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DTSTART;VALUE=DATE:20260703
DTEND;VALUE=DATE:20261115
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SUMMARY:Futurama. Nostalgia for the Future
DESCRIPTION:Curated by Chiara Gatti and Elisabetta Masala \nin collaboration with Storyville \n4 July – 15 November 2026 \nFUTURAMA concludes MAN’s exhibition trilogy devoted to the ways human beings construct their relationship with reality\, the environment\, and time. Following SENSORAMA\, which explored perception as a cognitive structure\, and DIORAMA\, which examined post-natural ecologies and the reconfiguration of the relationship between the human and the non-human\, FUTURAMA focuses on the imagination of the future as a cultural\, political\, and emotional device. \nThe exhibition takes its title from the celebrated Futurama attraction presented by General Motors at the 1939 New York World’s Fair\, a spectacular installation that offered five million visitors an idealized vision of America’s tomorrow. Through vast immersive models designed by Norman Bel Geddes\, the future took the form of rational metropolises traversed by skyscrapers and elevated highways\, urban landscapes organized around the dominance of the automobile and the myth of technological efficiency. It was a future that appeared orderly\, luminous\, conflict-free\, and capable of guaranteeing prosperity and control. FUTURAMA draws upon this futuristic vision to reflect on an era in which progress seemed not only desirable but inevitable. The post-war decades ushered in a period of radical optimism\, fueled by economic growth\, scientific achievements\, and technological acceleration. The space race\, industrial automation\, and the emergence of computing fostered the belief that humanity was entering a phase of definitive emancipation from material and biological limitations. \nThis confidence gave rise to a widespread aesthetic of the future that permeated every field of visual culture. Artists experimented with new industrial materials—as exemplified by Gino Marotta’s methacrylate bestiary—and new conceptions of space\, as seen in Giulio Turcato’s Lunar Surfaces and Lucio Fontana’s Spatial Concepts. Design and architecture conceived modular environments and dynamic surfaces\, while fashion embraced geometric lines and abstract cuts in direct dialogue with contemporary artistic research. The exhibition unfolds through iconic objects of 1960s design\, characterized by an aesthetic approach that materialized fantastic visions through form and colour\, and includes a fashion section curated by Michela Gattermayer. At the same time\, science fiction populated the collective imagination with robots\, interplanetary travel\, and hyper-technological societies. Popular culture played a crucial role in this process. The first Japanese robot toys of the 1950s\, inspired by American science fiction and anticipating the giant “super robots” of later animation\, transformed fascination with machines into playful objects. Science-fiction book series helped disseminate visions of the future as a realm of adventure\, discovery\, and limitless possibility. A remarkable selection of Urania publications from the Arnoldo and Alberto Mondadori Foundation is presented in the exhibition. \nAmong the exhibition’s most compelling sections are video installations dedicated to science-fiction cinema and the Space Race\, the symbolic arena in which the Cold War rivalry between the United States and the Soviet Union was played out. \nFUTURAMA reconstructs this period of profound faith in progress as a genuine aesthetic utopia\, when technology was perceived not as a threat but as a promise of liberation from labour\, deprivation\, and even mortality itself. Yet the exhibition gradually reveals the fractures underlying this vision. The very forces that fuelled modernist optimism also generated new forms of inequality\, alienation\, and ecological fragility. Intensive industrial growth\, uncontrolled urban expansion\, and an unquestioning reliance on technology produced environmental and social consequences that the utopia of progress had failed to foresee\, although artists such as Piero Gilardi sensed them early on. With the decline of the grand narratives of modernity and the emergence of postmodernism\, the future ceased to appear as a shared promise and became an unstable territory\, often represented through dystopian or paradoxical scenarios. \nOver recent decades\, global traumatic events have further eroded confidence in the future. Wars\, financial crises\, environmental disasters\, pandemics\, and renewed geopolitical conflicts have exposed the systemic vulnerability of contemporary societies. In this context\, narratives of the future oscillate between renewed techno-optimism—which entrusts digital and scientific innovation with solving every problem—and nostalgic retreats into identity\, tradition\, and models of the past. \nFUTURAMA interprets this condition as a manifestation of the paradox of hypermodernity: an age marked by constant acceleration\, information overload\, and rapid transformation\, generating both enthusiasm and anxiety\, boundless possibility and a pervasive sense of lost control. The exhibition introduces the notion of a “nostalgia for the future”: an emotional tension in which the desire for a better tomorrow endures despite the uncertainties of the present. What is missed is not the past itself\, but the twentieth century’s confidence in change and its capacity to imagine the future as a collective horizon. \nBy bringing together utopian visions\, aesthetics of progress\, and critical perspectives on the contemporary condition\, FUTURAMA opens a shared space for reflection. Rather than simply diagnosing a crisis of imagination\, it invites visitors to reactivate the possibility of conceiving plural\, desirable\, and conscious futures\, restoring to the future its role as a horizon to be collectively imagined and constructed. \nArtists  \nValerio Adami\, Vincenzo Agnetti\, Getulio Alviani\, Enrico Baj\, Agostino Bonalumi\, Davide Boriani\, Achille e Pier Giacomo Castiglioni\, Fabrizio Dusi\, Mario Schifano\, Lucio Fontana\, Piero Gilardi\, Pietro Gallina\, Gianni Colombo\, Sergio Lombardo\, Gino Marotta\, Germana Marucelli\, Pino Pascali\, Alberto Rosselli\, Paolo Scheggi\, Giulio Turcato\, Grazia Varisco \nThe exhibition is accompanied by a catalogue featuring essays by Carlo Antonelli\, Paolo Campiglio\, Michela Gattermayer\, and Silvia Casagrande.
URL:https://www.museoman.it/en/event/futurama-nostalgia-for-the-future/
CATEGORIES:Current Exhibitions
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DTSTART;VALUE=DATE:20260925
DTEND;VALUE=DATE:20261116
DTSTAMP:20260907T092740Z
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SUMMARY:Paolo Cavinato. Hall of mirrors
DESCRIPTION:A site-specific project for the Mantua-born artist\, born in 1975\, whose work creates perspectival spaces that draw the viewer’s gaze deep into them\, generating effects of illusion and disquiet. \nThe exhibition revolves around a habitable installation entitled Attraverso\, which invites visitors to move through a gallery made of mirrors and visual and perceptual effects. Here\, matter is not what it appears to our eyes\, within the expansion of psychophysical space. The act of crossing through it reveals gaps and openings\, transformations and possibilities. Space expands\, while the points of reference on which the gaze rests begin to waver within a dimension of uncertainty. \nThe homage to the mystery of the refractions of the sacred well of Santa Cristina conceals a reflection on time\, process\, and vision\, but also on the relationship between body and architecture\, body and space\, body and void. The rational\, perspectival space that frames the room is a domestic “non-place”: an inhabited room\, a symbolic representation of the human condition. The organic\, natural element\, however\, lies beyond our control; it follows its own course\, its own flows\, and cannot be governed by our will. \nThe two situations merge into an experience that brushes against our consciousness while simultaneously destabilizing it. The mirror—heir to a long artistic tradition which\, over centuries of art history\, from Titian to Pistoletto\, has revealed reality and its double—now undermines the centrality of the human body\, erasing its presence in a play of dissolvings and epiphanies. \nIn Attraverso\, when the image vanishes\, the passage reveals itself and crosses the void\, as on the surface of the planet Solaris\, in Lem/Tarkovsky\, where a form of life external to the characters manifests itself\, possessing its own consciousness and essence. It becomes itself a living being\, life itself. In its presence\, the viewer experiences a totalizing encounter that tests the limits of the sensible. \nThe exhibition is completed by a selection of earlier works\, including Drops\, conceived as early as 2000 and devoted to the drop as a heartbeat marking the passage of existence; as well as more recent works revolving around the site-specific installation. The Inner Spaces series\, created with thin painted threads suspended across empty spaces like quantum particles\, engages with the reality of our present moment. Everything seems carefully calibrated\, regulated\, and measured\, like a habitable structure\, yet nothing can hold forever: everything is transient\, ephemeral\, evanescent. \nWithin this perspectival\, mental\, mathematical space—a field for reasoning and a collector of the invisible energies of the cosmos—Cavinato paints light\, projects it\, and breaks it apart in a plunge that captures energy and premonitions. \nCurated by Chiara Gatti\, coordination by Rita Moro. \nWith the participation of Stefano Trevisi. \nSpecial thanks to Galleria The Flat – Massimo Carasi.
URL:https://www.museoman.it/en/event/paolo-cavinato-hall-of-mirrors/
CATEGORIES:Future Exhibitions
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DTSTART;VALUE=DATE:20260925
DTEND;VALUE=DATE:20261116
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SUMMARY:Il Libro Bianco -  Luigi Mazzarelli (1940-2006)
DESCRIPTION:Twenty years after the artist’s death and more than forty years since his last exhibition in an Italian public institution\, the MAN Museum announces a long-overdue tribute to one of the most radical\, fascinating\, and complex protagonists of visual research in Sardinia during the second half of the twentieth century. \nBorn in Cagliari in 1940\, Mazzarelli was a sophisticated painter and an acute theorist. He entrusted his most important artistic legacy to three volumes\, brought together under the title Il Libro Bianco\, whose drafting began in the late 1980s. \nAfter 1993—the year of the premature death of his daughter Ada\, to whom the book is dedicated — Mazzarelli devoted himself exclusively to this inexhaustible project\, pursuing it in almost total and painful isolation until his death in 2006. \nEntirely handwritten\, illuminated\, and hand-illustrated\, Il Libro Bianco is a monumental\, titanic\, obsessive work\, an almost hemorrhagic stream of consciousness\, yet governed by absolute method and precision. \nCreated according to a rigorous formal and compositional structure\, the work contains Mazzarelli’s artistic\, philosophical\, and theoretical journey\, distilled with the support of an entire editorial team of alter egos\, each devoted to formulating axioms and theorems connected to the very foundations of composition\, to the freedom and necessity of creation\, to first principles\, space and time\, and to the eternal dichotomies between form and void. \nIl Libro Bianco represents the culmination of an artistic journey and a radical way of life that spanned the major cultural and political events of the second half of the twentieth century. \nParticularly significant are the two extreme events that mark the stages of this journey: the two artist burnings. The first took place in 1970\, when he destroyed all the work he had produced up to that point. The second occurred in 1996\, when\, once again\, he felt the need to sever his ties drastically with the past\, setting fire to hundreds of canvases and thousands of sheets of paper\, and thus embarking on a new and final chapter in his exploration of the concept of the total work of art. \nThe exhibition thus reveals\, for the first time\, the enduring relevance of his thinking\, shaped by intellectual refinement and emancipated experimentation\, bringing to the fore the stature of an extraordinary figure in the art world—not only in Sardinia\, but in Italy as a whole. \n***************** \nCurated by Chiara Gatti\, based on a project by Elisabetta Masala. \nWith a contribution by Alessandro Biggio\, as visiting artist. \nCoordination by Rita Moro. \nSpecial thanks to Giulia Mazzarelli. \nAdditional thanks to: \nMontecristo Project for the text “Luigi Mazzarelli. Una teoria del trauma”. \nCentro Man Ray for the video “Al di qua e al di là della morte dell’arte”.
URL:https://www.museoman.it/en/event/il-libro-bianco-luigi-mazzarelli-1940-2006/
CATEGORIES:Future Exhibitions
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