In 2015 together with Viviana Gravano, with whom many years ago I established the curatorial collective Routes Agency, I was involved in the research project ‘Transnationalizing Modern Languages: Mobility, Identity and Translation in Modern Italian Cultures’ [TML], as curators of the final exhibition of the project. The twelve researchers gathered a vast quantity of varied material: interviews, audio records, videos, photographs of objects, meetings, places, events, people, digital archives, and extracts from institutional and private archives (family albums, letters, everyday objects). Such memories and objects tell us where and how Italian culture and language is lived and used in the contemporary world, who self-identifies as Italian, to whatever extent, and the practices and representations through which they do so. What is at stake is a whole collection of knowledge whose extraordinary complexity and diversity undermines the idea of a ‘traditional’, static, constant italianità, marking instead the shifts, the transformations and the layers of a fluid and mobile cultural identity. In order to try to understand the multiple meanings of the concept of italianità, it is therefore necessary to insist on going beyond national borders. Italianità has always spilled out of the geographical confines of the nation: since 1861 more than 27 million Italians have emigrated to destinations throughout the globe. From its first inception in national terms, Italian culture has been anything but static; rather, it has always been and continues to be a global and diasporic culture. TML focused on the transnationality of Italian culture in a highly interdisciplinary way. Researchers took into account the memories, migration, objects, and family stories of the people they encountered, with the project emphasising not only textual study but ethnographic fieldwork, in-depth interviews, participatory workshops, and seminars with adults and children. It became evident that, for many, italianità is a notion that blends broader conceptions of history with personal stories as well as re-imaginings and translations of complex cultural ideas and objects. This was true both

中文翻译：

---

展示跨国身份和财产：超越国界的意大利文化

2015年，我与Viviana Gravano共同创立了策展集体路线代理机构，这是我多年前与之合作的策展人。我参与了“跨国化现代语言：现代意大利文化中的流动性，身份和翻译”研究项目。项目的最终展览。十二名研究人员收集了大量各种各样的材料：访谈，音频记录，视频，物体的照片，会议，地点，事件，人物，数字档案，以及机构和私人档案的摘录（家庭相册，信件，日常物品）。这些记忆和物体告诉我们，意大利文化和语言在当代世界中的生活地点和使用方式，他们在任何程度上自我标识为意大利语，以及他们通过何种方式和表现方式。危在旦夕的是一整套知识，这些知识的非凡复杂性和多样性破坏了“传统的”，静态的，不变的意大利语的思想，​​取而代之的是标志着流动和流动的文化认同的转变，转变和层次。为了试图理解“意大利语”概念的多重含义，因此有必要坚持超越国界。Italianità一直在国家地理范围之外蔓延：自1861年以来，已有超过2700万意大利人移民到全球各地。从最初的国家术语开始，意大利文化一直是静止的。相反，它一直是并将继续是一种全球性的流放文化。TML以高度跨学科的方式关注意大利文化的跨国性。研究人员考虑到了他们遇到的人们的记忆，迁徙，物品和家庭故事，该项目不仅强调文字研究，还着重研究了民族志的田野工作，深入的访谈，参与性讲习班以及与成人和儿童的研讨会。很明显，对于许多人来说，italianità是一个概念，它将更广泛的历史概念与个人故事以及复杂文化概念和对象的重新想象和翻译融合在一起。都是如此 italianità是一个概念，它将更广泛的历史概念与个人故事以及复杂文化概念和对象的重新想象和翻译融合在一起。都是如此 italianità是一个概念，它将更广泛的历史概念与个人故事以及复杂文化概念和对象的重新想象和翻译融合在一起。都是如此