TABLE OF CONTENTS

PRINT December 2008

Cathryn Drake

AS ORSON WELLES’S CHARACTER famously observed in The Third Man, “In Italy . . . they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland, they had brotherly love, they had five hundred years of democracy and peace, and what did that produce? The cuckoo clock.” Indeed, long after the Renaissance, Italian modernism continued that love affair with trouble—from Futurism’s romanticization of war onward. And at present, Naples is much like a city at war; Prime Minister Silvio Berlusconi recently deployed troops to stifle escalating Mafia violence in the city and clean up mounds of refuse left over from the recent garbage crisis. Meanwhile, vigilantes have been torching Roma camps in the wake of a national backlash against immigrants. Naples also lies in the shadow of an active volcano, of course; Mount Vesuvius

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the December 2008 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.