Queering Rome

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Disponibile da oggi!

Rappresentare è mai stato un gesto neutro, scisso dal contesto socio-politico, culturale, scientifico dell’istituzione museale?
Il volume affronta il tema dell’interpretazione delle collezioni museali tramite la lente della q***rness, intesa come un modo di pensare che comprende sesso, genere e orientamento sessuale, scavalcandoli fino a diventare un metodo di lettura del mondo.

“Musei, genere e q***rness”, a cura di Nicole Moolhuijsen, collana Museologia Presente a cura di

In collaborazione con il Gruppo di Lavoro Genere e diritti LGBTQ+ di .italia

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.italia e vi invitano al coce grazie "Musei e culture q***r. Le istituzioni culturali per i diritti LGBTQ+"
🗓️ Venezia, 20 giugno 2025

Una giornata di dibattiti e workshop per promuovere il confronto tra chi si occupa di beni culturali, educazione e tematiche LGBTQ+.
L’evento celebra l’uscita della pubblicazione "Musei e generi. Etica, metodi e approcci per promuovere una cultura trans-positiva e accessibile nelle istituzioni culturali", adattamento in italiano del documento "Trans-Inclusive Culture". Il volume fornisce strumenti etici e metodologici per promuovere l’accessibilità e il ben-essere delle persone trans e non
binarie nelle istituzioni culturali.
Il convegno si terrà presso la Fondazione Querini Stampalia e sarà trasmesso in streaming.

Scopri i due workshop pomeridiani e iscriviti al link in bio 🔗🔝 posti limitati e in presenza!

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Orgogliosə di aver partecipato a questa pubblicazione!

🟣 Scopri la nuova pubblicazione: Musei e generi. Etica, metodi e approcci per promuovere una cultura trans-positiva e accessibile nelle istituzioni culturali

Il progetto nasce da una collaborazione tra ICOM Italia e il Research Centre for Museums and Galleries (RCMG) dell’Università di Leicester ed è stata curata dal Gruppo di Lavoro Genere e Diritti LGBTQ+ di ICOM Italia.

Si tratta di un adattamento per il contesto italiano della guida Trans-Inclusive Culture: Guidance on advancing trans inclusion for museums, galleries, archives and heritage organisations, pensata per offrire strumenti, riflessioni e pratiche concrete per promuovere l’accessibilità e il ben-essere delle persone trans e non binarie nei musei e nelle istituzioni culturali.

Il documento è stato scritto e curato da: Nicole Moolhuijsen , Queering Rome , Cesare Cuzzola e Roberta Parigiani

📥 Scarica la pubblicazione dal sito di ICOM Italia: https://www.icom-italia.org/pubblicazioni/

Jubilee coming to Rome...

Around 30 million tourists/pilgrims are expected in Rome next year for the Jubilee, an event which will completely jam the city center and the neighborhoods best connected to the sites of well-known basilicas. The liberalisation of the tourism sector will bring about many consequences among which one stands out for the sector itself: it will (and is already) flatten the cultural offer, projecting an idea of the city that tourists and pilgrims already hope to find. And it will only cater to those visiting since residents will be pushed away from the city center and won't even desire to visit it.
Furthermore the Jubilee will cause a "sanification" of the city by "hiding away" vulnerable populations such as the homeless one, and further limiting the freedom to demonstrate. The Church generally lives on thanks to its followers, but also benefits from the simple fact of being in Rome, one of the most touristy city in the world, which brings in a constant stream of visitors for ecclesiastical structures too and gives nothing back.
Hypocrisy on the part of the Church is rampant and episodes showing it haven't stopped coming up, like offering to "welcome" the LGBTQİA+ community in a dedicated ceremony in September next year, when everyone still remembers the use of homophobic slur by the Pope recently.
Pope Francis himself has made declarations in the past pointing out how the problem of overtourism cannot be separated from the system that causes it. But he seems to forget that the system of the "sacred" isn't alien to the capitalistic and extractivist model, which manifests in the form of, guess what, the Jubilee!
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“Sono natə liberə, vissi liberə e morirò liberatə”: restituire sostanza trans alle figure gender non-conforming del passato, di è un pezzo pubblicato sull'ultimo numero della rivista curato da
Si parla del tentativo di cristallizzare corpi nella Storia, tentativo che fallisce quando le crepe di quella Storia, di quel marmo o dei dipinti che compongono il patrimonio culturale oggi, vengono riempite di fr°ciaggine amplificando la voce delle comunità q***r e trans*.
Trovate il pezzo intero nel link in bio 🔗👆
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🇬🇧👉 Caravaggio and ho******icism (part 3)
A fun fact regarding ho******icism in Caravaggio's works is that further hints into this direction are found in the presence of small animals that bite. To represent a subject being or about to be bitten allowed people in the 16th century to imagine their s3xual availability, for a bite alluded to pe*******on. But we must also remember how works of art change according to who is looking. İn this case, the Boy Bitten by a Lizard also belongs, as did previously mentioned paintings, into the collection of cardinal Francesco Maria del Monte, whose environment Caravaggio knew well and who was responsible for throwing parties with camp theatrical representations where young men would dress as women or with effeminate looks. Museum practices often depict themselves as neutral, but they rarely are so, and usually distance an artwork from a number of meanings, first of all, their context but mostly here the er0tic implications. Meanings are heavily influenced by how it's decided they should be communicated, sometimes thanks to, but more often because of, academic studies being carried out.
Discover the bibliography in our link in bio by making a donation to Queering Rome at out link in bio 👆🔗
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🇬🇧👉 Speaking of ho******icism in Caravaggio's works means to also speak of Cecco del Caravaggio, later a painter himself, probably portrayed in Amor Vincit Omnia. He was Caravaggio's errand boy and maybe his lover too (they shared a room according to the census in 1605). The way of ho******ic interpretation is supported by witnesses from the same era, even a long time after the painter's passing, who remembered the scandal produced by the image. This thesis is supported by many scholars except those of Italian Catholic orientation who instead believe in a reference to Michelangelo's art (funnily so, given that the latter was indeed gay!) But the aforementioned "q***r possibility" also exists outside of q***r studies without scholars realising this: 1) they admit that for the lack of documentation we cannot exclude homosexual liaisons, especially within men-dominated environments. 2) many of the pillars of Renaissance iconography and iconology, which were possible models, are a washed with s3xual references. We can't ignore though that even if times were different Caravaggio is here portraying (and maybe sleeping with) a very young boy. Museology today is questioning today how to stop exposing such works with no criticism around how they were generated and the themes they describe, acknowledging their problems instead of accepting them as just "masterpieces" facing the challenge of what to tell about them and how. It's the same instance as that of ancient myths whose representation in art we excuse because we're used to it and yet cannot ignore the fact it's telling tales of r@pe and gendered v1ol3nce.
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🇬🇧👉 Almost all images of young men in Caravaggio's paintings possess homoertoic potential. Unlike what happens with contemporary q***r art, where we can interpret thanks to the identity of the artist or their intentions, these meanings are primarily attributed on the basis of the images themselves, which look camp, or thanks to their context. There exist hypotheses about Caravaggio being homo/bisexual but moving beyond these contemporary labels, we can affirm he had a special liaison with Mario Minniti, the (hypothesised) protagonist of his Boy with a Basket of Fruit. Minniti would eventually move back to Sicily and marry, but this in itself doesn't mean he had no connection with Caravaggio (even today, marrying and bearing children isn't a sign of a strictly binary or heterosexual attraction).
Because we know next to nothing about Caravaggio as a person, we can use "q***r possibility" , the possibility of reconstructing q***r lives where we have too little information about someone and infiltrate the gaps left by "official" history. But these images can also be traced back to the theatrical context sponsored in private form by Cardinal Francesco Maria Del Monte, Caravaggio's patron, where these younglings would have performed wearing costumes and dressed as women. The attitudes of worldly figurations like that of Boy with a Basket of Fruit and the other youth in The Musicians are allusive and were already popular in Renaissance art but here they've been turned to male representation making it ho******ic, especially considering the identity of the onlooker.
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Stiamo tornando 🏛️🌈
We're back b*tches
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What a pleasure it has been to work with the European Fashion Heritage Association

How can history become a fundamental tool for a more inclusive way of lingering on the complexities of our past, and help us understand our present and future? Delve into the 3 chapters of the q***r tour curated by Dani Martiri from Queering RomeQueering Rome for - on Europeana.euEuropeana

https://shorturl.at/3QEC0