• Heritage Universe
  • About
    • What is HeritageLab?
    • The HeritageLab Manifesto
    • Meet the Team
    • Partners & Sponsors
  • Co-Labs
  • Featured Work
    • Re-Emerging Pasts
    • TreeRouted
    • Bronze Age Boat
    • The Shipping Database
    • The Golden Harvest
  • EduHub
    • Introduction to EduHub
    • How to Look at Heritage Artefacts?
    • Museum Walkthrough Tips
    • On Official and Unofficial Narratives
    • Contested Heritage: the Parthenon Marbles as Case Study
    • Visuals and Heritage
    • What is Authentic Heritage?
    • Heritage in Crisis: The theft and return of the Mask of Warka
  • Outreach
    • Publications
    • Conferences and Workshops
    • Events
    • Media
  • Contact
  • Imprint
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HeritageLab
  • Heritage Universe
  • About
    • What is HeritageLab?
    • The HeritageLab Manifesto
    • Meet the Team
    • Partners & Sponsors
  • Co-Labs
  • Featured Work
    • Re-Emerging Pasts
    • TreeRouted
    • Bronze Age Boat
    • The Shipping Database
    • The Golden Harvest
  • EduHub
    • Introduction to EduHub
    • How to Look at Heritage Artefacts?
    • Museum Walkthrough Tips
    • On Official and Unofficial Narratives
    • Contested Heritage: the Parthenon Marbles as Case Study
    • Visuals and Heritage
    • What is Authentic Heritage?
    • Heritage in Crisis: The theft and return of the Mask of Warka
  • Outreach
    • Publications
    • Conferences and Workshops
    • Events
    • Media
  • Contact
  • Imprint

Niccolò Accram Cappelletto

  • Group:Content & Research, Tech & Design

Niccolò Accram Cappelletto

NiccolòAcram Cappelletto is an MA student in Arts, Museology and Curatorship at University of Bologna. After his BA in Art and Art History at New York University Abu Dhabi, he worked as a Post-Graduate Research Fellow with Dhakira Center for Heritage Studies on the relationship between heritage and contemporary art concerning postcolonial Italy and other projects in the UAE. NiccolòAcram has previously been a research assistant in digital humanities with the Paris Bible Project. In 2021, he joined Global Art Daily, an independent publication on contemporary art in the UAE after being a gallery assistant in Venice, Paris, and Abu Dhabi. These experiences raised his interests for a decolonial thinking of today’s theoretical frameworks in the heritage fie

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