On 22nd and 23rd September 2016 Milan hosted a major international conference, Milan, Crossroad of Cultures. As the result of a partnership between the University of Birmingham, the University of Warwick and the University of Milan, 36 speakers discussed the role of Milan as a hub which has attracted professionals and artists, a crossroad of migratory fluxes and a fertile environment for exchanges between the arts. Organised by Marco Bellardi (University of Birmingham), Maria Belova, Sara Boezio and Giulia Brecciaroli (University of Warwick), with the assistance of Sara Sullam (University of Milan), and jointly funded by the Society for Italian Studies and by research funds offered by Dr Stefano Ghidinelli (University of Milan), the conference developed a series of themes emerging from the research seminars led by Fabio Camilletti at the University of Warwick, and it explored theories and artistic practices currently being investigated within the AHRC-funded project Interdisciplinary Italy 1900-2020, led by Dr Clodagh Brook, Dr Emanuela Patti (University of Birmingham), Prof Giuliana Pieri (Royal Holloway London) and Dr Florian Mussgnug (UCL).
The two conference days opened with Prof John Foot’s (University of Bristol) and Prof Giovanna Rosa’s (University of Milan) keynote speeches. Foot focused on the outskirts of Milan from the 1950s to the 1970s, with a special focus on the areas of Pero and Bovisa. He also compared the “Corea”, with their unplanned expansion of self-made houses built by Southern migrants, to the later planning of the Comasina area. Foot addressed both the problem of the definition of such areas and their legacy. What emerged was a diversified approach to migration and the planning of the outskirts across the two decades. Rosa explored the paradox of Milan as a Capital which wasn’t in opposition to Rome. Milan stood out as a city which has substantially neglected central politics to focus instead on its own administration. Still, in spite of its decentred position, Milan has stimulated, if not catalysed, the modern dynamics of cultural innovation in Italy thanks to its financial, industrial and publishing power, paving the way for a more democratic access to cultural products. Rosa focused part of her discourse on the key role played by Feltrinelli among others.
The two-day conference included a range of panels on literature, publishing, cinema, art, urban planning, architecture, photography, history, with particular attention to the multifaceted composition of the social-economic background of the city as well as its pioneering role in addressing modernity by means of innovative approaches. At the same time, several issues related to cultural negotiation emerged and gave account of Milan’s complexity. Overall, the definition of Milan’s role in orienting cultural transformations was the key question of the debate.
In one of the opening papers A. Baldini examined early-20th-century Milan in comparison with other major Italian cultural centres. The interplay of professionalism, industry and artistic practices was discussed across the board: E. Gambaro explored the interplay of interests in Sereni, Fortini, Raboni, Giudici; E. Mattiato illuminated the evolution of the relation between Gio Ponti and the Corriere; A. Chella and E. Orlando respectively focused on the journal Questo e altro and Il Rinnovamento; M.G. Lolla described the pioneering role of the publisher Brigola, G. Cenati considered the development of comics in Milan over the second half of the 20th century.
Much attention was also given both to central Milan and to peripheral areas of the city, also linking these places to various artists, such as Verga or Medardo Rosso, who addressed the figure of the prostitute and the ambiguity of the iconic Galleria Vittorio Emanuele (E. Nelsen; S. Hecker and C. Ramsey-Portolano); G. Tassi and F. Rabissi focused on Ottieri, Antonioni and Visconti, with their attempt to render the issues of modern Milan; M. Belova pointed out a peculiar technique in a poem by Raboni aimed at rendering the fluidity of Corso Buenos Aires; R. Pozzi explored Milo De Angelis’s Milan across his production.
A. Hajek, S. Daly, A. Baldi, G. Mancosu addressed cultural identities of women, workers and migrants, also considering films (Monicelli’s Renzo e Luciana) and documentaries (Asmarina). S. Bragato, F. Guidali, and G. Cimador’s papers gave an overview of debates around art and politics, particularly about Futurism, Realism in mid-twentieth century and alternative culture in the Seventies. A. Diazzi explored Milanese psychoanalysis through the activity of practitioner Elvio Fachinelli.
A limited number of papers dealt with literary genres and current debates. More specifically, T. Franco and F. Camilletti focused on the peculiar, dystopic Milan emerging from a recent work by Corrado Stajano and from Emilio De Rossignoli’s science-fiction in the Sixties; G. Raccis pointed out the recurring theme of nostalgia in contemporary writers and A. Palomba addressed the issue of postmodern / hypermodern definition.
The centrality of visual culture in the debate was at the core of D. Balicco’s and B. Carnevali’s joint paper focusing on the history and aesthetics of the Milanese underground “Linea Rossa”. This cutting-edge project was the output of diverse professional and artistic expertise such as the designer Bob Noorda. M. Sironi showed the significant influence of architectural elements on the style of book covers at the turn of 19th and 20th century and J. Mekinda discussed the importance of the Triennale di Milano in orienting design from the Thirties to the Fifties. Specialist L. Maulsby reviewed the huge legacy of Fascist architecture in Milan and A. Tommasini offered a look at the city’s contemporary urban landscape through Gabriele Basilico’s photography.
The event also featured an evening roundtable at the Laboratorio Formentini per l’Editoria with guests speakers U. Fiori (musician and poet), G. Biondillo (architect and writer), L. Cerutti (editor Mondadori), M. Zapparoli (Marcos y Marcos) and chaired by B. Pischedda (University of Milan). The very informal and animated discussion revolved around the impact of the city in shaping a bizarre blend of features in its citizens: their elusive “Milanesità”, their typical blend of pragmatism and decency, humour and indignation.
