For more than a decade, Atto Belloli Ardessi and Ginevra Bria have been researched and enhanced Isisuf - International Institute of Futurism Studies archives in Milan. They have been involved in the Belloli-Vieira Archive, following the organization of the personal fund of the Milanese poet and art critic Carlo Belloli, as well as the cataloging of the documentary legacy of the Brazilian sculptor Mary Vieira, which is preserved in Basel. Focused on the enhancement of a still little-known aspect of the sculpture of Mary Vieira, they organized the preparation of O Tempo do Movimento, the monographic exhibition dedicated to the artist held at the CCBB - Centro Cultural Banco do Brasil, first in San Paolo and then in Rio de Janeiro in 2005. More recently, between 2014 and 2017, Belloli and Bria also dealt with the restoration of the sculpture Polivolume: ponto de encontro (1970) of the Vieira, preserved in Basel, and of her public intervention in the entrance hall of the Palacio Itamaraty by Oscar Niemeyer at Brasilia. Belloli and Bria can therefore be considered a careful connoisseur of Mary Vieira's work, whose first-hand documents they had at disposal for research, and on which they had studied the creative process on several occasions, both from a historical-critical perspective, both from the point of view of the preparation and restoration of the works. They also tried to compare the procedural aspect in Vieira's work with the practice of other artists, collaborating in a series of international exhibitions, including After Utopia (Centro Pecci, Prato, 2009); Dynamo. A century of light and motion in art, 1913-2013 (Grand Palais, Paris, 2013); Designing Modern Women 1890-1990 (MoMA, New York, 2014); Spielobjekte (Museum Tinguely, Basel, 2014); Negative Space (ZKM, Karlsruhe, 2018). Their research project is unique for completeness within, studies on Mary Vieira also for the ability to highlight, through documentary sources never made public, the precursor thrust of the Brazilian artist's work, closely interconnected with art Italian of the Second World War. Her role as a cultural link between Europe and Brazil will then become definitively evident during the participation of Vieira, together with Burle Marx, at the Venice Biennale, in 1970, for the Brazilian Pavilion. Their experience as researchers, speakers and lecturers in various international universities and institutes, such as the Politecnico University of Milan, Bocconi University and the Catholic University of the Sacred Heart and Bria has supported several collaborations in curation projects for exhibitions such as Armenity (Armenian Pavilion, winner of the Golden Lion at the 56th Venice Biennale, 2015), Africa Telling a World (PAC, Milan, 2017); X Berlin Biennale (Berlin, 2018). Furthermore, their commitment to contemporary art led them to promote the foundation of FuturDome, an organization founded in Milan in 2016 to present international artists such as Guido van der Werve, Adam Christensen, Christine Sun Kim, Andrè Komatsu with monographic exhibitions, Gianni Pettena, Lea Porsager and Ricardo Carioba. They both wrote for Exibart and Artribune, collaborating with prestigious magazines, including Flash Art, Flash Art International, Aesthetica, Rolling Stone Italia, VICE, ICON Design, Alfabeta2 and Mousse Magazine. She is currently contributor of Domus Web and Domus Magazine.

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