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Frédéric Bruly Bouabré. Cosmogonie, curated by Cristina Costanzo, is the first solo exhibition in Sicily of one of the founding fathers of African contemporary art as well as one of the most fascinating artists of our time. The exhibition project, initiated by 091 Art Project Gallery and supported by the Embassy of Ivory Coast in Italy and the Department of Culture and Societies, University of Palermo, presents the artworks of Frédéric Bruly Bouabré (1923, Zepreguhe – 2014, Abidjan, Cote d’Ivoir) following his 2022 retrospective at MoMA in New York, Frédéric Bruly Bouabré: World Unbound. Previously, his work has been shown at the Venice Biennale, both at the Pavilion of the Ivory Coast and as part of the Encyclopedic Palace, the 55th Biennial exhibition curated by Massimiliano Gioni. The exhibition aims to offer a critical discussion of the artistic production of Frédéric Bruly Bouabré through a rich body of works across a broad chronological period, from 1994 to 2008, representative of his philosophical research on the sun, flags and legends that distinguish his highly original imagination. His installations of various sizes with a strong verbal-visual component are presented for the first time here, in Palermo.

Cultural heritage collections available as linked open data (LOD) may contain harmful stereotypes about people and cultures, for example, in outdated textual descriptions of objects. Galleries, libraries, archives, and museums (GLAM) have suggested various approaches to tackle potentially problematic content in digital collections. However, the domain expertise and discussions about words and phrases used in LOD-collections are scattered across different resources and detached from the collections themselves. In this paper, we capture domain expertise about English and Dutch contentious heritage terminology in a knowledge graph. Contentious terms in the resulting graph are then linked to entities from other LOD-resources used in the cultural domain and beyond, including Wikidata and WordNet. We make our design decisions explicit and report on the linking process. The developed knowledge graph makes expert knowledge interoperable, so it can be reused by the cultural heritage community and other LOD-developers to contribute to a more inclusive representation of cultural heritage on the Web.

This special issue explores the developments in the conversation on iconic images in Modern Italy in the fields of art history, film studies and history of photography in Italian cultural studies, concerning the ways in which we perceive and interpret such images in relation to perceptions of 'Italianicity'.

In the photographs of British sisters Agnes and Dora Bulwer taken at the end of the 19th and the beginning of the 20th century, I argue for an early humanist vision of the peasants, children and workers that they photographed on their travels around Italy.

The British photographers Agnes Bulwer (1856– 1940) and her sister Dora Ellinor Bulwer (1864– 1948) left a legacy of circa 1300 photographs and 890 negatives, date from 1890 to 1913, to the British School at Rome. The photographs are principally of landscapes taken in Rome and the surrounding countryside (the Roman Campagna) but also further afield in Italy and abroad. Many include archaeological and natural sites as well as monuments, art works, and homes and gardens in urban or rural scenes. Their landscape photographs offer a perspective that challenged the existing masculine gaze as developed in landscape photography under the colonial project of the British Empire. Unfettered by the archaeologist’s need for ascetic facts, the Bulwers pioneered an unusual vision of landscape, inspired by the progressive international environment of post-Unification Italy. Agnes and Dora Bulwer often photographed women, whether Italian peasants or travelling companions, presenting a social and gendered gaze that helps to reconsider this period in the light of a dawning international humanitarianism. In spite of their photographic legacy, Agnes and Dora Bulwer remain relatively unknown in the growing field of rediscovered early female photographers connected to archaeology or travel photography. This article reveals their work within a cross-cultural, historical and phenomenological analysis, contributing a new chapter to women’s photographic history, to travel and landscape photography and to the history of British photographers working in Italy.

This research focuses on the proposed tourism offer gamification and storytelling in the Douro region. Currently, the use of games in the tourism sector is beginning to be a strategy applied in several destinations. However, the application of gamification to the tourism sector has not always been successful. There are shortcomings in travelers’ engagement due to the underestimation of tourism facts/events or resources of the regions. The main objective is to combine gambling with storytelling as part of wine and food tourism, to ensure greater tourist involvement. Gamification associated with storytelling can disseminate and enhance the tourism offer in a region, creating value in tourism experience. Considering the research methodology, it was considered relevant to implement a qualitative approach, using a focus group interview script, with residents, as well as the use of semi-structured interviews applied to Farms and the Douro Museum. The main results highlight the development of the region’s tourism resources, which are crucial in a process of international promotion, increasing tourism demand by proposing a game as a driver of tourism and gambling associated with storytelling, and a key element in involving the player, telling the story, and spreading the word about the destination. Studies and projects dealing with gamification and storytelling in tourism are unknown, particularly in low-density inland destinations, being crucial to propose projects on this topic, suitable to similar destination typologies.