On the centenary of the fascist party's ascent to power in Italy,
Curating Fascism examines the ways in which exhibitions organized
from the fall of Benito Mussolini's regime to the present day have
shaped collective memory, historical narratives, and political
discourse around the Italian ventennio. It charts how shows on
fascism have evolved since the postwar period in Italy, explores
representations of Italian fascism in exhibitions across the world,
and highlights blindspots in art and cultural history, as well as
in exhibition practices. Featuring contributions from an
international group of art, architectural, design, and cultural
historians, as well as journalists and curators, this book treats
fascism as both a historical moment and as a major paradigm through
which critics, curators, and the public at large have defined the
present moment since World War II. It interweaves historical
perspectives, critical theory, and direct accounts of exhibitions
from the people who conceived them or responded to them most
significantly in order to examine the main curatorial strategies,
cultural relevance, and political responsibility of art exhibitions
focusing on the Fascist period. Through close analysis, the chapter
authors unpack the multifaceted specificity of art shows, including
architecture and exhibition design; curatorial choices and
institutional history; cultural diplomacy and political history;
theories of viewership; and constructed collective memory, to
evaluate current curatorial practice. In offering fresh new
perspectives on the historiography, collective memory, and
understanding of fascist art and culture from a contemporary
standpoint, Curating Fascism sheds light on the complex exhibition
history of Italian fascism not just within Italy but in such
countries as the USA, the UK, Germany, and Brazil. It also presents
an innovative approach to the growing field of exhibition theory by
bringing contributions from curators and exhibition historians, who
critically reflect upon curatorial strategies with respect to the
delicate subject of fascism and fascist art, into dialogue with
scholars of Italian studies and art historians. In doing so, the
book addresses the physical and cultural legacy of fascism in the
context of the current historical moment.
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