Michelangelo antifascista a Bari (1964-1965). Il "non finito" di Adriano Prandi e il critofilm di Carlo Ludovico Ragghianti nel IV Centenario della scomparsa del Buonarroti. Portfolio Digitale

The Digital Portfolio of a volume such as Michelangelo antifascista a Bari (1964-1965). The ‘unfinished’ by Adriano Prandi and the critofilm by Carlo Ludovico Ragghianti in the fourth centenary of the death of Buonarroti (Edipuglia, ‘Dedalo Arti e Musei’ series, 2024) is a complex tool, functional above all to the restitution of some aspects of the work carried out for the preparation of a research exhibition such as the one set up - from 4 to 29 November 2024 - in the spaces of the Library of History of Art, on the second floor of the Palazzo degli Studi in Bari, an environment created precisely at the instigation of Prandi in the 1950s.
Downloadable from the Zenodo platform, the open access archive for publications and data by researchers, managed by CERN for OpenAIRE (EU), the Portfolio is divided into three sections: the first, with three of the essays and a reel-to-reel recording that, selected by the writer, represented founding points in Prandi's study activity (the Laocoon, the portrait bust of Frederick II, the unfinished work by Michelangelo and the "corpus of rock sanctuaries"); the second, with a collection of materials made by Margherita de Gennaro, a PASAP_Med doctoral student, developed as a result of the lessons he gave in the classroom, with the contribution of students and collaborators who almost all later became successful university professors themselves (Mariella Basile, Maria Rosa Manzionna, Paolo Moreno, Ettina Andriola and Maria Stella Calò); the third, interactive and curated by Elisa Bonacini, starting from the project on which she is a researcher, Museums: back to the future, intended to represent the connection with the national side of the Michelangelo celebrations of 1964 (the catalogue of the Critical Exhibition of Michelangelo's works of 1964, curated by Bruno Zevi and Paolo Portoghesi in Rome). The ‘product philosophy’ is strictly in line with the research project CHANGES - “Cultural Heritage Active Innovation for Sustainable Society”, coordinated for the University of Bari by Giuliano Volpe (project code: n. PE00000020 - CUP: H53C22000860006), thus defining a further piece - alongside the aforementioned paper volume of which the Portfolio is an integral part, the R exhibition, the VR exhibition and the digital restitutions designed for the content provider ‘UniBArte Dedalo’ -, to be understood not only as a true transdisciplinary ecosystem at the service of a heritage that we want to make collective but, above all, as an attempt to respond to the increasingly pressing need to intercept both the new demands of digital teaching and the new orientations of digital heritage. In this sense, the Portfolio, which was conceived as a synthesis point of a process of digital reuse of analogical contents (essays, books, teaching handouts, recordings), represents a further tool at the service of scientific research, the latter aimed at defining the features of a disciplinary debate - the historical-artistic one, in particular, and that on the so-called Cultural Heritage in general -, in a phase that was certainly already then (the years are those of the Second World War and the economic boom) truly rich in stimuli in terms of innovative 'products' at the service of teaching, protection and valorization. From this point of view, the Portfolio intends to try to best interpret the function of a tool for the dissemination of research content, functional as it is to the story of what happened ‘inside’, ‘around’ and ‘outside’ an Institute of Art History and Archaeology where, between 1964 and 1965, it was decided - in Bari and thanks to Prandi - to screen Ragghianti's critofilm dedicated to Michelangelo.