Working with words: Italian feminism and organization studies

Searching for a writing about organizations that is more real, relevant, and respondent, we propose to engage with Italian feminism of difference and the wealth of practices elaborated by small feminist groups and collectives, asso- ciated with it in the seventies. Currently undergoing a phase of rising interest, in Europe and North America, this strand of feminism—philosophically varied and complex—is characterized by the act of grounding theory in practice and articulating practices of political and personal trans- formation deeply anchored in society, yet outside in- stitutions. In this paper, we aim at presenting Italian feminism and more specifically introduce the main tenets of Italian feminism of difference (of the seventies) to organi- zation studies. We focus on a specific practice of Italian feminism of difference, namely the partire da sé (departing from oneself), prepared by the earlier practice of autoco- scienza (political consciousness‐raising). Resting particu- larly on the thinking of the philosopher Luisa Muraro, we frame the potential contribution of her theorizing the partire da sè practice in relation to existing organization research that is grounded in feminist stands

A legacy without a will. Feminist organising as a transformative practice

Grounded on a practice-based, processual, performative and material understanding of organising (Corradi et al. 2008; Feldman 2002; Czarniawska 2014; Lindberg and Walters 2013), the dissertation explores an example of feminist organising (Acker 1995, Brown 1992). The study investigates upon the concrete interweaving of theories and practices in the everyday organising and shows how a specific way of organising outside traditional institutions can be in itself a crucial way to shield, enact and therefore transmit a particular heritage. The research looked at the relation between theories and practices as key perspective to understand the work underlying both the creation and maintenance of an organisation. The study, that focuses on the first feminist bookstore in Italy, the Milan Women’s Bookstore, founded in the second half of the Seventies, was carried out combining fieldwork with archival research covering more than thirty years of organisational life; in fact, this research reconstructs the history, context of reference and theories produced by the Bookstore while also observing and participating in the unfolding of its day-to-day activities. The dissertation thus mixes practice-based (Nicolini 2012; Sandberg and Tsoukas 2016) and historical perspectives (Wadhwani et al. 2018; Clark and Rowlinson 2004; Üsdiken and Kieser 2004) in studying organising. Overall, the text that takes shape consists in a contextualised narration of the becoming of an organisation in an environment characterised by intense philosophical and political debates and suggests three key elements in feminist organising, space, relations and language, as sites where ideas inscribe in the organising sphere (Joerges and Czarniawska 1998 Czarniawska 2014a) and where processes of symbolic institutional maintenance take place (Zilber 2006). The way in which theories and practices interact one another is qualified as material reflexivity. The expression indicates the collective reflexive process through which participants appraise spatial, relational and discursive practices in creating the organisation and functions also as a device able to institutionalise feminist meanings

La forma della pratica / A shape for the practice

Parte del catalogo della mostra personale di Nina Salsotto Cassina, "Unurgent Argilla" tenutasi tra marzo e giugno 2023 presso Officine Saffi a Milano, il testo mette in luce la poetica di Salsotto Cassina sottolineando anche gli elementi politici presenti nella sua pratica artistica

The subject of pain is the business I am in. Louise Bourgeois and the Iconography of hysteria: reclaiming the visibility of pain

The paper presents Louise Bourgeois’s production on the theme of hysteria by analysing the artist’s writings and works, and through a reconstruction of her fundamental iconographic and historical sources.The essay argues how Bourgeois’ oeuvre elaborates on the one hand a critical stance towards the gendered construction of the history of hysteria as a female malady, and, on the other, it makes male hysteria visible, namely the unspoken in the history of the disease; a silence that influenced not only the understanding of a stereotyped version of femininity but also of a normative masculinity

Equi Pierazzini, M. (2017) Iconic buildings, cultural identity and sustainability: MuSe - Museo della Scienza Trento In Dubini, P. (ed.by) Institutionalizing Fragility, Entrepreneurship in Cultural Organizations. Milano: Fondazione Giangiacomo Feltrinelli.

The chapter reviews the theme of culture based urban regeneration through the case studies of MuSe Museum of Science of Trento

« Le thème est l’authenticité ». Une analyse de Carla Lonzi à travers le processus d’écriture de Vai pure. Dialogo con Pietro Consagra

Premières lignes « La force de l’homme se trouve dans son identification avec la culture, la nôtre dans son refus. » Ainsi s’exprime Carla Lonzi en 1970, dans le Manifesto di Rivolta Femminile, écrit inaugural d’un des premiers et des plus influents groupes du néo-féminisme italien (fondé par Carla Lonzi, Carla Accardi et Elvira Banotti), développant de façon si irrévocable, lapidaire et « flamboyante » sa propre critique féministe touchant la politique, la société italienne et ses institutions, mais aussi la culture, l'histoire et la philosophie occidentales Plan de l'article: Adesso vai pure L’enregistrement L’écriture de Vai pure comme écriture métonymique Réflexions conclusive

Glass cliff in art? An exploratory study of women artists’ careers at Art Basel System

No abstract availabl

Glass cliff in art? An exploratory study of women artists\u2019 careers at Art Basel System

No abstract availabl

Philosophic Money. The Contemporary Art System as a Market and Cultural Agent

Within the contemporary art system complex, constantly-changing cultural features coexist with stratified acts of dealing. The art market operates as a collective mediation structure, developing a multiple agency: financial and economic, educational, political and social. In this article, we offer the result of an empirical test dedicated to the identification of unseen changes in the informal organizational pattern of the market. Observing the behavior of selected samples, we focused, firstly, on the networks of artists and commercial galleries at the Art Basel fair; and, secondly, on the group and solo shows organized by a relevant sample of international contemporary art museums and exhibitions spaces. These analyses offer an insight into the changes that occurred from 2005 to 2013, encompassing the quantitative growth of the art system infrastructure and the effects of the crisis of 2008