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Meetings with artists and curators<\/mark><\/strong><\/h1>\n\n\n\n

This section features a series of meetings dedicated to visual arts and pedagogy, an integral part of the project “Cianfrusaglie. The Educational Method of Rosa and Carolina Agazzi,” which is part of the cultural offerings of the Museum of Junk, aimed at promoting a contemporary reflection on the Agazzian Method through educational and artistic activities.<\/p>\n\n\n

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Stefano ArientiRicalco<\/strong><\/mark><\/h2>\n\n

Dialogue with Stefano Giovanazzi, curator at AAC Archivio Arte Contemporanea, introducing Denis Viva<\/a>, associate professor at the Department of Letters and Philosophy.<\/p>\n\n

Thursday, October 2, 20255:30 PMRoom 110, Department of Arts and Philosophy, University of TrentoVia Tomaso Gar 14, 38122 Trento<\/strong><\/strong> <\/mark><\/p>\n\n

On the occasion of \u201cCianfrusaglie. The Educational Method of Rosa and Carolina Agazzi\u201d at the Department of Letters Auditorium of the University of Trento, a public meeting was held with the artist Stefano Arienti.The 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. <\/p>\n\n

Clutter and the works of artist Stefano Arienti.<\/strong>Stefano Arienti designed a specific arrangement of the exhibition space that hosts the show \u201cCianfrusaglie. The Educational Method of Rosa and Carolina Agazzi\u201d at the Fondazione Caritro.In 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.Walking on the rugs that introduced the exhibition path, the audience could understand the meaning of the work and share Stefano Arienti\u2019s childhood experience\u2014one linked to gardening, caring for plants, but also caring for oneself.Although 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.An integral part of the educational and cognitive processes proposed by Rosa Agazzi is certainly an experience that we keep inside us forever. <\/p>\n\n

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The creative process of Stefano Arienti<\/strong>
Using simple manipulation techniques learned since childhood and activating sometimes repetitive linear processes, Stefano Arienti transforms ordinary objects, often from everyday use\u2014such as telephone directories, comics, train schedules, sheets of paper, posters, and banners\u2014into 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.

Stefano Arienti<\/strong>
Stefano 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.
In 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\u2014drawn from everyday life\u2014were central.
Artists like Boetti and Munari, Tony Cragg, Carla Accardi, Pino Pascali, and Piero Gilardi significantly influenced the young Arienti. In 1990, he was invited to participate in the \u201cAperto\u201d 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 \u201cPittura Italiana\u201d at the Castello di Rivoli and \u201cFatto in Italia\u201d at the Centre d\u2019Art Contemporain in Geneva. The Fondazione Sandretto Re Rebaudengo also published the first monograph on the artist. In 2004, at the MAXXI \u2013 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, Macram\u00e9, 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.

Stefano Giovanazzi<\/strong>
(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).

Denis Viva<\/strong>
Associate Professor, Department of Humanities Studies, University of Trento
Member of the PhD School in European Cultures, Department of Humanities Studies, University of Trento
Member of the Open Science Committee, University of Trento
Director of Palinsesti, an online journal of Italian contemporary art, published by TESEO \u2013 University of Trento
https:\/\/teseo.unitn.it\/palinsesti
Member of the International Network for Research Training in Art History (R\u00e9seau International pour la Formation \u00e0 la Recherche en Histoire de l\u2019Art)
https:\/\/www.proartibus.org\/membres
Member of the Kuratorium Foundation \u2013 VAF-Stiftung
Projects:
October 2023 \u2013 October 2025: Border Art(E)scapes. Responsible for the research unit coordinating the University of Trento\u2019s 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 \u201cArt and Science. Materiality and Mediality,\u201d University of Trento. Curated by Denis Ribouillault, Eva Struhal, and Denis Viva.
October 2022 \u2013 December 2024: Officina Espositiva. Main research project supported within the three-year plan of the Department of Humanities Studies, University of Trento.
April 2020 \u2013 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 \u2013 April 18, 2016: CAPTI. Researcher for the Research Unit project supported by the \u201cFIRB 2012\u201d grant from the Ministry of Education, University and Research. \u201cDisseminating Visual Culture: Contemporary Art through Periodicals, Archives, and Illustrations\u201d: 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. : Meetings<\/span><\/a><\/details>\n<\/div>\n\n
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Chiara Bettazzi, artist<\/strong>Wonder Objects<\/strong><\/mark><\/strong><\/h2>\n\n
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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.<\/p>\n\n\n\n

Tuesday, October 7, 20255:00 PMColonna HallCaritro Foundation Trentovia Garibaldi<\/mark><\/strong><\/p>\n\n\n\n

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Contents of the Meeting<\/strong>The 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 Pr\u00fcnster, co-founder of Foto Forum and passionate collector of ‘junk.’ Bettazzi will ‘fish out’ from Pr\u00fcnster’s archive\u2014located in a space adjacent to the gallery used for the association’s exhibitions\u2014and, 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.” <\/p>\n<\/div>\n\n

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Keep reading<\/summary>
Chiara Bettazzi, Biography<\/strong>
Chiara 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 \u2013 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\u2019arte contemporanea in San Giovanni Valdarno.

Chiara Bettazzi Exhibition at Foto Forum<\/strong>
Starting from Bettazzi’s interest in everyday objects, we invited the artist to work on Hartmut Pr\u00fcnster’s collection, co-founder of Foto Forum and passionate collector of “junk.”
Bettazzi will “fish” from Pr\u00fcnster’s archive\u2014kept in an adjacent space to the gallery used for the association’s exhibitions\u2014and, 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.”

Foto Forum<\/strong>
Foto 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\u2014a place for meeting, informing, and exchanging ideas for people interested in photography and visual culture. The artistic directorate is composed of Sabine Gamper, Quirin Pr\u00fcnster, Stefano Riba, Anni Seligman, Martino Stelzer, and Gunther Waibl.

Stefano Riba, Biography<\/strong>
Stefano 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 K\u00f6ln, 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. : Meetings<\/span><\/a><\/details>\n<\/div>\n\n

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Francesca Verga<\/strong>Marc Camille Chaimowicz. Here and There\u2026<\/strong><\/mark><\/strong><\/h2>\n\n

<\/mark><\/mark>Dialogue between Francesca Verga, curator at Ar\/Ge Kunst, Bolzano; Stefano Giovanazzi, curator, and Stefano Riba, curator and professor.<\/p>\n\n

Tuesday, October 7, 2025<\/mark><\/strong><\/p>\n\n

6:00 PMColonna ClassroomFondazione Caritro Trentovia Garibaldi<\/mark><\/strong><\/p>\n\n

Contents of the meeting<\/strong>The presentation is based on the artistic practice of Marc Camille Chaimowicz (1947-2024), a Polish and French artist. Inspired also by his mother\u2019s 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 \u201cshopping,\u201d he said, between these two worlds: life and art, art and life. <\/p>\n\n

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Francesca Verga<\/strong>Francesca Verga is co-artistic director of Ar\/Ge Kunst, the Kunstverein in Bolzano, and is involved in curation, writing, management, and research in contemporary arts. She was assistant curator of the Italian Pavilion at the 60th International Art Exhibition \u2013 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). <\/p>\n\n\n\n

AR\/GE KUNST<\/strong>Ar\/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. <\/p>\n\n\n

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Carlo La Manna and Giuseppe Calliari“The Music of Things”<\/mark><\/strong><\/h2>\n\n

Video testimonials of expressive experiments with Carlo La Manna, bassist, narrator, and composer, and Giuseppe Calliari, music historian, curator, writer, and poet.<\/p>\n\n

Saturday, October 25, 2025<\/mark><\/strong><\/p>\n\n

11:00 AMConference RoomFondazione Caritro Trentovia Garibaldi<\/mark><\/strong><\/p>\n\n

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Biography<\/strong>CARLO LA MANNATrentino double bassist, storyteller, and composer, he blends jazz, contemporary music, and sound research. He has collaborated with Arvo P\u00e4rt, 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. <\/p>\n\n

GIUSEPPE CALLIARIAuthor of monographs \u2013 Ferruccio Busoni (2011), Laurence Feininger (2022) \u2013 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 \u2013 lyric scenes, choral works, musical theater scenes \u2013 and projects that intersect music and literature. <\/p>\n\n

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Stefano Giovanazzi<\/strong>Game theory. Imaginary, symbolic, and real <\/mark><\/strong><\/h2>\n\n

Dialogue between Stefano Giovanazzi, curator of AAC Archivio Arte Contemporanea Rovereto, and the audience of Cianfrusaglie<\/p>\n\n

Saturday, October 25, 2025<\/mark><\/strong><\/p>\n\n

5:00 PMConference RoomFondazione Caritro TrentoVia Garibaldi<\/mark><\/strong><\/p>\n\n

Contents of the meeting<\/strong>Game 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 \u2013 orders, commands, instructions, recommendations, questions, prayers, supplications, etc. \u2013 but also as interrogations, promises, literary and artistic descriptions, to name just a few. As Jean-Fran\u00e7ois Lyotard reminds us: \u201cevery statement should be considered as a \u2018move\u2019 made within the framework of a game.\u201d <\/p>\n\n

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Stefano Giovanazzi<\/strong>Stefano 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). AAC Archivio Arte Contemporanea<\/strong>The materials of the exhibition come from the Contemporary Art Archive, a repository of objects and ideas that condenses some of the most expressive experiences of contemporary thought. Conceived by Stefano Giovanazzi in 1980, over the years the archive has collected and preserved 180,000 documents \u2014 artworks, artist books, monographs and periodicals, sound recordings, videos, ephemera, posters, and photographs \u2014 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 undergone various accelerations. Today, the archive promotes the most innovative experiences of contemporary art through loans and by curating projects in collaboration with academies, museums, foundations, and other institutions. The research for documents particularly focuses on \u2018movements\u2019: Futurism, Dadaism, Informal, Neodada, Pop Art, Optical Art and Kinetic Art, Conceptual Art and Minimalism, Arte Povera, Transavanguardia, New New; Situationism and the Student Movement (\u201968, \u201977), Utopianism and Science Fiction, Feminism. Numero Civico<\/strong>The cultural association Numero Civico promotes contemporary arts and thought through a series of daily practices aimed at fostering sharing, production, management, and preservation; it facilitates relationships among artists, existing cultural institutions, collectors, and the public; and it participates in the conception, planning, and management of cultural and exhibition events.Founded in Rovereto in 1994, since the beginning of its activity, Numero Civico has collaborated with numerous important national and international institutions.Museums and Centers: Centro per l\u2019Arte Contemporanea \u201cL. Pecci\u201d, Prato; MART \u2013 Museum of Modern and Contemporary Art of Trento and Rovereto, Trento and Rovereto (TN); La Biennale di Venezia, Venice; Galleria Civica d\u2019Arte Contemporanea, Trento; ICA \u2013 Institute of Contemporary Art, London; Museo Tridentino di Scienze Naturali, Trento; MUSE \u2013 Museum of Science, Trento; Castello del Buonconsiglio Museum, Trento.Foundations: La Biennale di Venezia, Archivio Boetti Foundation, Fiumara d\u2019Arte Foundation, Daniel Spoerri Garden Foundation, Accorsi Foundation, Achille Marazza Foundation, Antonio Ratti Foundation, Arnaldo Pomodoro Foundation, Tito Balestra Foundation, Bandera Foundation for Art, Baruchello Foundation, Bevilacqua La Masa Foundation, Cargaleiro Foundation, Order of Architects Foundation, Stelline Foundation, Orestiadi High Culture Foundation, Roberto Longhi Foundation, Italian Foundation for Photography, Lanfranco Baldi Foundation, Luciana Matalon Foundation, Lucio Fontana Foundation, Magnani Rocca Foundation, Mazzullo Foundation, Mudima Foundation, Morra Foundation, Nicola Trussardi Foundation, Palazzo Albizzini-Burri Foundation, Palazzo Bricherasio Foundation, Pistoletto Foundation, Prada Foundation, Sandretto Re Rebaudengo Foundation, Querini Stampalia Scientific Foundation, Southeritage Foundation, Teseco Foundation, Zappettini Foundation, Kunst Merano Arte, FAI Italian Environment Fund, Palazzo della Permanente, La Casabianca Malo, Celli Farm-Collezione Gori.Galleries and Cultural Associations: CRAM, Mezzocorona (TN), Galleria Mazzoli, Modena, Galleria Massimo Minini, Brescia, Studio Guenzani, Milan, Galleria Continua, San Gimignano (SI), Antonio Colombo Gallery, Milan, Molto Multimedia Gallery, Milan, C\/O, Milan, Kunstforum, Merano (BZ), Artforum, Merano (BZ), Arge-Kunst, Bolzano, Foto Forum, Bolzano, Galleria Marabini, Bologna, Galerie Thoman, Innsbruck [A], Galleria Il Castello, Trento, Galleria Improvvisazione Prima, Trento, Interzona, Verona, Galleria Neon, Bologna, Galleria Fabbrica Eos, Milan, Mairania857, Merano (BZ), Veragouth Arte Contemporanea, Lugano [CH], VIAINDUSTRIAE association, Foligno, Werkbank, Lana (BZ), Ziggurat, Trento. Government and governmental institutions: Senate of the Italian Republic, Ministry of Cultural Heritage and Activities, Canadian Embassy, Basque Government (Spain), Cervantes Institute of Culture (Spain), The British Council (United Kingdom), French Ministry of Culture, Institut Fran\u00e7ais (France), Goethe Institut (Germany).Enti ed altre istituzioni: University of Trento, Bezirksamt Treptow von Berlin, City of Berlin, \u201cAntonio Stradivari\u201d School of Luthiery in Cremona, \u201cF. Depero\u201d Art Institute in Rovereto TN, Rovereto and Vallagarina Tourist Promotion Agency (APT), Trento Tourist Promotion Agency (APT), Vallagarina District, Adige Intermunicipal Business Consortium (BIM), Artisans and Small Businesses Association of the Province of Trento.Regions and Provinces: Trentino-Alto Adige\/S\u00fcdtirol Region, Autonomous Province of Trento, Autonomous Province of Bolzano.Municipal administrations: Municipality of Ala TN, Municipality of Besenello TN, Municipality of Bolzano, Municipality of Borgo Valsugana TN, Municipality of Brentonico TN, Municipality of Calliano TN, Municipality of Foligno PG, Municipality of Isera TN, Municipality of Mori TN, Municipality of Merano BZ, Municipality of Venice, Municipality of Trento, Municipality of Rovereto TN, Municipality of Ronzo-Chienis TN, Municipality of Ruffr\u00e8 TN, Municipality of Villa Lagarina TN, Municipality of Volano TN. <\/p>\n\n\n

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Meetings with artists and curators This section features a series of meetings dedicated to visual arts and pedagogy, an integral part of the project “Cianfrusaglie. The Educational Method of Rosa … <\/p>\n

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