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DTSTART;VALUE=DATE:20251205
DTEND;VALUE=DATE:20260302
DTSTAMP:20260614T014245
CREATED:20251020T094013Z
LAST-MODIFIED:20251205T124715Z
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SUMMARY:Franco Mazzucchelli. Blow Up
DESCRIPTION:Opening\, March 8\, 6:30 PM\n  \nCurated by Marina Pugliese\n  \nIn collaboration with MUDEC – Museum of Cultures\, Milan\n  \n  \nThe MAN Museum in Nuoro announces the upcoming solo exhibition Blow Up\, dedicated to Italian artist Franco Mazzucchelli (Milan\, 1939). Curated by Marina Pugliese and developed through a partnership with MUDEC – Museum of Cultures in Milan\, the exhibition traces Mazzucchelli’s artistic research from the 1960s to the present\, through a selection of works and photographs that highlight the experimental\, social\, and participatory nature of his practice. \nIn keeping with MAN’s ongoing research into artists whose work engages with themes of sustainability and community\, Blow Up retraces the artist’s path through public and shared space\, artistic actions that have reactivated and redefined urban environments through participatory interventions. The exhibition reflects how Mazzucchelli has\, over time\, invited communities to reclaim neglected spaces through new meanings and collective engagement. \nKey works in the show reference his early Abbandoni (Abandonments) from the 1960s and the later series A. TO A. (Art to Abandon)\, including interventions staged outside the Alfa Romeo factory on Via Traiano in Milan (1971)\, in the square of the Art High School in Turin (1971)\, and in Piazza dei Priori in Volterra (1973). These actions are centered around the act of “abandoning” large inflatable PVC structures in public spaces: embodied gestures of openness\, interaction\, and critical reflection on liberating art from traditional exhibition contexts. \nOriginally intended for children at a nearby playground\, the 1971 Alfa Romeo intervention unexpectedly became a moment of leisure and imagination for factory workers and ultimately even a political tool\, when workers used the inflatable structure to block the passage of vehicles. In Volterra\, in 1973\, during a landmark environmental art exhibition curated by Enrico Crispolti\, Mazzucchelli’s inflatables turned into the centerpiece of a collective celebration. In Turin\, the installation of a giant inflatable arch in an urban setting led to new interpretations of both landscape and social fabric. \nOne historically significant work\, presented for the first time in a public Italian institution\, is Caduta di Pressione(Pressure Drop)\, first shown in 1974 at Galleria Diagramma in Milan. The piece involved measuring oxygen consumption in a room using a hand-held vacuum gauge\, depending on the number of guests present. The result was a kind of cartography of breath and vacuum\, recorded like a scientific experiment in file cards that still preserve pressure readings and the names of visitors\, including artists and critics such as Agnetti\, Fabro\, Nigro\, La Pietra\, as well as Gillo Dorfles\, Urs Lüthi\, and Tommaso Trini. \nThe exhibition also features two monumental inflatable PVC sculptures: a 26-meter-long Squid (Totano) and a 12-meter-high Cone\, exemplifying Mazzucchelli’s concept of sculpture as an expanded\, temporary form. These synthetic\, large-scale structures take on playful\, non-functional forms that alter architectural space and provoke spontaneous visitor interaction. Over the years\, Mazzucchelli has meticulously documented these public responses as a form of behavioral analysis in the presence of these foreign and unexpected insertions. \nA site-specific installation from the Riappropriazioni (Reappropriations) cycle—first developed in the 1970s at locations such as Parco Sempione and La Triennale in Milan—occupies and engulfs one of the museum’s rooms. Constructed from plastic film membranes\, the work cancels spatial boundaries and proposes new modes of aesthetic experience. Viewers are invited to physically enter the structure\, immersed in its metaphysical suspension\, which clings to ceilings and floors like a living membrane. Enclosed within it is an early sculpture by Mazzucchelli\, created during his time studying under Marino Marini at the Brera Academy. The work embodies the ongoing dialogue between the artist and the collective dimension of his practice: art as a space for encounter\, a process open to symbolic reappropriation of space by its inhabitants. \nThrough the interplay of monumentality and lightness\, suspension and adhesion\, Mazzucchelli’s work embraces materials once considered experimental—such as plastic—while offering contemporary ecological reflections. The exhibition title\, Blow Up\, nods to the explosive imagery of Antonioni’s iconic film\, capturing the essence of an artist who has redefined the language of contemporary sculpture\, moving art out of the museum and into daily life in a constant exploration of aesthetics\, society\, and participation. \nFranco Mazzucchelli\nBorn in 1939 in Milan\, where he currently lives and works. Mazzucchelli is renowned for his pioneering experimentation with synthetic materials beginning in the 1960s\, and for his large-scale environmental installations capable of disrupting the everyday conventions of local communities. His practice—close to the ideal of total participation—investigates social dynamics\, with works that become temporary parts of the urban landscape. The public is naturally drawn to touch\, move\, play with\, and even take them away. \nSince the early 2000s\, his research has taken on a more aestheticized direction with the Bieca Decorazione(Dull Decoration) series: an ironic term the artist uses to describe painting as a purely aesthetic pleasure\, while critiquing its links to market logic. Mazzucchelli’s environmental installations have been presented in numerous locations in Italy and abroad\, including the Alfa Romeo Factory\, Milan; Piazza San Fedele\, Milan; Brera Academy of Fine Arts\, Milan; Castello Sforzesco\, Milan; Piazza dei Priori\, Volterra; Lake Como; Munich; the Camargue. \nHis works have featured in major international exhibitions\, including the 60th Venice Biennale (2024); 13th and 11th Quadriennale of Rome (1999 and 1986); the 37th Venice Biennale (1976); the 15th Milan Triennale (1973); and in prominent international institutions such as MAPS – Museum of Art in Public Spaces\, Køge (2025); Museo Madre\, Naples (2024); MACRO\, Rome (2021); Centre Pompidou-Metz (2021); Cité de l’Architecture\, Paris (2021); ArtScience Museum\, Singapore (2020); Konsthall Lund (2020); Kunsthalle Wien (2019); ZKM – Center for Art and Media\, Karlsruhe (2019); nGbK\, Berlin (2018); and Museo del Novecento\, Milan (2018)\, among others. In 2022\, Mazzucchelli received the Alfredo d’Andrade Lifetime Achievement Award. He served as Acting Director of Brera 2 and Professor of Sculpture Techniques at the Brera Academy of Fine Arts in Milan. \n 
URL:https://www.museoman.it/en/event/franco-mazzucchelli-blow-up/
CATEGORIES:Current Exhibitions
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DTSTART;VALUE=DATE:20251205
DTEND;VALUE=DATE:20260302
DTSTAMP:20260614T014245
CREATED:20251020T095010Z
LAST-MODIFIED:20251205T110812Z
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SUMMARY:Franco Pinna. Sardegna a colori. Fotografie recuperate 1953-67
DESCRIPTION:Concept and scientific direction: Archivio Franco Pinna\nInauguration: Friday 5 December 2025 at 6:30 pm\n  \nThe exhibition Franco Pinna. Sardegna a colori. Fotografie recuperate 1953–67 marks a further stage in the exploration undertaken by the MAN on photographic language and its relationship with Sardinia\, a land of inspiration and experimentation for generations of artists\, besides celebrating the one-hundredth anniversary of the acclaimed Sardinian photographer’s birth. Franco Pinna (La Maddalena\, 1925 – Rome\, 1978) was a master of 20th-century Italian photography and\, through this exhibition\, the MAN is showcasing works that were long forgotten\, offering visitors a new and surprising dimension of his perspective: that of colour. In keeping with recent investigations carried out by the Museum on authors and visions of the Sardinian landscape\, this exhibition broadens our perception of a photographer who was almost exclusively appreciated so far thanks to his black and white shots. \nThe exhibition comprises approximately eighty works\, including colour photographs – most of these are displayed for the very first time – and archival material\, and unfolds through a journey across Pinna’s visual and professional history\, offering new hints for a critical assessment of his oeuvre. The images were selected further to a thorough recovery and digital restoration of the original hues and are displayed along with black and white shots of the same objects\, thus offering an occasion for a comparison. The exhibition also includes transparencies retrieved from the Archivio Franco Pinna\, which testify to the comprehensive documentary approach endorsed by the photographer. A selection of period magazines\, including Vie Nuove\, Noi Donne\, L’Espresso\, and Panorama\, confirms his commitment to the use of colour\, which would lend a sense of modernity to the glossy magazines vs. the historicization implied in the classic black and white shots. \nThe exhibition begins with Orgosolo 1953\, Pinna’s first colour reportage in Sardinia\, to then explore the most meaningful stages of his production on the Island – Canne al vento (1958)\, Argia a Tonara (1960)\, and the shots used for his acclaimed volume Sardegna. Una civiltà di pietra (1961) – up to his reportages on banditry and the protests of shepherds of 1967. The sequences create a sort of long narrative\, highlighting the evolution of a language that takes on an autonomous and poetic dimension through colour\, capable of seizing the spirit that enlivens an archaic and all the same modern Sardinia. \nWhat emerges is the bond between documents and rituals\, which pervades his oeuvre and distinguishes his way of observing reality: as Federico Fellini quoted in 1976\, Pinna showed a “slowness typical of a hierophant”\, suspended between the gaze of a scientist and that of a minister of cult. It is precisely through this dimension suspended between documents and rituals that the exhibition housed at the MAN wants to review his oeuvre: a path through reality culminating in a revelation. \nFranco Pinna\n(La Maddalena\, 1925 – Rome\, 1978)\nOne of the most renowned photojournalists of his time\, Franco Pinna was a key figure of Italian photographic Neorealism. After activism in Rome in the Resistance movement and a brief stint as a documentary filmmaker\, he made his debut as a professional photographer in 1952 in the Roman cooperative Fotografi Associati and followed the anthropologist Ernesto de Martino on his ethnographic expeditions to the Lucania and Salento regions. In 1961\, he published Sardegna. Una civiltà di pietra\, which would be his most important publication. Beginning in 1964\, he became Federico Fellini’s trusted photographer. Through more than 300\,000 shots\, Pinna managed to combine civic engagement and aesthetic rigour\, documenting the transformation that Italy was going through in those years and capturing the human side of the 20thcentury with a poetic and keen gaze. \nThe Archivio Franco Pinna\, based in Rome and Bologna\, has gathered and enhanced the photographer’s heritage since 1997\, promoting research and exhibitions that keep his memory alive. \nConcept and scientific direction by Archivio Franco Pinna\nCurator: Paolo Pisanelli\, OfficinaVisioni \nin collaboration with Cinema del reale\, Erratacorrige\, Big Sur \nCoordination with MAN by Alessandro Moni \nDigitalisation\, digital restoration\, editing of photographs: Gloria Fulgeri\, Claudio Domini \nVideo-installation direction and editing: Matteo Gherardini\, Paolo Pisanelli \nOfficina Visioni coordination by Federica Facioni \nCatalogue by Nomos edizioni\, ita/en \nGraphic design by Sabina Era \n\n© Archivio Franco Pinna\, Rome/Bologna all rights reserved
URL:https://www.museoman.it/en/event/franco-pinna-sardegna-a-colori-fotografie-recuperate-1953-67/
CATEGORIES:Current Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20251205
DTEND;VALUE=DATE:20260302
DTSTAMP:20260614T014245
CREATED:20251020T095442Z
LAST-MODIFIED:20251205T125652Z
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SUMMARY:ALFREDO CASALI. Isolitudine
DESCRIPTION:Opening\, December 5\, 6:30 PM\n  \nCurated by Massimo Ferrari and Chiara Gatti\n  \nIn the context of a year devoted to an extensive and multifaceted reflection on the concept of the island – understood not only in its geographical dimension\, but also as a semantic device\, a generator of narratives\, cosmologies\, ideals\, and utopias – the MAN Museum in Nuoro continues its path of investigation with a solo exhibition by Alfredo Casali\, entitled Isolitudine\, scheduled for the winter season. \nAfter MinorIsland Fotographic notes from 1990 to today Islands and Idols\,  the new exhibition (on view until November 16)\, is part of a series that explores the concept of insularity through different perspectives\, giving voice to artistic visions that question the meaning and boundaries of the island — as an idea that becomes a place\, a concept that takes shape in space. \nAn exponent of a pictorial research deeply devoted to the very language of painting and to its persistence in a delicate balance between narration and abstraction\, between sign and matter\, Alfredo Casali presents at the MAN Museum a body of new and recent works that delve into the theme of porous boundaries\, archaic origins\, voluntary detachment\, and\, at the same time\, the re-emergence from the shallows of forgetfulness. The neologism “isolitudine” shapes in his painting a complex and fascinating existential condition: that of those who identify with the island — in its physical coordinates\, but also in its dwelling within the unconscious. an ancestral longing for belonging\, intertwined with a melancholic sense of isolation. \nSailing through the territories of identity\, memory\, and the perception of the self and the world\, isolitudine becomes a state of mind — a fulfilling sorrow for the surrounding emptiness\, a vertigo before the liquid desert. Intense pages of modern insular literature\, from Salvatore Satta to Gesualdo Bufalino\, have unearthed the fossils of a life lived on the margins and yet at the centre — within a microcosm that is also infinite\, in a solitude that is also beauty. In this acute tension between rootedness and detachment\, between the thirst for elsewhere and the pride in that remote territoriality theorized by anthropologist Matteo Meschiari\, one rediscovers a universal dimension that unites distant peoples — all children of an island\, all inhabitants of isolitudine. \nAlfredo Casali gives visual form to it through painting. Since his earliest works\, influenced by the lyrical abstraction of Gastone Novelli and Cy Twombly\, by visual poetry\, and by a suspended figuration imbued with a sense of waiting and heir to Morandi’s silent lesson\, the artist has traced within space the most minimal boundaries — vital places confined to the dimension of an intimate everyday\, sublimated into domestic archetypes: the house\, the tree\, the chair\, the patch of landscape opening onto the void of the sea or the sky. Formal rigor\, geometric synthesis\, and an attention to the sign as both an expressive and literary element — rooted in his solid philosophical training — nourish a coherent and deeply meditated pictorial practice and imagery\, slow in gesture\, in pauses\, in the articulation of planes that construct further voids. His rarefied and essential poetics now reaches the threshold of the island — a drawing with frayed edges on the maps of consciousness\, an epiphany of rock and sand upon the Cartesian plane of human and cosmic geography. \nAlfredo Casali was born in Piacenza in 1955\, where he currently lives and works. He graduated in Philosophy from the University of Bologna in 1983\, under the supervision of Luciano Anceschi. After an articulated journey through painting\, visual poetry\, and theoretical studies\, he arrived at a personal artistic language characterized by an essential poetic inquiry and by the recurrence of archetypal elements organized in thematic cycles. Among the first to recognize the value of his work was Giovanni Fumagalli\, who welcomed him into the historic Galleria delle Ore in Milan and guided him as a mentor between 1986 and 1996. Casali took part in the 32nd Milan City Art Biennale (1993) and in the Cremona Biennale (1993 and 1999)\, and over the years has exhibited in numerous solo and group shows. Among his most significant exhibitions are the solo show at the San Fedele Cultural Center in Milan (2011); his participation in the exhibition dedicated to Imre Reiner and international abstraction at the Museum of Art of Mendrisio (Switzerland); and the group exhibitions Sogno e Confine (Biffi Gallery\, Piacenza\, 2012) and La natura obliqua (Il Chiostro Contemporary Art\, Saronno). In 2014\, he presented a solo exhibition at Galleria Ceribelli in Bergamo. Among his recent exhibitions\, in 2019 he showed at the Studio d’Arte del Lauro in Milan\, and in 2023 at MAN – Museum of Art of the Province of Nuoro\, in a project developed in collaboration with the University Campus of Agrigento. The recent exhibition held in 2023 at the Magazzino del Sale in Cervia\, entitled Alfredo Casali\, Giovanni Fabbri. Geografie vita\, territorio\, storia\, anticipated by a few months the major retrospective of 2024 Alfredo Casali. La memoria delle cose\, curated by Massimo Ferrari for Volumnia in the Renaissance nave of the former Church of Sant’Agostino in Piacenza. \nThey have written about him:  Michele Tavola\, Franco Fanelli\, Sara Fontana\, Stefano Fugazza\, Ivo Iori\, Stefano Crespi\, Flavio Arensi\, Chiara Gatti\, Marina De Stasio\, Rocco Ronchi\, Giorgio Seveso. \nCatalogue ITA/EN Nomos Edizioni \nText byi Massimo Ferrari and Chiara Gatti \nCoordination Rita Moro \nGraphic by Sabina Era \n  \n 
URL:https://www.museoman.it/en/event/alfredo-casali-isolitudine/
CATEGORIES:Current Exhibitions
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