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-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 DTSTART:20081026T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20090329T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20091025T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20100328T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20101031T010000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;VALUE=DATE:20090623 DTEND;VALUE=DATE:20090625 DTSTAMP:20260622T085443 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:20260622T085443 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:20260622T085443 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:20260622T085443 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:20260622T085443 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:20260622T085443 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:20260622T085443 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:20260622T085443 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:20260622T085443 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:20260622T085443 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:20260622T085443 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:20260622T085443 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:20260622T085443 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:20260622T085443 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:20260622T085443 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:20260622T085443 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:20260622T085443 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:20260622T085443 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 BEGIN:VEVENT DTSTART;VALUE=DATE:20071123 DTEND;VALUE=DATE:20071210 DTSTAMP:20260622T085443 CREATED:20240423T085236Z LAST-MODIFIED:20240423T085236Z UID:4935-1195776000-1197244799@www.museoman.it SUMMARY:ROOM 1: Mario Fois DESCRIPTION:1/60\n\n\n\n\nThe project of the Sala 1 space\, which began in September with the Cruel Fairy Tales exhibition\, has seen and will see young Sardinian artists exhibiting a single work designed specifically for the museum and the hall\, for one or two weeks. The MAN wanted and wants in this way to support and give visibility to youth creativity in a dynamic and plural way\, documenting its activity\, encouraging dissemination and information on youth artistic production. The work 1/60 by Mario Fois combines\, in a refined synthesis\, painting and colour\, frame and installation\, seriality and uniqueness. The sixty modules function as megapixels of a universe that expands in search of new symmetries\, fragments in themselves and self-sufficient\, encapsulated in transparent cases that isolate and protect them\, parts of a whole in the process of being defined where vibration and movement are the common denominators. \nMario Fois was born in 1971 in Nuoro where\, already at the end of the 80s\, he began to operate in the field of aerosol art and street culture. After a few years of intense activity\, without detaching himself from the artistic spirit that marked his first expressions\, he reaches the canvas and traditional painting techniques with particular attention to the use of color typical of American abstract expressionism. In the mid-90s he was among the founders of Kentu Concas Kentu Berrittas\, an artistic movement characterized by maximum individual freedom and intense exhibition activity. In recent years Fois has been the protagonist of several solo exhibitions\, in which he has demonstrated his ability to deal effectively with the most disparate techniques and formats\, moving from the micro to the macro without ever losing sight of the meaning of painting understood as the liberation of the gesture. URL:https://www.museoman.it/en/event/room-1-mario-fois/ LOCATION:NU CATEGORIES:Focus Sardegna END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20070928 DTEND;VALUE=DATE:20080107 DTSTAMP:20260622T085443 CREATED:20240423T085031Z LAST-MODIFIED:20240423T085031Z UID:4952-1190937600-1199663999@www.museoman.it SUMMARY:Martinique DESCRIPTION:The MAN collection dialogues with Mirella Mibelli\n\n\n\nMirella Mibelli was born in Olbia in 1937. Graduated in Rome at the Zileri Art Institute\, in 1958 she attended the School of Seeing directed by Oskar Kokoschka at the Sommerakademie fur Bildende Kunst in Salzburg. While continuing to use traditional techniques such as oil and tempera\, he soon favored watercolour\, seeking and finding absolutely original results in the fields of both figurative and abstract art. In recent years his research has embraced all engraving techniques such as xylography\, intaglio\, lithography and screen printing\, also using unusual materials such as plexiglass surfaces. \nThe inclusion of Mirella Mibelli’s works in the museographic itinerary identified within the MAN collection of works by Sardinian artists of the twentieth century\, subverting every chronological and temporal norm\, creates an innovative project\, created in a dialectical process that deconstructs the traditional image of the museum itinerary\, to privilege the subjectivity of the spectator\, of whom\, thus\, the centrality and ability to move between disparate experiences and suggestions and to discover relationships and diversity between the most varied images\, stories and art forms is restored\, and at the same time\, its flexibility is highlighted. URL:https://www.museoman.it/en/event/martinique/ LOCATION:NU CATEGORIES:Focus Sardegna END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20070928T000000 DTEND;TZID=Europe/Rome:20071209T000000 DTSTAMP:20260622T085443 CREATED:20240417T141104Z LAST-MODIFIED:20240417T141104Z UID:5026-1190937600-1197158400@www.museoman.it SUMMARY:EGON SCHIELE DESCRIPTION:The MAN_Museo d’Arte della Provincia di Nuoro inaugurates the 2007 autumn exhibition season with the exhibition EGON SCHIELE (1890-1918) dedicated to the great Austrian artist\, one of the main exponents of modern painting. \nThe exhibition intends to retrace the main themes of this illustrious master\, who died at just 28 years old\, with the aim of providing a complete overview of his production through eighty works including drawings\, watercolors and gouaches. In less than ten years of activity\, Egon Schiele\, a careful interpreter of that particular social reality that characterized fin de siècle Vienna\, gave life to an immense graphic production: more than three thousand works including drawings and watercolours. Many of these sheets are dedicated to the human figure: most depict emaciated bodies\, bony and angular figures\, gaunt and emaciated faces\, gnarled hands\, melancholy gazes\, vivid portraits finished with color\, highly distorted expressions and experimental self-portraits of the artist. \nIn addition to this kind of subjects\, there are some landscapes\, descriptions of environments and buildings and\, in some cases\, still lifes of flowers or other objects. But the most relevant part of Schiele’s drawings is made up of the nudes\, male and female\, and the half-dressed figures that appear to us in unusual poses and attitudes\, often in acrobatic positions\, sometimes exhibiting their sexual organs. Other times\, the objects of representation are pregnant women\, child figures on the threshold of adolescence\, fragmented bodies\, double portraits and couples locked in an embrace. Schiele also loves self-portraits: in fact\, the artist has left us an impressive number of his own images\, in which the movements of the contorted body\, the expressions of the face communicate the sense of alienation and anguished confusion experienced\, thus strengthening the fame among contemporaries of a cursed\, tormented and suffering artist. With such a considerable quantity of self-portraits\, Schiele consciously attracted the public’s attention to his own person to the point of becoming\, over time\, a true icon of the twentieth century. \nThe exhibition\, in giving ample space to the works on paper\, highlights the extraordinary graphic ability of this artist\, the perfect mastery of the line and the elegance of the refined and sharp expressiveness that emerges in particularly effective nudes. In his works\, in fact\, the drawing has an autonomous life: it crystallizes\, with incredible precision and clarity\, fleeting moments and sensations\, bodies and glances. Egon Schiele is\, first and foremost\, a designer: his drawing is conducted with great mastery\, the line flows precisely\, lucidly calculated\, docile and sharp at the same time\, the contours are clear and defined. Another peculiarity of these works is the abolition of spatial references: generally\, in fact\, the artist renounces the description of the background and the \nthe environment to focus exclusively on the model. The human figure is the great\, and extraordinarily effective\, protagonist of these works\, captured in portraits\, self-portraits and nudes of an often erotic nature. The inappropriate contents of his works and the stylistic solutions adopted by Schiele appear completely natural today and have become part of our perceptive habits\, but in Vienna at the beginning of the twentieth century those works were seen as the product of an anti-academic and sexually licentious artist \, who was also sentenced to prison because he was accused of public immorality. \nThe MAN exhibition helps to highlight the evolution of Schiele’s art: from the works created in the years spent at the Academy of Fine Arts in Vienna (1906-1909) – characterized above all by the theme of landscape and which are still influenced by influence of Impressionism and Jugendstil – to the first period of stylistic emancipation (1909-1910)\, during which\, alongside the ancestry of his friend and mentor Gustav Klimt\, the bodies\, caught in a nudity that seems to eviscerate the figure\, appear almost disjointed in their essentiality. \nThe exhibition then deals with the years spent in Krumau and Neulengbach (1911-1912)\, extremely rich from a productive point of view and close to expressionist sensitivity\, and those of the return to Vienna (1913-1918)\, during which the artist developed a rich and multifaceted production\, composed of allegorical works and a series of portraits – which in the final period of his life are characterized by a new\, and soft\, plasticism – which guarantee him such recognition from the public and critics as to consecrate him among the absolute protagonists of the Viennese and European art scene. \nSchiele’s death in 1918 due to an epidemic of Spanish fever was followed by years of oblivion for the artist\, as if the reception of his art was inextricably connected to his person. Only decades later would Schiele’s contribution to the development of modern art be rediscovered and appropriately evaluated. URL:https://www.museoman.it/en/event/egon-schiele/ 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/egon-Shiele.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20070928T000000 DTEND;TZID=Europe/Rome:20071209T000000 DTSTAMP:20260622T085443 CREATED:20240417T141057Z LAST-MODIFIED:20240417T141057Z UID:5037-1190937600-1197158400@www.museoman.it SUMMARY:Nico Vascellari DESCRIPTION:Nico Vascellari’s work is focused on folklore and landscape\, constant in his latest productions. The installation will use some recurring materials in the Sardinian tradition\, such as wax\, fire\, wood\, cowbells. \nWhat interests the artist is the reference not so much to popular culture itself but rather to those social and geographical factors that have contributed to its development\, such as atavistic fears\, primitive fascinations\, specific territorial identities which nevertheless retain a universal value. \nThe exhibition is curated by Maria Rosa Sossai. URL:https://www.museoman.it/en/event/nico-vascellari/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20070928 DTEND;VALUE=DATE:20071112 DTSTAMP:20260622T085443 CREATED:20240423T085403Z LAST-MODIFIED:20240423T085403Z UID:4929-1190937600-1194825599@www.museoman.it SUMMARY:Room 1: Cruel fairy tales DESCRIPTION:The project for the Sala 1 space involves around ten young Sardinian artists who\, from 28 September until the end of 2007\, will exhibit a single work. Thus\, in a dynamic and plural way\, the MAN wants to support and give visibility to youth creativity and artistic production\, documenting its activity and encouraging its dissemination and information. \nThe cycle begins with the exhibition Cruel Fairy Tales\, curated by Roberta Vanali\, which sees the works of six artists drawing inspiration from fairy tales. The fairy tale\, the eternal human story\, is examined as a useful tool for understanding existence\, in particular for decoding those dark sides that are hidden in it. «Fairy tales are a general explanation of life\, born in ancient times and preserved in the slow rumination of peasant consciences up to the present day; they are the catalog of destinies that can be given to a man and a woman”\, this is how Italo Calvino defines them. Drawing inspiration from the anthropological roots of legend and popular tales\, such as oral traditions that narrate fears and beliefs\, which allow the dissemination of universal messages through a simplified metaphorical language\, six Sardinian painters from different backgrounds and experiences were invited to reflect on this theme. different cultures. \nCharacterized by common stylistic features and recurring motifs\, the fairy tale proves to be appropriate for dissecting those more or less occult aspects of human nature\, since – as Calvino would underline – fairy tales are true because they are capable of describing anxieties and dramas. \nThe exhibition aims to highlight how the dark aspects of existence are intrinsic to the culture and collective imagination of fairy tales and legends\, demonstrating how current they are still and how particularly suitable they prove to be to explore the human soul through often cruel symbols and metaphors. \nStructured into six events lasting a week each\, the exhibition will present one work and one story at a time\, accompanied by educational workshops designed specifically for the occasion and curated by the artists themselves. \nOn September 28th the Pietro Sedda exhibition opens with the work entitled Sacroiliac \, inspired by Alberto Ribè’s African fairy tale “The Black Hands of the Monkey”; followed by Silvia Argiolas\, who examines “Little Red Riding Hood” in its original version to highlight the scourge of prostitution. Alessio Onnis investigates man’s inability to accept the inexorable passage of time with Carmilla \, the bloodthirsty countess inspired by Erzsebeth Bathory who had 600 virgins killed to bathe in their blood\, while Giuliano Sale takes inspiration from the classic “Hansel and Gretel.” Pastorello uses the parameters of the traditional fairy tale to invent the fairy tale of the anomalous with the work The little blue bird of the enchanted forest \, and finally Gavino Ganau closes the exhibition with a triptych inspired by the cinematic fairy tale. URL:https://www.museoman.it/en/event/room-1-cruel-fairy-tales/ LOCATION:NU CATEGORIES:Focus Sardegna END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20070629T000000 DTEND;TZID=Europe/Rome:20070701T000000 DTSTAMP:20260622T085443 CREATED:20240417T141343Z LAST-MODIFIED:20240417T141343Z UID:4997-1183075200-1183248000@www.museoman.it SUMMARY:The still event (Mishaps) DESCRIPTION:Edited by Cristiana Collu and Saretto Cincinelli \nMore than an international video exhibition\, L’evento immobile (contratempi) developed by the Man Museum of Nuoro for the “L’isola delle storie” literary festival in Gavoi\, is configured as a real video exhibition that delves into to that changing border territory which has always\, and in particular in recent years\, maintained a close relationship between cinema\, video and contemporary art. Through the works of: Sabrina Mezzaqui\, Hans Op de Beeck\, Adrian Paci\, Rossella Biscotti\, Daniela De Lorenzo\, Ursula Mayer\, Massimo Barzagli – Luisa Cortesi\, Patrick Jolley\, Rebecca Trost\, Inger Lisa Hansen\, and Carl Michael von Ausswolff-Thomas Nordstad \, the exhibition seeks to circumscribe and decline a figure whose cruciality is demonstrated by the persistence with which it seems to come to attention in different but significant seasons of contemporary research: a figure whose remote center of gravity seems attributable to the oscillation between movement and immobility\, a topos which\, albeit along a karst and discontinuous line\, marked by profound modifications\, leads from the radical\, pioneering experiments of Andy Warhol (Empire\, 1964\, Sleep\, 1964 etc.) or Michael Snow (Wawelength\, 1966/7) to Sixty minutes silence (1996) by Gillian Wearing or a Teatro Amazonas (1999) by Sharon Lockhart\, a Needle Woman (1999-2000) by Kim Sooja and\, to name at least one Italian artist\, several works by Grazia Toderi. \nGiving up movement\, the ubiquity of the camera or shooting subjects who are basically still appear to be options that are\, to say the least\, outdated and anachronistic\, apparently improper ways of using cinema and video. This inappropriateness\, which does not fail to reflect on the nature of the image and reverberate on the spectator’s expectations\, immediately becomes problematic since it seems to deny any form of narrativity and lead cinema and video towards the medusation typical of the photographic image\, towards an imperfect\, precarious static nature. and vibrant which\, precisely for this reason\, tends to shift attention from the iconic element towards the temporal\, sound and structural dimension of the image. It is this enchantment of the event rather than its dry immobility that constitutes\, in ever-changing ways\, the background in which the video exhibition is articulated. \nThe immobility contained in the oxymoron of the title that the exhibition tries to express cannot in fact be traced back solely to the static nature of the camera or the subject filmed but\, more generally\, to what we could define as a smaller dimension of the moving image\, a dimension which\, being missing\, ends up having repercussions après coup on the expressiveness of works that voluntarily avoid the use of eloquence and the sophisticated predictability that characterizes the current use of audiovisual language in movement. In all the films and videos proposed\, some typical dimension of cinematographic language\, with greater or lesser radicality\, tends to dissolve but\, as in a game in which the winner loses\, the works seem to gain from the economy that characterizes them. \nAn economy which\, paradoxically\, ends up returning a surplus of presence to the starting image as in the extraordinary\, Franciscan video-haikus of Sabrina Mezzaqui\, in the elaborate returns of the narrative on itself by Ursula Mayer or Hans Op De Beeck\, in game of presence and absence staged in the transition between images of different nature by Massimo Barzagli-Luisa Cortesi\, in the use of the mishap that characterizes the poses of Daniela De Lorenzo\, in the imperfect static nature of Rossella Biscotti’s video portraits\, in the severe almost sacred static nature achieved by Adrian Paci\, in the uninhabited but strongly evocative interiors and exteriors of Patrick Jolley\, Rebecca Trost\, Inger Lisa Hansen and Carl Michael von Ausswolff and Thomas Nordstad. URL:https://www.museoman.it/en/event/the-still-event-mishaps/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Extramuros,MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20070525T000000 DTEND;TZID=Europe/Rome:20070902T000000 DTSTAMP:20260622T085443 CREATED:20240417T141107Z LAST-MODIFIED:20240417T141107Z UID:5045-1180051200-1188691200@www.museoman.it SUMMARY:Elisabetta Benassi DESCRIPTION:Soils as emblems of the periphery of the Western world in Elisabetta Benassi’s video made in Sardinia for the “Site Specific” project cycle at the invitation of the museum directed by Cristiana Collu. \nThe cycle of Site Specific projects\, started in 2006 with the work of ZimmerFrei\, continues its aim of opening a dialogue between the museum space intended as a place of artistic research and cultural promotion and the surrounding area. The artist invited this year\, Elisabetta Benassi\, presents a video work continuation of the Suoli series\, begun in 2005. Large photographs\, real 1:1 scale maps\, of warehouse and car demolition sites. Marginal and completely anonymous places\, in which entropy has settled to the point of making everything useless and unrecognizable\, which appear like horizontal deserts where the distance and the usual relationship between the viewer and the thing observed is abolished. \nThe soils appear as emblems of the periphery of the Western world\, a cumbersome chaos of matter\, impossible to recycle but from which arises an idea of ​​a mobile and constantly changing landscape. Elisabetta Benassi’s photographic and video exploration goes beyond the visible\, to the point of incorporating what remains outside the frame and which escapes knowledge. The continuum of images extends over a much larger terrain than that which the feet traverse. The Sardinian soils\, photographed during a previous stay in Barbagia\, reflect the remains and ashes of the fires for the feast of Sant’Antonio in Torpè and Mamoiada in the culminating moment of a ritual that involves the whole community. URL:https://www.museoman.it/en/event/elisabetta-benassi/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20070525T000000 DTEND;TZID=Europe/Rome:20070902T000000 DTSTAMP:20260622T085443 CREATED:20240417T141107Z LAST-MODIFIED:20240417T141107Z UID:5055-1180051200-1188691200@www.museoman.it SUMMARY:Jorge Peris DESCRIPTION:The city of Nuoro becomes the Spanish artist’s studio for an experiment with a group in workshops\, using space\, time and matter. Sea water\, sand and bread for works in transformation. \nToday\, when experience seems to be reduced to momentary and ephemeral consumption and events remain in the news\, art bets on the lasting\, is not instantly consumable and is governed by an internal necessity that starts from afar. His is a paradigmatic condition of survival\, in perpetual conflict with the excess of information and images\, with the acceleration of time and space and with information surfing. By embracing this paradigm\, the artists invited for the new cycle of works in the Project Space – Jorge Peris\, Nico Vascellari\, Margherita Morgantin – respectively in the months of May\, September and December 2007\, will create personal strategies for the survival of the work of art\, in material\, symbolic\, aesthetic terms\, occupying not only the Project Space of the museum\, but also exploring neighboring areas. \nThe work of the first artist present\, the Spanish Jorge Peris\, is based on an idea of ​​a work that arises from continuous\, slow and controlled transformations of natural materials that act on spaces\, with a margin of imponderability on the results obtained. In the project for the MAN museum\, the city of Nuoro will become the artist’s studio\, for an experiment that will involve a group of people\, who will collaborate with him\, using space\, time and matter. \nMachines invented for this purpose and organic and mineral materials such as sea water\, sand and bread will be used. The interventions\, carried out together with the participants in the workshop which will take place in the week preceding the inauguration\, will have the value of a shared and collective experience with the city. \nEdited by Maria Rosa Sossai. URL:https://www.museoman.it/en/event/jorge-peris/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20070525T000000 DTEND;TZID=Europe/Rome:20070902T000000 DTSTAMP:20260622T085443 CREATED:20240417T141105Z LAST-MODIFIED:20240417T141105Z UID:5064-1180051200-1188691200@www.museoman.it SUMMARY:The ideal place DESCRIPTION:The 84 works brought together in this exhibition\, oils\, drawings and engravings by over twenty artists\, reflect through the theme of landscape the sensitivity\, mystery and metaphysical questions that worried the artists of the idealist movement of the late 19th century. The works reveal the profound\, mysterious and magical nature that accompanies the human being in his psychological and spiritual journey\, a mysterious\, poetic nature\, with luminous and crepuscular views. Within the theme\, some aspects are explored in depth such as the soul of the landscape\, the mystical landscape\, the landscape of the soul and the landscape of restlessness. \n«Your soul is a chosen landscape»: with this famous verse\, Paul Verlaine established a poetic correspondence between the secret ways of thought and the poetic decoration of a «quiet moonlight\, which invites you to dream of the birds above the trees and to cry of ecstasy at the sources.” This mental vision of a landscape that embodies the human soul corresponds perfectly to the way Symbolist artists conceived of nature. Far from being isolated\, decadent artists on the margins of the evolution of their era\, the symbolist painters participated through their intellectual and plastic research in the genesis of what would become twentieth-century painting\, an essentially conceptual and “magical”. \nSymbolist landscapes are dreamscapes\, because idealist artists do not wish to show the visible but the invisible. For them\, nature is not picturesque but suggestive. They therefore paint not what the landscape shows but what it hides. Trees\, clouds\, distant horizons\, mysterious woods\, sunsets or twilights: they compose ideas that lead us towards our interiority.A place of projection of a theatricality that can be ascendant and positive\, but at the same time disturbing or worthy of a nightmare\, nature as the symbolists perceive it embodies all the torments and all the hopes of a moment of civilization full of metamorphosis. The French symbolist artists (or those who lived in France) present in this exhibition lead us\, not without uncertainty\, through their attempts\, their anguish and their dreams\, towards a world different from reality\, that universe defined by Baudelaire as « Anywhere out of the world.” Through their eyes\, their thoughts and their artistic genius\, they reveal to us the secret geography of the ideal place. \nOn display works by: Edmond Aman-JeanValère Bernard\, Marsella\, Emile-Antoine Bourdelle\, Maurice Chabas\, Charles Marie Dulac\, Eugène Grasset\, Henry de Groux\, Charles Guilloux\, Louis Welden Hawkins\, Jeanne Jacquemin\, Frantisek Kupka\, Charles Lacoste\, Floirac\, Henri Le Sidaner\, Lucien Lévy-Dhurmer\, Henri Martin\, Emile-René Ménard\, Constant Montald\, Alphonse Osbert\, Armand Point\, Ary Renan\, Auguste de Niederhäusern-Rodo\, Carlos Schwabe\, Alexandre Séon. URL:https://www.museoman.it/en/event/the-ideal-place/ 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/Il-luogo-ideale.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20070323T000000 DTEND;TZID=Europe/Rome:20070506T000000 DTSTAMP:20260622T085443 CREATED:20240417T141115Z LAST-MODIFIED:20240417T141115Z UID:5067-1174608000-1178409600@www.museoman.it SUMMARY:JOTA CASTRO DESCRIPTION:The Man on the occasion of the 50th anniversary of the European Union it presents two videos by the artist and activist of Peruvian origin Jota Castro. \n Italian presidency (2003)\, on the debate between Prime Minister Silvio Berlusconi and German MEP Martin Schulz which took place in Strasbourg on the day of the presentation of the Italian program for the semester of European presidency. Doing it to death (2004)\, an interesting\, free and irreverent interpretation of the balance of power\, where James Brown’s song is the ideal soundtrack for making love. \n In collaboration with the mountain community of Nuoro \nCourtesy Massimo Minini Gallery\, Brescia URL:https://www.museoman.it/en/event/jota-castro/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20070316T000000 DTEND;TZID=Europe/Rome:20070415T000000 DTSTAMP:20260622T085443 CREATED:20240417T141117Z LAST-MODIFIED:20240417T141117Z UID:5048-1174003200-1176595200@www.museoman.it SUMMARY:Zimmerfrei DESCRIPTION:The ZimmerFrei exhibition (Anna de Manincor\, Anna Rispoli\, Massimo Carozzi) will be inaugurated on 16 March at 6pm\, the first project for 2006 in the Site Specific series\, with which the MAN museum intends to diversify and enrich its proposals\, in the belief that museum spaces must increasingly become places of experimentation and cultural promotion. ZimmerFrei present the works created during their residency which took place last April at the Museum: the short film Why we came\, the Shooting Test video series\, four photographic prints and the series of shots taken during the location search in Sardinia. \nThe video projection Why we came was filmed on the beach of Berchida over the course of twenty-four consecutive hours. The objective of the room is the contemplation of time through the incessant transformation of the landscape. Under an ever-moving sky some human figures cross the frame\, trying to leave a mark\, to affect the landscape. But\, regardless of everything\, the camera rotates on itself at regular intervals\, orienting itself according to the cardinal points and absorbing the changing colors of the sky\, sand and water. The Shooting Test series presents itself as a collection of notes for films to be made but is actually a reflection on cinematographic language and on some topoi such as the western genre\, with which to eliminate the barriers between cinematographic fiction and set. Explaining the technical function and the encyclopedic vocation\, all the videos in the series open with the photographic indications that guided the shooting. The pilgrimage of the ZimmerFrei group in search of a natural set that could give rise to a new inspiration is returned in the form of a slideshow\, in the splendor of 35 millimeters. Ninety shots for as many ideas to develop. \n A group of photographic prints completes the installation. From the selection of shots\, taken during the search for locations and during filming\, the skeleton of a story emerged. URL:https://www.museoman.it/en/event/zimmerfrei/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20070126T000000 DTEND;TZID=Europe/Rome:20070506T000000 DTSTAMP:20260622T085443 CREATED:20240417T141113Z LAST-MODIFIED:20240417T141113Z UID:5035-1169769600-1178409600@www.museoman.it SUMMARY:OF SHADOW DESCRIPTION:The exhibition\, conceived by Lea Vergine\, was produced and organized by MAN and the Palazzo delle Papesse in Siena. \nThe theme of the exhibition is the theme of the Shadow. From the tomb paintings of the Egyptians to today\, artists have worked on this theme. The man who has lost his shadow is marked by demons and the woman without a shadow is sterile: thus in The Marvelous Story of Peter Schlemihl by Adalbert von Chamisso and in The Woman Without a Shadow by Hugo von Hofmannsthal. Legend also has it that those who are unable to communicate with their shadow are destined to die\, as are those who trample on it or misuse it. Therefore\, we cannot ignore the shadow. Everything that is created or determined without a shadow has something disturbing; but the shadow (darkness or dark silhouette) also constitutes the secret part of people and objects. Every shadow is enchantment. Intact and recognisable\, the shadow is like a ghost: like a ghost\, it is not easy to decipher it. \n Losing the shadow: buying it\, finding it again\, stealing it\, erasing it\, earning it\, stealing it\, throwing it away. But is the shadow an empty container? Does the shadow believe in our existence? Does the shadow go elsewhere? One generally has a shadow (unlike the character of von Chamisso or other German symbolists); it grows with us and one day we will be our shadow\, that is\, our double and our interior. He who does not know the shadow of forms ignores the form itself. The shadow is its non-finity: the form lies hidden in the shadow. \n The exhibition chooses to deal with this. It therefore excludes that branch of contemporary art where the light-shadow contrast favors the phenomena of visual perception. The exhibition offers works where the shadow is the primary motive and signifier of the representation\, that is\, where the shadow remains an intimate participant in the human psychological structure\, alluding to the other side of personality and what is dark and enigmatic within it. The first major exhibition of its kind\, D’Ombra offers the possibility of verifying how and to what extent the ancient theme continues to recur even in the works of contemporary artists. \n Artists present in the exhibition: Mario Airo’\, Doug Aitken\, Carlo Alfano\, Laurie Anderson\, Stefano Arienti\, Carlo Benvenuto\, Christian Boltanski\, Fabrizio Corneli\, Gino De Dominicis\, Fischli&Weiss\, Ceal Floyer\, Alberto Garutti\, Mona Hatoum\, Gary Hill\, Joan Jonas \, Nino Longobardi\, Urs Luthi\, Fabio Mauri\, Sebastiano Mauri\, Ottonella Mocellin and Nicola Pellegrini\, Tracey Moffatt\, Margherita Morgantin\, Marvin E. Newman\, Cornelia Parker\, Claudio Parmiggiani\, Gianni Pisani\, Markus Raetz\, Annie Ratti\, Rosanna Rossi\, Anri Sala \, Susanne Simonson\, Jana Sterbak\, Fiona Tan\, Andy Warhol\, William Wegman\, Francesca Woodman. URL:https://www.museoman.it/en/event/of-shadow/ 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/dombra.jpg END:VEVENT END:VCALENDAR