Queering Rome

.italia e vi invitano al coce grazie "Musei e culture q***r. Le istituzioni culturali per i diritti LGBTQ+"
🗓️ Venezia, 20 giugno 2025

Una giornata di dibattiti e workshop per promuovere il confronto tra chi si occupa di beni culturali, educazione e tematiche LGBTQ+.
L’evento celebra l’uscita della pubblicazione "Musei e generi. Etica, metodi e approcci per promuovere una cultura trans-positiva e accessibile nelle istituzioni culturali", adattamento in italiano del documento "Trans-Inclusive Culture". Il volume fornisce strumenti etici e metodologici per promuovere l’accessibilità e il ben-essere delle persone trans e non
binarie nelle istituzioni culturali.
Il convegno si terrà presso la Fondazione Querini Stampalia e sarà trasmesso in streaming.

Scopri i due workshop pomeridiani e iscriviti al link in bio 🔗🔝 posti limitati e in presenza!

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🇬🇧👉 Caravaggio and ho******icism (part 3)
A fun fact regarding ho******icism in Caravaggio's works is that further hints into this direction are found in the presence of small animals that bite. To represent a subject being or about to be bitten allowed people in the 16th century to imagine their s3xual availability, for a bite alluded to pe*******on. But we must also remember how works of art change according to who is looking. İn this case, the Boy Bitten by a Lizard also belongs, as did previously mentioned paintings, into the collection of cardinal Francesco Maria del Monte, whose environment Caravaggio knew well and who was responsible for throwing parties with camp theatrical representations where young men would dress as women or with effeminate looks. Museum practices often depict themselves as neutral, but they rarely are so, and usually distance an artwork from a number of meanings, first of all, their context but mostly here the er0tic implications. Meanings are heavily influenced by how it's decided they should be communicated, sometimes thanks to, but more often because of, academic studies being carried out.
Discover the bibliography in our link in bio by making a donation to Queering Rome at out link in bio 👆🔗
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🇬🇧👉 Almost all images of young men in Caravaggio's paintings possess homoertoic potential. Unlike what happens with contemporary q***r art, where we can interpret thanks to the identity of the artist or their intentions, these meanings are primarily attributed on the basis of the images themselves, which look camp, or thanks to their context. There exist hypotheses about Caravaggio being homo/bisexual but moving beyond these contemporary labels, we can affirm he had a special liaison with Mario Minniti, the (hypothesised) protagonist of his Boy with a Basket of Fruit. Minniti would eventually move back to Sicily and marry, but this in itself doesn't mean he had no connection with Caravaggio (even today, marrying and bearing children isn't a sign of a strictly binary or heterosexual attraction).
Because we know next to nothing about Caravaggio as a person, we can use "q***r possibility" , the possibility of reconstructing q***r lives where we have too little information about someone and infiltrate the gaps left by "official" history. But these images can also be traced back to the theatrical context sponsored in private form by Cardinal Francesco Maria Del Monte, Caravaggio's patron, where these younglings would have performed wearing costumes and dressed as women. The attitudes of worldly figurations like that of Boy with a Basket of Fruit and the other youth in The Musicians are allusive and were already popular in Renaissance art but here they've been turned to male representation making it ho******ic, especially considering the identity of the onlooker.
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