Giorgio Di Domenico is a Ph.D. candidate in Artwork Historical past at Scuola Normale Superiore, Pisa. His doctoral study focuses on the reception of Surrealism in Italy in the 1960s and 1970s. He aims to exhibit how central Surrealism has been to postwar Italian artists, which include all those without formal or overt ties to the motion. He bases his exploration on visible examination, framed within a broader context of cultural scientific tests and archival-primarily based exploration.
He attended the Scuola Normale Superiore and the College of Pisa for his BA and MA, defending theses on Jannis Kounellis’s Rose Paintings and the Italian artists’ journal La Città di Riga, to which he also devoted a forthcoming monograph. He interned at La Galleria Nazionale in Rome and the Italian Cultural Institute in New York. In spring 2022, he was a browsing university student at the Casa Italiana Zerilli-Marimò at New York University. His publications include essays on the perform of Jannis Kounellis (Studi di Memofonte, 2018 Paragone, 2022), the follow of Alberto Burri in the 1970s (Annali della Scuola Normale, 2021), and the connection between Burri and Robert Rauschenberg in 1950s New York (Prospettiva, 2022). A lot more lately, Giorgio started out to interact in modern artwork criticism: he occasionally writes in Antinomie and Flash Art.
His exploration job as a CIMA fellow will combine numerous methods to the associations in between Surrealism and promotion, analyzed from an Italian perspective. His focus will be the reception of Surrealist imagery by Italian promoting graphics from the 1930s to the 1970s. A 2nd exploration theme will be the circulation of the promotion creation of Surrealist artists in Italy, with particular insights into the activity of Salvador Dalí and Giorgio de Chirico. Lastly, the very last component of his investigation will concentrate on the Surrealist impact on Mimmo Rotella’s oeuvre.