Papers by Davide Da Pieve
L’esperienza dello spazio: collezioni, mostre, musei, 2020
Genesi e esiti della mostra curata da Uliana Zanetti “Roberto Daolio. Vita e incontri di un criti... more Genesi e esiti della mostra curata da Uliana Zanetti “Roberto Daolio. Vita e incontri di un critico d'arte attraverso le opere di una collezione non intenzionale”, tenuta negli spazi della Project Room del MAMbo a Bologna dall’8 dicembre 2017 al 6 maggio 2018 che, attraverso una scelta ragionata di opere e documenti appartenuti al critico emiliano - prematuramente scomparso nel 2013 - ripercorre la sua produzione, rivelando il rapporto vitale, continuo e appassionato intessuto con gli artisti.
Marges, Apr 18, 2023
Thanks to a research on the use of the social network Instagram (whether they are personal or ins... more Thanks to a research on the use of the social network Instagram (whether they are personal or institutional places profiles) the article aims to try to define what can be defined as instagramable exhibition, to study the ways in which exhibitions are conveyed on Instagram and to reflect on the possibility to conceive the platform as a real artistic exhibition space.
Skank Bloc Bologna. Alternative Art Spaces since 1977, 2024
"When we embarked upon the Neon initiative, we were truly uncertain of our aspirations," avows Gi... more "When we embarked upon the Neon initiative, we were truly uncertain of our aspirations," avows Gino Giannuizzi in a retrospective interview published on Artribune in 2018. In contrast, the Link Project introduces itself in the inaugural editorial of its magazine, in 1994, professing to be "neither a social center, nor a cultural hub, much less a youth or post-adolescent or post-senile center. We might speak of a five-year plan, reminiscent of those employed in 'better times'." Sources such as these afford us the opportunity to contextualize disparate epochs in the life of a space and to glean intriguing fragments regarding the manner of 'posturing, discourse, and gesticulation' characteristic of alternative spaces or their denizens. Drawing on the sociologist Erving Goffman's utilization of such data to delineate social situations, we shall, following this vein of analysis, scrutinize the interactions of the groups animating certain alternative spaces in Bologna, endeavoring to comprehend their role within society, and more precisely within the artworlds. Applying Goffman's dramaturgical metaphor - of everyday life as performance - on one hand, we shall regard alternative spaces as actors within the art world (that is, as groups directed outwardly, staging a performance before an audience); on the other hand, we shall examine alternative spaces as spectators of the art world (as groups who, largely by choice, predominantly through internal reflections or collective decisions, opt to distance themselves and consider themselves an audience of the official art world), with the aim of apprehending and analyzing the outcomes of the ongoing negotiation between these two perspectives. To read through such a social lens, therefore, entails forsaking aesthetic judgment in favor of an analysis of mediating elements, which actively contribute to the construction of group identity, the role of spaces, and which broaden the interpretative possibilities of all artworks or artistic activities presented by alternative and independent exhibition venues.
La performance a Bologna negli anni ’70, curated by Uliana Zanetti, 2023
Studio Bentivoglio was founded in Bologna around 1965. It was an artistic production space and a ... more Studio Bentivoglio was founded in Bologna around 1965. It was an artistic production space and a focal point for the development of research and experiments. As an ante-litteram artist run space, Studio Bentivoglio therefore offers a significant observation point, from a pragmatic and sociological perspective, how performance and Body Art interact with the exhibition environment in which they are proposed and how they related to the official artworld.
Marges, n° 36, 2023
Thanks to a research on the use of the social network Instagram (whether they are personal or ins... more Thanks to a research on the use of the social network Instagram (whether they are personal or institutional places profiles) the article aims to try to define what can be defined as instagramable exhibition, to study the ways in which exhibitions are conveyed on Instagram and to reflect on the possibility to conceive the platform as a real artistic exhibition space.
Roberto Daolio. Aggregati per differenze, curated by D. Da Pieve, L. De Lena R. Pinto, C. Sinigaglia | Postmedia books, 2017
NO NEON NO CRY, curated by Gino Gianuizzi, 2022
Between independence and institutional circuits, a reflection starting from the interactions held... more Between independence and institutional circuits, a reflection starting from the interactions held with the art world by Neon, a Bolognese non-profit space and art gallery at the same time.
Piano b. Arti e culture visive, 2022
The renewed methods of interaction and the immersive possibilities of VR technologies, allowed th... more The renewed methods of interaction and the immersive possibilities of VR technologies, allowed the creation of simulated spaces for artistic exhibitions, thanks to digital software. These places are always open and their fruition is similar to video games where sometimes they come from. They have been helping to renew the experience of artistic and exhibition practices for less ten years. The paper brings together and compares different digital exhibition spaces, founded by galleries or independent curatorial teams, including: Float, DiMoDa, Museum of Other Realities. The aim is to reveal the deviation from the representation of reality in favor of its simulation. Only the experiments of browser or software-based exhibition spaces will be considered because they present a greater number of criticalities. The essay employs visual culture studies, aesthetics and the history of exhibitions in relation to the new context in order to understand: the news and updates of the digital exhibition practice in VR; the changed relationship that the artwork has with the simulated space; the implications of experiences that become individualistic or parasocial and the renewed interactions in digital exhibition spaces starting from the absence of crowds to the opportunity to approach the artworks without triggering alarms and without damaging them.
L'esperienza dello spazio: collezioni, mostre, musei, L'esperienza dello spazio: collezioni, mostre, musei, curated by C. G. Morandi, C. Sinigaglia, M. Tessari, I. Di Pietro, D. Da Pieve, 2020
This text, born as a speech, discusses examples in which artistic practice is constituted as a fo... more This text, born as a speech, discusses examples in which artistic practice is constituted as a format designed for a particular environment: shop windows. Artist run spaces, non-profit spaces or project spaces are places of different nature, continuations of methods that we already find during the mid-nineteenth century and which, a century later, arrive in unpredictable and unexpected places. Through various examples that occurred in different periods, the hypothesis of a possible correspondence between an artwork and the place in which it is presented is discussed.
Intrecci d'arte. Dossier. Allestire una collezione. Percorsi storici e modelli di fruizione , 2018
Nel 2013 Roberto Daolio, critico e curatore, figura di rilievo nel panorama dell'arte contemporan... more Nel 2013 Roberto Daolio, critico e curatore, figura di rilievo nel panorama dell'arte contemporanea italiana è scomparso. Gli eredi hanno deciso di donare al MAMbo le opere d'arte di sua proprietà; quasi tutto il materiale è già conservato nei depositi del museo bolognese ed è stato oggetto di studio, indicizzazione e catalogazione nel corso del 2016. La produzione critica e l'attività curatoriale di Daolio parte dalla seconda metà degli anni Settanta e arriva al 2013. In questa collezione si trovano fonti per una nuova narrazione della storia dell'arte del nostro passato più recente. Una narrazione che non si limita a una raccolta in cui ogni opera è esempio o modello, una sfilata di capolavori, ma vuole includere tracce anche di ciò che non si vede nelle opere e non si legge nei saggi, per costituire un racconto estremamente più complesso ma allo stesso tempo, forse, più veritiero e accurato.
Books by Davide Da Pieve
One of the determining aspects for the identity of twentieth-century art is explicitly the spatia... more One of the determining aspects for the identity of twentieth-century art is explicitly the spatial-experiential component, as well as context and relationships. However, it is equally clear thatthe relevance of exposure to critique historically taken on by exhibitions, museum design, choices on how to set up collections and galleries, make us understand how the issue of the public in relationship to artwork is a decisive element for the analysis and comprehension of all artistic events – not only of the contemporary era. How does the public react? How does the viewer’s approach become an active part of the artwork itself? It is a confrontation that has to turn into a real aesthetic experience, into a complex enjoyable process that can re-define the meaning of the work of art itself. The international conference entitled “The Experience of Space / Collections, Exhibitions, Museums” is meant to face, from different points of view and with a wide range of methods, the problems of the relationship between a work of art and its viewer, between space and the public. This is a connection that contemporary artists often insert into their creations, inquiring about the connections between space, artwork and enjoyment and placing those relationships into their own concepts.
"Roberto Daolio. Aggregati per differenze (1978-2010)"
Con saggi di: Davide Da Pieve, Lara De Le... more "Roberto Daolio. Aggregati per differenze (1978-2010)"
Con saggi di: Davide Da Pieve, Lara De Lena, Roberto Pinto, Caterina Sinigaglia.
isbn 9788874901760
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Papers by Davide Da Pieve
Books by Davide Da Pieve
Con saggi di: Davide Da Pieve, Lara De Lena, Roberto Pinto, Caterina Sinigaglia.
isbn 9788874901760
Con saggi di: Davide Da Pieve, Lara De Lena, Roberto Pinto, Caterina Sinigaglia.
isbn 9788874901760