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DTSTART;TZID=Europe/Rome:20251104T080000
DTEND;TZID=Europe/Rome:20251223T170000
DTSTAMP:20251127T211117Z
CREATED:20251127T210816Z
LAST-MODIFIED:20251127T211117Z
UID:1540-1762243200-1766509200@www.museodellecianfrusaglie.it
SUMMARY:Creative and Educational Workshops
DESCRIPTION:From Tuesday\, November 4\, 2025\, to Saturday\, November 29\, 2025\, during office hours\, you can request information about the Cianfrusaglie Workshop by calling the number 0464 439936 or by sending an email to info@museodellecianfrusaglie.it
URL:https://www.museodellecianfrusaglie.it/en/evento/creative-and-educational-workshops/
CATEGORIES:Graphics,Movie,Music,Sculpture,Theatre,Visual Arts
ORGANIZER;CN="Numero Civico Rovereto":MAILTO:info@numerocivico.info
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20251025T170000
DTEND;TZID=Europe/Rome:20251025T190000
DTSTAMP:20250926T135324Z
CREATED:20250926T135324Z
LAST-MODIFIED:20250926T135324Z
UID:1040-1761411600-1761418800@www.museodellecianfrusaglie.it
SUMMARY:Stefano Giovanazzi: Game theory
DESCRIPTION:Imaginary\, symbolic\, and real. Meeting with Stefano Giovanazzi\, curator of AAC Archivio Arte Contemporanea Rovereto  \nSaturday\, October 25\, 2025\, at 5:00 PM\, Conference Room\, Caritro Foundation Trento\, via Garibaldi \nContents of the meeting\nGame theory is a central point in the description of individual and collective dynamics; language\, so dear to Rosa Agazzi\, and its use mark a turning point in human experience: caring for oneself and mutual help find comfort in thought\, words\, and actions. The meeting addresses the issue of life’s complexity\, a characteristic trait of each person’s “formation.” Language\, as we know\, is equally a complex organism. Its origins and how it manifests remain topics of discussion. We often encounter it in the form of various types of statements: prescriptions – orders\, commands\, instructions\, recommendations\, questions\, prayers\, supplications\, etc. – but also as interrogations\, promises\, literary and artistic descriptions\, to name just a few. As Jean-François Lyotard reminds us: “every statement should be considered as a ‘move’ made within the framework of a game.”      \n  \n\nKeep reading\nStefano Giovanazzi\nStefano Giovanazzi (Rovereto TN\, March 4\, 1961). Graduated from the Magistral Institute in Rovereto (TN) and subsequently from the State Institute of Art in Trento. In the early 1980s\, he attended the Academy of Fine Arts in Venice\, where he graduated in Painting under the artist Emilio Vedova. Founder and curator of AAC (Contemporary Art Archive) of Rovereto\, since 1994 he has been the president of the cultural association Numero Civico. Over more than thirty years of activity\, he has curated events related to contemporary art and thought\, and notable collaborations include: Governments and governmental institutions such as the Italian Senate\, the Ministry of Cultural Heritage and Activities\, the Canadian Embassy\, the Basque Government (Spain)\, the Cervantes Institute (Spain)\, The British Council (United Kingdom)\, the French Ministry of Culture\, the French Institute (France)\, and the Goethe-Institut (Germany).
URL:https://www.museodellecianfrusaglie.it/en/evento/stefano-giovanazzi-game-theory/
LOCATION:Fondazione Caritro\, via Garibaldi 10-12\, Trento\, Italy\, 38122\, Italy
CATEGORIES:Art criticism,Education,Pedagogy,Sociology,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://www.museodellecianfrusaglie.it/wp-content/uploads/2025/10/stefano-Giovanazzi-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20251025T110000
DTEND;TZID=Europe/Rome:20251025T123000
DTSTAMP:20251020T155127Z
CREATED:20251020T155127Z
LAST-MODIFIED:20251020T155127Z
UID:1041-1761390000-1761395400@www.museodellecianfrusaglie.it
SUMMARY:Carlo La Manna and Giuseppe Calliari: The Music of Things
DESCRIPTION:Video testimonials of expressive experiments with Carlo La Manna\, bassist\, narrator\, and composer\, and Giuseppe Calliari\, music historian\, curator\, writer\, and poet. \nSaturday\, October 25\, 2025 \n11:00 AM\nConference Room\nFondazione Caritro Trento\nvia Garibaldi \n  \nBiography\nCARLO LA MANNA\nTrentino double bassist\, storyteller\, and composer\, he blends jazz\, contemporary music\, and sound research. He has collaborated with Arvo Pärt\, Philip Glass\, Antonella Ruggiero\, Giovanni Sollima\, Marco Ambrosini\, and Daniele Di Bonaventura. With over twenty recordings\, including Te Audire (2025)\, a project that combines music\, vision\, and spirituality.   \nGIUSEPPE CALLIARI\nAuthor of monographs – Ferruccio Busoni (2011)\, Laurence Feininger (2022) – and contributions on Mozart\, Zandonai\, Dionisi. Curator of the writings on music by Andrea Mascagni (1998) and critical biographies of Trentino musicians. Texts for composers – lyric scenes\, choral works\, musical theater scenes – and projects that intersect music and literature.
URL:https://www.museodellecianfrusaglie.it/en/evento/carlo-la-manna-and-giuseppe-calliari-the-music-of-things/
LOCATION:Fondazione Caritro\, via Garibaldi 10-12\, Trento\, Italy\, 38122\, Italy
CATEGORIES:Art criticism,History,Music,Pedagogy,Sociology
ATTACH;FMTTYPE=image/jpeg:https://www.museodellecianfrusaglie.it/wp-content/uploads/2025/10/Calliari.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20251024T100000
DTEND;TZID=Europe/Rome:20251024T113000
DTSTAMP:20251127T195339Z
CREATED:20250926T140748Z
LAST-MODIFIED:20251127T195339Z
UID:1042-1761300000-1761305400@www.museodellecianfrusaglie.it
SUMMARY:Mirko Porta and Daniele Marinelli: INTONARUMORI. The Foley artist’s knick-knacks
DESCRIPTION:How to create ambient sounds\, ‘room noises\,’ for cinematic works. In collaboration with Massimiliano Prezioso\, Marco Ciorba\, and the Sound Creators Association\, Rome.  \n\n\n\nThe pojectINTONARUMORI LABORATORY: THE TRASH OF FOLEY ARTISTS introduces one of the fundamental moments in the creation of an audiovisual work\, namely the post-production of sound effects. Not many know that\, typically in cinema\, the sound events recorded during filming are mainly the actors’ voices on set. All other sounds\, including sound effects and the film’s soundtrack\, are produced at a different time from the filming. Sound effects are composed of ambient sounds—traffic\, rain\, wind\, etc.—that characterize a scene from beginning to end; special sounds—cars\, airplanes\, gunshots\, fires\, etc.—that are synchronized with specific events in the scene; and finally\, room or Foley sounds—footsteps\, fabric rustling\, object movements\, etc.—that reproduce the sounds and noises produced by the actors on set. In particular\, Foley artists use everyday objects\, often simple “junk” or “odds and ends” arranged on a work surface in a specially equipped recording studio.     \n\nKeep readingThe role of the Foley artist: to record the sounds and noises that give ‘spatiality’ to the scene imagined by the director and screenwriter\, transforming a ‘work print’—with image sequences lacking sound—into the film we can watch in cinemas. Sound effects are a fundamental component of a film: imagined by particularly ‘creative’ people\, they are the ones that make the ship ‘breathe’ in Tornatore’s “The Legend of the Pianist on the Ocean\,” or that make us relive the tragedy of the “Vajont\,” or that animate the stories told in “Once Upon a Time in America\,” “The Postman\,” or “Life is Beautiful.” The Association of Sound Creators represents almost all the sound effect creators in Italy.  ACS Associazione Creatori di SuoniThe Creators of Sounds Association was founded in Rome in 1998 under the name ARI Italian Rumorists Association. Today\, it represents nearly all Italian sound effect creators. Few people know that\, typically in cinema\, the sound events recorded live are mainly the voices of the actors on set. All other sounds\, including sound effects and the film’s soundtrack\, are produced at a different time from the filming. Sound effects are composed of ‘ambiences’ — traffic\, rain\, wind\, etc. — which characterize a scene throughout; ‘special’ effects — cars\, planes\, gunshots\, fires\, etc. — synchronized with specific scene events; and ‘production sounds’ or ‘Foley’ — footsteps\, fabric rustling\, object movements\, etc. — which reproduce the sounds and noises produced by the actors on set.In particular\, Foley artists use everyday objects\, often simple ‘knick-knacks\,’ arranged on a work surface in a specially equipped recording studio. The Foley artist’s task is to record the sounds and noises that give ‘spatiality’ to the scene imagined by the director and screenwriter\, transforming a ‘working copy’—with image sequences lacking sound—into the film we enjoy in cinemas.      : Creative and Educational Workshops
URL:https://www.museodellecianfrusaglie.it/en/evento/mirko-porta-and-daniele-marinelli-intonarumori-the-foley-artists-knick-knacks/
LOCATION:Scuola Primaria La Vela\, via Saibanti\, Rovereto\, Italia\, 38068
CATEGORIES:Education,Movie,Music
ATTACH;FMTTYPE=image/jpeg:https://www.museodellecianfrusaglie.it/wp-content/uploads/2025/10/Invito-laboratorio-con-Mirko-Porta-e-Daniele-Marinelli.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20251022T140000
DTEND;TZID=Europe/Rome:20251022T150000
DTSTAMP:20251127T195035Z
CREATED:20251020T154715Z
LAST-MODIFIED:20251127T195035Z
UID:1044-1761141600-1761145200@www.museodellecianfrusaglie.it
SUMMARY:Alessio Kogoj: INTERVALLO. Performance Lab for Knick-knacks
DESCRIPTION:Theater workshop – actions are an element of life \nThe projectInside the exhibition dedicated to “Cianfrusaglie” ‒ copyright-free materials\, a legacy of the pedagogical experience of Rosa and Carolina Agazzi ‒ the performance titled “Intervallo” by Alessio Kogoj opens a magical space within the display\, a space of discovery and surprise. The immediate reference is to gestures and minor techniques that overlap and interact\, which require and presuppose the use of ‘junk’ or ‘scrap materials’  \n\nAccording to the Agazzian method\, “cianfrusaglie” are everyday objects and materials of little value that are presented for what they are: concrete\, simple\, evocative items such as buttons\, coat hangers\, bottle caps\, slats\, bottles\, and vases. These are objects that\, when used by children\, have the ability to transform small events into opportunities for linguistic and perceptual learning. In a suspended time— a performative moment of viewing and listening—unexpected materials emerge from a large box\, revealing themselves one after another and provoking wonder and amazement. Each spectator\, seduced by unexpected suggestions\, allows themselves to be carried by emotions.
URL:https://www.museodellecianfrusaglie.it/en/evento/alessio-kogoj-intervallo-performance-lab-for-knick-knacks/
LOCATION:Scuola d’Infanzia Canossiane\, via dei Paradisi\, 4\, Trento\, Italia\, 38122
CATEGORIES:Education,Pedagogy,Sociology,Theatre,Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20251022T100000
DTEND;TZID=Europe/Rome:20251022T113000
DTSTAMP:20251127T194511Z
CREATED:20250926T135926Z
LAST-MODIFIED:20251127T194511Z
UID:1046-1761127200-1761132600@www.museodellecianfrusaglie.it
SUMMARY:Alessio Kogoj: INTERVALLO. Performance Lab for Knick-knacks
DESCRIPTION:Theater workshop – actions are an element of life \nThe projectInside the exhibition dedicated to “Cianfrusaglie” ‒ copyright-free materials\, a legacy of the pedagogical experience of Rosa and Carolina Agazzi ‒ the performance titled “Intervallo” by Alessio Kogoj opens a magical space within the display\, a space of discovery and surprise. The immediate reference is to gestures and minor techniques that overlap and interact\, which require and presuppose the use of ‘junk’ or ‘scrap materials’  \n\nAufgaben des Foley-Künstlers: Erfassung der Geräusche und Klänge\, die den Szenen die räumliche Tiefe verleihen\, die vom Regisseur und Drehbuchautor vorgesehen sind\, um eine Rohfassung mit Bildsequenzen ohne Ton in den Film zu verwandeln\, den wir in den Kinos sehen können. Toneffekte stellen eine wesentliche Komponente eines Films dar: Sie werden von besonders kreativen Menschen entworfen und sind es\, die das Schiff im Film „La leggenda del pianista sull’oceano“ von Tornatore „atmen lassen“\, die uns die Tragödie des „Vajont“ erneut erleben lassen oder die Geschichten in „C’era una volta in America“\, „Il Postino“ oder „La vita è bella“ lebendig machen. Die Associazione Creatori di Suoni repräsentiert fast alle italienischen Effektspezialisten.    \nAlessio KogojAlessio Kogoj ist Autor\, Regisseur und Schauspieler; Er ist Urheber zahlreicher zeitgenössischer Theaterstücke\, Jugendtheaterstücke und Kunstperformances. 1996 gründete er „I Teatri Soffiati“\, eine Firma\, die im gesamten nationalen und darüber hinausgehenden Bereich aktiv ist. Seitdem beschäftigt er sich regelmäßig mit Theater im Bereich der darstellenden Kunst. Er realisiert und produziert Werke des zeitgenössischen Theaters und der Forschung\, Theater für Kinder\, theatralische Erzählkunst\, Theaterbildung und Kunstveranstaltungen. 1998 erhielt er den Preis „Artista Meritevole“ von der Region Trentino-Alto Adige. 2001 schloss er sein Studium der Soziologie mit einer Abschlussarbeit in Theateranthropologie und Theater ab. Er war künstlerischer Leiter des Centro Teatro des Gemeindes Trient – Politiche Giovanili von 2010 bis 2013. Er verfolgt eine persönliche Forschung im Bereich der theateranthropologischen und zeitgenössischen Theaterkunst.
URL:https://www.museodellecianfrusaglie.it/en/evento/alessio-kogoj-intervallo-performance-lab-for-knick-knacks-2/
LOCATION:Scuola d’infanzia Pedrotti\, via Asilo Pedrotti\, 2\, Trento\, Italia\, 38122
CATEGORIES:Sculpture,Theatre,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://www.museodellecianfrusaglie.it/wp-content/uploads/2025/10/Invito-laboratorio-con-Alessio-Kogoj-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20251017T133000
DTEND;TZID=Europe/Rome:20251017T143000
DTSTAMP:20251128T100038Z
CREATED:20250926T140600Z
LAST-MODIFIED:20251128T100038Z
UID:1050-1760707800-1760711400@www.museodellecianfrusaglie.it
SUMMARY:Luca Salvagno
DESCRIPTION:ALEX AND MAYA. THE ENIGMA REVEALED!  Visual Storytelling\n\n \nVisual Storytelling. Beginning\, development\, and conclusion of a story. Comic and storytelling workshop – telling stories with comics and short films\, with Luca Salvagno\, comic artist.   \nThe projectAlex and Maya. The Enigma Unveiled! is a Visual Storytelling workshop for preschool children\, led by Luca Salvagno. The workshop begins with a short narration that introduces children to an imaginary world. Here’s the ‘story opening’: “In a futuristic city\, a young detective named Alex discovers a mysterious symbol appearing in various corners of the city. The comics he read as a child\, full of heroes and adventures\, inspire him to investigate. His curiosity leads him to meet a talented hacker\, Maya\, who has noticed the same symbol in computer codes. Together\, they decide to join forces to uncover the mystery behind this enigmatic sign.”     \n\nKeep reading\nHow it is structured: IMAGINATIVE PHASE: Brainstorming. All ideas are collected and written down.PLANNING PHASE 1: Division into small groups (four or five members). Development of different narrative lines.PLANNING PHASE 2: Transformation of notes into a screenplay/storyboard. Division of tasks (dialogues and captions\, backgrounds\, characters\, objects\, sounds). EXECUTION PHASE: Creation of the panels.CONCLUSION: Presentation of the panels and group reports.
URL:https://www.museodellecianfrusaglie.it/en/evento/luca-salvagno-alex-and-maya-the-enigma-revealed-visual-storytelling/
LOCATION:Fondazione Caritro\, via Garibaldi 10-12\, Trento\, Italy\, 38122\, Italy
CATEGORIES:Education,Graphics,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://www.museodellecianfrusaglie.it/wp-content/uploads/2025/10/Invito-laboratorio-con-Luca-Salvagno.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20251017T090000
DTEND;TZID=Europe/Rome:20251017T113000
DTSTAMP:20251125T172034Z
CREATED:20250926T135704Z
LAST-MODIFIED:20251125T172034Z
UID:1052-1760691600-1760700600@www.museodellecianfrusaglie.it
SUMMARY:Stefano Giovanazzi and Giuseppe Marcadent: HANDS IN THE DOUGH
DESCRIPTION:Creating with knicks-knacks\, with Stefano Giovanazzi\, curator\, and Giuseppe Marcadent\, master craftsman and ceramicist \nSculpture Workshop – the materiality of things. \nThe projectDiscover the pleasure of how matter changes and transforms. The child loves working with clay: touching\, manipulating\, playing with the material means shaping the external reality; their action leaves an imprint\, and this is an important expression of oneself. When the child makes marks\, they are not aiming for any graphic or plastic result; rather\, they seek to test the resistance of the material they are working with\, discovering the joy of how it changes and modifies. Why clay?    \n\n  \n\nKeep reading\nL’argilla è un materiale naturale\, di massima plasticità e malleabilità\, è piacevole al tatto; è un materiale con giuste sensazioni termiche\, può assume tantissime forme e pone il bambino in condizione di operare contemporaneamente più coordinazioni che investono la mano\, l’occhio\, l’olfatto\, l’udito. È un materiale che permette\, con una grande varietà di movimenti\, infiniti modi costruttivi. Contiene attributi quali il peso\, la resistenza\, il volume. Il gioco con l’argilla implica investimenti di ordine emozionale\, sensoriale\, ideativo e immaginativo. Offre straordinarie possibilità di verbalizzazione del gioco e di socializzazione.Come si articola. Nel primo incontro\, impastiamo l’argilla con le mani: manipoliamo\, proviamo e riproviamo\, creiamo e trasformiamo. Le impronte: conchiglie\, tappi\, rotelle\, formine grandi e piccole creano un mondo fantastico;. Un foglio d’argilla\, … quali sorprese! Stecchini\, bastoncini per incidere\, scavare\, disegnare in un modo diverso. Piccoli architetti: costruiamo sul piano di creta i fiori\, le case\, le città della nostra fantasia; • Il colore sui nostri tesori: giallo\, rosso\, blu\, verde e arancione per dare allegria alle nostre produzioni.          \nStefano GiovanazziFounder and curator of AAC Contemporary Art Archive of Rovereto. Graduated from the Rovereto State High School (TN) and subsequently from the State Art Institute in Trento. In the early 1980s\, he attended the Venice Academy of Fine Arts\, where he graduated in Painting with artist Emilio Vedova. Since 1994\, he has been the president of the cultural association Numero Civico. Over more than thirty years of activity\, he has curated events related to contemporary art and thought\, and his collaborations with artists\, musicians\, writers\, museums\, and cultural institutions are noteworthy. These include partnerships with the Italian Senate\, the Ministry of Cultural Heritage and Activities\, the Canadian Embassy\, the Basque Government (Spain)\, the Cervantes Institute (Spain)\, The British Council (United Kingdom)\, the French Ministry of Culture\, the French Institute\, and the Goethe-Institut (Germany). \nGiuseppe MarcadentCeramist. Initially graduated from a technical industrial institute\, he later had the opportunity to start working in the creation of ceramics. Thus\, his path changed radically. He obtained a diploma in “Ceramics Art” from the State Art Institute of Este (PD) and the qualification of “Professional Master and Qualified Artisan” in Bolzano. Artisan and artist\, he creates ceramics for an audience that looks to the Eastern world\, both refined and attentive to artifacts that require great technical and scientific skill for their realization. As a master artisan and restorer\, he is one of the leading experts in the restoration of maiolica stoves from the Renaissance to the present day\, skilled in creating and producing contemporary stoves—some particularly innovative—as well as a creative designer of new furniture objects. From an educational perspective\, he is particularly active: he organizes manipulation\, discovery\, and play itineraries with clay for preschool children\, ceramic workshops for primary school children\, innovative ceramic courses using Paper clay for secondary school students\, and thematic monographic courses such as the one on the ancient construction of “olle” stoves and the art of ceramics in Trentino\, held at the Museum of Customs and Traditions of the Trentino People in San Michele all’Adige (TN).  \n 
URL:https://www.museodellecianfrusaglie.it/en/evento/stefano-giovanazzi-and-giuseppe-marcadent-hands-in-the-dough/
LOCATION:Scuola d’Infanzia Canossiane\, via dei Paradisi\, 4\, Trento\, Italia\, 38122
CATEGORIES:Education,Pedagogy,Sculpture,Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20251016T100000
DTEND;TZID=Europe/Rome:20251016T113000
DTSTAMP:20251017T060022Z
CREATED:20251017T060022Z
LAST-MODIFIED:20251017T060022Z
UID:1054-1760608800-1760614200@www.museodellecianfrusaglie.it
SUMMARY:Stefano Giovanazzi e Giuseppe Marcadent: HANDS IN THE DOUGH
DESCRIPTION:Creating with Kinck-knacks\, with Stefano Giovanazzi\, curator and artist\, and Giuseppe Marcadent\, master craftsman and ceramicist \nSculpture Workshop – the materiality of things \nThe project\nDiscover the pleasure of how matter changes and transforms. The child loves working with clay: touching\, manipulating\, playing with the material means shaping the external reality; their action leaves an imprint\, and this is an important expression of oneself. When the child makes marks\, they are not aiming for any graphic or plastic result; rather\, they seek to test the resistance of the material they are working with\, discovering the joy of how it changes and modifies. Why clay?    \n\n  \n\nKeep reading\n\nClay is a natural material\, highly plastic and malleable\, and pleasant to the touch; it is a material with just the right thermal sensations\, capable of taking on many shapes\, and it puts the child in a position to simultaneously coordinate multiple senses—hand\, eye\, smell\, and hearing. It is a material that allows\, with a wide variety of movements\, infinite constructive ways. It contains attributes such as weight\, resistance\, and volume. Playing with clay involves emotional\, sensory\, conceptual\, and imaginative investments. Exceptional offers for game documentation and socialization.\nHow is it structured? In the first session\, we knead the clay with our hands: we manipulate\, try\, and retry\, create\, and transform. The imprints: shells\, bottle caps\, wheels\, large and small cookie cutters create a fantastic world. A sheet of clay\, what surprises! Stecchini\, sticks for skewering\, digging\, drawing in a different way. Little architects: let’s build on the clay plan the flowers\, the houses\, the cities of our imagination;• Color on our treasures: yellow\, red\, blue\, green\, and orange to bring joy to our creations.          \nStefano Giovanazzi\nFounder and curator of AAC Contemporary Art Archive of Rovereto. Graduated from the Rovereto State High School (TN) and subsequently from the State Art Institute in Trento. In the early 1980s\, he attended the Venice Academy of Fine Arts\, where he graduated in Painting with artist Emilio Vedova. Since 1994\, he has been the president of the cultural association Numero Civico. Over more than thirty years of activity\, he has curated events related to contemporary art and thought\, and his collaborations with artists\, musicians\, writers\, museums\, and cultural institutions are noteworthy. These include partnerships with the Italian Senate\, the Ministry of Cultural Heritage and Activities\, the Canadian Embassy\, the Basque Government (Spain)\, the Cervantes Institute (Spain)\, The British Council (United Kingdom)\, the French Ministry of Culture\, the French Institute\, and the Goethe-Institut (Germany). \nGiuseppe MarcadentCeramist. Initially graduated from a technical industrial institute\, he later had the opportunity to start working in the creation of ceramics. Thus\, his path changed radically. He obtained a diploma in “Ceramics Art” from the State Art Institute of Este (PD) and the qualification of “Professional Master and Qualified Artisan” in Bolzano. Artisan and artist\, he creates ceramics for an audience that looks to the Eastern world\, both refined and attentive to artifacts that require great technical and scientific skill for their realization. As a master artisan and restorer\, he is one of the leading experts in the restoration of maiolica stoves from the Renaissance to the present day\, skilled in creating and producing contemporary stoves—some particularly innovative—as well as a creative designer of new furniture objects. From an educational perspective\, he is particularly active: he organizes manipulation\, discovery\, and play itineraries with clay for preschool children\, ceramic workshops for primary school children\, innovative ceramic courses using Paper clay for secondary school students\, and thematic monographic courses such as the one on the ancient construction of “olle” stoves and the art of ceramics in Trentino\, held at the Museum of Customs and Traditions of the Trentino People in San Michele all’Adige (TN).
URL:https://www.museodellecianfrusaglie.it/en/evento/stefano-giovanazzi-e-giuseppe-marcadent-hands-in-the-dough/
LOCATION:Scuola d’infanzia Pedrotti\, via Asilo Pedrotti\, 2\, Trento\, Italia\, 38122
CATEGORIES:Sculpture,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://www.museodellecianfrusaglie.it/wp-content/uploads/2025/10/Invito-laboratorio-con-Stefano-Giovanazzi-e-Giuseppe-Marcadent.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20251014T090000
DTEND;TZID=Europe/Rome:20251014T113000
DTSTAMP:20251126T210203Z
CREATED:20250926T140350Z
LAST-MODIFIED:20251126T210203Z
UID:1055-1760432400-1760441400@www.museodellecianfrusaglie.it
SUMMARY:Isa Nebl: THE WONDER ROOM
DESCRIPTION:Six boxes for six colors: small things to redesign the world and look far away \nThe projectA creative workshop tracing the innovative thinking of the Agazzi sisters\, who\, already at the end of the 19th century\, with the creation of the “Museum of Jumbles\,” recognized the educational value of direct experience with humble and unsophisticated materials.Discreet custodians of objects of affection\, the wonder boxes presented in the workshop—strictly monochromatic—welcome a multitude of precious and everyday materials: small objects recovered from daily life\, little boxes\, pieces of wood\, images\, fabric scraps\, pages from old books\, curiosities\, and all kinds of trinkets. These invite us to rethink and redesign our living spaces so they can embrace our inner world with more tenderness and creativity.Together\, we imagine and build unexpected micro-worlds inside a box\, starting from the exploration and combination of countless materials\, shapes\, objects\, and words.  \n \n\nKeep reading\nFrom these boxes of wonders\, life will take shape – from time to time – landscapes\, stories\, explorations\, and journeys into worlds never seen before\, created collaboratively and in small groups. It is an open and flexible educational proposal designed to foster creativity\, sensory exploration\, manual skills\, observational ability\, and collaboration\, to nourish children’s imagination\, language development\, and divergent thinking.How is it structured? Together\, we open the boxes\, gather some objects\, and compose figures from our imaginary worlds. ISA NEBL (Cles\, 1967) lives and works in Cles\, where she alternates her activity as a painter and illustrator with that of an atelierist at the La Coccinella cooperative. She holds a diploma in applied arts and specialized at the International School of Etching and Lithography “Il Bisonte” in Florence. She loves inventing dreamlike and enigmatic characters\, which she creates through silkscreen printing and mixed media techniques using acrylic paint and collage.   \nISA NEBL (Cles\, 1967) \nShe lives and works in Cles\, where she alternates her activity as a painter and illustrator with that of an atelierist at the La Coccinella cooperative. Graduated in applied arts and specialized at the International School of Engraving and Lithography “Il Bisonte” in Florence\, she loves inventing dreamlike and enigmatic characters\, which she creates using screen printing and a mixed technique of acrylic painting and collage.
URL:https://www.museodellecianfrusaglie.it/en/evento/isa-nebl-the-wonder-room/
LOCATION:Scuola d’Infanzia Canossiane\, via dei Paradisi\, 4\, Trento\, Italia\, 38122
CATEGORIES:Education,Graphics,Pedagogy,Visual Arts
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20251007T180000
DTEND;TZID=Europe/Rome:20251007T190000
DTSTAMP:20251126T212543Z
CREATED:20250926T135028Z
LAST-MODIFIED:20251126T212543Z
UID:1056-1759860000-1759863600@www.museodellecianfrusaglie.it
SUMMARY:Francesca Verga: Marc Camille Chaimowicz. Here and There…
DESCRIPTION:Dialogue between Francesca Verga\, curator at Ar/Ge Kunst\, Bolzano; Stefano Giovanazzi\, curator\, and Stefano Riba\, curator and professor. \nTuesday\, October 7\, 2025 \n6:00 PM\nColonna Classroom\nFondazione Caritro Trento\nvia Garibaldi \nContents of the meeting\nThe presentation is based on the artistic practice of Marc Camille Chaimowicz (1947-2024)\, a Polish and French artist. Inspired also by his mother’s profession\, Marie Tailhardat\, a seamstress\, he loved to work by blending different materials in his artistic practice. His goal was to create a stage-like space\, with an intimate\, domestic sensibility\, where artistic elements could coexist with objects from everyday life: furniture\, ornaments\, bric-a-brac\, drawn materials\, and other found objects. He enjoyed “shopping\,” he said\, between these two worlds: life and art\, art and life.    \n\n  \n\nKeep reading\n  \nFrancesca Verga\, Biografia\nFrancesca Verga\, BiographyFrancesca Verga is co-artistic director of Ar/Ge Kunst\, Kunstverein in Bolzano\, and is involved in curating\, writing\, management\, and research in contemporary arts. She served as assistant curator for the Italian Pavilion at the 60th International Art Exhibition – La Biennale di Venezia (2024). She holds a PhD from the Department of Art and Culture at the University of Amsterdam (2022). She was the curatorial coordinator of Manifesta 13 (Marseille\, 2020) and the general coordinator of Manifesta 12 (Palermo\, 2018).     \nAR/GE KUNST\nAr/Ge Kunst\, Kunstverein of Bolzano\, was founded in 1985 at the premises of Via Museo 29. The name Ar/Ge Kunst derives from the abbreviation of Arbeitsgemeinschaft (work community)\, indicating the goal of promoting an idea of collective work and also referencing something uncomfortable and unexpected (from the German word ‘arge’). The aim is to consider the kunstverein as a center for research and production in contemporary arts\, where each new project is shaped within a working group composed of members from different fields\, in order to reflect on social\, legal\, and artistic issues.
URL:https://www.museodellecianfrusaglie.it/en/evento/francesca-verga-marc-camille-chaimowicz-here-and-there/
LOCATION:Fondazione Caritro\, via Garibaldi 10-12\, Trento\, Italy\, 38122\, Italy
CATEGORIES:Visual Arts
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DTSTART;TZID=Europe/Rome:20251007T170000
DTEND;TZID=Europe/Rome:20251007T180000
DTSTAMP:20250926T134541Z
CREATED:20250926T134541Z
LAST-MODIFIED:20250926T134541Z
UID:1057-1759856400-1759860000@www.museodellecianfrusaglie.it
SUMMARY:Chiara Bettazzi. Wonder Objects
DESCRIPTION:Dialogue with Stefano Riba\, lecturer in Contemporary Art History and curator at Foto Forum Bolzano\, and Stefano Giovanazzi\, curator of aac archive of contemporary art.\n\n\nTuesday\, October 7\, 2025\n5:00 PM\nColonna Hall\nCaritro Foundation Trentovia Garibaldi \nContents of the Meeting\nThe discussion with artist Chiara Bettazzi and Stefano Riba\, curator at Foto Forum\, offers an opportunity to examine how certain institutions\, associations\, and artists within the Trentino-Alto Adige region are currentizing that type of sensitivity and attention to the world characteristic of Agazzian thought. As Stefano Riba explains: “Starting from Bettazzi’s interest in everyday objects\, we invited the artist to work on the collection of Hartmut Prünster\, co-founder of Foto Forum and passionate collector of ‘junk.’ Bettazzi will ‘fish out’ from Prünster’s archive—located in a space adjacent to the gallery used for the association’s exhibitions—and\, following her practice\, will create assemblages of objects to produce new\, meaningful pathways\, establishing novel logical and semantic connections. The artist’s practice has notable affinities with the pedagogical method of the Agazzi sisters: the contributions of the artist and the curators of the exhibition\, which will take place at Foto Forum in December 2025\, are particularly relevant to the themes proposed in the project ‘Junk. The Educational Method of Rosa and Carolina Agazzi\,’ as they concern the complexity of experiential and formative processes that shape the social structure in which we are immersed.”    \n\n\n  \n\nKeep reading\n\nChiara Bettazzi\, Biography\nChiara Bettazzi lives and works in Prato. She is an artist and founder of the Ex Industrial space on Via Genova; for years\, she has been exploring contemporary languages within the industrial landscape of the Prato area. Always interested in initiating processes of awareness and reappropriation of abandoned spaces\, she continuously dedicates herself to her artistic research\, promoting contemporary art and establishing numerous connections with artists\, musicians\, and independent spaces in the territory. In 2005\, she opened her studio SC17 (www.sc17.it)\, reactivating the area of the former Bini wool mill. Her work\, constantly in contact with industrial archaeology buildings\, is deeply linked to a reflection on everyday objects. Her approach operates on the subtle pathological line typical of contemporary society\, which is partly oriented towards disposable culture and partly towards compulsive accumulation of objects of dubious utility. She has been dedicating herself for years to the artistic direction of various contemporary culture projects\, transforming SC17 into a territorial research project that fosters collaborations with different professional figures. Since 2015\, she has created the project TAI – Tuscan Art Industry (www.tuscanartindustry.com)\, a contemporary laboratory reimagining a new concept of productive reconversion within the former Tuscan industries. Since 2016\, she has coordinated the constantly active Industrial Heritage Map\, a mapping and archiving project of the industrial heritage of the city of Prato and the Val di Bisenzio area. Her works are included in public and private collections\, among which are: Castello di Ama Siena\, Museo di Santa Maria della Scala Siena\, Farnesina Collection in Rome\, and Casa Masaccio Centro per l’arte contemporanea in San Giovanni Valdarno.          \nChiara Bettazzi Exhibition at Foto ForumStarting from Bettazzi’s interest in everyday objects\, we invited the artist to work on Hartmut Prünster’s collection\, co-founder of Foto Forum and passionate collector of “junk.”\nBettazzi will “fish” from Prünster’s archive—kept in an adjacent space to the gallery used for the association’s exhibitions—and\, as per her practice\, she will create assemblages of objects that will be resin-coated\, establishing new logical and semantic connections. The artist’s approach has notable affinities with the pedagogical method of the Agazzi sisters\, so the contribution of the artist and the curators of the Foto Forum exhibition could be significant within the collateral events of the project “Cianfrusaglie. The Educational Method of Rosa and Carolina Agazzi.”   \nFoto ForumFoto Forum is a platform dedicated to photography that hosts exhibitions\, events\, talks\, workshops\, labs\, and photobooks. Founded in 1994 in Bolzano\, the gallery’s exhibition program features works by both emerging and established photographers from Italy and abroad\, covering various genres such as artistic\, documentary\, and conceptual photography. In recent years\, the association’s activities have expanded to include a didactic and experiential section aimed at promoting photography on new levels and reaching a broader audience. We believe it is particularly important to give space to new generations. We consider photography as part of society\, through which photographers engage with and interpret the complexity of reality using different languages. The gallery is an open space—a place for meeting\, informing\, and exchanging ideas for people interested in photography and visual culture. The artistic directorate is composed of Sabine Gamper\, Quirin Prünster\, Stefano Riba\, Anni Seligman\, Martino Stelzer\, and Gunther Waibl.       \nStefano Riba\, Biography\nStefano Riba began working with art in 2002 as a technician and installer. At the time\, while physically working on the setup and dismantling of exhibitions in galleries and museums\, Riba was also engaged in research for his bachelor’s and master’s degrees in Aesthetics. This mental and physical attitude towards artistic practice has never left him. Today\, Stefano Riba is a curator\, but also a professional installer; he is a writer as well as an assistant to artists; Riba is a gallerist but also an artisan. Over the past decade\, he has worked at/with: Fondazione Sandretto Re Rebaudengo\, Museum Ludwig Köln\, Fondazione Merz\, Castello di Rivoli\, Museion\, Ar/Ge Kunst\, Hangar Bicocca\, Manifesta 9 in Genk\, the Venice Biennale\, Galleria Giorgio Persano\, Galleria Michela Rizzo\, Galeria Marso. He has written articles and reviews for Flash Art\, Alias\, Il Manifesto\, Artribune. In 2012\, Stefano Riba co-founded PrintAboutMe Micro-Press\, an independent publishing house\, and in the same year\, he founded VAN DER\, a sort of commercial gallery. Since 2014\, he has curated Passi Erratici\, an annual exhibition on art and mountains held every July at the National Mountain Museum in Turin. Stefano Riba lives between Turin and Bolzano. Since October 2016\, Stefano Riba has been a contract professor for Exhibit Design and a studio assistant for the STUDIO EXHIBIT within the Bachelor’s Degree in Art at the Faculty of Design and Arts of the Free University of Bolzano. \nStefano GiovanazziFounder and curator of AAC Contemporary Art Archive of Rovereto. Graduated from the Rovereto State High School (TN) and subsequently from the State Art Institute in Trento. In the early 1980s\, he attended the Venice Academy of Fine Arts\, where he graduated in Painting with artist Emilio Vedova. Since 1994\, he has been the president of the cultural association Numero Civico. Over more than thirty years of activity\, he has curated events related to contemporary art and thought\, and his collaborations with artists\, musicians\, writers\, museums\, and cultural institutions are noteworthy. These include partnerships with the Italian Senate\, the Ministry of Cultural Heritage and Activities\, the Canadian Embassy\, the Basque Government (Spain)\, the Cervantes Institute (Spain)\, The British Council (United Kingdom)\, the French Ministry of Culture\, the French Institute\, and the Goethe-Institut (Germany).
URL:https://www.museodellecianfrusaglie.it/en/evento/chiara-bettazzi-wonder-objects/
LOCATION:Fondazione Caritro\, via Garibaldi 10-12\, Trento\, Italy\, 38122\, Italy
CATEGORIES:Art criticism,Sculpture,Sociology,Visual Arts
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DTSTART;TZID=Europe/Rome:20251005T000000
DTEND;TZID=Europe/Rome:20251025T235959
DTSTAMP:20251126T214701Z
CREATED:20250926T132304Z
LAST-MODIFIED:20251126T214701Z
UID:1058-1759622400-1761436799@www.museodellecianfrusaglie.it
SUMMARY:Thinking BooksArtist’s Books and Illustrated Children’s Books
DESCRIPTION:curated by Stefano Giovanazzi \nOriginal documents from AAC Contemporary Art Archive Rovereto \n  \nFondazione Caritro\, Trento\, ingresso via Garibaldi\nOctober 4 – 25\, 2025\nTuesday – Saturday\, from 4:00 PM to 7:00 PM\nFree admission \nThe ProjectIn the vast creative\, graphic\, and artistic production of illustrated children’s publications and artist’s books\, Stefano Giovanazzi has selected from the materials that make up the Contemporary Art Archive (AAC) of Rovereto some documents that are particularly significant in relation to the thoughts of Rosa and Carolina Agazzi.The Index Book by Andy Warhol\, containing numerous pop-ups\, the cut-out books by Stefano Arienti\, the mini-catalog Expertise Express by Giancarlo Norese\, Rébecca Dautremer’s Little Theater\, as well as the experiences of impossible alphabets by Michael Snow\, or the most radical objects by Peter Brötzmann\, along with works by Munari\, Lodi\, and Enzo Mari\, up to artist’s boxes elaborated by Dennis Oppenheim\, Giulio Paolini\, Pippilotti Rist\, among others\, offer the opportunity to explore techniques\, practices\, materials\, and languages—all zones of flow between imagination and reality.  \n\n  \n\nKeep reading\n\nAAC Archivio Arte Contemporanea\nThe materials from the exhibition come from Archivio Arte Contemporanea\, a repository of objects and ideas that condenses some of the most expressive experiences of contemporary thought. Founded by Stefano Giovanazzi in 1980\, over the years the archive has collected and preserved 180\,000 documents—works of art\, artist books\, monographs and periodicals\, sound recordings\, videos\, ephemera\, posters\, and photographs—testimonies of encounters with the protagonists of contemporary art and some of the most important figures in contemporary philosophical and literary reflection. From its beginnings in Venice\, acquisitions have accelerated over time. Today\, the archive promotes the most innovative experiences in contemporary art through loans and by curating projects in collaboration with academies\, museums\, foundations\, and other institutions. The research for documents mainly focuses on ‘movements’: Futurism\, Dadaism\, Informal Art\, Neodada\, Pop Art\, Optical Art and Kinetic Art\, Conceptual and Minimal Art\, Arte Povera\, Transavantgarda\, Nuovi Nuovi; Situationism and the Student Movement (‘68\, ’77)\, Utopianism and Science Fiction\, Feminism.
URL:https://www.museodellecianfrusaglie.it/en/evento/thinking-booksartists-books-and-illustrated-childrens-books/
LOCATION:Fondazione Caritro\, via Garibaldi 10-12\, Trento\, Italy\, 38122\, Italy
CATEGORIES:Education,Pedagogy,Visual Arts
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20251005T000000
DTEND;TZID=Europe/Rome:20251025T235959
DTSTAMP:20251127T090738Z
CREATED:20250926T132114Z
LAST-MODIFIED:20251127T090738Z
UID:1060-1759622400-1761436799@www.museodellecianfrusaglie.it
SUMMARY:Thinking Books. Illustrated Children’s Books
DESCRIPTION:curated by Stefano Giovanazzi\n\nOriginal documents from AAC Contemporary Art Archive Rovereto\n\nFondazione Caritro\, Trento\, entrance via Garibaldi\n\nTuesday – Saturday\, from 4:00 PM to 7:00 PM Free admission\n\n \nProgetto\nIn the vast creative\, graphic\, and artistic production of illustrated children’s publications and artist’s books\, Stefano Giovanazzi has selected from the materials that make up the Contemporary Art Archive (AAC) of Rovereto some documents that are particularly significant in relation to the thoughts of Rosa and Carolina Agazzi.The Index Book by Andy Warhol\, containing numerous pop-ups\, the cut-out books by Stefano Arienti\, the mini-catalog Expertise Express by Giancarlo Norese\, Rébecca Dautremer’s Little Theater\, as well as the experiences of impossible alphabets by Michael Snow\, or the most radical objects by Peter Brötzmann\, along with works by Munari\, Lodi\, and Enzo Mari\, up to artist’s boxes elaborated by Dennis Oppenheim\, Giulio Paolini\, Pippilotti Rist\, among others\, offer the opportunity to explore techniques\, practices\, materials\, and languages—all zones of flow between imagination and reality. \n\nKeep reading\nAAC Archivio Arte Contemporanea\nThe materials from the exhibition come from Archivio Arte Contemporanea\, a repository of objects and ideas that condenses some of the most expressive experiences of contemporary thought. Founded by Stefano Giovanazzi in 1980\, over the years the archive has collected and preserved 180\,000 documents—works of art\, artist books\, monographs and periodicals\, sound recordings\, videos\, ephemera\, posters\, and photographs—testimonies of encounters with the protagonists of contemporary art and some of the most important figures in contemporary philosophical and literary reflection. From its beginnings in Venice\, acquisitions have accelerated over time. Today\, the archive promotes the most innovative experiences in contemporary art through loans and by curating projects in collaboration with academies\, museums\, foundations\, and other institutions. The research for documents mainly focuses on ‘movements’: Futurism\, Dadaism\, Informal Art\, Neodada\, Pop Art\, Optical Art and Kinetic Art\, Conceptual and Minimal Art\, Arte Povera\, Transavantgarda\, Nuovi Nuovi; Situationism and the Student Movement (‘68\, ’77)\, Utopianism and Science Fiction\, Feminism.
URL:https://www.museodellecianfrusaglie.it/en/evento/thinking-books-illustrated-childrens-books/
LOCATION:Fondazione Caritro\, via Garibaldi 10-12\, Trento\, Italy\, 38122\, Italy
CATEGORIES:Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://www.museodellecianfrusaglie.it/wp-content/uploads/2025/09/Paolini-b.jpg
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DTSTART;TZID=Europe/Rome:20251004T160000
DTEND;TZID=Europe/Rome:20251025T190000
DTSTAMP:20251127T102918Z
CREATED:20251104T155112Z
LAST-MODIFIED:20251127T102918Z
UID:1062-1759593600-1761418800@www.museodellecianfrusaglie.it
SUMMARY:Cianfrusaglie [knick-knacks]. The educational method of Rosa and Carolina Agazzi
DESCRIPTION:curated by \nFrancesca Cristellotti \nStefano Giovanazzi \nMorea Quardi \nThree years after the publication of the monograph “Cianfrusaglie. L’Asilo San Martino di Trento e il metodo delle sorelle Agazzi\,” Ente San Martino di Trento presented the project at the exhibition venue of the Fondazione Caritro in Trento.“CIANFRUSAGLIE. The educational method of Rosa and Carolina Agazzi”Unique of its kind\, the exhibition has made visible to the public for the first time a substantial part of the collection of over 2\,700 original objects that comprise the “Museum of Junk\,” an innovative tool created by Italian pedagogues Rosa and Carolina Agazzi at the end of the 19th century.A precious historical testimony of an educational journey that in the city of Trento helped shape generations of children\, the ‘Museum of Junk’ of the San Martino Nursery has been fortunate to be preserved by the San Martino Organization—which founded the nursery on October 11\, 1899—even after the adoption of more recent teaching and pedagogical methodologies.Throughout the 20th century\, the ‘Museum of Junk’ was used essentially in all kindergartens across Trentino\, in Italian-speaking kindergartens in South Tyrol\, in Friuli Venezia Giulia\, and in Lombardy\, where Rosa’s insight led to its creation in 1896: most visitors to the exhibition will have the opportunity to reflect on their own ‘badge’ embroidered on their apron or attached to the coat rack.The exhibition held in Trento highlighted the richness of ideas and the semantic complexity of a method that\, anticipating the most advanced structuralist theories and Jean Piaget’s pedagogical experiences\, revolutionized educational practices at the end of the 19th century.In Rosa and Carolina’s reflections\, the nursery is seen as a complex social organism that must operate considering various levels: practical\, theoretical\, economic\, emotional\, and civic. It is a community of people with highly diverse roles and skills\, each contributing\, with their own attitudes\, to the common good.The sisters imagine what the nursery of the future could be like: a healthy\, positive\, and proactive environment where everyone’s potential can be expressed through autonomy of thought\, judgment\, and action.But how can such a project be accomplished? Who will take care of it? What should be the role of the educators? What feelings should inspire their actions?   Evidence clearly shows to Rosa and Carolina: affection\, respect\, orderly and conscious behavior\, self-care\, and mutual help create a peaceful family environment. Even the outdoor space of the nursery school must have the same characteristics\, and the educator’s role is to recreate that environment.The project conceived by Stefano Giovanazzi and coordinated with Francesca Cristellotti and Morena Quardi is sponsored by the Autonomous Province of Trento\, and involves the collaboration of numerous institutions in the organization of the scheduled side events: the Provincial Federation of Nursery Schools of Trento for educational activities\, Numero Civico Rovereto for organization and interaction with the arts disciplines\, the Department of Psychology and Cognitive Sciences and the Department of Letters and Philosophy at the University of Trento\, Foto Forum and Ar/Ge Kunst of Bolzano\, and AAC Contemporary Art Archive of Rovereto.During the exhibition\, workshops\, meetings\, conferences\, and performances took place\, involving artists\, authors\, and experts\, providing insights into contemporary cultural\, artistic\, linguistic\, and educational practices. Children were guided to visit the exhibition and participate in the scheduled workshops. Some of the objects created by the children during the workshops were displayed in the final days of the exhibition.   \nProject Objectives \n\nPutting educational experience at the center of life; spreading the ideas of Rosa and Carolina Agazzi.\nEnhance imaginative faculties (creativity) and the ability to collaborate (mutual aid).\nOpen to a more conscious way of understanding relationships between people.\nDeepening the understanding of the world of reason and feelings\, emotional intelligence\, and education in affectivity.\nBuilding respectful relationships among all living beings: the environment that hosts us\, like us\, is complex and fragile.\nResearch the theoretical and ethical foundations of society.\n\nLeading reality \nEnte San Martino has a long history in the field of education and training: in 1899\, it founded and inaugurated the San Martino Kindergarten in Trento\, initially promoting the principles of Friedrich Fröbel\, Johann Heinrich Pestalozzi\, and Ferrante Aporti\, and starting from the post-World War I period\, incorporating the insights of Rosa and Carolina Agazzi.In 2020\, it published and distributed in the region’s kindergartens the monograph “Cianfrusaglie. L’Asilo San Martino di Trento e il metodo delle sorelle Agazzi” [The San Martino Kindergarten in Trento and the Sister Agazzi Method]\, a valuable historical testimony of an educational approach that\, in the city of Trento\, was taking its first steps in the immediate post-World War II period. The innovative aspects of the educational processes highlighted in the volume span various disciplinary fields: from perceptual and intuitive to psychological\, from logical-linguistic to ideational and creative\, up to the ethical and formative domain\, which encompasses self-care and caring for others through mutual help.Since 2020\, Ente San Martino has aimed to disseminate the results of this research\, which lasted over two years\, thereby laying the groundwork for cultural and educational initiatives that came to fruition in 2025.    \nInnovative features of the project \nLe neuroscienze confermano la plasticità dell’esperienza formativa: l’interazione fra dimensione psicologica\, competenze linguistiche\, immaginazione\, creatività e memoria incidono nella vita di ciascuno di noi. Nel 1895 Rosa Agazzi ha la grande intuizione di far convergere in un’unica grande esperienza educativa la molteplicità degli stimoli provenienti dalla realtà\, anticipando così i risultati delle ricerche più attuali. Il progetto rilegge quell’esperienza presentando documenti storici che illustrano   la forza di quel metodo multidisciplinare\, mentre eventi collaterali ideati e realizzati da artisti\, curatori\, ricercatori e docenti (più laboratoriali e performativi quelli dedicati ai bambini\, più rilfessivi e teorici quelli per adulti) sono pensati per innescare scambi creativi\, attualizzare il pensiero agazziano e potenziare le nostre capacità. \nPartner \nEnriching the project through complexity: thanks to these partners\, we will explore various fields and disciplines that will enhance the perception of the educational phenomenon: \n\nProvincial Federation of Preschools promotes the historical and pedagogical method of Agazziano through training activities of Cianfrusaglie within associated school communities\nUniversity of Trento\, Department of Psychology and Cognitive Sciences\, offers a new perspective on Developmental and Educational Psychology\nUniversity of Trento\, Faculty of Arts and Philosophy\, will introduce a theoretical-critical reflection on contemporary artistic practices\nNumero Civico Rovereto proposes a discussion between the art world and pedagogy\nFotoforum Bolzano presents an artistic project themed around Cianfrusaglie\nArge kunst Bolzano reflects on the relationship between art and life within contemporary artistic practices
URL:https://www.museodellecianfrusaglie.it/en/evento/cianfrusaglie-knick-knaks-the-educational-method-of-rosa-and-carolina-agazzi/
CATEGORIES:Art criticism,Education,Graphics,History,Movie,Music,Pedagogy,Sculpture,Sociology,Theatre,Visual Arts
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20251004T160000
DTEND;TZID=Europe/Rome:20251025T190000
DTSTAMP:20250926T130848Z
CREATED:20250926T130848Z
LAST-MODIFIED:20250926T130848Z
UID:1065-1759593600-1761418800@www.museodellecianfrusaglie.it
SUMMARY:Stefano Arienti Trace
DESCRIPTION:Fondazione Caritro\, Trento\, via Garibaldi entrance\nOctober 4 – 25\, 2025\nTuesday – Saturday\, from 4:00 PM to 7:00 PM\nFree admission \nOn the occasion of “Cianfrusaglie. The Educational Method of Rosa and Carolina Agazzi\,” we are pleased to present the installation by artist Stefano Arienti\, which will be inaugurated on Saturday\, October 4\, 2025\, at 11:00 AM\, at the Fondazione Caritro in Trento\, via Garibaldi. \nThe Project\nUsing simple manipulation techniques learned since childhood and activating sometimes repetitive linear processes\, Stefano Arienti transforms common objects\, often everyday items—such as phone books\, comics\, train schedules\, sheets of paper\, posters\, and billboards—into sculptures. These works\, while preserving the fragility and transience of the materials used\, reveal the artist’s interest in the communicative potential inherent in images from popular culture. The most widespread and recognizable images thus become inspiration for personal reinterpretation. Through simple gestures like folding the pages of a book\, erasing parts of a poster\, retracing outlines while retaining only some points\, or perforating lines in a drawing\, the artist alters the immediate recognizability of the icon. This creates a perceptual disorientation in the viewer\, reducing the communicative power of the original image. The process by which Stefano Arienti creates his works\, and the simplicity of their execution\, are closely tied to the way the piece has been conceived and envisioned: he has always been interested in process art\, particularly in the work of artists like Alighiero Boetti\, or designer-planners like Gio Ponti. The artist approaches with irony the confrontation with the more radical experiences of the 20th century\, such as Futurism\, Conceptual Art\, Arte Povera\, and Minimalism.      \n\n\nKeep reading\n\nStefano Arienti was born in 1961 in Asola\, in the Mantovano region\, from a family of peasant origin. He spent his childhood in an old farmhouse in the Po Valley countryside. As a young boy\, he developed an interest in scientific studies and\, in the late 1970s\, moved to Milan to attend the Faculty of Agricultural Sciences\, where he graduated in 1986. During his studies\, he met some young artists of the Milanese avant-garde\, including Corrado Levi\, who would become his first mentor. He began his artistic career without any formal academic training: his creativity was sparked by reflections that ranged from biology to art history\, from an attraction to Eastern culture to a love for nature\, accompanied by a passion for collecting that he had developed since childhood.\nIn 1985\, he participated in his first group exhibition with “Muffe\,” intervening with colored chalks on the cracked\, damp walls of the former electric motor factory Brown Boveri in the Isola district of Milan. It is evident from this early work that a constant in the artist’s methodology would be to intervene on existing images\, objects\, or surfaces to give them new appearance and meaning. He subsequently exhibited in Ferrara and Milan; in 1986\, he held his first solo show at Corrado Levi’s studio\, and in 1989\, he staged an exhibition at Studio Guenzani. There\, he presented the series “Alghe” (Algae)\, long and light strips of colored plastic hanging from above\, and “Turbine\,” sculptures made by folding pages from magazines and industrial paper volumes. Both series emphasize the process of creating the work as well as the choice of materials drawn from everyday reality. Artists such as Boetti and Munari\, Tony Cragg\, and Carla Accardi\, Pino Pascali\, and Piero Gilardi had a significant influence on the young Arienti.\nIn 1990\, he was invited to participate in the “Aperto” section of the 44th Venice Biennale\, and from 1991\, he exhibited at the Luigi Pecci Center for Contemporary Art in Prato. During this period\, he developed a new series of works: “Manifesti cancellati” (Censored Posters)\, “Libri cancellati” (Censored Books)\, and “Diapositive graffiate” (Graffitied Slides). In the mid-1990s\, the artist gained international recognition through exhibitions held at prestigious venues such as the Reina Sofia Museum in Madrid. During the same period\, Arienti began experimenting with works engaging with space and society\, such as “Murazzi dalla cima\,” an intervention on a heavily frequented stretch of the Po River in central Turin.\nIn 1997\, his works featured in prestigious group exhibitions like “Pittura Italiana” at the Castello di Rivoli and “Fatto in Italia” at the Center for Contemporary Art in Geneva. Additionally\, a monograph on the artist was published by the Sandretto Re Rebaudengo Foundation.In 2004\, in Rome\, the MAXXI – National Museum of 21st Century Arts\, in collaboration with the Sandretto Re Rebaudengo Foundation\, dedicated its first major public solo exhibition to him. That same year\, Arienti became an artist in residence at the Isabella Stewart Gardner Museum in Boston\, a prestigious institution whose collections of decorative arts and Asian art would serve as new sources of inspiration. In 2007\, he was awarded another important residency at Artpace in San Antonio\, Texas.             These are recent works created using the technique of perforation\, carried out with a small drill bit\, on various materials mostly drawn from everyday life\, such as car door panels\, vinyl records\, Macramé\, which feature delicate effects similar to lace on unusual supports like onyx or marble\, and torn books. In recent years\, the artist has also experimented with large\, highly suggestive installations\, such as the one called “Enciclopedia\,” set up in 2009 with books and carded wool at the Santo Spirito in Sassia complex in Rome.\nAt the end of 2009\, many of his works were exhibited in a solo show held at the Palazzo Ducale in Mantua.\nStefano Arienti has taught at the Academy of Fine Arts in Bergamo and since 2003 has been a professor at the Faculty of Design and Arts at IUAV University of Venice.
URL:https://www.museodellecianfrusaglie.it/en/evento/stefano-arienti-trace-2/
LOCATION:Fondazione Caritro\, via Garibaldi 10-12\, Trento\, Italy\, 38122\, Italy
CATEGORIES:Visual Arts
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DTSTART;TZID=Europe/Rome:20251002T173000
DTEND;TZID=Europe/Rome:20251002T183000
DTSTAMP:20250926T133310Z
CREATED:20250926T133310Z
LAST-MODIFIED:20250926T133310Z
UID:1063-1759426200-1759429800@www.museodellecianfrusaglie.it
SUMMARY:Stefano Arienti. Trace
DESCRIPTION:Dialogue with Stefano Giovanazzi\, curator at AAC Archivio Arte Contemporanea\nintroducing Denis Viva\, associate professor at the Department of Letters and Philosophy. \nThursday\, October 2\, 2025\nRoom 110\, Department of Arts and Philosophy\, University of Trento\nVia Tomaso Gar 14\, 38122 Trento  \nOn the occasion of “Cianfrusaglie. The Educational Method of Rosa and Carolina Agazzi” at the Department of Letters Auditorium of the University of Trento\, a public meeting was held with the artist Stefano Arienti.\nThe artist was invited to engage in a dialogue with Stefano Giovanazzi\, curator of the Contemporary Art Archive of Rovereto\, on topics concerning the relationship within the artistic process between improvisation and technique\, tool and expedient\, ideation and material elaboration\, reflection and manipulation. The event was introduced by Denis Viva\, associate professor at the Department of Letters and Philosophy.  \nKnick-knacks and the works of artist Stefano Arienti.\nStefano Arienti designed a specific arrangement of the exhibition space that hosts the show “Cianfrusaglie. The Educational Method of Rosa and Carolina Agazzi” at the Fondazione Caritro.\nIn particular\, on the occasion of Cianfrusaglie\, the artist decided to create chenille rugs to share a very personal experience of his. On these rugs\, he had printed the image of an iris bed similar to the one he used to water when he was in kindergarten.\nWalking on the rugs that introduced the exhibition path\, the audience could understand the meaning of the work and share Stefano Arienti’s childhood experience—one linked to gardening\, caring for plants\, but also caring for oneself.\nAlthough distant in time\, some images vividly resurface in our minds: we are filling the watering can\, approaching the plants\, trying to pour water close to the roots\, avoiding damaging the stem and flowers\, with the care we are capable of.\nAn integral part of the educational and cognitive processes proposed by Rosa Agazzi is certainly an experience that we keep inside us forever. \n\n  \n\nKeep reading\n\nThe creative process of Stefano Arienti\nUsing simple manipulation techniques learned since childhood and activating sometimes repetitive linear processes\, Stefano Arienti transforms ordinary objects\, often from everyday use—such as telephone directories\, comics\, train schedules\, sheets of paper\, posters\, and banners—into sculptures. These works\, while preserving the fragility and transience of the materials used\, reveal the artist’s interest in the communicative potential inherent in images from popular culture. The most widespread and recognizable images become opportunities for personal reinterpretation. Through simple gestures like folding the pages of a book\, erasing parts of a poster\, tracing silhouettes while keeping only certain points\, or perforating the lines of a drawing\, the artist alters the immediate recognizability of the icon. This creates a perceptual disorientation in the viewer\, reducing the communicative power of the original image. The process by which Stefano Arienti creates his works\, along with their straightforwardness\, is closely linked to how the piece was conceived and imagined: always interested in process art\, particularly in the work of artists like Alighiero Boetti or design designers such as Gio Ponti\, the artist approaches with irony the confrontation with the most radical experiences of the 20th century\, such as Futurism\, Conceptual Art\, Arte Povera\, and Minimalism.     \nStefano Arienti\nStefano Arienti was born in 1961 in Asola\, in the Mantovano region\, to a farming family. He spent his childhood in an old farmhouse in the Po Valley countryside. As a young boy\, he developed an interest in scientific studies and\, in the late 1970s\, moved to Milan to attend the Faculty of Agricultural Sciences\, where he graduated in 1986. During his studies\, he met some young Milanese avant-garde artists\, including Corrado Levi\, who became his first mentor. He entered the art world without any formal academic training: his creativity was sparked by reflections spanning biology\, art history\, an attraction to Eastern culture\, and a love for nature\, complemented by a passion for collecting that he developed as a child.\nIn 1985\, he participated in his first group exhibition with “Muffe\,” intervening with colored chalks on the peeling\, humid walls of the former electric motor factory Brown Boveri in the Isola district of Milan. From early on\, a constant in his methodology was evident: intervening on existing images\, objects\, or surfaces to give them new appearance and meaning. He subsequently exhibited in Ferrara and Milan; in 1986\, he held his first solo show at Corrado Levi’s studio\, and in 1989\, he presented an exhibition at Studio Guenzani\, showcasing his series “Alghe” (Algae)\, long and light strips of colored plastic hanging from above\, and “Turbine\,” sculptures made from bending pages of magazines and industrial paper volumes. In both cases\, the processual aspect of creating the work and material choice—drawn from everyday life—were central. Artists like Boetti and Munari\, Tony Cragg\, Carla Accardi\, Pino Pascali\, and Piero Gilardi significantly influenced the young Arienti.\nIn 1990\, he was invited to participate in the “Aperto” section of the 44th Venice Biennale\, and from 1991\, he exhibited at the Luigi Pecci Center for Contemporary Art in Prato. During these years\, he developed new series of works: “Manifesti cancellati” (Censored Posters)\, “Libri cancellati” (Censored Books)\, and “Diapositive graffiate” (Graffitied Slides). By the mid-1990s\, his international recognition was established through exhibitions at prestigious venues such as the Reina Sofia Museum in Madrid. During this period\, Arienti also began experimenting with works related to space and society\, such as “Murazzi dalla cima” (Murazzi from the Top)\, an intervention on a heavily frequented stretch of the Po River in central Turin.In 1997\, his works appeared in prominent group exhibitions such as “Pittura Italiana” at the Castello di Rivoli and “Fatto in Italia” at the Centre d’Art Contemporain in Geneva. The Fondazione Sandretto Re Rebaudengo also published the first monograph on the artist. In 2004\, at the MAXXI – National Museum of the 21st Century Arts in Rome\, he was given his first major solo exhibition. That same year\, Arienti became an artist-in-residence at the Isabella Stewart Gardner Museum in Boston\, a prestigious institution whose collection of decorative arts and Asian art provided new inspiration. In 2007\, he received another significant residency at Artpace in San Antonio\, Texas.             These are recent works created using the technique of perforation\, carried out with a small drill bit\, on various materials mostly drawn from everyday life\, such as car doors\, vinyl records\, Macramé\, which features delicate lace-like effects on unusual supports like onyx or marble\, and torn books. In recent years\, the artist has also experimented with large installations of strong emotional impact\, such as the one called “Enciclopedia\,” assembled in 2009 with books and felted wool in the Santo Spirito in Sassia complex in Rome. At the end of 2009\, many of his works were exhibited in a solo show held at the Palazzo Ducale in Mantua. Stefano Arienti has taught at the Accademia di Belle Arti in Bergamo and since 2003 has been a professor at the Faculty of Design and Arts at IUAV University of Venice.    \nStefano GiovanazziStefano Giovanazzi\n(Rovereto TN\, March 4\, 1961). Founder and curator of AAC – Archivio Arte Contemporanea di Rovereto. Graduated from the Rovereto Magistral Institute (TN) and subsequently from the State Art Institute in Trento. In the early 1980s\, he attended the Academy of Fine Arts in Venice\, where he graduated in Painting under the artist Emilio Vedova. Since 1994\, he has been the president of the cultural association Numero Civico. Over more than thirty years of activity\, he has curated events related to contemporary art and thought\, and it is worth mentioning his collaborations with artists\, musicians\, and writers\, as well as with museums and cultural institutions\, governments\, and governmental institutions: the Italian Senate\, the Ministry of Cultural Heritage and Activities\, the Canadian Embassy\, the Basque Government (Spain)\, the Cervantes Institute (Spain)\, The British Council (United Kingdom)\, the French Ministry of Culture\, the French Institute (France)\, and the Goethe-Institut (Germany).   \nDenis Viva\nAssociate Professor\, Department of Humanities Studies\, University of Trento\nMember of the PhD School in European Cultures\, Department of Humanities Studies\, University of TrentoMember of the Open Science Committee\, University of TrentoDirector of Palinsesti\, an online journal of Italian contemporary art\, published by TESEO – University of Trentohttps://teseo.unitn.it/palinsestiMember of the International Network for Research Training in Art History (Réseau International pour la Formation à la Recherche en Histoire de l’Art)https://www.proartibus.org/membresMember of the Kuratorium Foundation – VAF-StiftungProjects:October 2023 – October 2025: Border Art(E)scapes. Responsible for the research unit coordinating the University of Trento’s research team. Principal Investigator: Prof. Giorgio Bacci (University of Florence); other units include Prof. Chiara Brambilla (University of Bergamo)\, Prof. Valentina Porcellana (University of Aosta)\, Prof. Caterina Toschi (University for Foreigners of Siena).June 2023: XXI Spring School – RIFHA. Organization of the XXI Spring School “Art and Science. Materiality and Mediality\,” University of Trento. Curated by Denis Ribouillault\, Eva Struhal\, and Denis Viva.October 2022 – December 2024: Officina Espositiva. Main research project supported within the three-year plan of the Department of Humanities Studies\, University of Trento.April 2020 – August 2022: The History of Art in High Schools. Main research project supported by CeASUM\, University of Trento. Seminars and workshops on teaching art history in high schools.2018-2019: VARIA. Collaborator for the Trentino-Alto Adige Region on the Video Archives Census in Italy for the web database https://varia.cultura.gov.it/April 19\, 2013 – April 18\, 2016: CAPTI. Researcher for the Research Unit project supported by the “FIRB 2012” grant from the Ministry of Education\, University and Research. “Disseminating Visual Culture: Contemporary Art through Periodicals\, Archives\, and Illustrations”: the project focused on the history and development of Italian art periodicals from 1945 to 1980 through publications\, conferences\, and digitization of these magazines into a web database www.capti.it.
URL:https://www.museodellecianfrusaglie.it/en/evento/stefano-arienti-trace/
LOCATION:Dipartimento di Lettere e Filosofia\, via Tomaso Gar\, Trento\, TN\, Italy
CATEGORIES:Art criticism,Pedagogy,Sociology,Visual Arts
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