Davide Spagnoletto is a PhD candidate in Historical-artistic Studies at Università Roma Tre. His doctoral research is dedicated to Jewish artists in Italy from emancipation to the birth of the state of Israel and investigates the art practices of some figures who were active between 1848 and 1948, with a focus on sculpture. The intention is to consolidate critical positions that do not align with particular Jewish characteristics in their works and to analyze the response of these personalities to social and political changes. The study is based on the analysis of works and documents from public and private archives.
Davide received a degree in architecture from La Sapienza University in Rome and continued his studies at the School of Specialization in Historical-Artistic Heritage at the University of Macerata with a thesis on the collection of Toti Scialoja and Gabriella Drudi, which reconstructs their relationships with several Italian and American artists. He collaborated with the Jewish Museum of Rome where he co-curated ‘Roma 1948. Italian Art towards Israel‘ (April-October 2023) stemming from his research on an exhibition for the State of Israel that took place in Rome in 1948.
The exhibition features previously unpublished works from the Tel Aviv Museum of Art (including Carla Accardi, Afro Basaldella, Corrado Cagli, Carlo Levi, Giuseppe Capogrossi and Renato Guttuso).
His recent publications cover the relationship between sculpture and architecture in the entrance to the Vatican Museums created in 1932 (Bollettino dei Monumenti Musei e Gallerie Pontificie, 2022), as well as the correspondence between Corrado Cagli and Amelia Della Pergola and Anna Laetitia Pecci Blunt (Edifir, 2022).
As a fellow at CIMA, Davide intends to analyze the path undertaken by some Italian Jewish artists who chose exile in America after the promulgation of racial laws. The aim is to investigate how Corrado Cagli and Dario Viterbo’s exclusion from public life and departure from their homeland affected their work by bringing in new iconographic elements. The study aims to show how Jewish identity reappears in opposition to exclusion from the context of belonging. Each of them found themselves negotiating a new role within society by testing different strategies to create new relationships with other Italians and Jewish exiles.
Filippo Bosco is a final year PhD candidate in Contemporary Art History at the Scuola Normale Superiore, Pisa. His dissertation, entitled Drawing and Conceptualism: Paradigms, Practices and International Exchanges in Italy (1969-1979), shows how drawing has been a defining, if underestimated, feature of art practices usually associated with a post-medium condition, from Arte Povera to post-conceptualism. A historical analysis based on archival research and material analysis reconstructs the circulation of drawings in exhibitions and the art market, and their relevance for the critical debate and the exchanges with European and American artists.
Filippo completed his BA and MA degree at the Scuola Normale Superiore and the University of Pisa, with thesis on Felice Casorati and Italian and German painting in the 1920s. His doctoral research was carried out at the Free University in Berlin and in Houston, where he was the 2021-22 Pre-Doctoral Fellow at the Menil Drawing Institute. His interests and publications include early 20th century Italian painting and criticism, with catalogue essays on Felice Casorati (2023) and Ubaldo Oppi (2021); queer art criticism (Whatever 2021) and themes of drawing in the seventies (Studi di Memofonte, 2018; Penone, Pompidou, 2022; The Burlington Contemporary 2023); he is currently working on a book about Giuseppe Penone’s early years. He collaborated with the GAM in Turin (where he cocurated an exhibition on Giacomo Balla) and the Castello di Rivoli, where he contributed to the catalogue of the Cerruti Collection (2021).
His research project at CIMA will use marginality as a category to approach the exile drawing of Corrado Cagli (1938-1947). Cagli, a Jewish and queer painter who was racialized by the fascist regime and emigrated to the United States, had to limit himself to drawing during his military training and his career as a war artist. Drawings were sent and received to sustain his social and affective relationships both through distance (from Rome) and in his new milieu in New York. By developing a framework for cultural and theoretical marginal positions, Filippo will investigate such themes of Cagli’s draftsmanship as testimony, identity and queer affection.