Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte
Naples vertical: "deep holes" in a porous city
2018-2019: Fall
Tanja Michalsky is director at the Bibliotheca Hertziana, Max-Planck-Institute for Art History, in Rome since 2014.
She studied Art History, German Philology and Philosophy in Trier and Munich. Phd at the LMU Munich 1995 (Memoria und Repräsentation. Die Grabmäler des Königshauses Anjou in Italien, Göttingen 2001); 1995-2000 Research Assistant at the Department of Art History of the J.W. Goethe University, Frankfurt; 2001-2004 Lise-Meitner-Fellowship, Habilitation 2004 at the Heinrich Heine-University, Düsseldorf, (Projektion und Imagination. Die niederländische Landschaft der Frühen Neuzeit im Diskurs von Geographie und Malerei, München 2011); 2005-07 Professor at the Department of Art History of the J.W. Goethe University, Frankfurt; 2007-14 Professor for Art History at the University of the Arts, Berlin. 2012-14 Director of the Graduate School Das Wissen der Künste.
The common denominators of her research fields are the reflection on the epistemic status of images and ther cultural codification as well as the investigation of the political and sociological relevance and signficance oft works of art (from tomb-sculpture to landscape-painting, maps and films). Programmatically this means the combination of historical-critical material analysis with current art historical questions pertaining to globalisation (interculturalty) and the artistic production of knowledge.Web page: http://www.biblhertz.it/institut/mitarbeiter-und-gaeste/mitarbeiterdaten...
Università di Torino
Highlighting child poverty: within and beyond Italy's Parliamentary Inquiry on Misery in the 1950s
2018-2019: Spring
University of Virginia
Shantytowns and intangible heritage across the Mediterranean preservation in an era of planetary urbanization
2018-2019: Fall
Weinberg Fellow in Architectural History and Preservation
Sheila Crane is associate professor and chair of the Architectural History Department at the University of Virginia. Her research examines the history and theory of modern architecture and urbanism, with a particular interest in cities in France, North Africa and the Mediterranean region. Her book Mediterranean Crossroads: Marseille and Modern Architecture (University of Minnesota Press, 2011) received the 2013 Spiro Kostof Book Award from the Society of Architectural Historians. Recent essays have appeared in City and Society, Space and Culture, and The Journal of Architecture, as well as in edited volumes, including Use Matters: An Alternative History of Architecture, edited by Kenny Cupers (Routledge, 2013) and Otherwise Occupied: Bashir Makhoul, Aissa Deebi, edited by Ryan Bishop and Gordon Hon (Palestinian Art Court-al Hoash, 2013). Her current book project, Inventing Informality, traces the emergence and migrations of the bidonville (shantytown) between the Maghreb and France, from the late 1920s through the 1970s. With reference to constructed landscapes and land rights, maps and urban plans, administrative records and sociological surveys, oral histories and literary descriptions, the bidonville is examined as an urban landscape, object of reengineering, site of knowledge production, and place of socio-spatial reinvention by residents. She is currently the book reviews editor for Europe, Africa, and Asia from 1750 for the Journal of the Society of Architectural Historians.
Koya University
Keeping memory: vernacular architecture in Iraqi Kurdistan
2018-2019: Fall
Weinberg Fellow in Architectural History and Preservation
An assistant professor in the Department of Architectural Engineering, Faculty of Engineering, at Koya University in Iraqi Kurdistan, Sahar has worked in this department since 2008, teaching classes in the history of architecture and conservation & rehabilitation as well as the Urban Design Studio.
She received her B.Sc. in Architectural Engineering (1997) and M.Sc. in Urban Design (2005) from the University of Technology - Iraq, and her Ph.D. in Urban Conservation (2011) from the University of Baghdad - Iraq.
She has since 2012 led a campaign to document the surviving heritage architectural features of Koya and of other nearby Iraqi Kurdish old towns, with her colleagues and students.
In 2009 she had a 3-month scholarship at the Brandenburg University of Technology in Germany, via the German Academic Exchange Service (DAAD); in 2016 she was an awardee of the 2016 SAH-Getty international program grant (presented by the Society of Architectural Historians and the Getty Foundation).
She has been a member of the Iraqi Engineers Union (IEU) since 1997; a consultant architect since 2014; and a member of the Society of Architectural Historians (SAH) since 2015.
Her participation in conferences and publications reflects her research interests in conservation, urban design, and the history of architecture.Web page: https://sites.google.com/a/koyauniversity.org/sahar-basil/
Brown University
Feeding Rome: food, architecture, and urbanism during Fascism
2018-2019: Spring
Ruth Lo is Visiting Lecturer in the Urban Studies Program at Brown University. She received her PhD in the History of Art and Architecture from Brown University, and her MA in the History of Architecture and Urban Development from Cornell University. She was a Rome Prize Fellow in Modern Italian Studies at the American Academy in Rome from 2013 to 2015. Her research is in the environmental humanities and integrates the study of science and technology to analyze the use of the built environment to manage humans and resources.
Her book project, Landscape of Control: Food, Eugenics, and the Built Environment in Fascist Italy, is an interdisciplinary study on the built environment through an examination of its intersections with nature, culture, politics, science, and technology. Connecting food to modern Italian discourses of social and racial hygiene, she explores the reciprocal relationship between agricultural breeding and medical genetics to analyze the architecture and landscape of Italy and Italian East Africa. These sites range from reclaimed farmlands to an agricultural experiment station, granaries and milk plants to market halls.
École Normale Supérieure; École des Hautes Études en Sciences Sociales (EHESS)
Heterogeneous cognition: how cognitive artifacts shape the mind
2018-2019: Spring
Roberto Casati, senior researcher with the French CNRS and professor at EHESS, is currently the director of Institut Jean Nicod in Paris. A philosopher of the cognitive sciences, he has made contributions to the study of visual and auditory objects and of spatial representation. His last book, the visual World of Shadows, with Patrick Cavanagh, will be published in 2019 with MIT Press. His work on Digital Colonialism has spurred debate in France and Italy. He is currently working on cognitive artifacts and spatial disorientation.
Web page: http://www.shadowes.org/home/
National University of Singapore
When shrines grow tired: caring for cultural artifacts in the premodern world
2018-2019: Spring
Weinberg Fellow in Architectural History and Preservation
Born in Rome, I am a professor of cultural history at the National University of Singapore. I held visiting appointments at Université Paris Diderot VII, Humboldt University, UC Berkeley and Cornell University. I have published widely on the cultural history of Thailand (with a focus on material culture) and on heritage conservation in Southeast Asia including the books, Monastery, Monument, Museum: Sites and Artifacts of Thai Cultural Memory (2017), Thailand the Worldly Kingdom (2007), Lords of Things: The Fashioning of the Siamese Monarchy's Modern Image (2002), The Politics of Ruins and the Business of Nostalgia (2002). My articles have appeared in the Journal of Social Archaeology, Journal of Social History, and Modern Asian Studies among others. My abiding interest in classical architecture and Roman history underlies my research project at the Italian Academy.
Web page: http://nus.academia.edu/MaurizioPeleggi
Université Paris 1 Panthéon – Sorbonne
Prehistorical modernity: art and time, from the invention of prehistory to the present
2018-2019: Fall
Maria Stavrinaki is an habilitated Associate Professor in history of contemporary art at the Université Paris I-Panthéon-Sorbonne. She is working at the crossroads of the art of modernity, human sciences and political thought. She is currently writing a book on the Modern uses of Prehistory (19th-21th c.), a topic on which she is also co-curating an exhibition at the Centre Pompidou in Paris (May-September 2019). She has been a Fellow at the CCA (Montréal), IAS (Princeton), and the Clark Art Institute. Her recent publications include Dada Presentism : An Essay on Art and History (Stanford University Press, 2016), Le sujet et son milieu : huit essais sur les avant-gardes allemandes (Editions du Musée contemporain de Genève, 2018) and Contraindre à la liberté : Carl Einstein, les avant-gardes, l’histoire (Centre allemand d’histoire de l’art, Les Presses du réel, 2018).
Web page: https://centregeorgsimmel.ehess.fr/en/membres/membres-statutaires/maria-...
Katholieke Universiteit Leuven; Harvard University
Criminal justice reforms in Republican China
2018-2019: Spring
Maria Adele Carrai is a senior researcher at the Leuven Centre for Global Governance Studies - KU Leuven and a fellow at the Asia Center of Harvard University. Her research focuses on China’s legal history and how it affects the country’s foreign policy. Her book project A Genealogy of the Concept of Sovereignty in China from 1840 is now under contract with Cambridge University Press. Departing from a legal orientalist approach, it looks at the way Chinese intellectuals, political figures, and diplomats appropriated and articulated the notion of sovereignty in their foreign policy within the new discourse of international law in the period between 1840 to the present. Before she arrived at the Italian Academy of Columbia University, she was a Max Weber Fellow at the European University Institute of Florence (2015-17), Global Hauser Fellow at the New York University Law School (2016-17), and Fellow at the Princeton-Harvard China and the World Program (2017-18). She was trained as a sinologist and political scientist in Italy (University La Sapienza, Ca’ Foscari University, University of Bologna), the UK (Erasmus scholarship at the School of Oriental and African Studies) and China (Italian Minister of Foreign Affairs Scholarship). After having spent one year as visiting doctoral researcher at NYU she completed her Ph.D. in 2016 at the University of Hong Kong, where she was a recipient of the Hong Kong Government Ph.D. Fellowship, the Swire Scholarship, and the Award for Outstanding Research Postgraduate Student for 2015-16.
Web page: https://mariadelecarrai.com/
The Morgan Library & Museum
Cultural differences in the eyes of a 16th-century draftsman: Federico Zuccaro's travel sketchbooks and drawings
2018-2019: Fall
Marco Simone Bolzoni received his Ph.D. from the University of Naples Federico II. His interest and expertise focus on the materials, styles, and functions of Italian Renaissance and Baroque drawings.
He is the author of Il Cavalier Giuseppe Cesari d’Arpino: maestro del disegno (2013), and of numerous articles dedicated to the theory and practice of drawing sixteenth and seventeenth century Italy.
He was a fellow at the Fondazione Longhi in Florence (2008), the Frick Art Reference Library – Center for the History of Collecting (2013), Villa I Tatti (2015). More recently he worked as the Curatorial Fellow in the Department of Drawings and Prints at the Morgan Library & Museum (2016-2018). Here he curated the exhibition Thomas Gainsborough: Experiments in Drawing, and was author of the accompanying catalogue.Università di Torino
Perinatal stress effects on emotional circuits in juvenile depression
2018-2019: Spring
Alexander Bodini Research Fellow in Developmental and Adolescent Psychiatry
Marco Cambiaghi was born in Como in 1981. He is a neuroscience research fellow at the University of Turin, Italy, working on the storage of emotional memories. He got his degree in Biology at the University of Milan and a PhD in Neuroscience and Experimental Neurology at the San Raffaele University in Milan. He performed his research at the San Raffaele Scientific Institute of Milan and at the University of Turin, gaining experience in in-vivo electrophysiological techniques, rodent behavior and brain stimulation. He has worked as a visiting scientist at the City University of New York, Columbia University and the Weizmann Institute of Science.
In addition to his research, he has a strong interest in the history of science and in scientific dissemination; he collaborates with two Italian newspapers (La Stampa and La Provincia di Como, where he has published more than 200 articles since 2004) and he is one of the founders of the scientific Festival della Luce (Light Festival), held in Como since 2013.
During his stay at the Italian Academy, he will focus on the effects of perinatal stress on adolescent depression development in a murine preclinical model. In particular, he will investigate brain emotional circuits through behavioral and neurophysiological analysis.Freie Universität Berlin
Imagining the public: Image policy and its aesthetic foundations in late medieval and early modern Italy
2018-2019: Fall
Klaus Krüger is Professor of Art History at the Freie Universität of Berlin, having previously held positions of Chair at the Universities of Greifswald and Basel, and visiting positions and fellowships in Paris (ÉHÉSS), New York (Columbia University), Konstanz (University/Center of Excellence), Vienna (IFK) and Rome (Bibliotheca Hertziana/Max-Planck-Institute). He is Co-Editor of the book series Historische Semantik and Figura. Ästhetik, Geschichte, Literatur and since 2012 Co-Director of the Center for Advanced Study/Research College BildEvidenz. Geschichte und Ästhetik at the FU Berlin (www.bildevidenz.de). His research interests include the history and cultural status of visual images, in particular their changing role in medieval and early modern times, with special reference to Italian painting and sculpture from the Middle Ages to Baroque (12th-17th century); the origin and early history of the altarpiece; visionary images; and Caravaggio. Further research interests include contemporary art, art and film, and the theories and methodology of art history. Among his book publications are: Bildpräsenz – Heilspräsenz. Ästhetik der Liminalität (2018); Zur Eigensinnlichkeit der Bilder (2017); Grazia. Religiöse Erfahrung und ästhetische Evidenz (2016); Politik der Evidenz. Öffentliche Bilder als Bilder der Öffentlichkeit im Trecento (2015); Das Bild als Schleier des Unsichtbaren. Ästhetische Illusion in der Kunst der frühen Neuzeit in Italien (2001); Der frühe Bildkult des Franziskus in Italien. Gestalt- und Funktionswandel des Tafelbildes im 13. und 14. Jahrhundert (1992). In addition, various editorships and numerous articles about a broad field of topics.
Web pages: www.bildevidenz.de; www.geschkult.fu-berlin.de/e/khi/institut/mitarbeiter_innen/professoren/...
University of Vienna
Measuring aesthetic effects: new paradigms to bridge empirical aesthetics and art history
2018-2019: Fall
Helmut Leder is Professor of Cognitive Psychology and Head of the Department of Psychological Basic Research at the University of Vienna, since 2004. He is Head of the Research Focus “Perceptual Aesthetics“ and the EVA-lab, Head of the interdisciplinary Cognitive Sciences Research Platform. His main fields of research are aesthetics, psychology of the arts, design – and face perception. His holds a PhD from the University of Fribourg. He was a visiting Researcher at the University of Stirling, ATR Japan, USC and UCSD, at the Languages of Emotion-Cluster, FU Berlin and Queens College, CUNY, he was a founding member of GIAS at NYU. He is the author or co-author of many scholarly publications. For his research in empirical aesthetics he was awarded the Berlyne Award for career contributions to the psychology of aesthetics of the American Psychological Association, and the Baumgarten Award of IAEA in 2002. His research was sponsored by several grants in the field of empirical aesthetics, face processing and with industrial partners. Since 2014 he is the president of the International Association of Empirical Aesthetics (IAEA).
Web page: https://ppcms.univie.ac.at/index.php?id=2559
Photo by: Alexandru Munteanu
Università di Siena
The rise of the novel and the rise of human sciences: a parallel history
2018-2019: Fall
Guido Mazzoni is Professor of Literary Theory at the University of Siena. He earned his PhD from the Scuola Normale Superiore of Pisa. He has been visiting professor at the École Normale Supérieure, Paris, the University of Chicago, the Scuola Normale Superiore, and the University of California Berkeley. He has also been Italian Affilated Fellow for the Arts at the American Academy, Rome, and professor of creative writing at the Scuola Molly Bloom, Rome, and at IULM, Milan.
As a poet, he is the author of La scomparsa del respiro dopo la caduta (in Poesia contemporanea. Terzo quaderno italiano, Guerini, 1992), I mondi (Donzelli, 2010), and La pura superficie (Donzelli, 2017). His work as a scholar focuses on literary genres as symbolic forms. He has written a book on modern poetry (Sulla poesia moderna, Il Mulino 2005) and a Theory of the Novel (Harvard University Press 2017: Italian version Teoria del romanzo, Il Mulino 2011). He has also written a book on contemporary politics and society, drawing on literature and the social sciences (I destini generali, Laterza 2015). He is one of the founders and editors of the cultural website Le parole e le cose.
Web page: https://www.dfclam.unisi.it/it/dipartimento/persone/docenti/mazzoni-guido
2018-2019: Spring
1984. Lives and works between London and Istanbul.
Born in Turkey, Fatma Bucak studied Philosophy at Istanbul University and History of Art and Etching in Italy at the Albertina Academy of Fine Arts, before completing her MA in Photography at the Royal College of Art, London. Bucak's practices in performance, photography, sound, and video center on political identity, cultural and gender norms, and landscape as a space of historical renegotiation. Investigating the fragility, tension and irreversibility of history, the power of testimony and memory in her practice she often questions traditional forms of history-making.
Solo exhibitions include So as to find the strength to see, Merz Foundation, Torino and GAM - Galleria d'Arte Moderna Sant'Anna, Palermo, Italy; An obscure sentiment lurking at the edge of my conscious, Pi Artworks, Istanbul, Turkey, (2018); Damascus Rose, Harpe 45, Lausanne, Switzerland; Sticks and Stones, Pi Artworks London, UK (2017); And men turned their faces from there, Brown University David Winton Bell Gallery, USA; Suggested place for you to see it, Pori Art Museum, Finland (2016); Nothing is in its own place,Alberto Peola Gallery, Turin, Italy (2015); Over a line, darkly, Artpace, San Antonio, Texas, USA (2015); I must say a word about fear, Castello di Rivoli, Museum of Contemporary Art, Turin, Italy (2014); Yet an Other Story About the Fall, ARTER, Istanbul, Turkey (2013) and duo exhibitions include A Colossus on Clay Feet, The Italian Cultural Institute of New York (2019). Major group exhibitions and screenings include: Green Art Gallery, Dubai; Casa Victor Hugo, Havana (2018); GIBCA – Goteborg International Biennial for Contemporary Art; Meeting Points 8: Both sides of the curtain – Mophradat, Beirut Art Center (2017); International Festival of Non- Fiction Film and Media, MoMA, New York, USA; Jewish Museum, NY, USA (2015); Art in General Screening Programme, NY (2014); Bloomberg New Contemporaries 13, ICA, London, Spike Island, Bristol, UK (2013) and 54th Venice Biennale - Tese di San Cristoforo, Italy (2011). Selected awards and art residencies include Premio New York – ISCP (2019); La Cité Internationale des Arts, Paris (2017); Artpace San Antonio, Texas (2015); Townhouse International Art Residency, Cairo (2014); Illy Present Future Award, Italy (2013).
Portrait Credit: © N.Gokhan Yorganci
École des Hautes Études en Sciences Sociales (EHESS)
2022-2023: Spring — [Visiting Fellow] The driving role of art in the breeding of a new man
2018-2019: Fall — The descent of the image and the creation of the New Man
Eric Michaud, b. 1948, is Directeur d’études at the Ecole des hautes études en sciences sociales, Paris, where he holds the Professorship for Histories and Ideologies of Contemporary Art. His research interests lie in the relationships between art, politics, propaganda and the anthropological notions of race and filiation related to images.
Prior to joining the Ehess he was Assistant Professor and Associate Professor at the Marc Bloch University, Strasbourg (1972-1998). He served as a Visiting Professor at the The Johns Hopkins University (1991-1992 and 2004), at Duke University (2003) and at the University of Virginia (2005). Selected Honors include an Institute for Advanced Study Membership (Princeton, 2010), a Clark Art Institute Fellowship (Williamstown, 2014) and a Getty Resarch Institute Fellowship (Los Angeles, 2015).
His books include Les invasions barbares. Une généalogie de l’histoire de l’art (Paris, Gallimard, 2015 ; Spanish transl. Adriana Hildalgo, 2017 ; English transl. forthcoming, MIT Press, 2019), The Cult of Art in Nazi Germany (transl. Janet Lloyd, Stanford University Press, 2004), Histoire de l’art : une discipline à ses frontières (Paris, Hazan, 2005), Fabriques de l'homme nouveau, de Léger à Mondrian (Paris, Carré, 1997).Université Paris 1 Panthéon - Sorbonne
Support for the war-wounded in Italy: preserving testimony in buildings, monuments, and documents
2018-2019: Spring
I completed my Ph.D. in Modern History at Paris 1-Panthéon-Sorbonne University and the University of Milan in July 2012 (first grade honours). I have been teaching Modern History at the Department of Management, Labour and Social Studies of Paris 1-Panthéon-Sorbonne University and at the University of Turin (Italy) since September 2014. In September 2017 I started teaching Disability Studies at Sciences-Po Paris. As a scholar, I have two main fields of specialisation. The research field I have been working on since my Ph.D. is the intellectual history of Modern Europe. I have in particular inquired on the relationships between ethics and politics in Modern Europe, the politics of education in modern France, the intellectual and cultural circulations in Modern Europe.
In 2016, I started working on a new project on the Social History of Disability as an associated researcher at Paris 1 Panthéon-Sorbonne University and Paris Descartes University. I have a substantial and increasing record of publication, including four books, ten peer-reviewed articles and seven book-chapters.
The research I will pursue at the Italian Academy focuses on Italian ex-servicemen of the Great War. It aims at providing an overall view of the physical legacy (architectural and documentary) relating to Italian veterans disabled in 1915-1918. The purpose is to restore to common knowledge the memory of a crucial page in the country’s history, one which has so far remained largely unknown.Kunsthistorisches Institut in Florenz – Max-Planck Institut; Stuttgart State Academy of Art and Design
Struggle for democracy or culture of dominance? The agora in postwar architectural discourse
2018-2019: Spring
Brigitte Sölch is Professor of History and Theory of Architecture/Design History at Stuttgart State Academy of Art and Design as well as Associate Member of the Kunsthistorisches Institut in Florence - Max-Planck-Institute, where she served till 2018 as academic assistant and co-project leader of "Ethics and Architecture" and "Piazza e monumento". She is an art and architectural historian with a Habilitation (Humboldt University in Berlin) for the "forum" on architectural, aesthetic and sociopolitical ideas between the Renaissance and the present and an award-winning Dissertation on the beginning of public museums in Rome in the early 18th century. She published articles on the struggle for democracy, the piazza as western metaphor, the emotive impact of institutional architecture and the human body in architecture. As fellow of the Italian Academy for Advanced Studies in America at Columbia University NY in 2019 she will be studying "The Agora in Postwar Architectural Discourse". The focus of her research is on concepts and broader understanding of urban public space, politics and the history of ideas. Brigitte pursued her research interests by working in museums, universities, and international research institutes.
École des Hautes Études en Sciences Sociales (EHESS)
Subway design: Modernism from Milan to New York (1964–1972)
2018-2019: Fall
Barbara Carnevali is associate professor at the École des Hautes Études en Sciences Sociales in Paris, where she holds a a chair in “social aesthetics”. She studied philosophy at the Scuola Normale Superiore di Pisa, and has been a fellow of the Fulbright Foundation at the University of Chicago (2003-2004), of the Institute for Advanced Studies in Paris (2011-2012) and of the Italian Academy (fall 2013).
She works on issues at the intersection between social philosophy and aesthetics. Her publications include the books Romantisme et reconnaissance. Figures de la conscience chez Rousseau (Droz: Geneva, 2012) and Le apparenze sociali (Social Appearances, Bologna: Il Mulino 2012, new English version forthcoming by Columbia University Press). She has contributed to various international journals such as Annales, Critique, Diogenes, WestEnd. Neue Zeitschrift für Sozialforschung, and she is member of the editorial board of the European Journal of Philosophy.
During her stay at the Italian Academy, she will work on a new book on civic design and the aesthetic dimension of public space.
Web page: https://www.ehess.fr/fr/personne/barbara-carnevali
2018-2019: Spring
The work of Antonio Fiorentino (Barletta, Italy 1987) ranges from sculpture to installation and video. His research experiments with matter, altering its transformation processes and the passage of time. He is the recipient of the 2015 Talent Prize and the New York Prize, 2018.
His work has been exhibited at many national and international institutions, including: the Italian Cultural Institute of New York (2018), MUSAC Leon (2018), MUHNAC of Lisbon (2017), HANGAR Lisbon (2017), ISCP New York (2017), Swiss Institute of Rome (2017), The National Gallery of Rome (2016), HIAP Helsinki (2016), Kunst Meran (2015), Villa Arson Center of Contemporary Art Nice (2014), American Academy of Rome (2013), Contemporary Locus (2013), and the Sandretto Re Rebaudengo Foundation (2012).
Columbia University
The reception of Christian antiquity in the post-Tridentine era: cultural change and artistic innovation in late sixteenth-century Rome
2018-2019: Fall and Spring