Vita

Cristina Baldacci received her PhD in Art History and Theory from the Università Iuav di Venezia (in conjunction with the Università Ca’ Foscari Venezia), where she spent two additional years as a Postdoctoral Research Fellow. She has previously taught at the Università degli Studi di Milano, the Università Cattolica del Sacro Cuore, and the Politecnico di Milano, and has conducted research as a Visiting Scholar at both Columbia University and the City University of New York. She recently co-curated the exhibition New Arrivals: Highlights from the Bianca and Mario Bertolini’s Donation (Museo del Novecento, Milan, 2015) and was part of the curatorial team of Ennesima: An Exhibition of Seven Exhibitions on Italian Art (La Triennale di Milano, 2015–16).

As a writer she has contributed to various journals, magazines, and essay collections, and has co-edited several books. Among her publications, Impossible Archives. An Obsession of Contemporary Art (Italian edition, 2016), a study on archiving as artistic practice. Her research interests include the archive and atlas as visual forms of knowledge; montage and re-enactment strategies; contemporary sculpture; the relationship between art, new media, and society.

Visual Errancy: The Wandering Image and Its Multiple Temporalities

ICI Project 2016-18

Through an interdisciplinary approach, this project aims to reexamine the different temporalities and topographies – together with the new values, roles, and meanings – of the image in the contemporary iconosphere by critically following an historical and epistemological path that, from Benjaminian and Warburghian traditions, leads to the most compelling up-to-date visual and media theories.

Along this itinerary, I would like to focus on the following topics: the relevance of visual anachronism and its different forms – as a drift, survival, and alteration in time; anarchivism as a way to constantly reconsider and reorganize historiography and critical investigation, since digital technology has accustomed us to an errant temporality, where information and images are in a state of flux, instead of being permanently stored; the aesthetic, technical, political effects and possibilities that all this gives to artistic practice in the present postmedia and digital condition, especially with regard to some anarchic positions based on image errancy and postproduction (Hito Steyerl, Philippe Parreno, Ryan Trecartin, and others).