Francesca Anita Gigli, nata nel 1995, è giornalista e content creator. Collabora con Finestre sull’Arte dal 2022, realizzando articoli per l’edizione online e cartacea. È autrice e voce di Oltre la tela, podcast realizzato con Cubo Unipol, e di Intelligenza Reale, prodotto da Gli Ascoltabili. Dal 2021 porta avanti Likeitalians, progetto attraverso cui racconta l’arte sui social, collaborando con istituzioni e realtà culturali come Palazzo Martinengo, Silvana Editoriale e Ares Torino. Oltre all’attività online, organizza eventi culturali e laboratori didattici nelle scuole. Ha partecipato come speaker a talk divulgativi per enti pubblici, tra cui il Fermento Festival di Urgnano e più volte all’Università di Foggia. È docente di Social Media Marketing e linguaggi dell’arte contemporanea per la grafica.
All the articles by Francesca Anita Gigli on Finestre sull'Arte
In the Etruscan world, the divine came through detail. Every anomaly in the sky, every variation in the animal body, every vibration of the earth carried a message. The priest did not pronounce dogma, but he read the world. His gaze flowed over the v...
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The director of the Diocesan Museum, Nadia Righi, looks at the museum as one looks at a question that never stops working under the skin, something that does not allow itself to be closed within the walls of a building nor within the tranquility of l...
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The blood slid to the ground in thin threads, each with a rhythm all its own, the moment Perseus severed Medusa's head. The ground, hit by that heat so intense it seemed like breathing, changed consistency with a speed that does not belong to things ...
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There are exhibitions that risk penalizing an artist and exhibitions that risk penalizing an audience. Rarer, and more instructive, are those that manage to take both risks with such a coherent design that the error is transformed into an exhibition ...
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When, in the eighteenth century, Johann Joachim Winckelmann tries to give a comprehensive shape to the history of ancient art, his gaze constructs a map in which Greece occupies the incandescent center. In the pages of Geschichte der Kunst des Altert...
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What does it mean to talk about art as the world collapses, as the chronicle is reduced to an inventory of bodies? The question returns compulsively every time the world seems to be crumbling, every time the images of the present pile up like ruins a...
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What we call the "Instagrammable exhibition" is not just a phenomenon related to compulsive photography, but it is an entire curatorial mode that has learned to subtract every obstacle from immediate recognition. And it is enough to enter it to notic...
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In Nantes, there is a green line that winds across the asphalt like an uncovered, tense, pulsing vein that invites detour, slanted step, and the lopsided geography of desire.
It starts from a garden populated by imaginary creatures, stretching color...
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