Lo sguardo rinnovato
Synopsis
The expression “renewed gaze” refers to the new aesthetic, cultural, and experiential horizons that came to characterize architecture exhibitions in the early twentieth century. In Italy, the history of these exhibitions developed through a range of narratives, shaped by specific objectives and distinguished by different display strategies and scales. Such exhibitions provide a privileged vantage point from which to observe the transformation of social and critical attitudes toward several key issues: Italian cultural identity in relation to other nations, the search for new balances between public and private space, and the growing awareness of the rapid changes affecting urban living conditions. Exhibitions also offered architects and curators an important arena for experimentation and dissemination, where often radically new expressive languages could be developed and presented. The renewal of the public’s gaze was further encouraged by the prominence gained by journals such as Domus and Casabella, as well as by the spread of new media of reproduction, increasingly mobilized in the service of an Italian patrimony that was, at that very moment, beginning to be constructed and recognized as cultural heritage. By contributing to the formation of new citizens, early twentieth-century exhibitions functioned not only as laboratories of taste and arenas of modernity, but also as sites of cultural and ideological debate, capable of articulating both the aspirations and the contradictions of Italian society at the time.
Chapters
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Il racconto sull’architettura nelle mostre del primo Novecento tra continuità e sperimentazione
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Architectural Landmarks Illustrating a Territory as Seen in Ancient Art Exhibitions between the 19th and 20th Centuries in Italy and Beyond
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Rivivere una città antica. Ostia in mostra, 1911-1942
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La “Mostra Giottesca” (1937). La genesi e il progetto di allestimento di un’esposizione d’arte antica per il “riconoscimento della ‘rivelazione’ nel processo creativo”
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War’s Toll of Italian Heritage: Unveiling Italy’s Post-war Reconstruction through Transnational Exhibitions
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Arte Nuova and the Italian Auto Industry at Early 20th-Century Expositions
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Il QT8 alle Triennali, l’esposizione di un cantiere in divenire: “mostrare” come atto esplicativo e formativo
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“Italian Contemporary Architecture” (1952-1955). Riflessioni su una mostra e sulle pratiche espositive per l’architettura nel dopoguerra
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Revisiting Pro Cultura Femminile’s Exhibitions on Domestic Culture (1932–1935)
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Allestimenti partigiani: le mostre della Resistenza, 1945-1946
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Giulio Carlo Argan esordiente e l’architettura contemporanea. Da Sant’Elia a Gropius e Wright via Persico e Pagano, da Torino a Roma, da Lionello Venturi a Giuseppe Bottai
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