Conference/Seminar/Teaching

Teaching

2016-2017 année scolaire C. Rubessi Design d’espace, scénographie éphémère (DE3, DE4), Esdac, Marseille/Aix-en-Provence (volume horaire 134 heures).

QUALIFICATION

2017 INSCRITE SUR LA LISTE DE QUALIFICATION DES MAITRES DE CONFERENCES, CNU 18 section.

Grants

2015 January-February C. Rubessi Borsa di studio accordata dalla Scuola Dottorale dell’Università Grenoble Alpes.

Visiting student presso il MUDAC (Musée de design et d’arts appliqués contemporains) di Losanna, per consultare gli archivi e compiere una ricerca empirica necessaria allo svolgimento di uno studio sulle mostre temporanee.

Teaching

2015 – / C. Rubessi, La certificazione LEED (Leadership in Energy and Environmental Design), per un retail design sostenibile.

Master in Exhibition Design-Architettura dell’esporre POLI.Design (Politecnico di Milano).

2015 –  / C. Rubessi, Il tessuto nell’allestimento (con intervento dell’azienda italiana di tessile  Peroni).

Master in Exhibition Design-Architettura dell’esporre POLI.Design (Politecnico di Milano).

2014 October / C. Rubessi, Expographie, le tissu.

This presentation considers le textile (the textile as a material for exhibition) is the process of developing an exhibit.

Ensba (École nationale supérieure des beaux-arts), Lyon.

Jury (board of examiners)

2014 June  / C. Rubessi, President of the jury Ensba (École nationale supérieure des beaux-arts), Lyon.

http://www.ensba-lyon.fr/diplomes/diplomes.php?id=dnsep_design_espace_14#a14

Conferences

>next conference  August 30 to September 02, 2017  Meeting of the Society for the Social Studies of Science, Boston

>next conference  6-7 November 2017 Convegno di studi “L’Ottobre delle arti”, Università di Torino

>29 June 2017

C.Rubessi: Reinventing landscape: questioning the intertwining between cinema and architecture, Sensibility and the senses-media. bodies, practices, NECS PARIS 2017, Université Sorbonne Nouvelle-Paris 3.

Abstract:

This research aims to investigate the mode of representation and the characteristics of architectures in the space of cinema. As cinema, the architectural project is the result of a mental projection of a landscape that would be eventually built. Also, when existing architectures come into the space of cinema, they are transformed, assuming a new sense. For example, Fellini filmed the architecture, which symbolised fascism in Rome reinventing them completely, devoid of any strong historical-political connotation. Just think of the scenes in the district of Rome called Eur (La dolce vita, 1960; Le tentazioni del dottor Antonio in Boccaccio’ 70, 1962), a futuristic and metaphysical place. The fragments of interior spaces of the Ennis Brown House by the architect Frank Lloyd Wright in the Blade Runner (1982) movie, are also worth considering. The environment and the decorations imprinted on concrete blocks are charged with meanings, and references actually unprompted by the architect and unpredictable when considering their original design. An effect worth investigating, for being close to the recent turn in systems design from modularity to generativity caused by digital technique. Thus, in some cases, the cinema use of architecture for its narrative function ends up manipulating it and translates it into fiction. In others, the cinema use of architecture, alters it, and makes it one of the key factors of the narrative. This alteration through translation can be considered as one of the relationships between film and architecture. In addition, as a reflective effect of this relationship, cinema shows the settings for the filmed architecture, firstly, as becoming great industrial abandoned settlements; then, over the years, the transformation (that is a translation through rematerializing, another relationship between cinema and architecture) in theme parks, cultural centres, industrial archaeology (for example, Cinecittà World in Rome). Given these points, our argument will focus on the analysis of architecture used in the space of cinema, considering a twofold relationship: i) firstly, cinema appropriates architecture through translation as alteration and vice versa ii) secondly, architecture appropriates the space of cinema through translation as rematerializing.

>19 May 2017

Giornata di studio : Ces lieux où l’on pense. Scène, musée, bibliotèque… , Université Sorbonne Nouvelle-Paris 3.

>25-26 January 2017

Convegno Internazionale “Cinema e paesaggio. Filmare le arti”, C. Rubessi : Il paesaggio-specchio nell’organizzazione dello spazio in Deep End di Jerzy Skolimowski. Università di Firenze.

 >5-7 September 2016

Colloque International “Les dispositifs de simulation du monde du XIXe siècle à aujourd’hui. Inventer, expérimenter et transformer le réel”, C. Rubessi : Un dispositif d’art-spectacle: autour de l’exposition ‘Edward Hopper’, Rome 2010, Université de Genève.

Prog_Colloque_UNIGE0_TransformerReel

Prog_Colloque_UNIGE1_TransformerReel

 >23-24 June 2015

Colloque International “L’amateur en cinéma, un autre paradigme?”, C. Rubessi : La famille exposée : pratiques du cinéma amateur en Italie , Université François Rabelais, Tours.

 >24 November 2014

Journée d’étude, Traverses 19-21, C. Rubessi : Cabiria, ou la mise en scène de la masse, Université Stendhal-Grenoble 3.

 >17 June 2013

GRHED (Groupe de recherches en histoire et esthétique du cinéma documentaire) Université Paris 1 – CERHEC. C. Rubessi : Une vie suspendue. Il Rifugio de Francesco Cannito et Luca Cusani (2012) comme espace de la limite et de l’exception.

>12 April 2013

Journée doctorale, Laboratoire Traverses 19-21, C. Rubessi : Scénographie et esthétique: étude sur la conception de l’espace cinématographique, Université Stendhal-Grenoble 3.

 >14 May 2012

GRHED (Groupe de recherches en histoire et esthétique du cinéma documentaire) Université Paris 1–CERHEC. Séance dirigée par C. Rubessi en présence du réalisateur Hugues Le Paige : Ethnographie et construction sociale du réel dans Il fare politica. Chronique de la Toscane rouge (1982-2004) de Hugues Le Paige.

>2-4 April 2012

Journées d’études doctorales « Un autre regard sur l’objet », Laboratoire langages, littératures, sociétés–Université de Savoie-Chambéry. C. Rubessi : Fitzcarraldo de Werner Herzog. Le bateau comme rêve et folie .

>8-9 March 2012  

C. Rubessi : Voyage dans la politique italienne. Il fare politica. Chronique de la Toscane rouge (1982-2004) de Hugues Le Paige , Université Stendhal Grenoble 3-Université Lyon 2.

>5-6 October 2010

Modératrice de séance Conférence International IFW-Interiors Wor(l)ds, Politecnico di Milano.