- 20th century Italian art, Architectural History, Design History, Art Theory and Politics, Museum Studies, Community Based Research, and 12 morePublic Art, Critical Pedagogy, Contemporary Art, Urban Sociology, History of Democracy, Art and Activism, Ancient History of Art, Archaeology, Urban History, Art and Art History, Visual Culture, and Visual Studiesedit
- An art historian and museum professional, with research interests that span from the history of museum collections an... moreAn art historian and museum professional, with research interests that span from the history of museum collections and exhibitions, especially periodical large-scale exhibitions, to the connections between artistic, design and architectural practices and social engagement in Italy in the 1970s—with a focus on participatory projects. Former Research Curator for the 14th Istanbul Biennial (2015), Managing Editor for the art publishing house NERO (2016–2019), Curatorial Associate of Castello di Rivoli Museum of Contemporary Art, Turin (2019–2020), and a Curatorial and Editorial Coordinator at MACRO – Museum of Contemporary Art of Rome (2020–2022). Currently, Assistant Professor in Art History at IMT School for Advanced Studies Lucca.edit
Architect, designer and artist, in the early 1970s Riccardo Dalisi encouraged street children in the Rione Traiano, Naples, to design small furniture and architectural elements, using simple and 'design ultrapoverissimo’ materials such as... more
Architect, designer and artist, in the early 1970s Riccardo Dalisi encouraged street children in the Rione Traiano, Naples, to design small furniture and architectural elements, using simple and 'design ultrapoverissimo’ materials such as wood, string and metal wires. "La sedia del cece" (The Chickpea Chair) is a work by a very small girl, Rosa, on whose interpretation various artists and intellectuals, including Andy Warhol, Alessandro Mendini, Ettore Sottsass and Enzo Mari, drew. This volume - produced on the occasion of the exhibition "Riccardo Dalisi. Radicalmente”, curated by Gabriele Neri at the MAXXi in Rome - collects many of the drawings made by the artists prompted by Dalisi, and together with texts by architects and critics it becomes a manifesto of his "modus operandi".
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In 1978, twenty-eight Italian artists donated works to the Palestine Liberation Organization (PLO) on the occasion of the International Art Exhibition for Palestine held in Beirut in the spring of the same year. As was the case with other... more
In 1978, twenty-eight Italian artists donated works to the Palestine Liberation Organization (PLO) on the occasion of the International Art Exhibition for Palestine held in Beirut in the spring of the same year. As was the case with other artworks donated to the PLO by artists from countries around the world, many were said to have been destroyed during the bombing of the city during the Israeli invasion of 1982. Only pictures of the works, printed in the exhibition catalog, remain to testify to this act of international solidarity. Leafing through the pages dedicated to the Italian participants, one encounters oil paintings and drawings, etchings and graphics – some figurative, others displaying abstract forms. Most of the works were donated by artists who were less well-known internationally, and even to the Italian public of the time. Nevertheless, there are some recognizable names, such as those of realist painters Renato Guttuso and Ernesto Treccani, abstract artist Carla Accardi, and sculptor Giò Pomodoro – artists who came to the fore in the 1950s and 1960s, and were acknowledged as masters in the 1970s. Other, younger and lesser-known participants belonged to a network of artists who used to gather in Rome at the gallery Il Gabbiano – a promoter of neo-figurative, socially committed trends – or at the office and exhibition space of the collective L’Alzaia.
This essay partly retraces the story and creative practice of this network of artists; however, a stylistic comparison or art-historical comment upon the works they produced and donated to the PLO in 1978 does not constitute its primary scope. Rather, it will try to unfold the rationale at the core of this gesture of international solidarity, and will expand on the concept of “solidarity” itself, as it was differently understood and put into practice by a number of Italian artists and collectives, but also by cultural institutions such as the Venice Biennale.
This essay partly retraces the story and creative practice of this network of artists; however, a stylistic comparison or art-historical comment upon the works they produced and donated to the PLO in 1978 does not constitute its primary scope. Rather, it will try to unfold the rationale at the core of this gesture of international solidarity, and will expand on the concept of “solidarity” itself, as it was differently understood and put into practice by a number of Italian artists and collectives, but also by cultural institutions such as the Venice Biennale.
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Public Art Dialogue 8, no. 1 (May 2018): 72-97. In 1973, Italian artist Gianfranco Baruchello (b. 1924) retreated to the Roman countryside, where he founded a limited company called Agricola Cornelia S.p.A., whose purpose was land... more
Public Art Dialogue 8, no. 1 (May 2018): 72-97.
In 1973, Italian artist Gianfranco Baruchello (b. 1924) retreated to the Roman countryside, where he founded a limited company called Agricola Cornelia S.p.A., whose purpose was land cultivation. Here the artist implemented a number of activities involving land clearing and food production, which he regarded as artistic work. Recently Baruchello’s farming endeavor has gained new attention. However, its implications and connection with the political and social transformations occurring in 1970s Italy have seldom been discussed. Likewise, his interest in food production and in the concept of food itself needs to be clarified and contextualized within his multifarious practice. This paper retraces the genesis of the Agricola Cornelia S.p.A. and the political tenets at its core. It discusses Baruchello’s designation of his company as an artwork, as well as his decision to keep it secret until it was dissolved. How he modified his initial project and conceptually developed it into the early 1980s is examined through the artist’s writings and the accounts of fellow art critics and intellectuals, such as Tommaso Trini, Gilbert Lescault, and Jean-François Lyotard. Finally, the paper focuses on the economical and ontological investigation of the notion of food that Baruchello implemented while the Agricola Cornelia S.p.A. was operative.
In 1973, Italian artist Gianfranco Baruchello (b. 1924) retreated to the Roman countryside, where he founded a limited company called Agricola Cornelia S.p.A., whose purpose was land cultivation. Here the artist implemented a number of activities involving land clearing and food production, which he regarded as artistic work. Recently Baruchello’s farming endeavor has gained new attention. However, its implications and connection with the political and social transformations occurring in 1970s Italy have seldom been discussed. Likewise, his interest in food production and in the concept of food itself needs to be clarified and contextualized within his multifarious practice. This paper retraces the genesis of the Agricola Cornelia S.p.A. and the political tenets at its core. It discusses Baruchello’s designation of his company as an artwork, as well as his decision to keep it secret until it was dissolved. How he modified his initial project and conceptually developed it into the early 1980s is examined through the artist’s writings and the accounts of fellow art critics and intellectuals, such as Tommaso Trini, Gilbert Lescault, and Jean-François Lyotard. Finally, the paper focuses on the economical and ontological investigation of the notion of food that Baruchello implemented while the Agricola Cornelia S.p.A. was operative.
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Ideata all’indomani di "Volterra 73" da Enrico Crispolti e dal gruppo di artisti a lui legato, "Operazione Roma Eterna" si definisce nel 1974 con il tema: "Proposte progettuali e azioni d’intervento e di interpretazione urbana su e in... more
Ideata all’indomani di "Volterra 73" da Enrico Crispolti e dal gruppo di artisti a lui legato, "Operazione Roma Eterna" si definisce nel 1974 con il tema: "Proposte progettuali e azioni d’intervento e di interpretazione urbana su e in Roma". La manifestazione si articolava in due parti distinte e complementari: la prima, internazionale e immaginativa, prevedeva la commissione di opere che reinterpretassero la Roma monumentale e turistica; la seconda corrispondeva a un momento di rapporto concreto con la città, dove gli artisti erano chiamati a dialogare con la sua realtà sociale, attivando azioni di “co-operazione” capaci di scardinare il rapporto “operatore-fruitore” e renderlo paritario. Lo scopo non era abbellire la città, ma agire insieme alle realtà locali per avviare processi conoscitivi e di emancipazione sociale. Per questo, fu scelto il quartiere Testaccio, una zona periferica del centro storico con un vivace attivismo “di base”.
Progetto sia internazionale sia locale, "Operazione Roma Eterna" doveva terminare con una grande mostra al Palazzo delle Esposizioni, mai avverata. I documenti delle uniche azioni realizzate furono esposti da Crispolti alla Biennale di Venezia nel 1976.
Grazie ai materiali presenti nell’archivio del critico romano, è qui ricostruita la storia di questa progettazione, durata tre anni, con particolare attenzione agli interventi concretizzati e al tipo di collaborazione instaurata. Importante momento di elaborazione nella ricerca di modelli espositivi e di commissione artistica alternativa, "Operazione Roma Eterna" è inoltre considerata nei suoi rapporti, spesso di opposizione, con altre manifestazioni coeve in Italia.
Progetto sia internazionale sia locale, "Operazione Roma Eterna" doveva terminare con una grande mostra al Palazzo delle Esposizioni, mai avverata. I documenti delle uniche azioni realizzate furono esposti da Crispolti alla Biennale di Venezia nel 1976.
Grazie ai materiali presenti nell’archivio del critico romano, è qui ricostruita la storia di questa progettazione, durata tre anni, con particolare attenzione agli interventi concretizzati e al tipo di collaborazione instaurata. Importante momento di elaborazione nella ricerca di modelli espositivi e di commissione artistica alternativa, "Operazione Roma Eterna" è inoltre considerata nei suoi rapporti, spesso di opposizione, con altre manifestazioni coeve in Italia.
Research Interests: Italian Studies, Contemporary Art, Public Art, Urban Regeneration, Art Theory and Politics, and 7 more20th century Italian art, Community-Based Participatory Research, Art in public space, History of Exhibitions, Socially Engaged Art, Community based Participatory Action Research, and Enrico Crispolti
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This on-going project, dedicated to ancient goddesses in Mesopotamia and Anatolia, consists of a series of hand-made artist books, and the installation of them on an altar-table. These first two books were created as an offering to two... more
This on-going project, dedicated to ancient goddesses in Mesopotamia and Anatolia, consists of a series of hand-made artist books, and the installation of them on an altar-table. These first two books were created as an offering to two goddesses: one for Tiamat, Sumerian-Babylonian goddess–the spirit of chaos and ruler of salty waters—, and the other for Inanna—the ‘Lady of Heaven,’ and goddess of love and fertility. Merve Kılıçer engages with these female figures by producing hand-made books with etching prints on paper. Each book challenges different materials, techniques and methods of storytelling...
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Questo contributo analizza la mostra "Tra rivolta e rivoluzione: immagine e progetto", organizzata dall’Ente Bolognese Manifestazioni Artistiche e tenutasi in diverse sedi nella città emiliana tra il novembre 1972 e il gennaio 1973.... more
Questo contributo analizza la mostra "Tra rivolta e rivoluzione: immagine e progetto", organizzata dall’Ente Bolognese Manifestazioni Artistiche e tenutasi in diverse sedi nella città emiliana tra il novembre 1972 e il gennaio 1973. Ideata come primo momento di riflessione sugli esiti della passata stagione contestativa (1968-1972), la mostra attraversava diverse discipline (arte, cinema, teatro, musica, architettura e urbanistica) tentando di fare il punto sui rapporti tra pratica culturale e impegno politico. A questo proposito, si avvaleva dell’esposizione di materiali prodotti dai movimenti come di opere artistiche, film, spettacoli e progetti di urbanistica, cercando di affrontare il recente passato ed esaminare le possibili proposte culturali nel clima di tensione dei primi anni Settanta in Italia.
In particolare, si discute qui la sezione "Arte/Iconografia politica" a cura del critico Franco Solmi e dell’artista Concetto Pozzati, dove un eterogeneo gruppo di documenti e opere d’arte era esposto secondo criteri di “contenuto” politico, al di là delle rispettive poetiche o tecniche espressive. Sono messe quindi in luce le contraddizioni sorte nell’utilizzare la mostra come dispositivo di documentazione “parziale” (al tempo selettiva e militante) rivolta al grande pubblico e di “autocritica” indirizzata ai professionisti del settore. Questo atteggiamento è inoltre considerato all’interno delle ambizioni, ideologiche, di “interdisciplinarietà” e “decentramento” delle attività culturali, caratteristiche del dibattito istituzionale in quegli anni.
In particolare, si discute qui la sezione "Arte/Iconografia politica" a cura del critico Franco Solmi e dell’artista Concetto Pozzati, dove un eterogeneo gruppo di documenti e opere d’arte era esposto secondo criteri di “contenuto” politico, al di là delle rispettive poetiche o tecniche espressive. Sono messe quindi in luce le contraddizioni sorte nell’utilizzare la mostra come dispositivo di documentazione “parziale” (al tempo selettiva e militante) rivolta al grande pubblico e di “autocritica” indirizzata ai professionisti del settore. Questo atteggiamento è inoltre considerato all’interno delle ambizioni, ideologiche, di “interdisciplinarietà” e “decentramento” delle attività culturali, caratteristiche del dibattito istituzionale in quegli anni.
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Oramai conclusasi la XXXVII Biennale d’arte di Venezia, nel gennaio del 1977 lo storico e critico d’arte romano Enrico Crispolti scrive all’ente veneziano a proposito della mostra della sezione italiana da lui curata insieme a Raffaele De... more
Oramai conclusasi la XXXVII Biennale d’arte di Venezia, nel gennaio del 1977 lo storico e critico d’arte romano Enrico Crispolti scrive all’ente veneziano a proposito della mostra della sezione italiana da lui curata insieme a Raffaele De Grada. Intitolata "L’ambiente come sociale", la mostra aveva risposto al tema progettuale indicato dall’ente, "Ambiente, partecipazione e strutture culturali", presentando «proposte, azioni, esperienze, documenti di ricerca per nuovi modi di intervento creativo nell’ambiente sociale». Nella lettera, Crispolti chiede il materiale di documentazione della mostra e propone di raccoglierlo in una pubblicazione. Il volume avrebbe dovuto riunire, ampliandoli, i testi e le illustrazioni pubblicate nell’opuscolo realizzato per l’occasione, le trascrizioni delle interviste ai partecipanti e del dibattito "Nuova domanda e modi di produzione culturale nel campo delle arti visive", alcuni documenti del convegno sul decentramento e il resoconto degli incontri del ciclo "Documentazione aperta". Infine, avrebbe incluso una nota sull’allestimento della mostra, a opera di Ettore Sottsass, e sulle tecniche audiovisive impiegate. Il libro non fu mai realizzato, ma le note che scandiscono il progetto editoriale e i materiali allegati aiutano a orientarsi tra le eterogenee proposte di questa mostra, rimasta ai margini del racconto storiografico. A che cosa si riferiva il critico parlando di «ambiente come sociale»? Che intendeva come “nuovi modi di intervento creativo” e in che cosa consisteva una «documentazione aperta»? Questi sono i nodi discussi in questo intervento, che ricostruisce la presenza della partecipazione italiana all’interno della Biennale veneziana del 1976.
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Renowned for his contribution to the Italian ‘counter-design’ movement in the 1970s, the Neapolitan architect and designer Riccardo Dalisi’s work has seldom been considered in the light of the architectural, artistic and social debate... more
Renowned for his contribution to the Italian ‘counter-design’ movement in the 1970s, the Neapolitan architect and designer Riccardo Dalisi’s work has seldom been considered in the light of the architectural, artistic and social debate occurring in Italy from the 1968 onwards. By shortly retracing the development of his work – from the first projects of ‘flexible’ spaces in the mid 1960s to the workshops he held in the suburbs of Naples between 1971 and 1974 – this paper aims to provide a new way of understanding the experimental activities of the theorist of the so-called ‘tecnica povera’ (minimal technology), whose artistic personality is to be held among the founders of the design collective Global Tools in 1973. An accurate analysis of Dalisi’s writings and initiatives will allow an insight in the artist’s positions regarding key issues such as: the role of the architect between mass production society and increasing speculative building, the introduction of participatory methodologies in the design process, and the trust in the potentiality of creativity as a means to attaining personal and social emancipation.
Especially, this paper will highlight the interest raised by Dalisi’s dialectic method both within the coteries of design avant-garde and among those ‘operatori culturali’ (art workers) who were then proposing a series of artistic projects in the urban space with the collaboration of emarginated groups and communities in the mid of the 1970s.
Especially, this paper will highlight the interest raised by Dalisi’s dialectic method both within the coteries of design avant-garde and among those ‘operatori culturali’ (art workers) who were then proposing a series of artistic projects in the urban space with the collaboration of emarginated groups and communities in the mid of the 1970s.
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PhD Thesis in Art History, Sapienza University of Rome, Italy. Supervisor: Carla Subrizi, 2016
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MA Thesis, Ca' Foscari University of Venice. Supervisors: Giuseppe Barbieri, Carlos Basualdo, Giorgio Busetto. "Non limitandosi a una rilevazione di questi spazi e alle loro caratteristiche e differenze architettoniche o di... more
MA Thesis, Ca' Foscari University of Venice. Supervisors: Giuseppe Barbieri, Carlos Basualdo, Giorgio Busetto. "Non limitandosi a una rilevazione di questi spazi e alle loro caratteristiche e differenze architettoniche o di posizionamento, quest’indagine scaturisce dall’interrogarsi riguardo quali siano i rapporti, di similarità o contrapposizione, tra queste nuove sedi e l’area dei Giardini di Castello, luogo di originaria collocazione e di storica identificazione tra la manifestazione, la sua struttura ereditata dalle esposizioni universali ottocentesche e la città. Una domanda quindi in merito a una possibile fase di modificazione del modello Biennale d’arte di Venezia, conseguente al sovrapporsi di problematiche di lunga data, nuovi interessi e fattori contingenti. Per questo motivo gli spazi occupati nei mesi dell’apertura della rassegna non vengono qui visti soltanto nelle loro peculiarità fisiche e storiche, ma anche come poli appartenenti alla più vasta geografia della manifestazione veneziana".
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Guest Lecture for the course "Il Bauhaus: un modello concettuale" held by Gabriele Neri at the Academy of Architecture – Università della Svizzera Italiana, Mendrisio.
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49th Annual Conference of the Association for Art History, University College London, April 12-14, 2023. Conference session: Design Pedagogy Beyond Utopia: Modernism, Social Change and Everyday Life. During the 1960s, Neapolitan... more
49th Annual Conference of the Association for Art History, University College London, April 12-14, 2023.
Conference session: Design Pedagogy Beyond Utopia: Modernism, Social Change and Everyday Life.
During the 1960s, Neapolitan architect and designer Riccardo Dalisi was theorising a didactic method that would have allowed for a collaborative design process or, as he labelled it, an ‘interpersonal’ design methodology. Close to progressive pedagogical movements, Dalisi was implementing his method while teaching at the Faculty of Architecture in Naples: ‘mass’ courses attended by hundreds of students due to recent reforms in the Italian higher education system. In 1971, perhaps after quarrelling with Giancarlo De Carlo, a Team X member also concerned with the formulation of a ‘participatory’ architecture, Dalisi moved his classes to Rione Traiano, one of the poorest and most violent underclass neighbourhoods of Naples. Here he started a long-lasting collaboration with its young, often unschooled, residents, which eventually evolved from a sort of ‘street’ university into a network of small workshops. This network, set up by his students and collaborators, gradually spread across other indigent boroughs.
This paper aims, on the one hand, at retracing the development of Dalisi’s design community and, on the other, to clarify the designer’s endeavour beyond its inclusion in narratives revolving around the so-called Italian ‘radical’ or counter-design (Mendini). The complexity, and effectiveness, of Dalisi’s socially engaged dialectic approach – whether it was revising the pedagogical tenets of Southern Italy non-violent activism or eliciting the agency of suburban folklore and local craftsmanship – cannot be grasped without situating it in the ‘porous’ modernity (Chambers) of the city of Naples. Dalisi’s peculiar educational and research design community, as unruly as it was adaptable, was born from and for the inner needs and diverse tempos of the Mediterranean city. It lightly cohabited with mass culture, the relics of modern social housing units, premodern techniques, and archaic legacies, at the same time connecting and overtaking them.
Conference session: Design Pedagogy Beyond Utopia: Modernism, Social Change and Everyday Life.
During the 1960s, Neapolitan architect and designer Riccardo Dalisi was theorising a didactic method that would have allowed for a collaborative design process or, as he labelled it, an ‘interpersonal’ design methodology. Close to progressive pedagogical movements, Dalisi was implementing his method while teaching at the Faculty of Architecture in Naples: ‘mass’ courses attended by hundreds of students due to recent reforms in the Italian higher education system. In 1971, perhaps after quarrelling with Giancarlo De Carlo, a Team X member also concerned with the formulation of a ‘participatory’ architecture, Dalisi moved his classes to Rione Traiano, one of the poorest and most violent underclass neighbourhoods of Naples. Here he started a long-lasting collaboration with its young, often unschooled, residents, which eventually evolved from a sort of ‘street’ university into a network of small workshops. This network, set up by his students and collaborators, gradually spread across other indigent boroughs.
This paper aims, on the one hand, at retracing the development of Dalisi’s design community and, on the other, to clarify the designer’s endeavour beyond its inclusion in narratives revolving around the so-called Italian ‘radical’ or counter-design (Mendini). The complexity, and effectiveness, of Dalisi’s socially engaged dialectic approach – whether it was revising the pedagogical tenets of Southern Italy non-violent activism or eliciting the agency of suburban folklore and local craftsmanship – cannot be grasped without situating it in the ‘porous’ modernity (Chambers) of the city of Naples. Dalisi’s peculiar educational and research design community, as unruly as it was adaptable, was born from and for the inner needs and diverse tempos of the Mediterranean city. It lightly cohabited with mass culture, the relics of modern social housing units, premodern techniques, and archaic legacies, at the same time connecting and overtaking them.
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'Dal progetto di architettura alla "tecnica povera". Un seminario in ricordo di Riccardo Dalisi', a cura di Aurora Riviezzo, organizzato dall'Ordine degli Architetti di Avellino.
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In order to locate the Biennale de Paris within the worldwide proliferation of such events it can be useful to start with an epistemological question: is there a unique, valid model that identifies the art biennial format? This session... more
In order to locate the Biennale de Paris within the worldwide proliferation of such events it can be useful to start with an epistemological question: is there a unique, valid model that identifies the art biennial format? This session addresses methodological issues by focusing on two different yet interrelated case studies. On the one hand, the Venice Biennale, usually considered the oldest international art biennial and the one that instituted the very format. On the other, the Havana Biennial, the progeny of the biennials of the peripheries, that launched a new way of making art in a biennial. In both cases, narratives and legitimizing mechanisms need to be thoroughly scrutinized in order to better address this multifaceted phenomenon.
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Ideata all’indomani di "Volterra 73" da Enrico Crispolti e dal gruppo di artisti a lui legato, "Operazione Roma Eterna" si definisce nel 1974 con il tema: "Proposte progettuali e azioni d’intervento e di interpretazione urbana su e in... more
Ideata all’indomani di "Volterra 73" da Enrico Crispolti e dal gruppo di artisti a lui legato, "Operazione Roma Eterna" si definisce nel 1974 con il tema: "Proposte progettuali e azioni d’intervento e di interpretazione urbana su e in Roma". La manifestazione si articolava in due parti distinte e complementari: la prima, internazionale e immaginativa, prevedeva la commissione di opere che reinterpretassero la Roma monumentale e turistica; la seconda corrispondeva a un momento di rapporto concreto con la città, dove gli artisti erano chiamati a dialogare con la sua realtà sociale, attivando azioni di “co-operazione” capaci di scardinare il rapporto “operatore-fruitore” e renderlo effettivamente paritario. Lo scopo non era abbellire la città, quanto agire insieme alle realtà locali per avviare processi conoscitivi e di emancipazione sociale. Per questo, fu scelto il quartiere Testaccio, una zona periferica del centro storico, con una forte connotazione popolare e un vivace attivismo “di base”.
Progetto sia internazionale sia locale, "Operazione Roma Eterna" doveva iniziare nel 1975 e terminare con una grande mostra al Palazzo delle Esposizioni, mai avverata. I documenti delle uniche azioni realizzate furono esposti da Crispolti alla Biennale di Venezia nel 1976. Grazie ai materiali presenti nell’archivio del critico romano, si ricostruirà la storia di questa progettazione, durata tre anni, con particolare attenzione agli interventi concretizzati e al tipo di collaborazione instaurata con gli abitanti del quartiere. Importante momento di elaborazione nella ricerca di modelli espositivi e di commissione artistica alternativa, "Operazione Roma Eterna" sarà inoltre considerata nei suoi rapporti, spesso di opposizione, con altre manifestazioni coeve in Italia.
Progetto sia internazionale sia locale, "Operazione Roma Eterna" doveva iniziare nel 1975 e terminare con una grande mostra al Palazzo delle Esposizioni, mai avverata. I documenti delle uniche azioni realizzate furono esposti da Crispolti alla Biennale di Venezia nel 1976. Grazie ai materiali presenti nell’archivio del critico romano, si ricostruirà la storia di questa progettazione, durata tre anni, con particolare attenzione agli interventi concretizzati e al tipo di collaborazione instaurata con gli abitanti del quartiere. Importante momento di elaborazione nella ricerca di modelli espositivi e di commissione artistica alternativa, "Operazione Roma Eterna" sarà inoltre considerata nei suoi rapporti, spesso di opposizione, con altre manifestazioni coeve in Italia.