Enacting Artistic Research
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The Enacting Artistic Research project (EAR) aims to leverage artistic research as a strategic tool for the internationalization of italian Higher Education Institutions for Art, Music and Dance (AFAM). EAR focuses on three main objectives: integration of art and science - combining advanced technologies and cultural heritage to promote a new vision of art and culture in a global context; international dialogue and collaboration - connecting AFAM and scientific institutions to ease knowledge and methodologies exchange; inclusion and accessibility - using technology to make cultural heritage accessible to a wider audience, removing physical and digital barriers.
Coordinated by the Academy of Fine Arts of Rome, the project brings together a distinguished group of partners: Brera Academy of Fine Arts, Florence Academy of Fine Arts, Rome Conservatory of Music, L'Aquila Conservatory of Music, National Institute of Nuclear Physics, Marche Polytechnic University.
EU4ART
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Budapest, Dresden, Riga, and Rome's art universities make up the European Universities Alliance EU4ART. The Alliance has been working on a concept for a common curriculum in the Fine Arts since 2019. Both our alliance and the European Commission believe that Artistic Research at the university level in Europe must be strengthened substantially. With our proposal EU4ART_differences - Artistic Research in Europe, we have thus applied for additional Horizon2020 funding. We are now one of the 17 higher education alliances in Europe that will create new graduate student and researcher programs. This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 101016460.
The “Golden Age” of italian animation
From Economic Boom to the Years of Lead (1957-1977)
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The 24-month PRIN involves as proponents and organizers the University of ROMA TRE (principal investigator: prof. Christian Uva) and the Academy of Fine Arts of Rome (associated investigator: prof. Bruno Di Marino).
The project aims to examine the “golden age” of Italian animation, that is, the period between 1957 and 1977: a particularly crucial period for our country also from the historical, social, economic and political point of view. On the one hand, the two years named above coincide exactly with the beginning and the end of Carosello, the advertising solution of national television in which animation gained its own space of absolute significance, quickly becoming one of the strongest sectors of the Italian cultural industry itself.
In fact, the massive achievement of the advertising, demanding more and more content, also animated content, allowed the latter to acquire a dimension in Italy where craftsmanship and industry merged, ideally configuring a sort of “studio system” of Italian animation over those 20 years. On the other hand, the period also saw the shaping of the country change profoundly, initially leading Italy to enjoy a period of unprecedented industrial expansion, and subsequently to enter a dramatic period of economic and social crisis culminating in the explosion of political violence and terrorism.
The return to painting and the persistence of the image. The New Italian Manner
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The research project in which the Academy of Fine Arts of Rome is involved in the person of Marco Bussagli, head of one of the research units headed by P.I. Patrizia Fiorillo of the University of Ferrara, aims to examine that particular aspect of contemporary artistic experiences, which opened up in Italy and elsewhere in the aftermath of the seventh decade of the 20th century and which has as its distinctive feature the return to figuration and the full revival of the human figure. The focus, in particular, for this research unit, closely concerns the Academy of Rome, since the main subject is the “New Italian Manner,” born among the classrooms of our institution. This was a pictorial and cultural movement of great interest that was exported as far as America, and it was precisely from the Academy of Rome that it took its start, since it was theorized by the great critic and art historian Giuseppe Gatt who, for decades, honored the institution with his teaching. In addition, one of the leading exponents of the movement was Antonio D'Acchille, then holder of the Chair of Painting, who, after having been Director of the Academy of Fine Arts in L'Aquila, brought the beauty of his art to Rome.
Idea | Zuccari Digital Corpus. Texts, Contexts, Sources, and Lexicon
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