At times, the various international iterations of participatory artworks appear very similar, making them difficult to analyze in-depth. By means of reading Allora & Calzadilla's Chalk in its...Show moreAt times, the various international iterations of participatory artworks appear very similar, making them difficult to analyze in-depth. By means of reading Allora & Calzadilla's Chalk in its iteration in Zapopan, Mexico, I illustrate the potential of alternative methodologies with which to approach participatory art. I use the notions of corporeality and Henri Lefebvre's theory of the production of space to reveal that a seemingly innocent iteration is indeed highly emancipatory. As we shall see, the joyful bodily occupation of the square as a counter-establishment force is capable of disrupting oppressive spatial practices.Show less
The purpose of this research is to describe how iconoclasm is taking shape in contemporary Italy, by analyzing and comparing the “Mussolini Dux” obelisk in Rome with the statue of Indro Montanelli...Show moreThe purpose of this research is to describe how iconoclasm is taking shape in contemporary Italy, by analyzing and comparing the “Mussolini Dux” obelisk in Rome with the statue of Indro Montanelli in Milan: while the former resisted any form of iconoclasm from the post-war period until the present day, the latter has been recently subject to several iconoclastic acts. The different ways in which the public engages with these two monuments reveal that iconoclasm in Italy is driven by international influence, that is nevertheless resisted when it comes to challenging strong national ideologies like fascism. By adopting an interdisciplinary approach, this research suggests that iconoclasm is not opposite bur rather complementary to collective memory, as it recognizes the importance of remembering rather than forgetting. Iconoclasm is the phenomenon that make us remember that memory must be kept alive by demanding new interpretations of the past. However, this research also shows that this is not the way collective memory and iconoclasm are understood in Italy today.Show less
