Here and There: Contemporary Feminisms, Art Practices and Globalized Geography

Public discourses on feminism have deeply changed over the past year. The perception of women’s movements has been disrupted and redefined in international media space by the Weinstein scandal, the growth of the #metoo movement, and the daily chronicles echoing across the Atlantic Ocean. It is almost inevitable that the events of the past few months should end up modifying, retrospectively, our perspective on the books that were published before or during the recent events, if only because of..

Femmes artistes italiennes du XXe siècle : Il complesso di Michelangelo, Rome 1977

Une exposition historique de femmes artistes s’ouvrit à Rome en février 1977 : installée dans une galerie privée, la première rétrospective consacrée aux artistes italiennes du XXe siècle avait été organisée à l’occasion de la parution du livre Il complesso di Michelangelo [Le complexe de Michel-Ange], écrit par l’artiste Simona Weller. Cet ouvrage, premier essai de recensement de la présence féminine dans l’art contemporain en Italie, citait 270 artistes tout au long du siècle, la plupart d’entre elles oubliées ou inconnues ; seules les artistes professionnelles étaient prises en considération

D’ici et d’ailleurs : féminismes contemporains, pratiques des arts et géographie mondialisée

Le discours public sur le féminisme a beaucoup changé au cours de la dernière année. La perception des mouvements des femmes a été bouleversée et redéfinie dans l’espace médiatique international par l’affaire Weinstein et par le développement du mouvement #metoo, avec les échos quotidiens des chroniques relancées d’une part et d’autre de l’Océan Atlantique. Il est presque inévitable que les événements de ces derniers mois finissent par modifier, rétrospectivement, nos regards sur les livres p..

Le Champ visuel de la guerre

« Personne n’a vu la guerre, caché, dissimulé, à quatre pattes, couleur de terre l’œil inutile ne voyait rien » : ces mots prononcés par Fernand Léger le 4 novembre 1937 rappelaient à un public belge les conditions inédites de la Première Guerre mondiale. La date n’est pas accidentelle, dès lors que l’on observe pendant les années 1930, et notamment en relation avec la guerre d’Espagne, à quel point les mémoires de la guerre connaissent un nouvel essor. L’intelligence visuelle de Fernand Lége..

Raphaël Cuir, La Renaissance de l’Anatomie

Face à la présence des corps dans les arts contemporains, à leur représentation et/ou à leur matérialité physique, la lecture du livre que Raphaël Cuir a consacré aux images anatomiques de la Renaissance paraît subtilement inquiétant. Les illustrations – issues notamment des traités de Jacopo Berengario da Carpi, Charles Estienne et André Vésale – montrent systématiquement des squelettes ou des écorchés animés, souvent dans l’exhibition heureuse, et de toute évidence « consciente », de l’inté..

Prognostic and Predictive Role of Body Composition in Metastatic Neuroendocrine Tumor Patients Treated with Everolimus: A Real-World Data Analysis

Neuroendocrine tumors (NETs) are rare neoplasms frequently characterized by an up- regulation of the mammalian rapamycin targeting (mTOR) pathway resulting in uncontrolled cell proliferation. The mTOR pathway is also involved in skeletal muscle protein synthesis and in adipose tissue metabolism. Everolimus inhibits the mTOR pathway, resulting in blockade of cell growth and tumor progression. The aim of this study is to investigate the role of body composition in- dexes in patients with metastatic NETs treated with everolimus. The study population included 30 patients with well-differentiated (G1-G2), metastatic NETs treated with everolimus at the IRCCS Romagnolo Institute for the Study of Tumors (IRST) “Dino Amadori”, Meldola (FC), Italy. The body composition indexes (skeletal muscle index [SMI] and adipose tissue indexes) were assessed by measuring on a computed tomography (CT) scan the cross-sectional area at L3 at baseline and at the first radiological assessment after the start of treatment. The body mass index (BMI) was assessed at baseline. The median progression-free survival (PFS) was 8.9 months (95% confidence interval [CI]: 3.4–13.7 months). The PFS stratified by tertiles was 3.2 months (95% CI: 0.9–10.1 months) in patients with low SMI (tertile 1), 14.2 months (95% CI: 2.3 months-not estimable [NE]) in patients with intermediate SMI (tertile 2), and 9.1 months (95% CI: 2.7 months-NE) in patients with high SMI (tertile 3) (p = 0.039). Similarly, the other body composition indexes also showed a statistically significant difference in the three groups on the basis of tertiles. The median PFS was 3.2 months (95% CI: 0.9–6.7 months) in underweight patients (BMI 18.49 kg/m2) and 10.1 months (95% CI: 3.7–28.4 months) in normal-weight patients (p = 0.011). There were no significant differences in terms of overall survival. The study showed a correlation between PFS and the body composition indexes in patients with NETs treated with everolimus, underlining the role of adipose and muscle tissue in these patients

Spazio performativo come spazio della memoria: Fabio Mauri, Che cos'è il fascismo e Ebrea, 1971

In 1971, in a few months, Fabio Mauri staged two "actions", explicitly dealing with fascism and with the extermination of the Jews: Che cosa è il fascismo and Ebrea. The first is a complex action, a real show with many actors and a disciplined audience within a series of tribunes set up in a film studio. The other takes place in the smaller scale of a private gallery, and features just one actress who plays her performance. Mauri was born in 1926; both his biography and his family story have been marked by fascism (the publishing house of Mauri’s uncle, Valentino Bompiani, had published in 1934 the Italian translation of Adolf Hitler’s Mein Kampf). From the first solo exhibition, presented by Pier Paolo Pasolini in 1955, Mauri’s work as an artist was part of Roman avant-garde. At a difficult time of Italian history, shortly after the attempted Borghese coup d’état and in the period in which some artists survived to the concentration camps make for the first time public their experience, the use of both theatrical space and new expressive tools appear imperative to face the memory of fascism and Shoah.Nel 1971, nel giro di pochi mesi, Fabio Mauri mette in scena due “azioni”, connesse esplicitamente l'una al fascismo, l’altra allo sterminio degli ebrei: Che cosa è il fascismo e Ebrea. La prima è un'azione complessa, un vero spettacolo con molti attori e un pubblico disciplinato all'interno di una scenografia allestita in uno studio cinematografico; l'altra si svolge nella dimensione più raccolta di una galleria privata, e prevede una sola interprete che esegue la sua performance. Nella loro singolarità, le due azioni sono accomunate dalla contiguità tematica e dal ricorso al medium performativo. Mauri è nato nel 1926; la sua biografia e la storia familiare sono state segnate in maniera particolare dal fascismo (la casa editrice dello zio Valentino Bompiani aveva pubblicato nel 1934 la traduzione italiana del Mein Kampf di Hitler). La sua attività artistica, a partire dalla prima personale presentata da Pasolini nel 1955, è parte della storia dell'avanguardia romana. In un momento drammatico della storia italiana, all'indomani del tentativo di golpe Borghese e nello stesso periodo in cui alcuni artisti sopravvissuti ai campi di concentramento rendono pubblica per la prima volta la loro esperienza, l'utilizzo dello spazio teatrale e la scoperta di nuove modalità espressive appaiono necessari per affrontare il fascismo e la Shoah