June 14.

July 3 – 6

Singing (Gemma Bertagnolli)

The meeting will be entirely dedicated to the serenade La Senna Festeggiante, RV 693 so all the pieces presented must be taken from this work; in addition, all admitted singers will have to prepare the three choruses of the serenade (the initial one and the two concluding ones of the first and second parts).

The course will conclude with the performance of the Serenata in a public concert.