“Project Unite” is an exhibition held in the summer of 1993 in the south of France in one of the most representative buildings of the last period of Le Corbusier, the housing complex of Firminy-Vert. It is the first attempt to bring together artists of different generations, backgrounds and education, united by the inclination towards participatory art practices of social interest.

Il progetto è nato all’interno di corso di Museologia e collezionismo (a.a. 2017-18) tenuto da Marinella Pigozzi. Le schede riguardano opere conservate in istituzioni molto diverse l'una dall'altra e costituiscono una testimonianza della varietà di approcci e di fonti relative alla storia del collezionismo. Autori delle schede: Alex Barbanti, Giulia Cali, Ilenia Carozza, Ilaria Chia, Laura Coppa, Annapaola Di Maio, Cristina Elia, Chiara Forconi, Federica Gamba, Alessandra Lisbona, Marida Mariano, Serena Mauro, Francesca Passerini, Leonardo Regano, Guicciardo Sassoli de’ Bianchi Strozzi, Ilaria Siboni, Sara Zugni.

The professional relationship and friendship between Giuseppe Pagano and Franco Albini, often recognized as one of the most important and decisive moment for the developments of modern architecture, will be here examined starting from a specific moment of the rediscovery photographic

Starting with “Earthworks” and ending with the latter “Ends of the Earth” exhibition, the article analyzes both the role played by the photographic image in the display of Land art and the difficult relationship between artists and photograph as well as with the different forms of mediation, communication and documentation of their own work.

The authors, coordinated by prof. Marinella Pigozzi, focus on the Bolognese Francesco Cavazzoni, devout painter and writer. Analysing some of his paintings, they place him in the coeval cultural milieu; moreover, they highlight the modernity of some of his subjects.

During the eighteenth century the venetian publishing knows a flowering season thanks to the involvement of great artists in the field of illustration. Pietro Antonio Novelli was one of the most prolific inventors of decorations for illustrated books. He sketched the illustrations of Vita di San Filippo Neri engraved by Innocente Alessandri and printed in Venice in 1793. At the Museum of Bassano del Grappa we can find a special watercolored edition: sixty large prints that tell, as if they were history paintings, the life of the saint.

The text aims to analyze the museum entrance halls, mainly from the point of view of the growing phenomenon of mass tourism. The entrance space is examined not only for its functional characters but also for its symbolic power in structuring or changing the historical and cultural identity of the entire museum’s building. Both in new projects and in restoration of ancient museum buildings, in fact, contemporary architects seems to be increasingly attracted by this design aspect.