BEGIN:VCALENDAR VERSION:2.0 PRODID:-//MAN_Museo d'Arte della Provincia di Nuoro - ECPv6.17.0//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-ORIGINAL-URL:https://www.museoman.it/en/ X-WR-CALDESC:Events for MAN_Museo d'Arte della Provincia di Nuoro REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:Europe/Rome BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20080330T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20081026T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20090329T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20091025T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20100328T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20101031T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20110327T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20111030T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20120325T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20121028T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20130331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20131027T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20140330T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20141026T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20150329T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20151025T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20160327T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20161030T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20170326T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20171029T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20180325T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20181028T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20190331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20191027T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20200329T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20201025T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20210328T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20211031T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20220327T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20221030T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20230326T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20231029T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20240331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20241027T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20250330T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20251026T010000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;VALUE=DATE:20090904 DTEND;VALUE=DATE:20241005 DTSTAMP:20240423T082439Z CREATED:20240423T082439Z LAST-MODIFIED:20240423T082439Z UID:4965-1252022400-1728086399@www.museoman.it SUMMARY:Giusy Calia DESCRIPTION:Giusy Calia\nLove\, please remember\n\n 04.09 – 04.10.2009 \n\n\n\n\n\nFor Autumn in Barbagia\, the MAN\, in collaboration with the Municipality of Bitti\, presents Giusy Calia’s exhibition Love\, please remember . The works exhibited in the room of the Multimedia Museum of Canto a Tenore are accompanied by a video of the artist herself. \n≪The multiple Ophelias who inhabit those worlds of images that Giusy Calia has long created for them\, are beautiful\, silent\, solitary creatures: they emerge\, in those worlds of waters and reflected lights\, of mud and flowers\, graceful and intangible like water lilies\, absorbed in an endless dream\, in a secret\, dilemmatic and painful reminder\, like a nocturnal and starless navigation≫ (Gavina Cherchi). URL:https://www.museoman.it/en/event/giusy-calia-2/ CATEGORIES:Focus Sardegna END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20231124 DTEND;VALUE=DATE:20240304 DTSTAMP:20231130T095022Z CREATED:20231130T095022Z LAST-MODIFIED:20231130T095022Z UID:5091-1700784000-1709510399@www.museoman.it SUMMARY:Cristian Chironi - Living is a language DESCRIPTION:As part of the annual program dedicated to research on contemporary languages\, which has seen the MAN of Nuoro present artists such as Massimo Grimaldi\, Alice Guareschi\, Luca Spano in recent months as well as the special plan of residencies shared with the Monte Verità Foundation of Ascona\, the museum announces a personal exhibition by Cristian Chironi (Nuoro 1974) exactly ten years after his last project for the MAN. Winner of Strategy Photography 2023 \, a call from the Ministry of Culture which allowed the acquisition of nine works from his early production\, Chironi will develop an unprecedented path at MAN entitled Living is a language and dedicated to the “Art of living”. \nIn fact\, for some time Cristian Chironi’s research has developed through projects that require the artist to live and work in homes and art residences in various parts of the world. The best known is My house is a Le Corbusier \, in which Chironi’s life is intertwined with the architecture designed by Le Corbusier in 12 countries. \nChironi was also a resident at Casa Wabi\, an architecture designed by Tadao Ando near Puerto Escondido in Oaxaca. He lived in the house of the architect\, designer and urban planner Pierre Jeanneret in Chandigarh\, India. He lived in the house of writer Victoria Ocampo in Buenos Aires\, designed by architect Alejandro Bustillo and considered the first representative house of the modern movement in Argentina. A housing project is also the one conceived by Chironi for the grottoes of the public gardens of Cagliari\, a place full of history which during the Second World War was an anti-aircraft shelter and even a shelter for works of art. \nIn line with this path\, the exploration of historic and important authorial architecture led the artist to also inhabit a “Brownstone” from 1850\, a characteristic architecture located in Brooklyn and today considered among the best preserved examples of urban design of the 19th century in the United States. \nChironi’s experience in these architectures is marked by moments of solitary work and moments of exchange with visitors\, in which the interpretation of the architecture is rendered through the story and direct observation of its space-time dimension. In these places\, works and events are created on the spot\, with a deep interest in the mix of different styles and the experimentation of unusual materials. A coherent research\, focused on the concept of living explored from different perspectives. In this way\, homes become a privileged observation point for the artist to understand the profound meaning of living\, to reflect on issues related to gentrification and urban change. Thus\, a relationship is established with the context\, both human and environmental\, which leads the artist to deal with ever-changing cultures and customs. \nFor the MAN\, Chironi conceived the exhibition itinerary Living is a language \, coordinated by Elisabetta Masala\, in which each of the eight rooms on the second floor of the museum hosts works from different homes previously explored\, with unpublished works created for the occasion. \nAn exhibition branch of the project is also visible at the Santino Angioi body shop in Ottana \, a town not far from Nuoro\, where Chironi has always customized his Fiat 127 Special\, following the color combinations typical of Le Corbusier’s houses. It is no coincidence that the historic car was renamed “Chameleon”\, precisely because of its ability to change the color of its bodywork depending on the places where it stops. \nFriday 1st December Chameleon will be the focus of in a new version of traveling project Drive \, which unites the artist and participants in a journey of urban reflection and imagination on the themes of travel\, mobility\, social transformations\, housing and crossing borders. Together with the stories of Chironi at the helm of Camaleonte\, you will be able to listen to the sound compositions created in collaboration with various musicians and sound artists: Francesco Brasini\, Alessandro Bosetti\, Massimo Carozzi\, Daniela Cattivilli\, Coro di Radio France\, Paolo Fresu\, Stefano Pilia\, Francesco Serra\, Henrik Svedlund\, Dominique Vaccaro\, Sophie Vitelli\, and the unpublished contribution of the multi-instrumentalist from Nuoro Gavino Murgia. \nLe Corbusier’s slogan “a house is a machine for living” is thus reinterpreted in Nuoro Drive \, giving life to a mobile environment that condenses signs of travel and transit\, in a remix of stories\, trajectories and values. \nThe editorial part of the project will see the light in 2024\, with the contribution of the American artist Charles Ray\, with whom Chironi has started a collaboration for the creation of a bridge for sheep and shepherds to be built in Sardinia. \nColor keyboard – FIAT 127 Special (Chameleon)\nSantino Angioi body shop\nPip area Lotto 12\, 08020 Ottana (NU)\nfrom Mon. on Fri. 09.00 am> 18.00\nT: +39.07841786478 \n01.12.23 _ Nuoro Drive\ntraveling performance in the city.\nDeparture from the MAN Museum.\nThere are five 30-minute trips\nTimetables:\n3.30pm> 4.00pm; 4.15pm> 4.45pm; 5.00pm> 5.30pm; 5.45pm> 6.15pm; 6.30pm> 7.00pm\nThose wishing to participate in the 30-minute journeys with the artist can send their name\, telephone number\, along with the specific time slot in which they wish to participate\, to the email info@museoman.it \nThanks \nFondation Le Corbusier – Paris\nFundación Casa – Mexico City\nLacasapark Art Residency – New York\nThe Casa de la Cultura of the National Art Fund and BIENALSUR – Buenos Aires\nPierre Jeanneret Museum – Chandigarh\nItalian Cultural Institute – Mexico City\nAndrea Boghi Collection – Brescia\nAnna and Francesco Tampieri Collection – Nonantola\nOlnick Spanu Collection – New York \nCristian Chironi is a multidisciplinary artist who lives between Mexico City and Italy. He uses different mediums including performance\, photography\, video\, architecture\, design\, often creating a kind of interaction between them. Upcoming exhibitions include: Italian Cultural Institute of Mexico City; CAMERA – Italian Center for Photography\, Turin. Upcoming performances include: Ivrea (Olivetti) Drive\, Ivrea. www.cristianchironi.it URL:https://www.museoman.it/en/event/cristian-chironi-living-is-a-language/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2023/11/cristian_chironi.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20231124 DTEND;VALUE=DATE:20240305 DTSTAMP:20231130T095833Z CREATED:20231130T095833Z LAST-MODIFIED:20231130T095833Z UID:5120-1700787600-1709513999@www.museoman.it SUMMARY:Giotto | Fountain - The golden space DESCRIPTION:a MAN production\, Nuoro\nfrom an idea by Chiara Gatti\nscientific texts edited by Andrea Nante and Paolo Campiglio\, Serena Colombo and Chiara Gatti\nCoordination by Rita Moro \nThe MAN museum in Nuoro presents a new project dedicated to an ideal dialogue between past and present\, between classic and contemporary\, in line with an exhibition philosophy that for years has led to reflections on the eternal return of universal themes in the art of all times. \nAfter the major exhibitions already reserved for Alberto Giacometti and the archaic (in collaboration with the Giacometti Foundation of Zurich) or Picasso and the myth\, in the famous series of engravings for the Vollard Suite\, the MAN intends to investigate the connection which\, after centuries\, connects the spatial research of Lucio Fontana with the value of space in Giotto’s compositions\, together with the highly symbolic presence of the color gold in his reification of the infinite and elsewhere. \nIn the Byzantine and medieval Western pictorial tradition\, the desire to represent a real\, three-dimensional space progressively weakens. The gold background of mosaics and painted panels offers a deep and vibrant shine and gives the pictorial composition\, mostly sacred\, an aura of religiosity and mystery\, capable of establishing the indissoluble bond between art and faith. \nThe painting is an icon to be adored and takes on a symbolic value \, alluding to eternal and transcendent values. \nGold is not color\, but a divine symbol\, it exalts the figures\, hieratic and two-dimensional\, without humanizing them\, it abstracts them from the real context\, isolating them in time and space and places them within rigid fixed patterns\, canceling every custom and every relationship with everyday life: no expression and movement\, no familiar landscape\, no recognizable building\, no comparison with experience. \nA new sense of reality and space \, true and profound\, emerges in medieval art thanks to the personality of Giotto (ca. 1267-1337)\, who was already praised by his contemporaries because he «changed the art of Greek into Latin and reduced it to the modern»\, as Cennino Cennini wrote in his Book of the Art. The sacred and golden space\, two-dimensional and transcendent\, a curtain of light that isolates from the external world of the previous tradition\, is “pierced” by Giotto\, in search of a third dimension\, profound and real. \nThe gold background becomes a real sky\, atmospheric\, bright and clear on spring days\, illuminated by the light of the moon and stars (and even comets) in the dark night.\nGiotto discovers how painting can depict what the eye sees\, including the possibility of illusion\, wonderfully experienced for the first time in the two famous fake choirs in the Scrovegni chapel in Padua. Here\, at the beginning of the fourteenth century\, even before the invention of Renaissance perspective\, Giotto introduced the idea of ​​trompe-l’oil\, of painting capable of transforming space and creating illusionistic environments. A space without figures and in which – without warning – the outside world bursts in. The two fine\, empty rooms could be animated by singers at any moment. And\, from the Gothic mullioned window\, you could see the swallows circling in the air\, from the eaves of the nearby Eremitani church\, as Roberto Longhi wrote in 1952. \n“Spacious Giotto” is the definition that the great critic suggested for this new way of thinking about painting\, explaining\, in relation to the Paduan chapel\, that «for those who\, now\, place themselves in the center of the floor of the chapel\, that is\, in the most suitable place to embrace with with a single glance the wall into which the apse opens immediately becomes clear\, palm-sized\, sensitive to the point of the illusion that the two false rooms “pierce” the wall\, aiming to intervene in the architecture of the chapel itself. The two Gothic vaults contribute to the effect of veridical illusion by contributing to a single center which is on the axis of the church and that is in the ‘real’\, existential depth of the apse; the internal light is convenient which\, starting from the centre\, spreads inversely into the two rooms\, even onto the columns and jambs of the two mullioned windows; the external light of the sky that fills the opening of the mullioned windows themselves is appropriate: not of an “abstract” ultramarine\, but of a double blue\, which accompanies the (real) one outside the windows of the apse”. \nBut even in the gold backgrounds – think of the early Madonna of Borgo San Lorenzo and that of San Giorgio alla Costa or the later Maestà of Ognissanti – the metaphysical sky is no longer infinite and\, at the same time\, indefinite\, but rather physical and real. The figures are sturdy like sculptures and in the background\, although golden\, air circulates. The use of light\, of which Giotto always identifies the source\, which models the volumes\, occupies the space making it plausible and ‘natural’\, contributes to the introduction of reality into painting. Habitable. Contributing to the intuitions with which the master grasps the relationships between light and color (the color changes\, depending on the variation of the light\, not only in intensity but in quality)\, his original approach to the daily routine of life\, in the curious rendering of expressions\, objects\, and of nature\, as a lens wide open once again on reality\, in all its aspects\, from the most sacred to the most humble\, proposed again in the truth of architectural and landscape spaces. Precisely in this reappropriation of reality\, beyond the patterns of tradition\, life\, space\, man and his feelings return to being protagonists of painting. A lively and revolutionary approach that is also current for modern and contemporary painting\, which owes so much to his thought. \n«The fundamental conditions in modern art are clearly evident in the 13th century\, in which the representation of space begins»\, wrote Lucio Fontana in his «Manifiesto Blanco» of 1946. With the artist from Santa Fè\, Giotto’s new and illusory space is transformed into a truly three-dimensional space. The light that passes through it makes palpable the principle of the threshold\, of the view\, of the border place between visible and invisible\, also according to the ancient concept of iconostasis that Fontana rereads in the radical synthesis of his gesture. Light therefore breaks into a mental space making it suddenly accessible. It is precisely the same light that\, in the gold backgrounds of the fourteenth century – as analyzed in the pages of The Royal Doors by Pavel Florenskij – saw a materialization of the immaterial and which then crossed the “spatial concepts” of Lucio Fontana\, caressing the sands\, stones\, pieces of glass and gold leaf. A pervasive and warm light\, but generated by a pictorial act. \nThe dialogue proposed in the exhibition between a precious panel by Giotto – the Two Apostles from the Giorgio Cini Foundation in Venice – and a Spatial Concept by Fontana from the MART in Rovereto – it draws not only on Florenskij’s speculations\, but also on a long literature concentrated on the courses and recurrences of that magnificent obsession of painting for the representation of the absolute\, approached scientifically by great scholars\, including Georges Bataille\, Lionello Venturi\, Jean-Paul Sartre\, Michael Baxandall\, Jean Servier\, Luigi Carluccio. A tension towards the infinite and the transcendent unites ancients and contemporaries and makes the dialogue between Giotto and Fontana significant and timely in the sense of an illustrative thrust\, minimalist as well as intense\, into the folds of this theme of universal art study. Icon painting presupposes\, not surprisingly\, a metaphysics of images and light which finds sensitive heirs in the twentieth century. And it is to this metaphysics that authors such as Wildt\, Carrà\, Casorati and then Melotti and Fontana\, as well as international masters of the caliber of Rothko or Yves Klein\, have looked\, even turning to the use of gold as a vehicle towards the abstract\, towards the sacred\, beyond the “royal doors” of the iconostasis\, beyond the margin between the visible world and the invisible world\, “a place where sublime painting manifests itself – to quote Florenskij – in which things are “products of light” ». \n«Discovering the Cosmos – Lucio Fontana repeated\, not for nothing – is discovering a new dimension. It is discovering the Infinite. Thus\, by piercing this canvas – which is the basis of all painting – I created an infinite dimension.” URL:https://www.museoman.it/en/event/giotto-fountain-the-golden-space/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN ATTACH;FMTTYPE=image/png:https://www.museoman.it/wp-content/uploads/2023/11/invito-giotto-fontana-esec-03-copia.png END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20231124 DTEND;VALUE=DATE:20240305 DTSTAMP:20231130T100044Z CREATED:20231130T100044Z LAST-MODIFIED:20231130T100044Z UID:5082-1700787600-1709513999@www.museoman.it SUMMARY:THE REST OF DAWN - Pininfarina Architecture and Patrick Tuttofuoco DESCRIPTION:Against the backdrop of a year that the MAN of Nuoro has dedicated to the dialogue between art and architecture\, after the homage to the Odessa staircase and the workshops with the architecture universities of Cagliari\, Alghero and Palermo\, a new\, specifically designed project is now taking shape for the museum spaces. \nThe exhibition Il Resto dell’Alba was born from a theoretical comparison between the artist Patrick Tuttofuoco\, the museographer curator Maddalena d’Alfonso and the architect Giovanni de Niederhäusern\, vice president of Pininfarina Architettura. Il Resto dell’Alba is an enveloping work that interprets the new frontier of the virtual by giving a physical body to digital hypertechnology. \nThe art space\, in fact\, is seen as an experiential place generated with virtual prototyping tools\, where space and public integrate and activate each other\, looking at the time of art: on the one hand the historical\, past\, ideally represented from a Nuragic sculpture\, with all its mythical and absolute implications at the same time\, as an eternal sign of an iconic presence of our origins\, “where we come from”\, our archaic heritage; on the other hand\, that of the digital future\, the “where we are going” symbolized by the incorporeal and auroral imagery of the epiphanic light of a double sun\, a perspective and\, at the same time\, a new genesis\, inspired by the classic iconography of the rising sun\, of anarchist origin\, hope of a bright future\, allegory of regeneration and a new sense of man’s inhabitation on earth\, as theorized by Jean-Jacques Rousseau\, Bruno Taut or Martin Heidegger. All this is the basis of a powerful and utopian design form\, a work that can be traversed on an allegorical journey\, where the experience is sublimated into the dimension of the symbol. \nThe environment designed with generative parametric design tools is entirely made of aluminum cut with a technique called mesh clustering\, to optimize the use of the material\, numerical control manufacturing and dry assembly. This will allow\, at the end of the exhibition\, to dismantle the work and reuse the material in the recycling chain. The double sun is an object-form composed of the incipient sphere and its double\, which is also a luminous shadow\, an inconceivable short circuit on the question of the source of light and heat. The exhibition\, in the dialogue between art\, architecture and museography\, offers the public a personal experience\, in which the dilation of the moment of dawn crystallizes a state of waiting\, once suspended and places the observer faced with questions about a future increasingly unnatural but with a view to a virtuous reciprocity between nature and technology. Between past and future\, the visitor embodies the present. The museographic landscape taken from the digital imagery of the metaverse makes us perceive the fascination of the discomfort of being too close to the sun. A sensation that generates reflection on major common and current themes\, to be addressed with ever greater urgency: from the most obvious\, relating to climate change\, to those of research on design to support the reduction of waste and on raw materials. \nWith this exhibition\, MAN promotes sharing on fundamental topics\, from issues of social sustainability to those of inclusion\, through the coexistence of art\, artifice and humanity in an auroral place. And it asks the public important questions: what intricate relationship is being established between our existence in the digital world and physical presence? What places and spaces should we think of for inclusiveness and to raise awareness of contingent issues for building the future? \nPininfarina Architecture \nA global icon of Italian style\, Pininfarina is known for its unrivaled ability to create timeless works\, based on its values ​​of Technology and Beauty. Founded in Italy in 1930\, Pininfarina today has offices around the world\, with a design scope that includes transportation\, industrial design\, architecture/interiors and automotive design. Pininfarina’s most recent projects in the Architecture division span geographical locations such as Turkey (the New Control Tower of Istanbul airport)\, the United States (the 1100 Millecento luxury condominium in Miami)\, Brazil (Cyrela\, Vitra and Yachthouse \, and the twin towers of Balneario Camboriu)\, Italy (Juventus Stadium in Turin\, The New Stauffer Center for Strings in Cremona\, Urban Lounge in Milan). Pininfarina Architettura has also won numerous international architecture awards\, recently the Green Good Design Award 2022 for Urban Lounge\, the American Architecture Award 2020 with Yachthouse\, the International Architecture Award 2020 for Sixty6 and the Red Dot Award 2019 for the City of Miami Bus Shelter Designs. With offices in Turin\, Milan\,. Miami\, New York and Shanghi\, Pininfarina Architecture works with a team of 80 professionals trained at the most important academic institutions and research centers in the world and with multidisciplinary backgrounds including architecture\, engineering\, social sciences and interaction design\, linked together through professional experiences. Project team: Giovanni de Niederhausern\, Gianni Giuffrida\, Simona Penna\, Marco Caprani\, Giuseppe Conti\, Alessandro Mimiola\, Silvia Sereno Regis\, Giacomo Andreolli. \nPatrick Tuttofuoco (Milan\, 1974) Lives and works in Milan \nPatrick Tuttofuoco’s artistic work is conceived as a dialogue between individuals and their ability to transform the environment they inhabit\, exploring notions of community and social integration in order to combine immediate sensorial attraction with the power to trigger profound theoretical responses. Tuttofuoco mixes Modernism and Pop; he pushes the figurative into the abstract\, using man as a paradigm of existence\, as the matrix and unit of measurement of reality. From this interpretative and cognitive process\, infinite versions of man and the context of his existence are produced\, from which forms capable of animating the sculptures are generated. Patrick Tuttofuoco participated in the 50th Venice Biennale (2003)\, Manifesta 5 (2004)\, the 6th Shanghai Biennale (2006) and the 10th Havana Biennial (2009). His works have been exhibited in various institutions such as the Sandretto Re Rebaudengo Foundation\, (Turin 2006)\, the Künstlerhaus Bethanien\, Berlin (2008) and Casa Italia\, Pyeongchang (2018). In 2017 he was selected by the Italian Council thanks to the ZERO project presented in Rimini\, Berlin and Bologna (2018). \nMaddalena d’Alfonso (1972) Lives and works in Milan. \nMaddalena d’Alfonso is an architect\, essayist and researcher. He obtained the qualification of associate professor in 2017 after his PhD in interior architecture and museography in 2004. He has applied his aptitude for combining research activity with museographic culture in the conception and planning of exhibitions and cultural programs for public institutions\, foundations and museums. D’Alfonso has been a member of the scientific council of ICAMT – the International Committee for Architecture and Museum Techniques of ICOM since 2019. The exhibition Il Paesaggio dei Diritti – Photographing the Constitution\, which she conceived and curated for the Municipality of Milan\, received the representation medal from the President of the Italian Republic in 2017 and her book Warm Modernity (Silvana 2016) received the Red Dot Award. In 2019 he founded the Md’A Design Agency to offer its work network services\, design and interdisciplinary activities by bringing together architecture\, curation and museum management to implement sustainable solutions for architecture and culture underlining accessibility issues and democracy of public and collective spaces. \nPartner of the Materea installation for computational processing and production service. www.materea.industries\nNieder\, for processing\, shipping and installation www.nieder.it\nAlpewa and Prefa for the supply of PREFA natural aluminum sheets and rivets www.alpewa.com – www.prefa.it\nErco For lighting consultancy and the supply of lighting fixtures. www.erco.com\nBrianza Plastica www.brianzaplastica.it \nProject financed under the Pnrr funds for accessibility URL:https://www.museoman.it/en/event/the-rest-of-dawn-pininfarina-architecture-and-patrick-tuttofuoco/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2023/11/Allestimento-Il-resto-dellalba_Ph-A.-Moni-3-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20231124 DTEND;VALUE=DATE:20240305 DTSTAMP:20231130T100947Z CREATED:20231130T100947Z LAST-MODIFIED:20231130T100947Z UID:5119-1700787600-1709513999@www.museoman.it SUMMARY:Fancello Nivola Pintori DESCRIPTION:The project wants to pay homage to the figures of the three artists\, Costantino Nivola (Orani\, 1911 – Long Island\, 1988)\, Giovanni Pintori (Tresnuraghes\, 1912 – Milan\, 1999)\, Salvatore Fancello (Dorgali\, 1916 – Bregu Rapit\, 1941) at following the celebrations for the 100th anniversary of the foundation of ISIA\, through an exhibition itinerary that will take place in the MAN and the Salvatore Fancello Civic Museum of Dorgali. \nThe two institutions\, in a synergistic manner and through an important institutional collaboration\, will prepare a series of collateral events aimed at valorising the works of the three ‘Sardinians of ISIA’ and the common training path.\nThe project boasts\, as a further objective\, that of strengthening the link between the MAN and local institutions\, in this case with Dorgali\, the birthplace of Salvatore Fancello\, of which the Dorgali museum preserves\, among other things\, the famous ‘Disegno interrupted’ from 1938\, donated by the artist to Costantino Nivola on the occasion of his wedding.\nThe permanent collection of the MAN houses a precious nucleus of the most representative works of the three artists\, starting from the loan of Giovanni Pintori with 160 works\, followed by the corpus of works by Salvatore Fancello\, including the two sculptures Female Figure and Boars. \nIn 1931 the three artists won a scholarship from the Chamber of Commerce of Nuoro to attend courses at the ISIA (Higher Institute for Artistic Industries)\, the famous school created in Monza on the initiative of the Umanitaria of Milan. The institute\, active from 1922 to 1943\, attracted great personalities from the artistic world from its early years to whom it entrusted the teaching of technical and creative subjects. In fact\, architects such as Giuseppe Pagano and Edoardo Persoli\, the sculptors Marino Marini and Arturo Martini and the painter Pio Semeghini passed through its classrooms. At the same time\, the school revealed itself to be a place of experimentation\, study\, growth and innovation. \nFancello\, Nivola and Pintori collaborated\, starting from 1936\, with the Olivetti Technical Advertising Office\, directed by Renato Zveteremich\, a true pioneer of advertising graphics. In the mid-1930s\, Pintori and Nivola were the designers of innovative posters and some exemplary publications\, which marked the famous “Olivetti style”. Fancello\, despite frequenting the Milan offices of the Ivrea company\, preferred to dedicate himself to ceramics.\nNivola and Pintori jointly created the posters for the first Olivetti Studio Model 42\, of which the exhibition documents all the stages of production and promotion. The Sardinian masters together created poetic and effective images\, made of evocative symbols and visual games. Their talent contributed to distinguishing the strong graphic identity of the Italian company in the world. Costantino Nivola\, recalling his work in the Advertising Office in those years\, wrote “Adriano Olivetti demanded that the entire visual aspect of Olivetti be done on an artistic level”.\nTo accompany the exhibition itinerary\, the project also includes the in-depth study\, through archive research\, of documents and photographs\, including some unpublished ones that have recently emerged in private collections. The exhibition is enriched by a catalog that documents the association of Sardinian masters in the wake of the enlightened and avant-garde spirit of a school that created an era. URL:https://www.museoman.it/en/event/fancello-nivola-pintori/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2023/11/invito-ISIA-web-esec-03.jpg END:VEVENT END:VCALENDAR