In this issue, we put the creative practice of three modern Italian artists under the spotlight. Bruno Munari (1907–1998), Ketty La Rocca (1938–1976) and Tullio Pericoli (born 1936) are noncanonical yet towering presences in the vast panorama of twentieth-century Italian culture: ambitious innovators, playful visionaries and eloquent advocates of creative freedom. Their rich and surprisingly unpredictable oeuvre exemplifies the intricacy of modern artistic practice, across media, and the intellectual excitement that stems from hybridity, contamination and versatile creative invention. As Pierpaolo Antonello, Simona Corso and Giuliana Pieri show in their articles, Munari, La Rocca and Pericoli hold an important place in the cultural history of modern Italy, not only because of their prolific interactions with other artists and writers, in Italy and beyond, but also through their considerable influence on wider audiences. What unites the three artists, despite their different generational and artistic backgrounds, is a subversive attention to the aesthetic canons of modernity. Traditions of openness and experimentation are re-vitalised in their artwork but also, crucially, translated into new forms of popular, creative practice. In this context, Pericoli’s work as a political satirist, La Rocca’s feminist creed and Munari’s attention to innovate pedagogy must be seen as more than just offshoots of their fascination with different canons and artistic media. The connection between experimental art-making, interartistic creativity and cultural and political agency lies at the heart of their works and of their success. Despite the fame of their authors, hybrid cultural products such as Munari’s children’s books, Pericoli’s visual re-telling of Robinson Crusoe, or La Rocca’s exploration of gesture are rarely discussed within the field of Italian Studies, due, one imagines, to their de-centralised logos and the difficulty in finding a category into which confidently to insert them. These works are ‘undisciplined’, to cite Antonello. They are creative projects that are frequently lost in the interstice between one artistic disciplinary discourse and another. By foregrounding the particular forms of creative practice that arise from the encounter of different media, we wish to make a case for the distinctive flexibility and nomadic freedom of much twentieth-century art, which is not necessarily, or even commonly, held within disciplinary boundaries. We also wish to challenge our own work as critics, frequently engaged, as we are, in various forms of text-based criticism. We welcome Antonello, Corso and Pieri’s important contribution to the rapidly changing canon of Italian Studies, which has grown more flexible in recent years, with a gradual opening up to the study of hybrid artistic objects: the fumetto, videoart, visual poetry, and so on. We note, however, that these transcending objects are still marginal features in the field. For this reason, our special issue advocates a radical shift of perspective: plural and flexible intermedial artistic forms, we argue, are a defining feature of modern and contemporary cultural production in Italy. They therefore need to move from a position of marginality to one of equal standing with other nonhybrid forms. Often subject to a difficult reception, due to the challenges of trans-disciplinary analysis, they must become a new centre of focus for the field of Italian Studies. La Rocca, Munari and Pericoli de-centralise the word and their work may therefore appear, at first glance, to belong more properly to the visual arts, a field which in recent years has been

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开放作品：意大利的创意中介

在本期中，我们将三位现代意大利艺术家的创作实践作为焦点。布鲁诺·穆纳里（Bruno Munari（1907–1998），凯蒂·拉罗卡（1938–1976）和图利奥·佩里科利（Tullio Pericoli）（生于1936年）在二十世纪意大利文化的广阔视野中非典型但高耸的存在：雄心勃勃的创新者，顽皮的有远见者和富有创造力的自由创作者。他们丰富而出乎意料的作品展现了现代艺术实践在各种媒体上的错综复杂，以及源于杂种，污染和多才多艺的创造性发明的智力激动。正如Pierpaolo Antonello，Simona Corso和Giuliana Pieri在其文章中所显示的那样，Munari，La Rocca和Pericoli在现代意大利的文化历史中占有重要地位，这不仅是因为他们与其他艺术家和作家之间的互动非常多，在意大利及其他地区，还可以通过其对更广泛受众的巨大影响。尽管三位艺术家的世代和艺术背景不同，但他们团结起来却是对现代美学标准的颠覆性关注。开放性和实验性的传统在其作品中得到了重新体现，但至关重要的是，也被翻译成流行的创造性实践的新形式。在这种情况下，佩里科利（Pericoli）作为政治讽刺作家的工作，拉罗卡（La Rocca）的女权信条以及穆纳里（Munari）对创新教学法的关注，不仅仅应归因于他们对不同经典和艺术媒体的迷恋。实验艺术创作，跨部门创造力与文化和政治代理之间的联系是其作品和成功的核心。尽管作者成名，在意大利研究领域，很少有人讨论混合的文化产品，例如穆纳里（Munari）的儿童读物，佩里科利（Pericoli）的视觉重述鲁滨逊·克鲁索（Robinson Crusoe）或拉罗卡（La Rocca）对手势的探索，这是由于它们的徽标分散且难以找到有信心将其插入的类别。引用安东内洛的话，这些作品是“没有纪律的”。它们是创造性的项目，常常在一种艺术学科话语与另一种艺术学科话语之间的缝隙中迷失。通过强调不同媒体的接触所产生的特定形式的创造性实践，我们希望证明二十世纪许多艺术的独特灵活性和游牧自由，而这种自由和游牧自由并不一定，甚至通常都在学科范围之内。 。我们也希望挑战自己作为批评家的工作，就像我们一样，经常参与各种形式的基于文本的批评。我们欢迎Antonello，Corso和Pieri为快速发展的意大利研究经典做出的重要贡献。近年来，意大利研究变得越来越灵活，并逐渐开放了对混合艺术对象的研究：熏烟，视频艺术，视觉诗歌等等。上。但是，我们注意到，这些超越对象仍然是该领域中的边缘特征。因此，我们的特刊倡导观念的根本转变：我们认为，多元化和灵活的中间艺术形式是意大利现代和当代文化生产的决定性特征。因此，他们需要从边缘地位转变为与其他非混合形式平等的地位。通常会遇到困难，由于跨学科分析的挑战，它们必须成为意大利研究领域的新焦点。拉罗卡（La Rocca），穆纳里（Munari）和佩里科利（Pericoli）将该词去中心化，因此乍看之下，他们的作品似乎更恰当地属于视觉艺术，这一领域在近年来一直是