Art Historian Functionary, MiC (Ministry of Culture) - Directorate-General for Contemporary Creativity
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Member, Galleria Nazionale d'Arte Moderna e Contemporanea, Rome
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PhD, Sapienza University of Rome
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Member, Galleria Nazionale d'Arte Moderna e Contemporanea, Rome
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PhD, Sapienza University of Rome
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Papers by Paolo Castelli
In the field of contemporary art conservation, the artists’ experimentation on new materials and new media creates uncommon problems for the restorer, if added to the often conceptual nature of the work of art. The issues that conservation and handling of contemporary works raise are closely linked to the very nature of the work of art in the age of its technical reproducibility and this is even more true after the spread of participatory and relational forms of art.
One of the main problems in the approach to the protection of contemporary art by the Italian Ministry of Cultural Heritage in certain areas, such as Public Art and Street Art, consists precisely in the peculiar nature of some works, conceived from the very beginning as participatory and relational and therefore intrinsically ephemeral.
L’intervento intende presentare la storia parallela delle due opere, confrontandone la fortuna critica e le complementari vicissitudini collezionistiche e patrimoniali, nonché gli spettacolari spostamenti subiti e i diversi allestimenti realizzati per entrambe.
The essay tells the parallel stories of the plaster model and of the marble of Antonio Canova’s “Hercules and Lichas”, comparing their critical fortunes and the complementary collecting and patrimonial vicissitudes, as well as the spectacular movements they underwent and the many different setups realized for both.
Paolo Castelli è autore delle sezioni: Con la coda dell'occhio - L'indagine sul pubblico, pp. 104-105; Il questionario, pp. 112-124.
Thanks to archive documentary evidence still unpublished, the article reveals the way and the days in which Canova’s Hercules and Lichas reached the National Gallery of Modern Art in Rome.
Cardulli, M. S., Castelli, P. (2013), Bibliografia (a cura di), pp. 11-25;
The third volume of a series devoted to the extraordinary collections of the National Gallery of Modern Art in Rome lets the reader discover how some great artworks came to be part of its collection. It describes the ambience, the atmosphere, the political and cultural climate. Here discussed the works by Giorgio de Chirico.
The first volume of a series devoted to the extraordinary collections of the National Gallery of Modern Art in Rome lets the reader discover how some great artworks came to be part of its collection. It describes the ambience, the atmosphere, the political and cultural climate. Here discussed the works by Afro Basaldella.
The first volume of a series devoted to the extraordinary collections of the National Gallery of Modern Art in Rome lets the reader discover how some great artworks came to be part of its collection. It describes the ambience, the atmosphere, the political and cultural climate. Here discussed the works by Domenico Gnoli.
In the field of contemporary art conservation, the artists’ experimentation on new materials and new media creates uncommon problems for the restorer, if added to the often conceptual nature of the work of art. The issues that conservation and handling of contemporary works raise are closely linked to the very nature of the work of art in the age of its technical reproducibility and this is even more true after the spread of participatory and relational forms of art.
One of the main problems in the approach to the protection of contemporary art by the Italian Ministry of Cultural Heritage in certain areas, such as Public Art and Street Art, consists precisely in the peculiar nature of some works, conceived from the very beginning as participatory and relational and therefore intrinsically ephemeral.
L’intervento intende presentare la storia parallela delle due opere, confrontandone la fortuna critica e le complementari vicissitudini collezionistiche e patrimoniali, nonché gli spettacolari spostamenti subiti e i diversi allestimenti realizzati per entrambe.
The essay tells the parallel stories of the plaster model and of the marble of Antonio Canova’s “Hercules and Lichas”, comparing their critical fortunes and the complementary collecting and patrimonial vicissitudes, as well as the spectacular movements they underwent and the many different setups realized for both.
Paolo Castelli è autore delle sezioni: Con la coda dell'occhio - L'indagine sul pubblico, pp. 104-105; Il questionario, pp. 112-124.
Thanks to archive documentary evidence still unpublished, the article reveals the way and the days in which Canova’s Hercules and Lichas reached the National Gallery of Modern Art in Rome.
Cardulli, M. S., Castelli, P. (2013), Bibliografia (a cura di), pp. 11-25;
The third volume of a series devoted to the extraordinary collections of the National Gallery of Modern Art in Rome lets the reader discover how some great artworks came to be part of its collection. It describes the ambience, the atmosphere, the political and cultural climate. Here discussed the works by Giorgio de Chirico.
The first volume of a series devoted to the extraordinary collections of the National Gallery of Modern Art in Rome lets the reader discover how some great artworks came to be part of its collection. It describes the ambience, the atmosphere, the political and cultural climate. Here discussed the works by Afro Basaldella.
The first volume of a series devoted to the extraordinary collections of the National Gallery of Modern Art in Rome lets the reader discover how some great artworks came to be part of its collection. It describes the ambience, the atmosphere, the political and cultural climate. Here discussed the works by Domenico Gnoli.
Collana Lectures on Memory
Ministero per i Beni e le Attività Culturali - Direzione Generale Arte e Architettura contemporanee e Periferie urbane.