BEGIN:VCALENDAR VERSION:2.0 PRODID:-//MAN_Museo d'Arte della Provincia di Nuoro - ECPv6.16.3//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:MAN_Museo d'Arte della Provincia di Nuoro 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:20060326T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20061029T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20070325T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20071028T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20080330T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET 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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;TZID=Europe/Rome:20100129T000000 DTEND;TZID=Europe/Rome:20100301T000000 DTSTAMP:20260621T201842 CREATED:20240417T141559Z LAST-MODIFIED:20240422T115357Z UID:4058-1264723200-1267401600@www.museoman.it SUMMARY:La giostra delle stelle DESCRIPTION:La mostra propone tre video installazioni sulla Sartiglia vista con gli occhi di due giovani filmaker sardi\, l’oristanese Paolo Zucca e il nuorese Paolo Bianchi\, che restituiscono\, grazie al loro sguardo contemporaneo\, una visione straordinariamente ricca e complessa del rapporto tra attualità e tradizione e di come questa relazione sia declinata dai diversi attori\, pubblico compreso. L’indagine dei due artisti non ha trascurato nulla e non si è soffermata solo sui momenti cruciali di una delle manifestazioni più amate in Sardegna ma ha cercato di cogliere e rendere esemplare quello che possiamo definire lo spirito\, la passione e l’identità del torneo vivo nelle donne e negli uomini che ne continuano in qualche modo la leggenda e ne alimentano il mito. \nUna serie di venti brevissimi video su monitor e due veri e propri film documentari montati come fiction ci immergono nell’incanto della festa\, nella tensione della corsa\, nella quotidianità dei gesti\, nella ritualità\, catturando sguardi\, volti e atmosfere di un tempo senza tempo che ci riporta a noi\, oscillando vorticosamente tra presente e passato\, tra la certezza e l’incognita del futuro. La mostra in definitiva\, come il gioco di parole sotteso dall’etimologia del titolo\, vuole avvicinare (il termine giostra deriva da juxta che significa vicino e quindi dal verbo juxtare che significa avvicinarsi) con sguardo critico le cose che ci circondano e nello stesso tempo mostrare come il contemporaneo riesca a giostrarsi\, a destreggiarsi nel difficile rapporto di coniugazione e trasmissione del passato\, impossibile senza le contaminazioni che paradossalmente sono\, forse\, proprio quelle che lo tengono in vita. Ancora la mostra è un invito a riappropriarsi dei codici etici che la Sartiglia esprime e che appaiono tremendamente attuali e necessari come il prepararsi a lungo\, il mettersi alla prova e in discussione\, avendo la visione chiara di un obiettivo e mostrando la forsennata passione per cercare di raggiungerlo. URL:https://www.museoman.it/en/event/la-giostra-delle-stelle/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Focus Sardegna,MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20100129T000000 DTEND;TZID=Europe/Rome:20100301T000000 DTSTAMP:20260621T201842 CREATED:20240417T141549Z LAST-MODIFIED:20240423T085936Z UID:4063-1264723200-1267401600@www.museoman.it SUMMARY:The carousel of stars DESCRIPTION:The exhibition offers three video installations on Sartiglia seen through the eyes of two young Sardinian filmmakers\, Paolo Zucca from Oristano and Paolo Bianchi from Nuoro\, who restore\, thanks to their contemporary gaze\, an extraordinarily rich and complex vision of the relationship between current affairs and tradition and how this relationship is expressed by the different actors\, including the public. The investigation of the two artists did not overlook anything and did not focus only on the crucial moments of one of the most loved events in Sardinia but tried to capture and make exemplary what we can define as the spirit\, passion and identity of the tournament I live in the women and men who somehow continue the legend and fuel the myth. \nA series of twenty very short videos on monitors and two real documentary films edited as fiction immerse us in the enchantment of the party\, in the tension of the race\, in the daily gestures\, in the rituals\, capturing glances\, faces and atmospheres of a timeless time which brings us back to us\, oscillating wildly between present and past\, between the certainty and the unknown of the future. Ultimately\, the exhibition\, like the play on words underlying the etymology of the title\, aims to bring people closer (the term carousel derives from juxta which means close and therefore from the verb juxtare which means approaching) with a critical look at the things that surround us and at the same time showing how the contemporary manages to juggle\, to juggle the difficult relationship of conjugation and transmission of the past\, impossible without the contaminations which paradoxically are\, perhaps\, precisely those that keep them alive. The exhibition is also an invitation to reclaim the ethical codes that Sartiglia expresses and which appear tremendously current and necessary such as preparing for a long time\, putting yourself to the test and questioning yourself\, having a clear vision of an objective and showing the mad passion to seek to reach it. URL:https://www.museoman.it/en/event/la-giostra-delle-stelle-2/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Focus Sardegna,MAN END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20100123 DTEND;VALUE=DATE:20100222 DTSTAMP:20260621T201842 CREATED:20240423T082258Z LAST-MODIFIED:20240423T082258Z UID:4932-1264204800-1266796799@www.museoman.it SUMMARY:Marco Lampis DESCRIPTION:Marco Lampis\nElsewhere\, ad infinitum\n\n 23.01 – 21.02.2010 \n\n\n\n\n\nOn the occasion of the solo exhibition of Marco Lampis\, winner of the first edition of the MAN_GASWORKS Award\, the MAN_Museo d’Arte della Provincia di Nuoro organized a meeting in the auditorium of the Satta Library as an introduction to the inauguration of the artist’s exhibition at MAN. \nThe works of Marco Lampis were presented at MAN\, the result of a poetics in which the work is noise\, time\, dust and architecture\, in particular abandoned places and all the possible connections and branches that unite these concepts . Noise as disturbance\, as otherness\, attention to the activity of sounds\, questioning of the sound/noise separation. And again\, noise as residue\, debris\, waste\, like abandoned places and the objects found inside them. URL:https://www.museoman.it/en/event/marco-lampis/ LOCATION:NU CATEGORIES:Focus Sardegna END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20091024T000000 DTEND;TZID=Europe/Rome:20100117T000000 DTSTAMP:20260621T201842 CREATED:20240417T141029Z LAST-MODIFIED:20240417T141029Z UID:5027-1256342400-1263686400@www.museoman.it SUMMARY:70's DESCRIPTION:The exhibition 70’s. Photography and daily life initially scheduled at the MAN Museum in Nuoro\, it will instead be set up in Sassari\, at the Museum of Twentieth Century and Contemporary Art\, via Archivolto del Carmine from 24 October to 17 January. \nTwo fortunate circumstances underlie the decision to change the location of the announced exhibition: the resounding success of the de André exhibition currently underway at the MAN\, which pushed the organizers to extend its duration until January 10\, 2010\, and the signing of a collaboration agreement between the Province of Sassari and the MAN and the Province of Nuoro\, an agreement which underlines the role of the Museum directed by Cristiana Collu on the island and in the national panorama. \nPhotography of the 70s. Daily experience and testimony was born from an international co-production that united the MAN with La Fabrica/ PhotoEspaña 2009 and the Centro Andaluz de Arte Contemporaneo in Seville and offers a retrospective look at a group of works and authors who contributed to defining the Seventies as the most important and fruitful of the recent history of photography. \n«The Province of Sassari – explains Alessandra Giudici – enthusiastically welcomed the opportunity to host Photography of the 70s. For two reasons: the value of the exhibition and the opportunity to establish a collaboration with the MAN which\, in the hopes of the two parties\, will gradually become closer\, allowing a cultural experiment as vital and successful as it turned out to be that of the Art Museum of the Province of Nuoro. Sassari will do this through the growth of Smap\, the provincial artistic museum system inaugurated only two months ago with the creation of a real museum itinerary among the historic rooms of the Provincial Palace\, in Piazza d’Italia. \nHeirs of one of the most revolutionary decades of the post-war period and a moment of incubation of what would characterize the future and shape today\, the Seventies were fateful years: Man tells them through a medium\, photography\, which in that decade he experienced a very particular moment\, just as particular is what the lens intended to capture: everyday life\, fragments of real life and for this very reason extraordinary testimony.” \nPhotography and everyday life have a very specific connection with the Seventies. In that decade\, everyday life broke into photography and – while the dichotomy between art and photography was being formed – new relationships were born between photography and contemporary art\, overcoming previously marked divisions\, transforming them into contaminations and mixtures. One of the most singular aspects is the convergence between the more specific field of photography and the broader one of the plastic arts\, also demonstrated by the notable number of artists who all make use of photography without distinction. And the renewed interest in photography passes above all through the valorization of the idea of ​​the document and the documentary style\, as a privileged and legitimate model for the representation of everyday life in combination between the public and private spheres. \nAt the exhibition hosted in the former convent of Carmelo there will be around 200 works by twenty-two artists who really made a difference in the field of visual arts of that period\, offering a wide and diversified range of paradigmatic images and at the same time of aesthetic and conceptual attitudes . Among them\, internationally renowned names such as David Goldblatt\, Christian Boltanski\, Anders Petersen\, Cindy Sherman\, together with others who\, such as Robert Adams\, Laurie Anderson\, Claudia Andújar\, Victor Burgin\, William Eggleston\, Hans Peter Feldman\, Alberto García-Alix\, Karen Knorr\, Víctor Kolář\, Ana Mendieta\, Fina Miralles\, Gabriele & Helmut Nothhelfer\, JD Okhai Ojeikere\, Carlos Pazos\, Eugene Richards\, Allan Sekula\, Malick Sidibé\, Ed van der Elsken\, Kohei Yoshiyuki\, have followed completely personal paths of interest absolute. To just one of them\, Goldblatt\, the exhibition offers two different “islands”: in the first the artist deals with the theme of apartheid\, in the second he conducts research on hands as another face of a person. URL:https://www.museoman.it/en/event/70s/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2024/04/Anni-70.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20090919T000000 DTEND;TZID=Europe/Rome:20090925T000000 DTSTAMP:20260621T201842 CREATED:20240417T141327Z LAST-MODIFIED:20240417T141327Z UID:5003-1253318400-1253836800@www.museoman.it SUMMARY:The still event DESCRIPTION:The exhibition The still event (the stubborn gaze) promoted by Casa Masaccio contemporary art of San Giovanni Valdarno and by MAN\, curated by Saretto Cincinelli and Cristiana Collu\, it is proposed as a real “video exhibition” that delves into the changing border territory\, which has always\, and in particular in the recent years\, has maintained a close relationship between cinema\, video and contemporary art: the video works (central nucleus of the exhibition) are not in fact proposed as part of a screening programme\, as in a festival\, but each occupy their own exhibition space as moving images\, both in individual darkened rooms if projection is envisaged\, and in illuminated environments when they are originally intended for a screen or monitor. \nThe exhibition thus seeks to circumscribe and decline through the co-presence of plastic\, video and cinematographic works\, topoi and figures whose cruciality is demonstrated by the persistence with which they return to impose themselves on attention in different and significant seasons of contemporary research\, and whose remoteness center of gravity seems to be attributable to the oscillation between fixed and animated\, movement and immobility which\, albeit according to a karst line marked by profound modifications\, leads from the pioneering pre-cinema research to the radical experiments of Andy Warhol (Empire \, 1964\, etc.)\, by Michael di Snow ( Wavelength \, 1966/7) or by Chris Marker ( La Jetée \, 1963)\, from the birth of video to contemporary research. \nThe still event (the stubborn gaze) intends to continue on this fertile territory of investigation by trying to delve deeper into the idea of ​​an “enchantment of vision” which is achieved through the foregrounding of what we could define as a “less” dimension of the image: a dimension which\, by failing\, it ends up having an “apres coup” impact on the spectator’s expectations and on the expressiveness of works that voluntarily escape the eloquence and spectacular predictability of much of the contemporary visual language\, but which paradoxically\, as in a game in which whoever wins loses\, they gain from the economy that characterizes them\, an economy that ends up giving them a “surplus” of presence. \nThere are works by: Emanuele Becheri\, Yael Davids\, Cyprien Gaillard\, Carlos Garaicoa\, Carlo Guaita\, Sejla Kameric\, Ange Leccia\, Paolo Meoni\, Ane Mette Hol\, Adrian Paci\, Cristiana Palandri\, Luca Rento\, Guido van der Werve. URL:https://www.museoman.it/en/event/the-still-event/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Extramuros,MAN END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20090911 DTEND;VALUE=DATE:20090912 DTSTAMP:20260621T201842 CREATED:20240423T082534Z LAST-MODIFIED:20240423T082534Z UID:4958-1252627200-1252713599@www.museoman.it SUMMARY:The transgressed goal of clandestinity DESCRIPTION:For the film festival “Musica e Societa”\, which takes place in Cala Gonone\, the MAN presents a selection of video works by contemporary artists who investigate\, with deep and acute sensitivity\, the human condition of illegal immigrants\, exploring the phenomenon of contemporary transmigrations in its connotations and sociopolitical implications with points of great symbolic beauty and a sense of suspension and unresolved waiting through the works of Adrian Paci\, Carlos Garaicoa\, Armin Linke\, Sejla Kameric\, Hans Op De Beeck\, Gianluca and Massimiliano De Serio\, Paolo Meoni.\nThe figure of the illegal immigrant thus becomes that of a wandering body\, a being in danger\, a beggar of hope who deserves respect and requires ethical\, cultural and economic reflection on his condition. URL:https://www.museoman.it/en/event/the-transgressed-goal-of-clandestinity/ LOCATION:NU CATEGORIES:Focus Sardegna END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20090904 DTEND;VALUE=DATE:20241005 DTSTAMP:20260621T201842 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/ LOCATION:NU CATEGORIES:Focus Sardegna END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20090728 DTEND;VALUE=DATE:20090822 DTSTAMP:20260621T201842 CREATED:20240423T082850Z LAST-MODIFIED:20240423T082850Z UID:4931-1248739200-1250899199@www.museoman.it SUMMARY:Rachele Sotgiu DESCRIPTION:Rachele Sotgiu\nThe limit violated\n\n 28.07 – 21.08.2009 \n\n\n\n\n\nA young artist\, at her first solo show\, helps us to see\, perhaps for the first time\, the subtle threads of clandestineness insinuate themselves even in the most unexpected places\, as in the reassuring life of the housewife\, a woman taking refuge in four walls that protect or hide her \, hiding\, from the outside\, the mistreatment suffered every day. Cages full of domestic objects that Rachele Sotgiu reinterprets by disseminating them in the most appropriate space\, an ancient Campidanese house in Nurachi\, now the Peppetto Pau Museum. \nFirst solo show of the young Rachele Sotgiu who connotes the domestic dimension of the museum space by disseminating it with works\, tangible signs of female presence\, a place inhabited by women\, by housewives\, clandestine figure of our society\, refugee of the four walls that protect her\, “private casket ” as the artist defines it\, in which to invent and guard her own world made up of small everyday things but also a prison that exposes her to abuse and mistreatment. \nThe search and discovery of one’s individuality becomes imperative\, in overcoming the acceptance of the separation of roles\, the dimensioning of one’s social position\, the moral duties to be respected and the impulses to be repressed. The daily mystery\, the grace of the feminine\, together with the drifts of solitude\, the carelessness of oneself mixed with the forgetfulness of the world chase each other through the rooms\, bringing with them a swarm of real objects that return and bring back reality. And if “not even psychology is able to solve the enigma of femininity” as Freud says\, it is just a matter of admitting its intriguing and essential value. \nEvent created in collaboration with the Dromos Festival URL:https://www.museoman.it/en/event/rachele-sotgiu/ LOCATION:NU CATEGORIES:Focus Sardegna END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20090724 DTEND;VALUE=DATE:20090903 DTSTAMP:20260621T201842 CREATED:20240423T082642Z LAST-MODIFIED:20240423T082642Z UID:4950-1248393600-1251935999@www.museoman.it SUMMARY:The transgressed goal DESCRIPTION:In the happy coincidence of their respective 10 years of activity\, the Dromos Festival and the MAN Museum meet for a first collaboration which was born with all the intentions of creating a partnership for the future and a natural osmosis between two fields\, art and music \, which have always looked at each other and contaminated each other. The vocation of the festival and the museum is by its nature inclusive and pervasive\, it is therefore inevitable to cross the borders of our islands within the island\, of the different reference territories to play on the echo and resonance\, not only on the contents but also on the synergistic value of doing together\, of withdrawing to make a place\, to offer\, in line with our best tradition\, an invitation to share.\nThe theme of the 2009 edition of the festival\, clandestineness\, led us with its painful relevance to retrace some of its declinations through the language of video with works by Adrian Paci\, Carlos Garaicoa\, Armin Linke\, Sejla Kameric\, Hans Op De Beeck\, Gianluca and Massimiliano De Serio\, Paolo Meoni. The video review The transgressed goal \, combined with the concerts\, explores clandestineness and contemporary transmigrations in their sociopolitical connotations and implications with points of great symbolic beauty and a sense of suspension and unresolved waiting.\nConfronting the concept of clandestinity and the implications it is assuming\, also as a result of the approval of recent laws\, is necessary in a moment of social tension that tends to exclude rather than include other cultural worlds. But culture is the result of continuous contamination and the aim of the Dromos festival and this event is also to provide a glimpse\, beyond the inevitable and sometimes dramatic problems\, of the positive developments that true integration can bring.\nThe videos\, carefully chosen by Cristiana Collu and her collaborators\, were screened individually before each concert in Oristano\, San Vero Milis\, Nurachi\, Baratili\, San Pietro\, Nureci. An invitation to reflect so as not to stop identifying with “other” realities and not to forget when we were the illegal immigrants… The videos were rebroadcast in San Vero Milis for the event San Vero… in short \n \nIn the video Turn on by Adrian Paci\, about twenty men\, all unemployed\, find themselves sitting on the steps of a square every day hoping that someone who needs their workforce will pass by. Immersed in silence\, the faces marked by the fatigue of these men parade one by one\, who speak to us with just their gaze about their personal stories\, their unexpressed energy. Until the silent synthesis of Center of temporary stay \, a work of great tension and strong emotional impact\, emblematic\, shot on the runway of an airport where men\, women\, children of different ethnic groups\, arranged in a long queue\, wait to slowly advance towards the plane’s steps. The camera portrays their thoughtful\, resigned faces\, in the background the roar of the planes taking off. When he focuses on the first men who should access the plane\, a change of shot allows us to see that beyond the ladder there is no plane\, that there will be no departure or return\, but only a useless wait. \nI don’t want to see my neighbors anymore\, by Carlos Garaicoa\, transforms the simple construction of a wall that divides the artist’s garden from that of his neighbors\, to the point of making it a metaphor for all the much more terrible border walls that separate\, or have separated over time\, historical situations conflicting. \nThe images\, accompanied by Pierrot lunaire by Schoenberg\, synthetically present the different phases of construction\, rendering the action in rigorous black and white. The conclusion of the work\, which in a certain sense embraces the predominantly ironic-satirical Schoenbergian atmosphere\, shows a white plastered wall that has nothing bellicose about it\, which however soon gives way to still images documenting certainly less innocent barriers. Sejla Kameric\, on the other hand\, takes us to a dreamlike zone with Dream House\, shot of a house\, a refuge\, which seems to pass through time and weather while always remaining as a stable shelter\, the only point of reference on the changing landscape in the background\, almost like a dream for those who know the condition of involuntary exile. \nGaza City by Armin Linke uses archive material belonging to a local television station in Gaza to tell the story of the daily life laboriously led by entire Palestinian families. However\, the scenes do not have the violence or even the spectacularity to which television news has accustomed us. The drama of the condition of many refugees expropriated from their territories can be seen rather in the hasty and tired gestures\, in the resigned looks\, in the silence that envelops an endless exodus. The narrative\, extrapolated from its original context\, takes on a meaning in the new configuration and different editing that goes beyond the content and questions the current artistic practice of post-production\, a strategy that responds to the proliferation of images and information in current global culture: an annexation of forms hitherto ignored by the world of contemporary art. \nIn the very short term Border by Hans Op De Beeck\, we see an x-ray image of a large moving truck\, but a closer look reveals a small group of people hidden inside\, we hear their breathing amplified and their whispered voices\, people reduced to luminous silhouettes buried inside the cargo in the hope of elsewhere\, conditioned by necessity and not by desire. \nIn Converging lines by Paolo Meoni against a background of buildings\, in the middle\, as if in limbo\, a colorful group of Pakistani boys play cricket\, while in the foreground\, the parallel and continuous lines of the cycle path create an abstract space. The boys are filmed in their pauses and movements\, in their playing tics in an infinite time that shortens and expands thanks to the flow and appearance of figures\, shadows and apparitions of everyday life. The video once again places emphasis on the social territories that characterize every changing city and how communication is difficult in periods of transition. \nMaria Jesus by Gianluca and Massimiliano De Serio and a docu-fiction: the true story of a Peruvian woman (played by herself) in the hands of immigrant traffickers. We have always been interested\, say the De Serios\, in exploring the boundaries that exist between reality\, memory and representation\, starting from everyday\, but often invisible\, stories and dramas. Maria Jesus relives her drama\, re-invents it in front of the camera and\, by staging her memory\, re-elaborates a personal and collective tragedy. The film is like a confession\, intimate and silent\, between her and us\, and\, therefore\, between Maria Jesus and the public\, halfway between the telling of a fact and its memory. Time of story and memory gradually coincide: Maria cries for what is happening to her (acting\, in fiction) and at the same time for the memory of what really happened to her. URL:https://www.museoman.it/en/event/the-transgressed-goal/ LOCATION:NU CATEGORIES:Focus Sardegna END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20090720 DTEND;VALUE=DATE:20090831 DTSTAMP:20260621T201842 CREATED:20240423T082736Z LAST-MODIFIED:20240423T082736Z UID:4940-1248048000-1251676799@www.museoman.it SUMMARY:Giusy Calia DESCRIPTION:Giusy Calia\nBeyond the boundaries of the day\n\n 20.07 – 30.08.2009 \n\n\n\n\n\nA place\, a look\, a dream\, someone and something that confuse reality and oblivion. The I don’t know what is the almost nothing that evaporates at the same moment in which one tries to stop it with words or images\, but which nevertheless remains in what escapes. A feeling more than a sensation\, a having been and being able to be more than this present that we are. Beyond the confines of the day what remains and what we would have liked to desire with greater vigor\, with fertile determination\, with luxuriant restlessness. In the indistinct limit of the day the landscape remains\, first stingy and then generous with small things\, small scents\, faces marked by wrinkles remain as if they were furrows full of stories ready to blossom\, empty rooms remain\, ruins and ruins which resemble us and which surprisingly are still there\, still standing\, still balanced to tell here and now that it was worth remembering that laugh\, that day beyond its borders. The event is held at the Casa del Parco di Sant’Anna\, a hamlet of Lode. \nGiusy Calia was born in Nuoro\, lives and works in Sassari. He is currently attending the third year of the “Logos and representation” PhD with a thesis on the relationship between image and word in the history of the representation of madness\, a theme that he has explored and continues to investigate with unquenchable curiosity. \nSensitivity combined with investigative rigor are peculiar to Giusy Calia’s work\, which uses the photographic medium (be it traditional\, polaroid or digital) and its different outcomes (classic\, large format prints\, on different supports\, up to video) for a story that aims to restore and recompose portraits\, biographies and places filtered by feelings and emotions.\nSince 2004 he has participated in numerous group and personal exhibitions including one at the MAN in Nuoro. His works are present in public and private collections. URL:https://www.museoman.it/en/event/giusy-calia/ LOCATION:NU CATEGORIES:Focus Sardegna END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20090716T000000 DTEND;TZID=Europe/Rome:20091004T000000 DTSTAMP:20260621T201842 CREATED:20240417T141032Z LAST-MODIFIED:20240417T141032Z UID:5065-1247702400-1254614400@www.museoman.it SUMMARY:Fabrizio De Andrè DESCRIPTION:Nuoro\, ten years after the death of Fabrizio De André\, pays homage to his figure and his work by organizing a large exhibition that tells the story of his life\, music\, experiences\, passions that made him unique and universal\, interpreter\, and in some cases a forerunner of the changes\, impulses and transformations of contemporaneity.Through a virtual\, multimedia and interactive narration\, designed by Studio Azzurro\, one of the most important international video art groups\, in collaboration with Sp10studio for the part relating to the preparation of the exhibition spaces and for the graphics\, not a mere exhibition is offered to the public documentary of “symbolic” objects\, of visual and musical memorabilia\, but an emotional experience\, through whicheveryone will be able to relate to Faber’s life\, works\, music and words. The itinerary is not rigidly divided into thematic and chronological areas\, but is organized in such a way as to make the story and the visual\, textual\, musical representation full of suggestions and emotions for a large audience\, who will be able to choose from time to time which image of Faber develop for itself\, in relation to theown experience. \nThe exhibition addresses the great themes of De André’s poetics: the society of well-being and the economic boom of the 60s\, the marginalized and the vanquished\, freedom\, anarchy and ethics\, writers and chansonniers\, women and love\, musical and linguistic research\, current events in the news\, the representative places of his life; everyone in order to give a sense of his ability to speak to the individual but to be universal\, recognized and loved by people of all genders and ages.Alongside the exhibition\, some original sets from his tour are set up: giant tarot cards\, art forgeries\, large sails and fishing nets. Permanent multimedia stations\, tables with touch-screens\, to virtually and visually delve into Faber’s texts and original scores. \nThe exhibition develops through the rooms of the museum\, which gradually narrate the underlying themes of his life and poetics in a surprising and original way. URL:https://www.museoman.it/en/event/fabrizio-de-andre/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2024/04/DE-ANDRE_CREDIT-PHOTO-CONFINI-VISIVI-PIERLUIGI-DESSI-2009-5-vr0Amh.tmp_-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20090630 DTEND;VALUE=DATE:20090713 DTSTAMP:20260621T201842 CREATED:20240423T083316Z LAST-MODIFIED:20240423T083316Z UID:4961-1246320000-1247443199@www.museoman.it SUMMARY:SHEPHERD DESCRIPTION:SHEPHERD\nHello Maria\n\n 30.06 – 12.07.2009 \n\n\n\n\nFor his first solo show at the MAN in Nuoro\, Pastorello (Sassari\, 1967) conceived a corpus of works whose concept arises from a rereading of the Apocryphal Gospels\, more precisely from the death and assumption into heaven of the Virgin Mary. For the occasion\, the artist chose to paint woodland landscapes and dark woods that open up to celestial visions\, in an ascent steeped in mystery. The shapes\, evoked according to a few distinctive features\, resort to primary volumes and a compact structure that recalls the courtly tradition; the interweavings of colour\, which recall tree rhizomes as well as a surreptitious gesture painting\, act as a preamble to the figure of the Madonna – doubled in the redemptive image of the Queen of the world\, beautiful\, rich and fertile (Madonna delle Grazie)\, and in the opposite in that of a humble\, poor and fragile woman (Madonnina) – who becomes a concrete and at the same time ethereal presence. \nThe late Gothic and early Renaissance Madonnas here rise to an unreal and metaphysical dimension; they become e-static figures\, wrapped in silky robes\, rendered with a simple\, almost disarming\, volume. The abstraction\, the essentiality\, the static nature of these works are part of a great imagination that rereads the history of art\, with a gaze that lingers in the presence of Giotto\, Beato Angelico\, Simone Martini\, Masaccio\, Paolo Uccello. The great tradition of Italian painting is revisited by the artist in an absolutely contemporary key\, bringing together his own artistic research (from the atomistic-cosmic paintings of the 1990s to the bestiaries/primer books of the following decade\, up to the “brides” and “children” of the most recent\, which are all equally an “attempt to say simple things\, an act of faith towards the world”). \nPastorello conceives of painting and subjects as “potentially capable of becoming anything without moral impediments”. Just like a diamond\, his work has within it a grace and crystalline purity that reverberates in an infinite number of facets. Visionary\, intimate\, poetic\, revolutionary\, the artist’s plurality manages to infuse an evocative charge into the works\, in which the mysteries of faith and the panic sense of humanity lead to a journey of knowledge. A journey that skillfully mixes the two-dimensionality of the great masters of the past\, the spatial devices of illustration and the alienating colors of the playful-pop world. The means to give shape to these mental alchemies is the only painting which\, applied with patient and meticulous glazes\, gives life to a complex reality\, to a hyper-iconic universe. \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\ncs_Pastorello URL:https://www.museoman.it/en/event/shepherd/ LOCATION:NU CATEGORIES:Focus Sardegna ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2024/04/PASTORELLO_CREDIT-PHOTO-CONFINI-VISIVI-PIERLUIGI-DESSI-2009-4.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20090623 DTEND;VALUE=DATE:20090625 DTSTAMP:20260621T201842 CREATED:20240423T083459Z LAST-MODIFIED:20240423T083459Z UID:4951-1245715200-1245887999@www.museoman.it SUMMARY:Archipelagos of the gaze DESCRIPTION:Archipelagos of the gaze\nVideo-cinematic review\n\n 23.06 – 24.06.2009 \n\n\n\n\n\nThe MAN\, in collaboration with FRAC CORSE\, will organize a video and cinematographic review on 23 and 24 June 2009\, from 6.00 pm to 10.00 pm. Archipelagos of the gaze \, which takes place in the conference room of the “Sebastiano Satta” library in Nuoro. The aim of the exhibition is to offer the public a singular excursus on the video and cinematographic production of the two islands\, with particular attention to the works of the new generations. The theme of videos\, short films\, films and documentaries leads back to the exhibition World and Earth \, created last year at MAN in collaboration with FRAC CORSE. \n\n\n\n\nVideo Review\n\n\n\nBoniface Angius: In twill (25′); Last day of summer (12′)\nFrancesco Bussalai: Alice’s lunch (6′)\nAntonello Carboni: Voices of the mountains (18′); tell me about you (4’30”)\nPaolo Carboni: Night circular (30′)\nSimone Contu: It’s a rule (39′)\nMarcel Dinahet: La Ferrie à Bastia (1’57”); Erbalonga (1’42”)\nPietro Mele: Octana (5′)\nGianluca Nieddu: Wind (7′)\nNils-Udo: La Mer (43’29”)\nMarco Antonio Pani: Panas (18′); Argyrophleps (10’10”)\nSirius Sechi: Postcards from Bonarcado (2′)\nPaolo Zucca: The referee (15′); Hummingbird (1’30”) URL:https://www.museoman.it/en/event/archipelagos-of-the-gaze/ LOCATION:NU CATEGORIES:Focus Sardegna END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20090515T000000 DTEND;TZID=Europe/Rome:20090628T000000 DTSTAMP:20260621T201842 CREATED:20240417T141034Z LAST-MODIFIED:20240417T141034Z UID:5054-1242345600-1246147200@www.museoman.it SUMMARY:Mark Lewis DESCRIPTION:Anticipating the artist’s participation in the 53rd Venice Biennale\, the MAN in Nuoro hosts the first Italian anthology of Mark Lewis (Hamilton\, Canada\, 1958). At the Biennale Lewis was chosen to represent his country of origin\, Canada\, with cinematographic works created in 2009\, while at the MAN he will be present with a broad review of the most important works of the period 1998-2008. \nAfter having practiced photography and created several installations in public spaces\, Lewis turned his attention to the moving image and\, starting from the mid-1990s\, began to explore the languages ​​and forms of cinema with the aim of questioning its history and conventions. His works\, often created in cinemascope and transferred to DVD\, have been shown in all the major international exhibitions which\, over the years\, have thematized the growing interest of contemporary art in the cinematographic medium and\, in short\, Lewis has become one of the most representative authors among those who use cinema in the artistic field. \nIn the spirit of the first Lumière films\, Lewis’ works\, often characterized by a continuous shot without editing\, which restores a unitary moment of space and time\, are projected in the form of sequence shots\, directly on the walls of the exhibition space. Each work\, created with the technical means of professional cinema (crew\, actors\, 35 mm film)\, far exceeds the production necessary for the creation of a video\, but the result is never a film in the traditional sense of the term: none in fact\, it tells a story about them and their duration rarely exceeds 5 minutes. \nThrough subtle camera movements (zoom\, travelling) and taste for detail\, the artist plays with different layers of information and established visual codes\, thus testing the viewer’s attention span and inducing him to watch the film several times to learn all its implications and mysterious complexity. Wonderful operations of deconstruction of traditional cinematographic language\, his films projected in a continuous cycle demand to be learned in the manner of visual works\, contributing to breaking down the boundary line that for a long time kept the respective domains of cinema and contemporary art separate. \nTrue visual intrigues\, devoid of explicit narration\, these short and silent films do not limit themselves to exploring the formal conventions of the seventh art\, but are interested in the “cinematic” aspects of the world in which we live\, in which the technologies of the moving image have radically transformed spatial and temporal perception. In this regard\, the artist speaks of “permanent cinema”. \nOften in his cinematographic installations focused on derelict and abandoned places\, ruins of modernist utopia or timeless landscapes marked by the passage of light\, shooting methods\, framing cuts\, camera movements give the image an intensity and a dimension of extraneousness that it continually oscillates the relationship between the identity of what we see and the perception we have of it\, referring to the pictorial and photographic tradition that has shaped the sensitivity of the Western gaze. \nWhether he uses the still or moving image\, Lewis is always interested in “what remains behind us when the world shifts\, or seems to shift\, in another direction”\, an “after” that allows him the greatest freedom of investigation\, without any time constraints. \nThe object of Lewis’ research is not only exotic landscapes or impossible environments\, but the places of everyday life that the artist narrates with the aim of highlighting their strength\, power and extraordinary nature\, characteristics that are\, if you know how to see them \, even of the most apparently usual or “banal” places. Behind the appearance – Mark Lewis seems to tell us – there is not the thing itself but the gaze. It is therefore the latter that his works are aimed at. They do not “represent” but “make something present” through the interdiction of their “eloquence” and their “transparency”. \n\n\n\nWorks on display\n\n\nThe Pitch 1998\, Central 1999\, Smithfield 2000\, North Circular 2000\, Algonquin Park September 2001\, Algonquin park Early March 2002\, Children’s Games 2002\, Harper Rd 2003\, Downtown\, Tilt\, Zoom\, Pan 2005\, Rush Hour 2005\, Quesnay: Pan and Zoom \, 2005\, Spadina\, Reverse Dolly\, Zoom\, Nude 2006\, Golden Rod 2006\, Rear Projection (Molly Parker) 2006\, 5262 Washington Blvd 2008\, Brichlayers Arms 2008 URL:https://www.museoman.it/en/event/mark-lewis/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2024/04/MARK-LEWIS_CREDIT-PHOTO-CONFINI-VISIVI-PIERLUIGI-DESSI-2009-5-dDp459.tmp_-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20090206T000000 DTEND;TZID=Europe/Rome:20090419T000000 DTSTAMP:20260621T201842 CREATED:20240417T141037Z LAST-MODIFIED:20240417T141037Z UID:5044-1233878400-1240099200@www.museoman.it SUMMARY:Something Else!!!! DESCRIPTION:One of the most important contemporary art museums in Northern Europe\, the SMAK in Ghent (Belgium)\, presents itself at the MAN in Nuoro through a precise selection of around seventy works taken from its own collections. The choice\, made by Philippe Van Cauteren and Cristiana Collu\, is not accidental: it aims to document the moment of transition between a “before” and an “after” that contemporary art has experienced since the 1950s. \nThe metaphor of this passage is Something else!!!! \, the pioneering album by American jazz musician Ornette Coleman. It was 1958 when Coleman and his quartet decided to break the conventions of the jazz world by exploring new territories\, from improvisation to atonality. \nA similar caesura\, almost the effect of a very vital short circuit\, can also be felt in the SMAK Collections at the moment in which the legacy of the contemporary is violently overcome by new languages ​​and new protagonists. \nAnd precisely with the aim of making this perceived Something else!!!! ”\, this “something else!!!!” that\, among the two thousand works belonging to the SMAK\, the selection was made of those destined for exhibition at the MAN in Nuoro. \nThe Something else!!!! \, if we want to anchor it to a historically definable period\, is recorded in the aftermath of the Second World War\, when new themes and new languages ​​burst into art\, as well as new protagonists\, which overlap\, despite their discontinuity\, on the previous definable as ” historical”. It is precisely this moment of transition that the MAN exhibition intends to tell\, trying to understand whether\, beyond the effect of sometimes violent rupture\, one cannot still find the lines – as in Ornette Coleman’s music – of a complex\, layered and sophisticated melody. \nSomething else!!!! proposes a comparison\, rather than a clash\, between historical works and others of more recent and very recent acquisition\, highlighting\, for example\, the dialogue between Jannis Kounellis and Luc Tuymans\, between Pierre Alechinsky and Patrick Lebret\, between Wilhelm Sasnal and Andy Warhol . But Something else!!!! it is at the same time an important moment of in-depth analysis around the theme of art-reality\, where art is a reflection on social phenomena in which it itself participates. At the same time\, the exhibition is also an opportunity to delve into the history of a museum and evaluate its acquisition policies\, a reflection which\, in Nuoro\, takes on a completely peculiar interest in relation to the very evolution of the MAN. But\, beyond everything\, Something else!!!! \, with the exhibition of 70 works by 50 artists\, is a celebration of art and imagination. \nSomething else!!!! presents\, among others\, works by Arman\, Joseph Beuys\, Marcel Broodthaers\, Patrick Lebret\, Allen Jones\, Jannis Kounellis\, Ricardo Brey\, Pascale Marthine Tayou\, Lois and Franziska Weinberger\, Maria Serebriakova\, Johanna Billing\, Jennifer Quando and Guillermo Calzadilla\, Guillaume Bijl \, Jan Fabre\, Wilhelm Sasnal\, Wim Delvoye\, Thomas Schütte\, Zoe Leonard\, Edward Lipski\, Jan Van Imschoot\, Bruce Nauman\, Walter Leblanc\, Jean-Pierre Raynaud\, Mekhitar Garabedian\, Sven ‘t Jolle\, François Morellet\, Panamarenko\, Herman Van Ingelgem \, Federico Fusi\, Mike Kelley\, Fabrice Hybert\, Andy Warhol\, Willem Oorebeek\, Luc Tuymans\, Pierre Alechinsky\, Jan Vercruysse. \nExhibition curated by Philippe Van Cauteren and Cristiana Collu\, promoted by the MAN Museum of Art Province of Nuoro in collaboration with the SMAK of Ghent. URL:https://www.museoman.it/en/event/something-else/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2024/04/SOMETHING-ELSE_CREDIT-PHOTO-CONFINI-VISIVI-PIERLUIGI-DESSI-2009-7-M4qhuo.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20081117T000000 DTEND;TZID=Europe/Rome:20081130T000000 DTSTAMP:20260621T201842 CREATED:20240417T141328Z LAST-MODIFIED:20240417T141328Z UID:4992-1226880000-1228003200@www.museoman.it SUMMARY:Giusy Calia DESCRIPTION:A project by Giusy Calia (born in Nuoro\, lives and works in Sassari) which is part of the program of extra muros activities of the MAN museum. The value and function of a museum do not end within the perimeter of the building that identifies it\, but naturally spread outside not only through concrete operations\, but every time a visitor leaves the museum\, taking impressions with them and the experience of art. The contemporary vocation of the museum\, and its desire to dialogue with our extraordinarily complicated time\, pushes us to find new ways together with young artists to convey a story that cannot only have institutional space as a reference\, but needs to expose itself also to the social space. \nHere then\, dreams\, writes Gavina Cherchi\, become for Giusy Calia «the space of freedom\, where everything is possible\, they are the ways of being able to be stormy and enchanted\, kaleidoscopic and “without censorship”». They are\, therefore\, the dizzying otherness\, Giusy’s other life\, remote and solitary like a mysterious island\, in which beauty and pain mirror each other in the reflection of their loving tension. \nThe life I dream of is not\, with its constraints\, its censorships\, its conditioning\, it is sometimes irradiated\, transfigured by it\, as when it is crossed by the images in which those dreams\, in an intermittent epiphany\, are incorporated\, becoming visible traces \, clues\, strong and peremptory reminders as only images can be. Have you ever visited my dreams? it is a request full of expectation\, an invitation\, an implied\, pressing\, painful question: “Why haven’t you visited my dreams yet?”. The images are then the silent heralds who proclaim\, day and night\, through the streets of the city\, this appeal\, so that they find the ways of the silent and restless heart for which they are destined\, a hidden heart\, which perhaps has been waiting for too long\, without knowing it\, in the shadows\, may a visitor with a luminous gaze appear even on the threshold of his dreams. URL:https://www.museoman.it/en/event/giusy-calia-3/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Extramuros,MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20081024T000000 DTEND;TZID=Europe/Rome:20090106T000000 DTSTAMP:20260621T201842 CREATED:20240417T141039Z LAST-MODIFIED:20240417T141039Z UID:5034-1224806400-1231200000@www.museoman.it SUMMARY:ManRay DESCRIPTION:Unconcerned but not indifferent features drawings\, photographs\, paintings\, and sculptures as well as personal objects and images from the collection of the Man Ray Trust\, Long Island\, New York. Although individual pieces have occasionally been granted for major exhibitions\, the foundation’s collection has never been exhibited in its entirety. In fact\, after the death of Juliet Man Ray\, the artist’s wife\, the collection was housed in the basement of the latter’s family’s auto repair shop. Although the foundation has cataloged and authenticated more than 2000 works\, the collection still remains largely unknown. Unconcerned but not indifferent\, the first exhibition to open the doors of this treasure to the general public thanks to an agreement with the foundation\, carries out a broad exploration of the Man Ray Trust’s collection and allows us to reveal a vast perspective\, focusing attention on its masterpieces and together on the rarest pieces and simultaneously providing a unique insight into the artist’s life and work. \nIn 1976\, upon Man Ray’s death\, the artist’s estate passed into the hands of his wife who\, together with her brothers\, established the Man Ray Trust\, which was to supervise and preserve this legacy. Part of the heritage was entrusted to the French National Museums\, while\, as regards the American collection\, the foundation selected a complete series of pieces including works\, objects\, documents and personal effects that represented over sixty years of Man Ray’s creative activity. The foundation’s collection is unique in that it brings together\, with all its elements\, including little-known works from the early years\, documents from his private life\, sketches\, documentation of important works and countless well-known masterpieces\, belonging to different phases of his activity. of the artist. As we read in an article in the magazine Artnews from June 2002 regarding the foundation\, the collection is “perfect”. Unconcerned but not indifferent it only presents works that the foundation has certified as “authentic”: it is the first and only large-scale exhibition of Man Ray’s work that can boast of this; in fact\, the Man Ray Trust owns all rights to Man Ray’s complete works. Unconcerned but not indifferent collects around 300 pieces and is the first of its kind to place Man Ray’s work in relation to the elements and images from which he drew inspiration: his bowler hat and his cane\, the objects coming from the shelves of his Parisian studio in rue de Ferou\, his collection of erotic photos and the tools he used to create his famous ones rayograms . Thanks to the extraordinary value of the material made available by the Man Ray Trust\, the exhibition allows us to explore the different stages of execution of the work: from the sketches to the complete realization of the artistic masterpiece\, revealing that\, from time to time\, Man Ray used photographs as reference for his paintings and graphic works. \nThe exhibition brings together numerous works belonging to the various periods of Man Ray’s life. Many of the works are famous\, but some of them have never been exhibited. Furthermore\, thanks to a complete exploration of the foundation’s uncatalogued heritage\, the exhibition displays\, in an absolute preview\, a selection of the following hitherto unknown works: a series of photographic plates relating to the work for Les mains libres with cutting lines by Man Ray\, dated 1936 and 1937; documentary photographs of France in the 1920s; a document of Large Glass by Marcel Duchamp; prints in contact with Man Ray’s cutting lines that the artist made throughout his career; black and white Polaroid prints dating back to the early 1960s; a collection of color\, framed transparencies created by Man Ray during his experiments with color photography; a work\, the result of the collaboration between Man Ray and Max Ernst\, composed of four frottages. The structure of Unconcerned but not indifferent traces the four periods of Man Ray’s work: New York\, Paris\, Los Angeles\, Paris. The first part of the exhibition\, New York\, presents a series of copies of Man Ray’s personal archive cards\, which he used to document his early works. These cards\, the originals of which were stolen from the artist’s studio and never found again\, have been the subject of considerable controversy and have never been exhibited before. Where possible they are displayed alongside the specific works they document. \n Edited by Noriko Fuku and John Jacob \nNoriko Fuku\, independent Japanese curator\, lives and works between the United States and Japan. John Jacob\, independent curator and director of the Inge Morath Foundation in New York. Man Ray Trust Foundation exhibition\, organized by La Fabrica in collaboration with MAN URL:https://www.museoman.it/en/event/manray/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2024/04/Allestimento-Man-Ray_photo-credit-Pierluigi-Dessi-Confinivisivi_4-D0MWWZ.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20080719T000000 DTEND;TZID=Europe/Rome:20080914T000000 DTSTAMP:20260621T201842 CREATED:20240417T141330Z LAST-MODIFIED:20240417T141330Z UID:5011-1216425600-1221350400@www.museoman.it SUMMARY:ANTONIO SECCI DESCRIPTION:The Municipality of Dorgali in collaboration with the MAN presents\, in the evocative setting of the rooms of the Cala Gonone Aquarium\, the personal exhibition of Antonio Secci (Dorgali\, 1944). The works on display retrace his most recent production\, that of the last ten years\, in the modalities and chromatic variations that make his stylistic signature emblematic and unmistakable. \nA series of “glimpses for a possible space”\, as Antonio Secci defines them\, which more than an explanatory title\, would seem to be a synthetic programmatic declaration\, an aspiration towards a goal to be achieved\, a poetic and human landing place\, still beyond to come. Secci’s continues to be a typically romantic approach to art and life\, a romanticism to be understood in the most canonical sense of the term\, a continuous search for the opening to a possible “impossible” elsewhere. \nAll this\, in spite of an apparent classicism inherent in the measured formal research and thoughtful operational practice that has always characterized his artistic production. The long and fascinating history of Secci\, his acquaintances\, his meetings\, are now a concluded synthesis\, the dialogue is with the sea and his land of origin\, with the mountains and with the great blue expanse that is part of his daily life . The video accompanies the exhibition Antonio Secci\, 2008\, an intense interview carried out in the rooms of the MAN almost ten years after his solo exhibition at the Museum\, in which the artist reveals some of the most intimate aspects of his poetics\, and the monographic catalog which illustrates his entire production backwards with a rich apparatus photographic and critical. URL:https://www.museoman.it/en/event/antonio-secci/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Extramuros,MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20080704T000000 DTEND;TZID=Europe/Rome:20080731T000000 DTSTAMP:20260621T201842 CREATED:20240417T141329Z LAST-MODIFIED:20240417T141329Z UID:4981-1215129600-1217462400@www.museoman.it SUMMARY:The still event (enchantments) DESCRIPTION:The still event (enchantments)\, a project curated by Saretto Cincinelli and Cristiana Collu for Gavoi’s Island of Stories\, intends to deepen the investigation of that changing border territory that maintains a close relationship between cinema\, video and contemporary art\, bringing together artists of different generations and nationalities\, masters such as the Portuguese Jorge Molder (Lisboa 1947)\, the Canadian Mark Lewis (Hamilton 1957)\, protagonists of the Italian and international scene such as Andrea Santarlasci (Pisa 1964)\, Emanuele Becheri (Prato 1973)\, Christiane Löhr (Wisbaden 1965)\, Sophie Whettnall (Brussels 1973)\, Kan Xuan (Xuan Cheng 1972)\, Farid Rahimi (Lausanne 1974). The exhibition\, integrating some plastic works (drawings\, photographs and sculptures) into the video exhibition – a peculiar feature of the initiative – aims to explain the motives and movements of an image poised between flowing form And fluxus formae . \nThe “enchantment” of the vision\, to which the title alludes\, is achieved through the foregrounding of what we could define as a “less” dimension of the image: a dimension which\, being missing\, ends up having repercussions après coup on the expectations of the viewer and on the expressiveness of works that voluntarily escape the eloquence and spectacular predictability of much of the contemporary artistic language. In each of the works proposed\, some dimension typical of the specificity of “cinema”\, “video”\, “drawing” or “sculpture” tends\, with greater or lesser radicality\, to dissolve but\, as in a game in which whoever wins loses\, the works seem to gain from the economy that characterizes them\, an economy that\, paradoxically\, ends up giving them a surplus of presence. URL:https://www.museoman.it/en/event/the-still-event-enchantments/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Extramuros,MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20080619T000000 DTEND;TZID=Europe/Rome:20081005T000000 DTSTAMP:20260621T201842 CREATED:20240417T141053Z LAST-MODIFIED:20240417T141053Z UID:5057-1213833600-1223164800@www.museoman.it SUMMARY:WORLD AND EARTH DESCRIPTION:The MAN in collaboration with the Frac (Regional Contemporary Art Fund of Corsica) proposes a new major exhibition: this time the attention is focused on the contemporary\, with an exhibition that takes the form of an in-depth and selective journey through the Corsican collection that presents around forty works by international artists\, four of which were entirely created in Sardinia and Corsica. \nThe FRAC collection\, conceived on the basis of a project that combines the historical vision with the prospective one\, passing through the idea of ​​nature (inspired by that of the island) which has allowed all the developments\, both announced and unexpected\, appears today like this how its history created it and how all those who played a role in its becoming wanted it: a vital arborescence than a (partial) physical destruction[the] it didn’t make a dent. Its re-invention was realized as a reaction of its own organism\, born from the gestures and intentions of the artists that constitute it\, reaffirming the concept that works cannot disappear after their creation\, but continue to grow. \nThe exhibition of the FRAC works at the MAN in Nuoro offers the collection a period of great visibility\, and at the same time consolidates the artistic relations between Corsica and Sardinia and between two international museum institutions which carry out\, each on their own territory\, similar functions\, giving following a collaborative project started in 1999[ii]. This partnership expresses much more than the desire or need to create artistic exchanges. It is\, in fact\, about sharing and making clear\, starting from the geographical area that sees the two contiguous islands\, what situations\, history\, will and interests reveal: apart from the individuality of each\, which exists and is perceived as such from the outside and from others\, the similarities of points of view and the same indelible experience of both living the condition of insularity stand out. The island is a concept that has a form\, which becomes a sign. But the sign does not define the island\, it does not totally contain it. It is\, on the contrary\, a symbol of its complexity\, it traces the contours of the enigma by participating in which the islander recognizes himself and thus obtains a place in the world\, aware of having not found an answer to the anguish of being. \nFor this reason\, issues relating to territories\, often very heartfelt and concrete\, are not always crucial\, even if they can have an infinite resonance when they become a tool for introducing other\, more far-reaching ones. It is the effect produced by those works whose “proximity transports us to a place other than the one in which we usually stay”[iii] to put it in Heidegger’s words. This elsewhere\, this different place is not something well defined: it is vast\, unspeakable\, different\, but at the same time linked to our experiences and reflections (sometimes unexpressed). When explicit references to spaces\, forms\, precise facts meet\, they are not isolated in a single reality\, but open the particular to the universal: the idea of ​​the exhibition arises from this\, to which the insular context in which the the “world/earth” dualism develops conceptually and materially. \nThe exhibition World and Earth brings together works that are as many openings towards the outside: other geographical or mental regions\, discovered\, invented or composed landscapes\, new perception of the world and space. The artists propose experiences to share\, raise environmental issues. Far from clichés\, they create places of debate\, devices that raise awareness of realities and possible universes\, actions and postures that reveal the links of art with society\, history and culture. \nThrough a heavy\, funny or poetic language\, these artists\, who do not provide lessons or models\, awaken the critical sense from a dangerous slumber: in the dialogue that is established between them\, and between them and the outside\, the works produce a energy shared with the visitor. \nArtists present in the exhibition: Martine Aballea (France)\, Agnès Accorsi (France)\, Denis Adams (United States)\, Saâdane Afif (France)\, Eleanor Antin (United States)\, Johanna Billing (Sweden)\, Leonardo Boscani (Italy)\, Daniel Buren (France) \, Jean-Marc Bustamante (France)\, Jordi Colomer (Spain)\, Elie Cristiani (France)\, François Curlet (France)\, Dominique Degli Esposti (France)\, Anne Deleporte (France)\, Hakima El Djoudi (France)\, Simonetta Fadda ( Italy)\, Malachi Farrell (France)\, Alicia Framis (Spain)\, Liam Gillick (Great Britain)\, Dominique Gonzalez-Foerster (France)\, Dan Graham (United States)\, Fabrice Hyber (France)\, Claire-Jeanne Jezequel (France) \, Valérie Jouve (France)\, Joseph Kosuth (United States)\, Ange Leccia (France)\, Pinuccia Marras (Italy)\, Antonio Muntadas (Spain)\, Marylène Negro (France)\, João Onofre (Spain)\, Gabriel Orozco (Mexico)\, June Bum Park (Korea)\, Gaël Peltier (France)\, Michelangelo Pistoletto (Italy)\, Wilfredo Prieto (Cuba)\, David Raffini (France)\, Navin Rawanchaikul (Thailand)\, Hugues Reip (France)\, Sigurdur Arni Sigurdsson (Iceland)\, Jana Sterbak (Canada/Czech Republic)\, Laurent Tixador and Abraham Poincheval (France)\, Joséphine Sassu (Italy)\, Philippe Thomas (France)\, Barthélemy Toguo (Cameroon)\, James Turrell (United States)\, Jacques Villegle (France)\, Jeff Wall (Canada)\, Stephen Willats (Great Britain). \nCurated by Anne Alessandri\, director of FRAC CORSICA \n \nOn 6 November 2001 a fire destroyed a FRAC warehouse in Corte\, containing a large part of the works in the collection. The artists\, together with the managers of the technical-scientific committee\, worked to reconstitute the collection with the support of FRAC\, which was added to the insurance indemnities. \n[ii] 1999 is the date of the exhibition Atlas in Sassari\, in which the FRAC participates with 14 Corsican artists. \n[iii] Martin Heidegger\, The origin of the artistic work t URL:https://www.museoman.it/en/event/world-and-earth/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2024/04/Allestimento-Mondo-e-terra_Photo-credit-Pierluigi-Dessi_Confinivisivi-AP7f9s.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20080529T000000 DTEND;TZID=Europe/Rome:20080601T000000 DTSTAMP:20260621T201842 CREATED:20240417T141342Z LAST-MODIFIED:20240417T141342Z UID:5002-1212019200-1212278400@www.museoman.it SUMMARY:The MAN at FESTARCH DESCRIPTION:Paco Cao\, the Victim’s Tour \n\n\nConceived as a tourist route for the city of Cagliari\, carried out using a bus set up at a specific time and with the participation of a guide who gave the relevant explanations\, the Victim Tour\, a project by Paco Cao edited by MAN\, supposes a revision of the occult history of the city from the perspective of the existence of victims\, understanding this term in a very broad sense. In fact\, the itinerary is configured as an immersion in the history of the victim of the city of Cagliari through specific stages in which both the buildings and the urban surroundings acted as witnesses to a human experience which did not appear to be less relevant for the fact of remaining occult. The union of two seemingly contradictory concepts – tourism\, associated with leisure and fun\, and the victim\, associated with less luminous places of the human condition – serves as a platform for reflection on current concepts and concerns. The Victim Tour closely follows the four relevant aspects of the current FestArch program: seeing – because it offers an unusual look at the city – remembering – because it presupposes a reclamation of a little-known or directly ignored part of the historical memory – welcoming – because it implies an open invitation to the entire public and has as its objective a comprehensive discourse – to defend – because the very objective of the project contains within itself an implicit germ of claims. \nThe tour is an action of the Victim Museum\, an institution that aims to present history from the perspective of those who have been victims of someone or something\, giving the term victim its broadest meaning: so\, for example\, nature can be understood as a victim of the predatory abuses of human beings\, but the latter\, in turn\, can be considered a victim of the environment itself\, as happens in the case of natural disasters. Aware of the double nature of victim and executioner that the human condition implicitly possesses\, the Victim Museum is an independent institution\, guided by rigor and depth\, foreign to political interests of any kind. It therefore constitutes a space for historical reflection\, debate and comparison of ideas with a vocation of impartiality. \nThe Museum’s exhibition space is virtual\, and its collection is made up of digital reproductions granted by different institutions and private individuals. This collection is made up of various documents and includes manuscripts\, photographs\, videos and audio testimonies. Currently\, the Victim Museum – while waiting to fully develop its exhibition space – is preparing an introductory web page which will serve to present both the spirit of the project and the general lines of implementation. The absence of an architectural space will not prevent the institution also has a legal space – currently being consolidated – which will certify its museum status. Founded on the Mexican-American border – Juarez City – in August 2006\, the Museum of the Victim undertook research work in the Mexican state of Chihuahua\, starting a study phase – still ongoing – based on reconsidering the history of the victim in same geographical environment. \nThe aim of the Museum is to create new collections in other specific geo-political environments and\, at the same time\, develop a universal history of the victim which will be presented in parallel with the local collections. The Victim’s Museum\, in addition to creating\, displaying\, conserving and expanding its collection and the exhibition space that houses it\, aims to develop a program of parallel activities that energize the institution and establish collaborations with different institutes. The First Victim’s Forum\, which took place on May 16\, 2007 – together with the advertising campaign addressed to the population of Juarez City (State of Chihuahua\, Mexico) – was the first public event organized by the institution. Paco Cao (Asturias\, Spain 1965) lives and works in New York. \n\n\n\nLeonardo Boscani\, Vu Vulà clandestine travel agency. Action 6. Passports \n\n\nThe MAN presents an installation by Leonardo Boscani and his travel agency Vu Vulà. A looping video with a series of faces of foreign people pronouncing the word “vuvulà” without sound\, which instead comes out of the horns located in an old Fiat 500. \nDuring the three days of the event the first passports are issued by the agency. The Vu Vulà agency deals with all types of travel and forms of terrestrial and celestial migration\, the climbing of the known and unknown worlds (for the latter thanks to the subsidiary agency Cosmik). \nThe agency offers\, through various activities (travel and wandering advice\, pleasure stays on the Moon\, information and organization of trips to unknown lands and immaterial territories\, printing of documents\, dissemination of multimedia information\, posters\, flyers\, internet (www. vuvula.org)\, provision of makeshift means and vehicles\, raising awareness of the condition of migrants and the culture of wandering\, escape and exile and other services not included in the catalogue)\, to contribute to the imagination of travel and migration contemporary. \nWith Vu Vulà\, Leonardo Boscani (often in collaboration with other participants\, artists and otherwise) proposes urban interventions\, public campaigns and collective actions. The condition of being an islander (Leonardo Boscani lives and works in Sardinia) is undoubtedly at the origin of the imagery of travel and migration developed by the artist\, but the idea goes much further: it is the migrant becoming of modern society that fuels the project\, is nomadism as a planetary destiny. This becoming is shared by tourists\, as a pastime\, and by emigrants\, who flee poverty or impossible conditions of survival. \nTwo opposing attitudes of travellers\, such as the freedom and imagination of choices compared to the obligation and involuntary nature suffered by those who escape poverty and the fate of exiles. But they have in common the dream and the experience of moving and travelling. Because the tourist is certainly not as free as he is led to believe\, but rather the migrant who is pushed beyond his desperation by a desire\, an essential need. Leonardo Boscani (Sassari\, 1961) lives and works in Sardinia. \n\n\n\nFlorian Slotawa\, Museum Sprints 2000-2001 \n\n\nMuseum Sprints 2000-2001\, a project curated by Cristiana Collu and the MAN created in collaboration with the Suzy Shammah Gallery in Milan\, consists of a series of short videos that show the artist Florian Slotawa in a sports outfit walking through the exhibition spaces of some of the major German art museums (Kunsthalle Mannheim\, Museum Fridericianum\, Kunstsammlung NRW\, Dusseldorf\, Hamburger Kunsthalle\, Lenbachhaus\, Munchen\, Alte Pinakothek\, Munchen\, Diozesanmuseum Freising\, MMK\, Frankfurt am Main\, Museum Abteiberg Monchengladbach). \nMade between 2000 and 2001\, they seem to comment on the contemporary acceleration of cognitive optical processes. The theatrical and performative nature of all Florian Slotawa’s works becomes explicit in these videos: each installation is contingent and provisional\, confined within specific temporal and spatial boundaries. Florian Slotawa (Rosenheim\, 1972) lives and works in Berlin. URL:https://www.museoman.it/en/event/the-man-at-festarch/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Extramuros,MAN END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20080314 DTEND;VALUE=DATE:20080416 DTSTAMP:20260621T201842 CREATED:20240423T083803Z LAST-MODIFIED:20240423T083803Z UID:4936-1205452800-1208303999@www.museoman.it SUMMARY:Nicola Filia DESCRIPTION:A forest of white trees the\n\n\n\nThe MAN measures itself with a new installation dedicating an entire room of the museum to Nicola Filia’s “forest of white trees”\, a site-specific project designed for the MAN by the young Sardinian ceramic artist. Clay\, a living and vital material par excellence\, the beginning and principle of all things\, a metaphor for life and death\, is transformed into an imaginary forest where the clearing\, that part of the forest in which there are no plants\, is the place where real illumination is achieved; this means that if it is true that the paths of the forest lead nowhere and\, least of all\, to being\, it is also true that they can lead to clearings in which being illuminates itself\, that is\, in which light can be shed on its. \nNicola Filia (Carbonia 1975\, lives and works in Olbia) in the last five years he has produced prestigious collections of ceramic objects for very famous companies such as B&B Italia\, Boffi and Poliform. URL:https://www.museoman.it/en/event/nicola-filia/ LOCATION:NU CATEGORIES:Focus Sardegna END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20080118 DTEND;VALUE=DATE:20080416 DTSTAMP:20260621T201842 CREATED:20240423T084920Z LAST-MODIFIED:20240423T084920Z UID:4962-1200614400-1208303999@www.museoman.it SUMMARY:The MAN Collection DESCRIPTION:DNA From the twentieth century to today\n\n\n\n\nThe MAN presents DNA From the twentieth century to today\, its permanent collection\, in an even more important and rich journey of works and artists which\, from Ballero to Nivola passing through Francesco Ciusa\, winds throughout the twentieth century and\, thanks to new acquisitions\, continues up to the present\, projecting itself to at the same time towards the future\, through the happy personal dialogue with contemporary artists\, such as Aldo Contini. \nIn this way\, the collection of the Collection\, whose corpus\, born in 1999 with the first 130 works\, has gradually increased over the years\, today appears much more complete and of absolute excellence. And to do so this time the Collection needs new spaces\, and so it expands to also occupy the rooms on the third floor of the Museum\, until now reserved for temporary exhibitions\, following a chronological path which\, starting from the 1940s\, takes place until nowadays with the works of artists such as Mauro Manca\, Maria Lai\, Rosanna Rossi\, Caterina Lai\, just to name a few. Thus the MAN permanent collection\, the result of a difficult and perpetual work of research\, acquisition\, conservation and exhibition\, does not betray its evolutionary nature by enriching itself with prestigious works capable of recounting over a century of art in Sardinia. URL:https://www.museoman.it/en/event/the-man-collection/ LOCATION:NU CATEGORIES:Focus Sardegna END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20080118 DTEND;VALUE=DATE:20080416 DTSTAMP:20260621T201842 CREATED:20240423T083904Z LAST-MODIFIED:20240423T083904Z UID:4930-1200614400-1208303999@www.museoman.it SUMMARY:Giovanni Dotzo DESCRIPTION:An archaic and rural Sardinia\, made up of silent villages and low stone houses leaning against each other\, made up of men busy patiently working in the fields and solitary animals grazing\, a Sardinia represented by bare family interiors and objects of daily use: this is the world of Giovanni Dotzo (Isili\, 1926)\, an artist of peasant origin\, this is what his works tell us. \nStarting right from the engravings\, etchings and woodcuts\, techniques learned at the Art Institute of Sassari\, which\, after starting to draw as a self-taught\, he finally attended\, under the direction of Stanis Dessy\, from 1950 to 1952 thanks to a grant study. These are the years\, those following the end of the Second World War\, in which he met\, among others\, Mario Delitala and above all Carmelo Floris\, who he considers “the most Sardinian of artists”. \nPencil and India ink drawings are added to the engravings: the techniques change\, but what inspires and conditions Dotzo’s art is always the environment in which he was born and where\, for much of his life\, he lived: whether images taken from life or recovered through memory\, Dotzo’s iconography is perpetually conditioned by the themes of life and the Sardinian agro-pastoral landscape\, of which the artist narrates not only the forms but URL:https://www.museoman.it/en/event/giovanni-dotzo/ LOCATION:NU CATEGORIES:Focus Sardegna END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20080118 DTEND;VALUE=DATE:20080416 DTSTAMP:20260621T201842 CREATED:20240423T083656Z LAST-MODIFIED:20240423T083656Z UID:4941-1200614400-1208303999@www.museoman.it SUMMARY:JOSEPHINE SASSU DESCRIPTION:It is strictly forbidden to feed crocodiles\n\n\n\n\nJosephine Sassu has the ability to trigger fantastic imaginations by raising multiform vegetation\, tropical efflorescence\, exotic forests from which ferocious beasts leap out\, self-portraits in the form of aggressive-erotic animals and unicellular organisms. \nIn his works there is all the attraction for the monstrous and the indefinable\, the disturbing of childhood imagination; the interest in what we are afraid of and what we intend to fight and push away\, but at the same time the source of that morbid seduction towards the marvelous and the different. The temporary monuments are the latest outcome of a research work\, which Sassu has been carrying out since the beginning of her career\, on artistic practices apparently inadequate for the operation\, just as her role outside the codified norms appears inadequate. Each project by Josephine Sassu introduces\, into the space that hosts it\, an atmosphere always poised between the naivety and purity of childhood and the dismantling of clichés. Staying firmly within a known world\, with a solid language\, made up of family relationships\, of a sense of the other\, it moves from time to time into foreign spaces\, drawing from new experiences and leaving behind the spores of its own experience\, in an exchange as a perfect explorer. \nThe trips\, granted only to literary characters\, Josephine Sassu makes them for herself and allows all of us supporting actors\, extras and extras\, to be part of them. In this site-specific\, starting from the title which contains the name of the museum\, she establishes a long-distance dialogue\, an open relationship with her sources\, tracing the threads of a connection with similar artists. Among the animals intruding into the museum rooms\, he celebrates the forest of Customs Officer Rousseau\, evokes Hokusai’s manga\, dialogues with Salvatore Fancello’s infinite bestiary\, lets himself be spied on by the disturbing Tona Scano and\, finally\, re-invents an “elsewhere” to the silent rooms of Francesca Devoto. URL:https://www.museoman.it/en/event/josephine-sassu/ LOCATION:NU CATEGORIES:Focus Sardegna END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20080118T000000 DTEND;TZID=Europe/Rome:20080415T000000 DTSTAMP:20260621T201842 CREATED:20240417T141051Z LAST-MODIFIED:20240417T141051Z UID:5068-1200614400-1208217600@www.museoman.it SUMMARY:MARC CHAGALL DESCRIPTION:Monsters\, chimeras and hybrid figures\n\n\nMysterious chimeras\, half-man\, half-beast\, composite objects with human heads and imaginary flying animals run through Marc Chagall’s entire work. For the first time an exhibition is entirely dedicated to them. Certainly Chagall had the opportunity to get to know these hybrid beings by observing the demons of the icons and the compositions derived from the medieval sculpture of his native country\, which the artist deeply admired. Chagall was also struck by Goya’s Capricci series\, where man often takes on the features of a donkey. More generally\, hybridity\, perceptible throughout the history of art\, influenced Marc Chagall’s imagination. \nIn this sense\, the artist places himself in a tradition that includes famous works such as the Issenheim altarpiece\, the compositions of Jérôme Bosch or Johann Füssli. Some of his contemporaries try to fit into this same tradition. In fact\, from Picasso to Brancusi\, from Hans Arp to Victor Brauner\, winged quadrupeds\, bird-women and other more or less attractive monsters dot the production of the 20th century. \nIn Chagall’s iconography\, hybridization finds its recurring figures: the human head is replaced by an animal head\, the beasts have human limbs which they use to play music or paint; in the same way\, arms and heads emerge from the cellos painted by Chagall and the instruments play their melody by themselves. \nWhat meaning can we attribute to these beings? Beyond the symbolic or metaphorical dimension\, the religious aspect\, linked to the Hasidic traditions of the Vitebsk region\, the artist’s hometown\, cannot be excluded. Furthermore\, the omnipresence of domestic animals such as the cow\, the goat\, the rooster\, brings back memories of a childhood in the company of these beasts. The artist’s uncle\, a butcher by profession\, killed the cows by whispering words of comfort to them. The goat playing the violin brings to mind the enchanting parties enlivened by the sweet notes of the walking violinist. The fish recalls the figure of his father\, a herring seller. And even the singing of birds\, which play the violin or the shofar\, is similar to divine music. \nWith the humor that distinguishes him\, the artist does not hesitate to take on bestial guise\, portraying himself with the features of a rooster or a goat\, an animal for which the artist has repeatedly expressed his affection and compassion. Even the donkey\, a humble but at the same time messianic beast\, is depicted here as a possible image of the artist. \nThese composite figures are therefore always the sign of a poetic synthesis\, which allows us to see these different levels of representations in a single image. In 1941 André Breton argued that\, with Chagall\, metaphor had made its entry into 20th century painting. He also underlined the ability that the painter had to “free the object from the laws of heaviness\, to break down the barrier of the elements and kingdoms” and to translate\, into a plastic language\, the restless traces of the dream as well as the essence of beings and things. \n\n\n\nBiblical themes\n\n\nChagall always had the themes linked to Judaism and the Bible at heart: «It has always seemed to me and still seems to me that the Bible is the main source of poetry of all time […] it was the colored alphabet in which I dipped my brushes in.” The whole Bible is the great code\, that is\, the essential point of reference of our culture\, it is the polar star towards which everyone\, believers and non-believers\, has oriented themselves when they have searched for the beautiful\, the true and the good\, perhaps also to reject this driving and wandering elsewhere. \nWhen\, in 1930\, the art dealer and publisher Ambroise Vollard proposed that he illustrate the sacred book of Judaism (a titanic undertaking which\, after Rembrandt\, was no longer attempted by any artist)\, Chagall accepted with understandable enthusiasm and humility. But before starting work\, in 1931 he embarked for Palestine. It was not only a spiritual experience\, a pilgrimage or a return to the land of origin\, but also a plastic experience: he discovered the parched\, essential landscapes\, immersed in a dazzling light. \nThe biblical scenes\, centered on the theme of Man as a creature of God\, are pictures of the life of a Jewish village of those times and therefore connected to a present\, to an everyday life\, of which Chagall’s art manages to reveal the mystery: «Chagall reads the Bible and immediately the biblical passages become light for everyone»\, wrote the philosopher Gaston Bachelard in this regard. \nThus\, Marc Chagall’s works free themselves from the restrictive confessional value\, overcome the narrow limits of representation of the Jewish religion\, to embrace and acquire a universal spiritual and poetic meaning\, specific to every man and every time. URL:https://www.museoman.it/en/event/marc-chagall/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2024/04/Allestimento-Chagall_photo-credit-Pierluigi-Dessi-Confinivisivi_3-MqDCei.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20080118T000000 DTEND;TZID=Europe/Rome:20080415T000000 DTSTAMP:20260621T201842 CREATED:20240417T141047Z LAST-MODIFIED:20240417T141047Z UID:5025-1200614400-1208217600@www.museoman.it SUMMARY:MARGHERITA MORGANTIN DESCRIPTION:For the third appointment of the exhibition cycle “A question of survival”\, Margherita Morgantin presents the video entitled Quick Thinking (2007) \, together with a series of drawings on the wall inspired by the Sardinian landscape and conceived specifically for the Museum space. The video features images of a boat trip taken by the artist between Venice and Trieste\, along the navigable canals of the lagoon. \nThe specularity of the horizon created by the reflection of the water causes a slow and almost imperceptible reversal of the perspective\, a complete rotation of the horizon which recalls the motion of a slow revolution and the rotation of the earth. Progressively the landscape transforms into the drawing of an ink stain which becomes the key to access a different depth of introspective vision. The adherence between the internal forms and those of the landscape/maquis thus offers itself as a tool for reading things\, a free investigation of the area between the representation of the forms and their fragile interpretation. \nThe need to recount travels or any other experience becomes evidence of the existence of an area of ​​friction between imagination and reality\, the true place of life shared by bodies\, symbols and feelings. The drawings made with marker on the wall\, and connected to small monitors on which short video sequences appear starting from the last white signs of the “fast thought”\, are graphic traces that establish correspondences between the fixity of the drawing and the mobility of the images. The result is a perceptive geography\, with temporal layers that mix\, capable of creating a visual language in perpetual mutation URL:https://www.museoman.it/en/event/margherita-morgantin/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2024/04/Allestimento-M.Morgantin_photo-credit-Pierluigi-Dessi-Confinivisivi-Uy90nb.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20080118T000000 DTEND;TZID=Europe/Rome:20080415T000000 DTSTAMP:20260621T201842 CREATED:20231220T153231Z LAST-MODIFIED:20231220T153231Z UID:5115-1200614400-1208217600@www.museoman.it SUMMARY:ALDO CONTINI DESCRIPTION:The first artistic works of the sculptor Aldo Contini (Sassari\, 1924) were born from the dialectical relationship of art with the post-war island reality\, still linked to the figurative tradition\, in the mid-1950s\, and conceived as the artist’s social commitment. This extreme attention to an art capable of making current contents and needs its own\, has led Contini\, since 1959\, to dedicate himself to the activity of designer at the ISOLA (Sardinian Institute for Artisan Work Organization)\, where he works alongside Eugenio Tavolara in the design of the Sardinian craftsmanship of iron\, ceramics\, wood\, etc. In 1963 he left ISLAND and began a teaching career as a teacher at the Art Institute of Sassari\, which would keep him busy until 1989. \nMeanwhile\, in 1965\, with his membership of the “Group A” gathered around Mauro Manca\, his artistic research moved into the field of neo-avant-garde and pop painting\, abandoned in the mid-Seventies for the conceptualism that characterized the period in which he founded the ” Rose Group”. From 1983 to 1986 he became scientific coordinator of the Department of Design for Crafts of the European Institute of Design in Cagliari. Having also exhausted the conceptual phase\, at the end of the 1980s Aldo Contini’s pictorial experimentation arrived at a geometric abstractionism which characterizes his most recent works\, such as Stained glass windows hey Altarpieces . The latter\, in a game and chromatic contrast between red stars and gold shapes\, draw the personal dialogue of Aldo Contini at his first solo show at the Museum URL:https://www.museoman.it/en/event/aldo-contini/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Focus Sardegna,MAN END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20071218 DTEND;VALUE=DATE:20080107 DTSTAMP:20260621T201842 CREATED:20240423T085139Z LAST-MODIFIED:20240423T085139Z UID:4943-1197936000-1199663999@www.museoman.it SUMMARY:ROOM 1: GIANVINCENZO MONNI DESCRIPTION:Emergent concept\n\n\n\n\n“Art “becomes” in the same progression: it pursues man in his madness. In oscillating beyond substance\, it itself tends to evolve into multifaceted and colorful market material”. \nGian Vincenzo Monni (Nuoro in 1965) stands in antithesis to the media and consumerist frenzy\, in favor of a rational vision of the existential condition where the aesthetic gesture becomes regeneration. In a union between ethics and aesthetics\, the artist traces an apocalyptic vision of humanity\, alienated due to a modus vivendi conditioned by appearance and artifice\, whose only possibility of salvation consists in the awareness that can only be achieved through a rational dimension\, with the primary objective of creating an ideal space that acts as an interactive space. An intermediate context that conceptually determines a constant exchange between internal and external\, between the self and the other. The function of art is to become itself an ideal space of connection between intrinsic and extrinsic\, recites one of the foundations of Aesthetic Rationalism of which the artist is the founder\, for a research that aims – through the archetypes of the unconscious – to restore to man that centrality with respect to himself and what surrounds him\, according to an anthropocentrist tendency that it flows into what is defined as the cosmological anthropic principle\, that is\, that set of delicate balances that allowed life to originate. \nThe form and its continuously evolving evolution is the cornerstone around which Gian Vincenzo Monni’s poetics revolves\, a pretext to mark the phases of Aesthetic Rationalism and the object of analysis of the video in question. Sinuous shapes in continuous movement that emerge from a dark background are emblems of an awareness that emerges from the depths through that condition that is based on rationality. Primitive symbols\, symbolic icons of intellectual and spiritual potential contract\, floating on the impetuous notes of Michael Nyman. URL:https://www.museoman.it/en/event/room-1-gianvincenzo-monni/ LOCATION:NU CATEGORIES:Focus Sardegna END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20071218T000000 DTEND;TZID=Europe/Rome:20080106T000000 DTSTAMP:20260621T201842 CREATED:20240417T141056Z LAST-MODIFIED:20240417T141056Z UID:5046-1197936000-1199577600@www.museoman.it SUMMARY:Gianni Berengo Gardin DESCRIPTION:With over fifty personal exhibitions and a hundred published volumes\, Gianni Berengo Gardin is now one of the major personalities of international photography. \nThe quality of his work has received recognition from the most prestigious critics. He was in fact cited\, as the only photographer\, by EG Gombrich in his book The image and the Eye (Oxford 1982) and by Italo Zannier in his History of Italian photography (Bari 1987) as “the most notable photographer of the post-war period”. \nCecil Beaton included him in the exhibition he organized in 1975\, dedicated to the geniuses of photography from 1839 to today. Over the years he has collaborated with the major national and international newspapers (Domus\, Epoca\, L’Espresso\, Time\, Stern\, Harper’s Bazaar\, Vogue\, Du\, Le F**aro etc.). Berengo Gardin’s work arises from the desire to convey objective reality. He began his photographic reportage on Sardinia in the 1950s: faces\, smiles\, people\, gestures captured in moments of everyday life\, in work times\, in festive rituals. He deepened it at the end of the 1960s\, and completed it in 2006 with new details\, portraits\, expressions. \nThe exhibition was created in collaboration with Imago Multimedia. URL:https://www.museoman.it/en/event/gianni-berengo-gardin/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN END:VEVENT END:VCALENDAR