Papers by Camilla Salvaneschi
Cristina Baldacci, Clarissa Ricci, and Angela Vettese (eds.), Double Trouble in Exhibiting the Contemporary: Art Fairs and Shows (Milan: Scalpendi Editore, 2020), 2020
Looking at a number of case studies that encompass Flash Art, Frieze, and Gagosian Quarterly, as ... more Looking at a number of case studies that encompass Flash Art, Frieze, and Gagosian Quarterly, as well as the magazine of La Biennale di Venezia and the documenta magazines (1997-2017) the paper aims to analyse the role of the art magazine within the contemporary art system. It shows the many ways through which the magazine has expanded its scope, from vehicle to promote and disseminate local and international critical dialogue, to a means indispensable for the process of artistic and institutional legitimation, and for the market.
Art Margins Online, Apr 30, 2022
The dissertation focuses on the magazines published by biennial exhibitions, herein called exhibi... more The dissertation focuses on the magazines published by biennial exhibitions, herein called exhibition magazines. Departing from the analysis of the periodic relationship between magazines and biennials, I look at the two formats in tandem, as temporal constructions— whose existence extends between the past and the future, whilst existing in the present—in a continuous tension between becoming (ephemerality) and unbecoming (institutionalisation), which is, I argue, the very feature that allows them to engage with contemporary art and contemporaneity’s own becoming. Representing the dual drive between becoming and unbecoming, the exhibition magazine serves to disseminate the biennial through space and time, acting not only as a promotional tool, but as a vehicle through which the exhibition’s temporality is narrowed and transformed to engage with contemporaneity and audience. I depart from an historical-chronological perspective to consider the first three exhibition magazines: la biennale published by the Venice Biennale between 1950 and 1971, the documenta journals which have been revived with different formats at every new iteration of the show since 1997, and the Manifesta Journal published by Manifesta between 2003 and 2014. Building on the case studies, alongside a practice-based approach comprising of the development of an art periodical database and the launch of a journal devoted to the study of art’s ostensivity and exhibitions, titled OBOE (On Biennals and Other Exhibitions), I have been able to demonstrate the intricate—at times submissive, at others mutinous—relationship between magazines and biennials and how they both come to define contemporary art and engage with contemporaneity’s demands. Indeed, I argue that while these magazines are a niche within the niche of art periodical studies, they have become exemplary in representing the relation of mutual servitude between magazines and the art system at large.
Creativity and Cognition, 2021
![Research paper thumbnail of The Magazine la biennale: Articulating a Model for Periodicals Published by Recurring Exhibitions [paper]](https://attachments.academia-assets.com/64195032/thumbnails/1.jpg)
OBOE Journal, vol. I, no. 1, 2020
The first biennial that published a magazine was the Venice Biennale. The magazine la biennale di... more The first biennial that published a magazine was the Venice Biennale. The magazine la biennale di Venezia was published from 1950 to 1971. It was conceived as an institutional instrument, to keep the audience of the show informed about the activities of the Biennial during the year. The magazine had the mission to engage in the activities organized by the institution, and discuss and examine all the disciplines at the core of the Biennials program, which meant not only art, but also cinema, fashion, music and theatre. The magazine la biennale pursued the same international intents as the exhibition, becoming a site of network and exchange between different nations, as well as a medium to foster local and international critical dialogue. During the almost twenty years of its existence the publication evolved from informative instrument, which included lists of artworks sold during the editions of the biennial, alongside lists of new acquisitions of the biennial's archive, into a container for critical thought and theory.
![Research paper thumbnail of Contemporary Art Magazines: The Archive in the Archive [essay]](https://attachments.academia-assets.com/64199629/thumbnails/1.jpg)
in Meghan Forbes (ed.), International Perspectives on Publishing Platforms: Image, Object, Text (New York, Routledge), 2019
The essay examines the mutual relationship between art magazines and archives, and the many forma... more The essay examines the mutual relationship between art magazines and archives, and the many formats a magazine’s archive may assume. As both the magazine and the archive are spaces for storage and repositories of documents, mutable in time, the magazine’s archive, then becomes an ‘archive in the archive.’
The digital era has provided art magazines, around the world, with new means to investigate the archive. By collecting, preserving, and creating narratives, the archive becomes one of the magazine’s vehicles to pursue historical legitimacy.
The magazines and periodicals taken into consideration, are all driven by deep archival respect. In the case of the Brooklyn based magazine Cabinet, the archive is a mnemonic apparatus and an organic continuation of the magazine itself. The archive is the response to the editors’ urge to collect, order and catalogue all the materials produced. With Chimurenga, a South African “platform of writing, art and politics,” the archive assumes the format of an online Library. Questioning its role, the archive becomes a site of self-reflection and networking, that grows new visions, and provides a map of art periodicals in Africa. Field Notes, was an e-journal launched in 2012 by Art Asia Archive, with the aim of analyzing what it means for an archive to document contemporary art in non-Western regions.
All these cases aspire to understand the archive’s potential to stretch boundaries, produce and distribute knowledge, create new narratives, and ultimately, inspire historical study.
... Salvaneschi, Camilla (2009) La creation du monde 1923: una collaborazione tra Blaise Cendrars... more ... Salvaneschi, Camilla (2009) La creation du monde 1923: una collaborazione tra Blaise Cendrars e Fernand Leger. [Laurea triennale]. Per questo documento il full-text online non è disponibile. ... Codice ID: 21910. Relatore: Bartorelli, Guido. Data della tesi: 2009. ...
Publications by Camilla Salvaneschi
OBOE Journal , 2020
Editorial_OBOE Journal aims to be an observatory, to become a platform for discussion, to researc... more Editorial_OBOE Journal aims to be an observatory, to become a platform for discussion, to research and elucidate the ostensive moment of the artistic act. Borne out of the specificity of exhibition studies and with a particular focus on periodic exhibitions, the journal continues to expand its scope towards the exhibitionary in a broader sense. This includes the moment of exposition, when the artwork, understood as an activator of multiple layers of perception-sensory, ideational, bodily, spatial, temporal, memorial, cultural, economic, political, and more-composes our experience of the infinitely complex contemporary moment. OBOE's approach involves tracing trajectories and examining relationships between actors in evolving assemblages. Exploring the connections between art and the general audience, discussing the dimension of the art market, reflecting on the emergence of diverse cultures, analysing the role of the media, as well as understanding politics and governmental strategies, which converge to varying degrees when defining the ostensive manifestation of the artwork. OBOE Journal also arose from the necessity of building a bridge between nodes, and of understanding the layered intersections that emerge in exhibitions. The journal addresses multiple disciplines, whilst taking into account a number of heterogeneous subjects that partake in our aesthetic and visual experience today. OBOE Journal aims to become a scholarly laboratory, where topics that are urgent in this field may be further investigated and re-mediated. Writing art history, and especially exhibition history, demands new methodologies, and we envisage the malleable space of a recurrent journal germane for investigating and rewriting this evolving discipline. For this reason, alongside an open thematic approach, we have decided to publish special issues on specific topics that will recur over time. These editions aim to become methodological tools for an in-depth study of art and the exhibitionary. We chanced upon the title OBOE as an acronym for our subtitle 'On Biennials and Other Exhibitions'. Over time it sedimented and became familiar. We were intrigued by the fact that it alluded to music, and the act of playing and performing, as something entailing participation and evolution. The oboe is an instrument, and by nominating the journal as such we foresee it becoming an accompaniment to those scholars who remain devoted to studying the theory and practice of these contemporary-but never reductively contemporary-exhibition-ary formats.
Stenberg Press, 2018, 2018
Contemporary Research Intensive was an event organized in the context of the 57 th Venice Art Bie... more Contemporary Research Intensive was an event organized in the context of the 57 th Venice Art Biennale to investigate the concept of "contemporaneity." Gathering together artists/ curators/researchers through an open call, we asked how the temporal complexity that follows from the coming together of different temporalities in the same present could be made known in the context of contemporary art research, and particularly through practices that involve exhibitionary forms. The book is both part and the result of the intensive sharing of ideas to produce something that captures the spirit of both the discussions at that time and the publication process as a temporal form.
Conferences by Camilla Salvaneschi
3 May 2022
This roundtable devoted to the state of art publishing in Eastern Europe in times of ... more 3 May 2022
This roundtable devoted to the state of art publishing in Eastern Europe in times of crisis, including the Covid-19 pandemic and Russia ongoing war against Ukraine. Participants include Corina Apostol, Artleaks Gazette (LT); Gergely Nagy, A mű (The Artwork) and East Art Mags (HU); Lýdia Pribišová, Flash Art Czech & Slovak Edition (SLO), and Piotr Słodkowski, Miejsce (PL).
The roundtable is introduced by Angela Vettese (Università Iuav di Venezia), Sven Spieker and Susan Snodgrass (ARTMargins Online).
The event is curated and moderated by Camilla Salvaneschi (Università Iuav di Venezia) within the cycle of meetings "Fare Riviste: Avventure, oggetti, teorie".
The roundtable is occasioned by the launch of the Eastern European Art Periodicals Map, an interactive online map developed by a team of international researchers over four years.
n, 2017
The exhibition and conference "FIAMME. Fifty Contemporary Magazines: art, fashion, architecture a... more The exhibition and conference "FIAMME. Fifty Contemporary Magazines: art, fashion, architecture and design" looks at the contemporary periodical publishing scene with special attention to art, fashion, architecture and design magazines. These magazines are on paper and cover niches and specificities. The exhibition unfolds fifty international titles, born in the new millennium, specifically in the last ten years, after the economic crisis which occurred between 2007 and 2008.
“Documents, Documenter, Documentaire” Università Iuav di Venezia con labdoc – UOAM. Technès –Université de Montréal, Concordia University, Université catholique de Louvain, 6 March 2018
![Research paper thumbnail of Between Exhibition and Fair: Entre chien et loup [chair & organiser ]](https://attachments.academia-assets.com/64076016/thumbnails/1.jpg)
Università degli Studi di Bologna and Iuav University in Venice, Bologna, 2-3 February 2018
International conference curated by Angela Vettese, Clarissa Ricci, Cristina Baldacci, Camilla Sa... more International conference curated by Angela Vettese, Clarissa Ricci, Cristina Baldacci, Camilla Salvaneschi)
With: Gwen Allen (San Francisco State University), Bruce Altshuler (New York University), Lorenzo Balbi (MAMbo, Bologna), Stefano Baia Curioni (Università Bocconi), Stephanie Bailey (Ibraaz/Ocula), Suzette and Brendon Bell-Roberts (Art Africa), Cathryn Drake (Freelance Writer/Editor), Jörg Heiser (Universitӓt der Künste Berlin/Frieze), Jens Hoffmann (The Exhibitionist), Jacob Lund (Aahrus University), Moky May (ArtReview), Jean Minguet (Artprice), Gean Moreno (ICA, Miami), Roberto Pinto (Università degli Studi di Bologna), John Rajchman (Columbia University), Antonio Scoccimarro (Mousse), Terry Smith (University of Pittsburgh), Chiara Vecchiarelli (École Normale Supérieure, Paris/Università Iuav di Venezia), Marianne Wagner (LWL-Museum, Münster, Cesare Biasini Selvaggi (Exibart), Roberto Casamonti (Collezione Casamonti), Cristina Casero (Università degli Studi di Parma), Stefano Monti (Partner Monti & Taft), Silvia Simoncelli (NABA), Federica Veratelli (Università degli Studi di Parma)
In recent years, large-scale exhibitions and art fairs have become more alike, although they have been long considered two distinct, and to a certain extent, opposite formats. Establishing the boundaries between what, in the contemporary art world, is a cultural or commercial event presents as many complexities as the value estimation process of artworks and artists.
Production, circulation, and reception of artworks are, in fact, part of an osmotic mechanism, which allows a permeability between what is part of an exhibition and what is brought on the market. With distinctions, today’s scenario resembles that of the late 19th century, when there wasn’t an ethical boundary between culture and market, and institutions such as the Venice Biennale had an ordinary Sales office.
The conference intends to analyze the modalities and reasons that have led to the change taking place within the art system, where the differences between biennials and art fairs seem to disappear, just as when dusk settles, between dog and wolf, “entre chien et loup”. In these two days of meetings with scholars, curators, artists, editors, and gallerists, the discussion will focus on three main themes: exhibition strategies, the role of the media, and the circulation of artworks. To each of these complementary themes, a single panel is reserved.
Fairs and Biennials: A Couple or Sisters?
curated by Clarissa Ricci
Art Magazines: Privileged Observers or Instruments of the Institution?
curated by Camilla Salvaneschi
Impermanence: What Happens When the Artwork is Gone?
curated by Cristina Baldacci
Organized Events by Camilla Salvaneschi
Silver Rights is a research project by artist Elena Mazzi in collaboration with Mapuche spiritual... more Silver Rights is a research project by artist Elena Mazzi in collaboration with Mapuche spiritual leader, silversmith, and activist Mauro Millán, and Argentinian artist Eduardo Molinari. The project explores the resistance of the Mapuche people against neo-colonialism, focusing on the ancestral bond between the communities and their land (mapu). This bond has been eroded and denied by colonizing forces that have mutated over the centuries, gradually establishing themselves in recent decades through neo-extractivist practices, which are the result of a settlement process stemming from the convergence of investment policies and commercial agreements between South American governments and foreign multinationals, including the Italian company Benetton.
The work specifically responds to the narrative proposed by the Leleque Museum, an anthropological museum opened in 2000 on lands owned by Benetton. The museum’s operation is problematic, as it portrays the Mapuche people as an extinct culture rather than one that is alive and active in the disputed territory, effectively ‘musealizing’ their memory and material culture.
Mazzi addresses this conflict by engaging in dialogue and supporting the dense network of relations that the Mapuche community has been consciously curating for many years. This approach involves building and maintaining relations between different political and cultural subjects while also being implemented in their cosmovisions as a form of radical mediation between land, human, and more-than-human beings.
Silver Rights will be related to Poc and Encounters, two new video works by the artist on view at Ca' Pesaro, in the context of the series of solo exhibitions "Italian Polyphonies," curated by Camilla Salvaneschi and Angela Vettese.
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Papers by Camilla Salvaneschi
https://artmargins.com/east-art-map/
https://artmargins.com/artmargins-online-eastern-european-art-periodicals-map/
The digital era has provided art magazines, around the world, with new means to investigate the archive. By collecting, preserving, and creating narratives, the archive becomes one of the magazine’s vehicles to pursue historical legitimacy.
The magazines and periodicals taken into consideration, are all driven by deep archival respect. In the case of the Brooklyn based magazine Cabinet, the archive is a mnemonic apparatus and an organic continuation of the magazine itself. The archive is the response to the editors’ urge to collect, order and catalogue all the materials produced. With Chimurenga, a South African “platform of writing, art and politics,” the archive assumes the format of an online Library. Questioning its role, the archive becomes a site of self-reflection and networking, that grows new visions, and provides a map of art periodicals in Africa. Field Notes, was an e-journal launched in 2012 by Art Asia Archive, with the aim of analyzing what it means for an archive to document contemporary art in non-Western regions.
All these cases aspire to understand the archive’s potential to stretch boundaries, produce and distribute knowledge, create new narratives, and ultimately, inspire historical study.
Publications by Camilla Salvaneschi
Conferences by Camilla Salvaneschi
This roundtable devoted to the state of art publishing in Eastern Europe in times of crisis, including the Covid-19 pandemic and Russia ongoing war against Ukraine. Participants include Corina Apostol, Artleaks Gazette (LT); Gergely Nagy, A mű (The Artwork) and East Art Mags (HU); Lýdia Pribišová, Flash Art Czech & Slovak Edition (SLO), and Piotr Słodkowski, Miejsce (PL).
The roundtable is introduced by Angela Vettese (Università Iuav di Venezia), Sven Spieker and Susan Snodgrass (ARTMargins Online).
The event is curated and moderated by Camilla Salvaneschi (Università Iuav di Venezia) within the cycle of meetings "Fare Riviste: Avventure, oggetti, teorie".
The roundtable is occasioned by the launch of the Eastern European Art Periodicals Map, an interactive online map developed by a team of international researchers over four years.
With: Gwen Allen (San Francisco State University), Bruce Altshuler (New York University), Lorenzo Balbi (MAMbo, Bologna), Stefano Baia Curioni (Università Bocconi), Stephanie Bailey (Ibraaz/Ocula), Suzette and Brendon Bell-Roberts (Art Africa), Cathryn Drake (Freelance Writer/Editor), Jörg Heiser (Universitӓt der Künste Berlin/Frieze), Jens Hoffmann (The Exhibitionist), Jacob Lund (Aahrus University), Moky May (ArtReview), Jean Minguet (Artprice), Gean Moreno (ICA, Miami), Roberto Pinto (Università degli Studi di Bologna), John Rajchman (Columbia University), Antonio Scoccimarro (Mousse), Terry Smith (University of Pittsburgh), Chiara Vecchiarelli (École Normale Supérieure, Paris/Università Iuav di Venezia), Marianne Wagner (LWL-Museum, Münster, Cesare Biasini Selvaggi (Exibart), Roberto Casamonti (Collezione Casamonti), Cristina Casero (Università degli Studi di Parma), Stefano Monti (Partner Monti & Taft), Silvia Simoncelli (NABA), Federica Veratelli (Università degli Studi di Parma)
In recent years, large-scale exhibitions and art fairs have become more alike, although they have been long considered two distinct, and to a certain extent, opposite formats. Establishing the boundaries between what, in the contemporary art world, is a cultural or commercial event presents as many complexities as the value estimation process of artworks and artists.
Production, circulation, and reception of artworks are, in fact, part of an osmotic mechanism, which allows a permeability between what is part of an exhibition and what is brought on the market. With distinctions, today’s scenario resembles that of the late 19th century, when there wasn’t an ethical boundary between culture and market, and institutions such as the Venice Biennale had an ordinary Sales office.
The conference intends to analyze the modalities and reasons that have led to the change taking place within the art system, where the differences between biennials and art fairs seem to disappear, just as when dusk settles, between dog and wolf, “entre chien et loup”. In these two days of meetings with scholars, curators, artists, editors, and gallerists, the discussion will focus on three main themes: exhibition strategies, the role of the media, and the circulation of artworks. To each of these complementary themes, a single panel is reserved.
Fairs and Biennials: A Couple or Sisters?
curated by Clarissa Ricci
Art Magazines: Privileged Observers or Instruments of the Institution?
curated by Camilla Salvaneschi
Impermanence: What Happens When the Artwork is Gone?
curated by Cristina Baldacci
Organized Events by Camilla Salvaneschi
The work specifically responds to the narrative proposed by the Leleque Museum, an anthropological museum opened in 2000 on lands owned by Benetton. The museum’s operation is problematic, as it portrays the Mapuche people as an extinct culture rather than one that is alive and active in the disputed territory, effectively ‘musealizing’ their memory and material culture.
Mazzi addresses this conflict by engaging in dialogue and supporting the dense network of relations that the Mapuche community has been consciously curating for many years. This approach involves building and maintaining relations between different political and cultural subjects while also being implemented in their cosmovisions as a form of radical mediation between land, human, and more-than-human beings.
Silver Rights will be related to Poc and Encounters, two new video works by the artist on view at Ca' Pesaro, in the context of the series of solo exhibitions "Italian Polyphonies," curated by Camilla Salvaneschi and Angela Vettese.
https://artmargins.com/east-art-map/
https://artmargins.com/artmargins-online-eastern-european-art-periodicals-map/
The digital era has provided art magazines, around the world, with new means to investigate the archive. By collecting, preserving, and creating narratives, the archive becomes one of the magazine’s vehicles to pursue historical legitimacy.
The magazines and periodicals taken into consideration, are all driven by deep archival respect. In the case of the Brooklyn based magazine Cabinet, the archive is a mnemonic apparatus and an organic continuation of the magazine itself. The archive is the response to the editors’ urge to collect, order and catalogue all the materials produced. With Chimurenga, a South African “platform of writing, art and politics,” the archive assumes the format of an online Library. Questioning its role, the archive becomes a site of self-reflection and networking, that grows new visions, and provides a map of art periodicals in Africa. Field Notes, was an e-journal launched in 2012 by Art Asia Archive, with the aim of analyzing what it means for an archive to document contemporary art in non-Western regions.
All these cases aspire to understand the archive’s potential to stretch boundaries, produce and distribute knowledge, create new narratives, and ultimately, inspire historical study.
This roundtable devoted to the state of art publishing in Eastern Europe in times of crisis, including the Covid-19 pandemic and Russia ongoing war against Ukraine. Participants include Corina Apostol, Artleaks Gazette (LT); Gergely Nagy, A mű (The Artwork) and East Art Mags (HU); Lýdia Pribišová, Flash Art Czech & Slovak Edition (SLO), and Piotr Słodkowski, Miejsce (PL).
The roundtable is introduced by Angela Vettese (Università Iuav di Venezia), Sven Spieker and Susan Snodgrass (ARTMargins Online).
The event is curated and moderated by Camilla Salvaneschi (Università Iuav di Venezia) within the cycle of meetings "Fare Riviste: Avventure, oggetti, teorie".
The roundtable is occasioned by the launch of the Eastern European Art Periodicals Map, an interactive online map developed by a team of international researchers over four years.
With: Gwen Allen (San Francisco State University), Bruce Altshuler (New York University), Lorenzo Balbi (MAMbo, Bologna), Stefano Baia Curioni (Università Bocconi), Stephanie Bailey (Ibraaz/Ocula), Suzette and Brendon Bell-Roberts (Art Africa), Cathryn Drake (Freelance Writer/Editor), Jörg Heiser (Universitӓt der Künste Berlin/Frieze), Jens Hoffmann (The Exhibitionist), Jacob Lund (Aahrus University), Moky May (ArtReview), Jean Minguet (Artprice), Gean Moreno (ICA, Miami), Roberto Pinto (Università degli Studi di Bologna), John Rajchman (Columbia University), Antonio Scoccimarro (Mousse), Terry Smith (University of Pittsburgh), Chiara Vecchiarelli (École Normale Supérieure, Paris/Università Iuav di Venezia), Marianne Wagner (LWL-Museum, Münster, Cesare Biasini Selvaggi (Exibart), Roberto Casamonti (Collezione Casamonti), Cristina Casero (Università degli Studi di Parma), Stefano Monti (Partner Monti & Taft), Silvia Simoncelli (NABA), Federica Veratelli (Università degli Studi di Parma)
In recent years, large-scale exhibitions and art fairs have become more alike, although they have been long considered two distinct, and to a certain extent, opposite formats. Establishing the boundaries between what, in the contemporary art world, is a cultural or commercial event presents as many complexities as the value estimation process of artworks and artists.
Production, circulation, and reception of artworks are, in fact, part of an osmotic mechanism, which allows a permeability between what is part of an exhibition and what is brought on the market. With distinctions, today’s scenario resembles that of the late 19th century, when there wasn’t an ethical boundary between culture and market, and institutions such as the Venice Biennale had an ordinary Sales office.
The conference intends to analyze the modalities and reasons that have led to the change taking place within the art system, where the differences between biennials and art fairs seem to disappear, just as when dusk settles, between dog and wolf, “entre chien et loup”. In these two days of meetings with scholars, curators, artists, editors, and gallerists, the discussion will focus on three main themes: exhibition strategies, the role of the media, and the circulation of artworks. To each of these complementary themes, a single panel is reserved.
Fairs and Biennials: A Couple or Sisters?
curated by Clarissa Ricci
Art Magazines: Privileged Observers or Instruments of the Institution?
curated by Camilla Salvaneschi
Impermanence: What Happens When the Artwork is Gone?
curated by Cristina Baldacci
The work specifically responds to the narrative proposed by the Leleque Museum, an anthropological museum opened in 2000 on lands owned by Benetton. The museum’s operation is problematic, as it portrays the Mapuche people as an extinct culture rather than one that is alive and active in the disputed territory, effectively ‘musealizing’ their memory and material culture.
Mazzi addresses this conflict by engaging in dialogue and supporting the dense network of relations that the Mapuche community has been consciously curating for many years. This approach involves building and maintaining relations between different political and cultural subjects while also being implemented in their cosmovisions as a form of radical mediation between land, human, and more-than-human beings.
Silver Rights will be related to Poc and Encounters, two new video works by the artist on view at Ca' Pesaro, in the context of the series of solo exhibitions "Italian Polyphonies," curated by Camilla Salvaneschi and Angela Vettese.