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:20030330T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20031026T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20040328T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20041031T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20050327T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20051030T010000 END:STANDARD 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 END:VTIMEZONE BEGIN:VEVENT DTSTART;VALUE=DATE:20080118 DTEND;VALUE=DATE:20080416 DTSTAMP:20260622T010019 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:20260622T010019 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:20260622T010019 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:20260622T010019 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:20260622T010019 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:20260622T010019 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:20260622T010019 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:20260622T010019 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:20260622T010019 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:20260622T010019 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:20260622T010019 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:20260622T010019 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:20260622T010019 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:20260622T010019 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:20260622T010019 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:20260622T010019 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:20260622T010019 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:20260622T010019 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 BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20061013T000000 DTEND;TZID=Europe/Rome:20070107T000000 DTSTAMP:20260622T010019 CREATED:20240417T141116Z LAST-MODIFIED:20240417T141116Z UID:5059-1160697600-1168128000@www.museoman.it SUMMARY:Borders DESCRIPTION:Edited by Cristiana Collu\, Saretto Cincinelli\, Roberto Pinto \nOne of the most discussed themes in contemporary art is certainly the idea of ​​borders that artists have addressed both in a metaphorical and personal sense and in a geopolitical sense\, with all the social consequences and international implications that this entails. The widespread interest in recent years in establishing boundaries and trying to trace differences also has its origins within artistic practices: the attention that art has dedicated to space and to the knowledge of its limits and ‘symptom of a specific attitude to put the border territory between things under observation. There are borders well delimited by borders\, walls\, armed surveillance\, and there are less obvious borders\, although often equally rigid and impassable. We are faced with the paradox of a globalization that seems to imply the loss of borders only for information\, money and goods. The walls\, which we saw falling at the end of the last century\, have essentially multiplied. In a broader context it could also be said that external borders refer to an idea of ​​exclusion\, of diversity\, while internal borders refer to differences in class\, religious belief\, ethnicity\, gender. \nBoundaries fill our lives\, they surround us completely\, they are the tool that allows us to classify and recognize the multiplicity of our reality\, and\, at the same time\, they are a fruit of our ability to establish conventions. The notion of border plays a crucial role at any level of representation and organization of the world around us. Regarding borders\, Claudio Magris wrote: “They die and rise again\, they move\, they are erased and they reappear unexpectedly. They mark the experience\, the language\, the space of living\, the body with its health and its illnesses\, the psyche with its splits and its rearrangements\, politics with its often absurd cartography\, the ego with the plurality of its fragments and their laborious recompositions\, society with its divisions\, the economy with its invasions and its retreats\, thought with its maps of order”. Perhaps it is precisely this richness of meanings and aspects that makes this topic interesting. The works of the artists on display seem to reiterate precisely the variety of possible interpretations\, therefore not giving up “observing that strange space that is found “between” things\, that which\, by bringing into contact\, separates\, or\, perhaps\, by separating brings into contact with different people\, things\, cultures\, identities and spaces”. \nWhere do you look at a border from? What do expressions like inside or outside really mean? Is there an outside of the inside or an inside of the outside? These are some of the questions raised by the exhibition. \n Artists: Francesco Arena\, Maja Bajevic\, Emanuele Becheri\, Jota Castro\, Yael Davids\, Pepe Espaliu’\, Carlos Garaicoa\, Mona Hatoum\, Alfredo Jaar\, Magdalena Jetelova\, Seila Kameric\, Daniela Kostova\, Jorge Macchi\, Liliana Moro\, Mateo Mate’\, IngridMwangiRobertHutter\, Andrea Nacciarriti\, Adrian Paci\, Riccardo Previdi\, Michael Rakowitz\, SASI Group\, Stalker\, Jules Spinatsch\, Franck Scurti\, Daina Taimina\, The Institute for Figuring\, Enzo Umbaca\, Catherine Yass. \n The exhibition is accompanied by a video review curated by Maria Rosa Sossai which presents the works of Massimiliano and Gianluca De Serio\, Alex Cecchetti\, Armin Linke\, David Krippendorf and\, in collaboration with the Polish Cultural Institute in Rome\, the works by Bogna Burska\, Jacek Molinowski\, Julita Wojcik. URL:https://www.museoman.it/en/event/borders/ 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/CONFINI.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20060713T000000 DTEND;TZID=Europe/Rome:20060917T000000 DTSTAMP:20260622T010019 CREATED:20240417T141132Z LAST-MODIFIED:20240417T141132Z UID:5039-1152748800-1158451200@www.museoman.it SUMMARY:TRANSVANGUARDIA DESCRIPTION:It was 1978\, when Achille Bonito Oliva defined the group of Italian artists made up of Sandro Chia\, Francesco Clemente\, Enzo Cucchi\, Nicola De Maria and Mimmo Paladino with the term Transavantgarde. Since then the term became “official” to define that movement which\, shortly thereafter\, would find international affirmation. \n“Transavantgarde – wrote Bonito Oliva\, summarizing the spirit of the movement – means openness towards the intentional failure of the logocentrism of Western culture\, towards a pragmatism that restores space to the instinct of the work” and again “transavantgarde responded in contextual terms to the catastrophe generalization of history and culture\, opening up towards a position of overcoming the pure materialism of techniques and new materials and arriving at the recovery of the out-of-dateness of painting\, understood as the ability to restore to the creative process the character of an intense eroticism\, the depth of a ‘image that does not deprive itself of the pleasure of representation and narration.” \n The MAN of Nuoro\, thanks to the curator Achille Bonito Oliva and the prestigious loan from the MART (which in 2002 acquired a large part of Alessandro Grassi’s important collection in storage\, within which the nucleus dedicated to the Transavantgarde represents a moment of itself\, extremely significant and homogeneous) presents a selection of approximately seventy works. The paintings that will be exhibited in the exhibition are works where the recovery of the pictorial technique goes beyond the more abstract and conceptual works that characterized artistic research in the Seventies. Grassi\, in the choice of his works\, deeply linked to colour\, is guided by the heart\, making impactful choices according to his interpretation of the meaning of collecting\, which must be – he states – “done with simplicity and without frills”. \nThe collection thus marks a careful journey\, through the works of the late seventies\, dotted with some historical masterpieces. The artists propose a return to painting and sculpture\, recovering the pictorial tradition in a citation key\, sometimes ironic and other times aggressive\, and thus affirm the freedom to return to the artistic “tradition”. The contemporary reinterpretation of figuration and lyrical abstraction is thus elaborated through careful meditation on the experiences of the historical avant-gardes of the 20th century. \n \nArtists: Sandro Chia\, Francesco Clemente\, Enzo Cucchi\, Francesco de Maria\, Mimmo Paladino. URL:https://www.museoman.it/en/event/transvanguardia/ 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-mostra-Transavanguardia_foto-Confinivisivi.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20060428T000000 DTEND;TZID=Europe/Rome:20070625T000000 DTSTAMP:20260622T010019 CREATED:20240417T141114Z LAST-MODIFIED:20240417T141114Z UID:5024-1146182400-1182729600@www.museoman.it SUMMARY:From figurativity to abstraction DESCRIPTION:The MAN presents From figurativity to abstraction. Paths of Italian art between 1945 and 1960\, from the Gnam collections\, and offers with this new exhibition created in collaboration with the GNAM of Rome a unique opportunity to admire 55 paintings and 13 sculptures by some of the most important Italian artists. \nThe selected works re-propose the climate of linguistic experimentation and research of that fervent period of renewal of the Italian artistic language\, experienced after the war and characterized by the need to open up to comparison with foreign experiences. At the end of the Second World War\, the crisis of culture led\, in fact\, also in Italy to an introspection of consciences and a rebellion against the expressive methods of previous artistic research. \nThe debate on the future of Italian art is wide-ranging\, it is discussed in magazines\, in galleries and in the groups that are forming. In 1946 the Fronte Nuovo della Arti was formed between Milan and Venice\, a grouping of the most innovative artists who defended an art inspired by the historical avant-gardes. Already within it two souls coexist\, one tending towards abstraction\, the other which chooses not to abandon the terrain of reality. \nForma 1 was created in 1947 in Rome\, and the Concrete Art Movement in 1948 in Milan. Even in the following years\, there were many groups that intended to formulate new artistic possibilities\, from the Otto group to Originne\, from Spatialism to Nuclearism\, but there were also numerous artists who preferred to follow the path of renewal alone\, sometimes towards abstraction and the informal sometimes towards a new type of figuration. The years from 1945 to 1960 allowed many Italian artists to choose a side and find\, with originality and coherence\, a mature dimension of their art. \nThis new generation\, with its torments and its faiths\, is the generation of the fathers of today’s artistic culture in Italy\, present in this exhibition with important and significant works from that particular historical moment. Many of the works on display were purchased by Gnam at major national exhibitions\, some during exhibitions at private galleries or directly from the artists. \nOthers\, a large number\, were deposited by the artists themselves\, eager to gain a place of respect in what was considered the most important institutional showcase in Italy. These were the years\, those from 1945 to 1930\, in which the National Gallery of Modern Art was directed by Palma Bucarelli who\, together with Giulio Carlo Argan\, conducted a policy of acquisitions favoring the side of the abstractionists\, but trying\, at the same time\, to enhance a conspicuous part of the most recent Italian art\, even if\, undoubtedly\, their choices proved closed to more Italian artistic expressions and in some way continuity with the previous figurative tradition. \nArtists: Afro\, Marcello Avenali\, Gino Bellani\, Renato Birolli\, Renato Birilli\, Remo Brindisi\, Corrado Cagli\, Massimo Campigli\, Giuseppe Capogrossi\, Bruno Cassinari\, Ettore Colla\, Pietro Consagra\, Antonio Corpora\, Giorgio De Chirico\, Nino Franchina\, Franco Gentilini\, Manlio Giarrizzo\, Renato Guttuso\, Bice Lazzari\, Leoncillo\, Mauro Manca\, Marino Marini\, Titina Maselli\, Umberto Mastroianni\, Giuseppe Magneco\, Luciano Minguzzi\, Mirko\, Sante Monachesi\, Luigi Montanarini\, Enrico Paulucci\, Achille Perilli\, Nino Perizi\, Fausto Pirandello\, Armando Pizzicato\, Enrico Trampolini\, Mario Radice\, Mauro Reggiani\, Manlio Rho\, Sergio Romiti\, Piero Sadun\, Bruno Saetti\, Giuseppe Santomaso\, Angelo Savelli\, Alberto Savinio\, Toti Scialoja\, Antonio Scordia\, Atanasio Soldati\, Giulio Turcato\, Giuseppe Uncini URL:https://www.museoman.it/en/event/from-figurativity-to-abstraction/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20060120T000000 DTEND;TZID=Europe/Rome:20060326T000000 DTSTAMP:20260622T010019 CREATED:20240417T141133Z LAST-MODIFIED:20240417T141133Z UID:5028-1137715200-1143331200@www.museoman.it SUMMARY:Between Realism and Avant-garde DESCRIPTION:The MAN presents\, for the first time in Sardinia and the only venue in Italy\, Between Realism and Avant-garde. A journey into Russian Impressionism. Works from the State Museum of St. Petersburg. \nThe exhibition illustrates a journey through Russian painting at the end of the 19th and the beginning of the 20th century through an important selection of works from the collection of the State Museum of St. Petersburg which tell the specificity of Russian impressionism in relation to the French one\, highlighting its peculiarities linked to native culture and tradition. \nThe event\, born from an idea by Cristiana Collu\, director of the MAN\, and curated by Marta Sierra\, is created with the co-production of the Fundavò la Caixa of Girona and represents a unique opportunity to understand the importance of the impressionist movement in Russia and meet little-known artists in our country. The texts in the catalog are written by Vladimir Leniashin and Natalia Novosilzov\, the latter author of important studies on all Russian painting from the 12th to the 20th century and professor at the Autonomous University of Barcelona. \nAlthough Impressionism is traditionally identified as a French artistic movement of the late 19th century\, it is known to have spread to several European and American countries. Russian artists\, especially those who received scholarships from the Parisian workshops and academies\, were no strangers to this influence which they actually welcomed and modified on the basis of their personal sensitivity and culture. Russian impressionism has its origins in realism\, starting from 1870\, when painters such as Repin or Pojitonov\, in an attempt to bring art closer to life\, began to play with light in their canvases and used impressionist techniques to enrich painting with realism\, giving life to what is commonly defined as “realist impressionism”. \nHowever\, there was not yet full awareness among artists that this was a new way of seeing art. And furthermore\, the visual autonomy of Impressionism\, its disregard of traditional humanistic problems and the passionate way of painting\, were interpreted as a sort of renunciation of the noble ideals of the Enlightenment\, sowing doubts and anxiety among the public and critics. \nIf during the 1870s impressionism in Russia was a latent movement at the service of realism\, in the following decade it became an autonomous artistic current with its own ethics and aesthetics\, whose fathers were Vasiliev\, Serov and Grabar\, all represented in this exhibition. The traditional signs of impressionist painting: the light tones\, the free brushstroke\, the shadows and the fragmentation of colors\, are found in the work of many artists\, such as Borisov-Musatov\, Levitan and Feshin. Russian impressionism\, however\, goes beyond exclusively plastic and technical issues: the painters\, in their works\, talk about everyday life. \nAt the beginning of the 20th century\, the creative and impressionist essence of Russian art flourished\, which\, while maintaining all the traits common to European impressionism\, shaped them through its national character\, presenting itself as an interesting fusion of tradition with modernity. In that same period of time\, impressionism spread both among realist artists and among those who would later be protagonists of cubism and futurism. This phenomenon is observed in the post-impressionist neoprimitivism of Goncharova or the avant-garde Larionov. Malevich\, in this same period\, also recreated impressionist atmospheres in his work\, making it a significant stage in his artistic journey. In Russia\, the years covered by this exhibition were particularly rich and intense for all the arts. \nLiterature\, dance\, music\, theater experienced\, together with the plastic arts\, a period of great transformation and creativity\, with an extraordinary interaction between the different disciplines. The silver age is defined as that period of time which\, according to Natalia Novosilzov\, can be considered as a sort of cultural renaissance which «stood out in a particular way for the active coexistence and very intense and passionate relationship between the different branches of art\, philosophy and poetry.” URL:https://www.museoman.it/en/event/between-realism-and-avant-garde/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20060120T000000 DTEND;TZID=Europe/Rome:20060324T000000 DTSTAMP:20260622T010019 CREATED:20240417T141134Z LAST-MODIFIED:20240417T141134Z UID:5020-1137715200-1143158400@www.museoman.it SUMMARY:MODERN TIMES (VOLUME 2) DESCRIPTION:Edited by Maria Rosa Sossai. \nThe modern era appears to us as a field of forces that are heterogeneous\, stratified and difficult to read\, within which the production of moving images has assumed a prominent role. Through a selection of videos and films by visual artists and filmmakers\, the exhibition Modern Times (volume 1 & 2)\, whose title is a tribute to one of the masterpieces of world cinema\, investigates some aspects of this renewed centrality of vision. The points of observation that the works present offer are multiple\, demonstrating how in recent decades video and film production has expanded and diversified the areas of experimentation\, entering fully into contemporary artistic research. If the use of various narrative typologies marks the return to the oral form of the story\, the temporal stratification\, the editing of found footage created by the artist himself or coming from archive material\, signal the introduction of remix techniques coming from the musical field and the current integrated digital system\, capable of unifying heterogeneous forms of communication. The use in some cases of the documentary style\, the reference to the imagery of the first cinematographic shows\, the return of the performance in the video and to the theatrical gesture\, call into question the existing relationship between spectator and work. The metropolis returns to being a place to be told\, in its emblematic quality as a cultural model that defines the notion of contemporaneity. Narrating through images seems to have become the constitutive sign of our knowledge which is structured around the ever-present need to build stories\, a need that remains irreplaceable and still vital. \n After Modern Times (volume 1)\, presented in October 2005 in various spaces in the city of Nuoro – the Man Museum\, the Satta library and the shop windows of Corso Garibaldi – Modern Times Volume 2 resumes on 20 January\, with a cycle of four exhibitions\, each lasting two weeks\, which will offer eight days of video works by talents belonging to the Italian and international art scene in the two spaces located on the ground floor of the museum. \n\n\n\nJanuary 20\, 2006\n\n\nElisabetta Benassi \, Mirages 1#3\, 2005 \nGuido van der Werve \, Number Vier \, 2005 \n\n\n\nFebruary 10\, 2006\n\n\nJosef Robakowski \, From my window \, 2000 \nSabrina Mezzaqui \, Lines \, 2005 \n\n\n\n03 March 2006\n\n\nAdrian Paci \, PilgrIMAGE \, 2005 \nDavide Bertocchi \, Silt \, 2005 \n\n\n\nMarch 24\, 2006\n\n\nJesper Just \, Bliss and Heaven\, 2004 \nRaffaella Mariniello \, Over and Over \, 2005 URL:https://www.museoman.it/en/event/modern-times-volume-2/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20050923T000000 DTEND;TZID=Europe/Rome:20060108T000000 DTSTAMP:20260622T010019 CREATED:20240417T141137Z LAST-MODIFIED:20240417T141137Z UID:5004-1127433600-1136678400@www.museoman.it SUMMARY:BYO DESCRIPTION:With BYO. Bring Your Own the MAN gives a title not so much to an exhibition but to an attitude that has characterized its short history and at the same time consolidates a habit that aims to underline the capacity for openness\, hospitality and attention of a contemporary museum inserted in a such an eccentric context. \nThe MAN\, agile and versatile\, does not hesitate to make space\, temporarily putting aside its own collection to host another\, and in this movement offers its physical space as the protagonist\, not just a neutral white paper ready to be written\, but a complex “structure” with which to dialogue in order to write a new story. \nExhibiting an art collection in a context different from the original one necessarily means recalibrating and reinterpreting it; this appears even more true in the case of the Teseco Foundation for Art\, whose works\, in perfect coherence with the company’s cultural objectives\, aimed at disseminating contemporary themes to a wider audience than that of professionals\, are installed inside the Teseco Management Building\, an environment that is difficult to assimilate to the aseptic one of a museum\, where instead the works contribute not only to designing the space but define a real conceptual score. \nBYO. Bring Your Own therefore presents itself as a broad selection: the result of an “external” look that aims to propose an approach to the works of the collection without producing an automatic departure from the project that brought them together. Precisely because creating an exhibition (like giving life to a collection) still means making a selection\, in designing the exhibition we related to the entirety of the Teseco collection as a given panorama\, with the aim of clearly bringing out some lines present at the its interior but made less explicit by the considerable quantity of material acquired by the Foundation over the course of approximately fifteen years. \nAn exhibition is always the expression of a particular point of view\, and what qualifies and makes a point of view authentic is not the presumed capacity for global vision\, but the desire to transform a gaze\, however “partial” (the limitation is condition of seeing itself)\, in a “targeted” and “delimited” vision: only within this last perspective does each presence find\, in an exhibition\, its necessary and correct justification in relation to a given space and the other presences\, in a sort of mutual illumination. \nThe catalog accompanying the exhibition cannot therefore be read as exhaustive of the Teseco collection but as the instrument of an exhibition which\, targeted and delimited\, aims to project a particular light on the Italian and international art scene of recent years\, starting from the works of a collection. An exhibition that ranges from photography to sculpture\, from video to painting\, but also from large installations to decidedly more intimate works\, attentive to the international panorama without forgetting the young national presences or giving up the skilful recovery of important artists trained in the Sixties and Seventies\, not so well known in our country. \nEdited by Saretto Cincinelli and Alberto Mugnaini \n The artists: Marina Abramovic\, Franz Ackermann\, Stefano Arienti\, Massimo Bartolini\, Vanessa Beecroft\, Elisabetta Benassi\, Simone Berti\, Botto and Bruno\, Matti Braun\, Candice Breitz\, Antonio Catelani\, Claude Closky\, Daniela De Lorenzo\, Carlo Fei\, Adam Fuss\, Alberto Garutti\, Vidya Gastaldon and Jean-Michel Wicker\, Alex Hartley\, Thorsten Kirchhoff\, Jürgen Klauke\, Yayoi Kusama\, Eva Marisaldi\, Amedeo Martegani\, Laura Matei\, Zwelethu Mthethwa\, Juan Muñoz\, Luigi Ontani\, Panamarenko\, Luca Pancrazzi\, Cornelia Parker\, Paola Pivi \, Tobias Rehberger\, Andrea Santarlasci\, Cindy Sherman\, Elisa Sighicelli\, Katharina Sieverding\, Hiroshi Sugimoto\, Giovanni Surace\, Wolfgang Tillmans\, Patrick Tuttofuoco\, Francesco Vezzoli\, Chen Zhen\, Heimo Zobernig\, Italo Zuffi. URL:https://www.museoman.it/en/event/byo/ 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/BYO.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20050923T000000 DTEND;TZID=Europe/Rome:20051023T000000 DTSTAMP:20260622T010019 CREATED:20240417T141136Z LAST-MODIFIED:20240417T141136Z UID:5014-1127433600-1130025600@www.museoman.it SUMMARY:MODERN TIMES (volume 1) DESCRIPTION:The MAN presents the Modern Times exhibition\, a video exhibition that goes beyond the confines of the museum to also take place along the city’s pedestrian street and in the auditorium of the Satta Library\, in the belief that the action of a museum is never forced within the its perimeter but always and in any case projects itself outside. In the intra and extra muros movement\, that oscillation takes place which we hope demonstrates that contemporary language\, and more than ever that of moving images\, has assumed a pre-eminent role in our time. \nThrough a selection of video works and films by visual artists and filmmakers\, the Modern Times exhibition\, whose title is a tribute to one of the masterpieces in the history of cinema\, investigates some aspects of this renewed centrality of vision. The works on display offer a variety of observation points\, demonstrating the fact that\, in recent decades\, video and film production has grown and diversified\, involving different areas of experimentation\, thus becoming an integral part of contemporary artistic research. \nIf the use of different narrative typologies marks the return to the oral form of the story\, the temporal stratification\, the editing by the artist of repertoire or archive material\, underline the introduction of mixing techniques borrowed from music and able\, in the current integrated digital system\, to unify different forms of communication. The use in some cases of the documentary style\, the reference to the imagery of the first historical cinema screenings\, the return of the video performance and the theatrical gesture\, concern the relationship existing between the spectator and the work. The metropolis is once again a place to be told\, for its emblematic quality as a cultural model that defines the notion of contemporaneity. Telling stories through moving images has become the constitutive symbol of our knowledge which develops and is structured around the always fundamental need to build stories\, an irreplaceable and still alive need. \n MAN _ Giles Perry\, Stephen Dean\, ZimmerFrei\, Marcello Maloberti Shop Windows _ Alice Anderson\, Mircea Cantor\, Stefania Galegati\, Claude Leveque\, Jonathan Horowitz\, Domenico Mangano\, Eva Marisaldi\, Christophe Girardet and Matthias Müller\, Sisley Xhafa\, Nico Vascellari\, Marinella Senatore\, Vibeke Tandberg Satta Library Auditorium _ Olivo Barbieri\, Alina Marazzi\, Christian Merlhiot\, Rä Di Martino\, Laura Erber\, Pavel Braila \nEdited by Maria Rosa Sossai URL:https://www.museoman.it/en/event/modern-times-volume-1/ 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/MODERN.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20050630T000000 DTEND;TZID=Europe/Rome:20050904T000000 DTSTAMP:20260622T010019 CREATED:20240417T141141Z LAST-MODIFIED:20240417T141141Z UID:4995-1120089600-1125792000@www.museoman.it SUMMARY:(IN)VISIBLE (IN)BODILY DESCRIPTION:(IN)VISIBLE (IN)BODY has the ambition of drawing a map\, however partial\, but no less relevant\, of the most recent operational area in which the parallel and integrated conceptions of the invisible in the visible and of the incorporeal are manifested in the body. The project aims to present a variety of approaches and outcomes that are very different from each other\, in a path and in a story for works that on these initial assumptions\, the presence of the invisible in the visible and the evidence of the incorporeal in the corporeal\, thus like the tension of the visible towards the invisible and of the corporeal towards the incorporeal\, are set in various ways. If the tools can only be those of art\, in the specific case of an artistic manifestation\, the two oppositional and interconnected axioms extend beyond the strictly artistic sphere to place themselves in a broader area of ​​interest that embraces the very meaning of culture in the era we are living in. \nThe incipit of the journey/story is given by a splendid and emblematic Cosmogonie by Yves Klein (Nice 1928 – Paris 1962)\, in which the imprint of a body is reproduced in blue pigment\, an essential feature of all his work. It is in fact the French artist who peremptorily raises the problem of an immaterial art. If this is the beginning\, the path subsequently unfolds in multiple phases and episodes far from that original statement. Aesthetic sensuality and the cult of beauty elevate bodies and figures in the immateriality\, albeit illusory\, of their appearances in the work of Ettore Spalletti (Cappelle sul Tavo 1940\, lives in Spoltore). At the same time\, and in the same cultural climate that characterized the Eighties\, there is a call to a spirituality that manifests itself equally deceptively in the materials and constructions of Anish Kapoor (Bombay 1954\, lives in London). \nThe tension of a nameless desire\, like a passion without an object that is no less than the totality of meaning of life and being\, transfigures the work of Marisa Merz (lives in Milan and Turin) into an index and announcement of something that surpasses the triviality of every appearance. The cancellation of the image in the work of Hiroshi Sugimoto (Tokyo 1948\, lives in New York and Tokyo) causes the gaze to return to itself and its own solitude. \nThe sign/gesture that marks the void in the painting of Lee U Fan (Gyeongnam\, Korea\, 1936\, lives in Kamakura)\, as well as the dissolution of form in the sculpture of Medardo Rosso (Turin 1858 – Milan 1928) combined beyond the time in which the respective works have made their appearance which indicate the continuous emergence of the invisible in the visible and the incorporeal in the corporeal. Addo Lodovico Trinci (Pistoia 1956\, lives in Pistoia)\, who marks the polarities of the energy of the universe according to the principles of the Chinese doctrine of Feng Shui\, and Salis-Vitangeli (Giovanna Salis\, Sassari 1970\, Massimo Vitangeli\, Perugia 1950\, live in Polverigi)\, which in their representation of a sacred environment make human figures pass by like fatuous shadows\, make visible what remains invisible and deprive bodies of their potential for representation. \nThe cinema of Mark Lewis (Hamilton\, Ontario\, 1957\, lives in London) in its filmic evidence exhibits what does not appear\, taking nothing away from what is visible. The interventions of Koo Jeong-a (Seoul\, 1967\, lives in Paris) are always site specific and reveal\, despite the discretion of their construction\, a subtle essence that pierces bodies\, substances and figures\, like a thread of breeze that rises and penetrates the hottest day\, bringing out the hidden and the dormant. \nGiovanni Ozzola (Florence 1982\, lives in Florence) works in his photographs and videos on an auroral substance where things\, feelings and forms come to the surface from the invisibility that envelops them and are converted into diaphanous forms or into massive apparitions in which something is hidden or removed. The video of Sabrina Mezzaqui (Bologna 1964\, lives in Marzabotto) is equally evident and does not grant any access except as a mobile curtain that blocks any further possible viewing. Giandomenico Sozzi (Solaro 1960\, lives in Milan and Noto) presents a journey of monochromes that opens with found photos and ends in a mini sculpture of absolute sacredness\, which tells nothing other than its own inscrutable story. A dispassionate apologue on blindness is by the filmmaker Francesco Dal Bosco (Trento 1952\, lives in Trento): two moments of silence that suspend speech. \nRobert Vincent (working entity formed in 2004) proposes a dazzling environment around an object of elaborate and successive constructions\, which is indicative of a fundamental absence. Davide Rivalta (Bologna 1974\, lives in Bologna) recovers the oldest representation technique in history by drawing on the wall and uses it to depict animals\, as in the caves of the origins of art\, no longer hunted for sustenance \, but creatures close to us and now forgotten except as nutrients without identity\, laboratory and entertainment instruments\, pariahs of life on earth. Giuseppe Caccavale (Afragola 1960\, lives in Bari and Marseille) also recovers ancient ways of Mediterranean culture\, which through decoration and obsolete symbols express the sense of mystery and the aspiration to beauty. The exhibition ends with the cosmic images of Rotraut (Uecker Klein-Moquay) which are paired with the petit prince rustico by Pastorello (Sassari 1967\, lives in Sassari)\, a fantasy figure\, personification of an eternal childhood\, which touches the brush painting a star. \n If the exhibition inside the museum ends here\, it continues beyond its walls and beyond the event of its inauguration\, in the context of the city and its territory with secret interventions (Pawel Althamer\, Warsaw 1967\, lives in the Brodno district of the same city ​​) and occasional ones (Piotr Uklanski\, Warsaw 1968\, lives in Paris) to conclude in the ephemeral and final show of Cai Guo Qiang (Quangzhou\, Fujian province\, China\, 1957\, lives in New York). If this is so\, it is because it is well suited to that which remains invisible in the visible and to that which is incorporeal in the course of construction. \n Edited by Pier Luigi Tazzi\, independent critic and curator \n The artists _ Intra moenia : Yves Klein\, Ettore Spalletti\, Anish Kapoor\, Marisa Merz\, Hiroshi Sugimoto\, Lee U Fan\, Medardo Rosso\, Addo Lodovico Trinci\, Salis-Vitangeli\, Mark Lewis\, Koo Jeong-a\, Giovanni Ozzola\, Sabrina Mezzaqui\, Giandomenico Sozzi\, Francesco Dal Bosco\, Robert Vincent\, Davide Rivalta\, Giuseppe Caccavale\, Rotraut\, Pastorello. Extra moenia : Cai Guo Qiang\, Pawel Althamer\, Piotr Uklanski. URL:https://www.museoman.it/en/event/invisible-inbodily/ 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/Invisibile-incorporeo.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20050311T000000 DTEND;TZID=Europe/Rome:20050529T000000 DTSTAMP:20260622T010019 CREATED:20231220T153227Z LAST-MODIFIED:20231220T153227Z UID:5090-1110499200-1117324800@www.museoman.it SUMMARY:50's 60's DESCRIPTION:The MAN presents an extraordinary\, unique and unrepeatable event. In fact\, the forty masterpieces that make up this exhibition\, belonging to the collections of the National Gallery of Modern Art in Rome\, are normally exhibited to the public of the Roman Museum in the second twentieth century sector of the Gallery and constitute one of its most important nuclei. \nIn fact\, they offer an exceptional testimony to the artistic expressions that characterized the Italian culture of the fifties and sixties\, when\, having now overcome the contrast between figuration – realism and abstraction – cuboexpressionism in the name of a new abstractionism\, the figurative poetics embody the desire to create a new language completely free from tradition\, free to express the reality of the sign\, the reality of the gesture\, the reality of the matter. \nThe term “informal”\, used by critics for almost all the artists who appear here\, and in reality applicable only to some of them\, nevertheless indicates the distance now taken even by those who are not exactly young with respect to the commonly understood artistic form. Form that includes space\, line\, color and the arrival at personal\, private languages\, in which the deepest needs of the spirit and intellect seek the most immediate expressive medium in new or newly understood materials: thus the holes are born and then the cuts by Fontana\, bags\, irons and plastics by Burri\, the assemblies of metal elements by Colla\, the “fork” acronym by Capogrossi\, the painted action by Vedova\, to name just a few of the best-known names. These are the fruits of an intense season of experiences and critical debates involving not only the artists present here\, but also passionate militant critics such as Lionello Venturi\, Nello Ponente\, Emilio Villa\, Giovanni Testori and others. \nItalian art\, driven by a real need to break with the past and aimed at conquering a new and diversified universe of representation\, comes to give life to one of the best and least provincial periods\, compared to Europe and the United States of ‘America\, of the artistic culture of the second half of the 20th century. More than an exhibition\, this exhibition could be defined as a slice of the Museum made available to another public Museum\, which an extraordinary circumstance\, such as the hospitality that this year the National Gallery gives to the XIV edition of the Rome Quadrennial\, has made possible. \nThis is a cultural operation of great importance for the National Gallery\, which thus manages\, with the full collaboration of the MAN of Nuoro\, to raise awareness even “outside the walls”\, and according to a method that now has a consolidated tradition\, portions of the heritage of works of art that it protects and manages on behalf of the State and which therefore belongs to everyone. \nThe exhibition\, enthusiastically granted by the Superintendent of the National Gallery Maria Vittoria Marini Clarelli\, is curated by Mariastella Margozzi with Maura Picciau. The catalog contains introductory essays by the curators on the historical period presented\, on the movements and artists\, on the history of the works and authors intertwined with the events of the National Gallery. \nThe artists: Carla Accardi\, Afro\, Alberto Burri\, Giuseppe Capogrossi\, Ettore Colla\, Pietro Consagra\, Piero Dorazio\, Lucio Fontana\, Gastone Novelli\, Achille Perilli\, Arnaldo Pomodoro\, Antonio Sanfilippo\, Toti Scialoja\, Tancredi (Parmeggiani)\, Giulio Turcato\, Cy Twombly\, Emilio Widow. \n  \nEdited by Mariastella Margozzi with Maura Picciau. URL:https://www.museoman.it/en/event/50s-60s/ LOCATION:HIBOU CATEGORIES:MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2023/12/Invito-50-60.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20050128T000000 DTEND;TZID=Europe/Rome:20050227T000000 DTSTAMP:20260622T010019 CREATED:20240417T141143Z LAST-MODIFIED:20240417T141143Z UID:4987-1106870400-1109462400@www.museoman.it SUMMARY:DNA: From the twentieth century to today DESCRIPTION:The exhibition and the catalogue DNA: From the twentieth century to today. The MAN collection they are the photograph not only of our collection but also of the museum as an institution\, one of the most important testimonies of its growth\, its evolution and its constant work. It shows that we believe that one of the museum’s missions is to research\, acquire\, conserve and exhibit the works of its collection\, a complex and difficult job\, made up of accelerations\, stasis and new impulses that define a perpetual path that began in 1999 with our first one hundred and thirty works\, the initial nucleus of the collection at the time of the museum’s opening. In the meantime we have tried to fill the gaps\, enriching with purchases\, donations and loans a collection that we illustrate today in its entirety\, taking stock\, describing the here and now because a collection is always evolving\, always growing to become richer and important\, also for this reason we thought of a new definition\, not any more An art journey in Sardinia in the 20th century but From the twentieth century to today. There MAN collection\, with an acronym DNA\, which seems to us to be a splendid synthesis of what it represents: our roots\, our essence and our future\, what makes us unique\, different\, special\, our genetic map where the potential of the future is found in nuce. The future asks us to prepare the way for it\, and we prepare new exhibitions by selflessly cultivating the visitors of tomorrow through an increasingly accurate and incisive Education department and Teaching section\, with the precise intention of eliminating the distances between people and the museum. \nThe exhibition saw the display\, in a new layout\, of over 200 works through a chronological path full of thematic ideas (women\, landscape\, still life)\, small cameos dedicated to individual artists (Biasi\, Ballero\, Ciusa \, Delitala\, Nivola\, Pintori\, to name a few)\, the largest public collection of drawings by Salvatore Fancello\, up to Antonio Secci\, Gino Frogheri\, Rosanna Rossi\, Maria Lai and others. URL:https://www.museoman.it/en/event/dna-from-the-twentieth-century-to-today/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20041001T000000 DTEND;TZID=Europe/Rome:20050116T000000 DTSTAMP:20260622T010019 CREATED:20240417T141157Z LAST-MODIFIED:20240417T141157Z UID:4996-1096588800-1105833600@www.museoman.it SUMMARY:Daily Italy DESCRIPTION:The ”Italia Quotidiana” exhibition is made up of sixty-five works\, including paintings (45) and sculptures (20)\, belonging to the collections of the National Gallery of Modern Art; they are not part of the recently reorganized exhibition itinerary\, but have been preserved for years\, sometimes decades\, in its Deposits. This is an exhibition of exceptional value\, which brings to the attention of the general public works by important and significant Italian artists\, which for reasons of both space and reiteration of the themes have not found a place in the rooms of the building in viale delle Belle Arti . \nCreated by over forty artists\, they are placed chronologically in a time span that goes from the 1920s to the late 1940s and highlight the path of Italian art from the moment of re-elaboration of classically derived themes and stylistic figures to the period of maturation of the figurative language ”modern” of the 1930s\, often identified with the aesthetic canons of the twentieth century\, reaching a more or less evident contrast with these and therefore an opening towards other research\, aimed at the expressiveness of content and form. \nThe painting is presented by sections and types such as Still Life \, The figure \, The landscape And The portrait . The common thread is the feeling of everyday life in the artistic panorama of the period which emerges from the choice of anti-rhetorical and anti-heroic works which interpret\, in all facets of the artistic environment from the 1920s to the end of the 1940s\, the life and reality of Italy of the time. \nThe last section dedicated to Sculpture as reality and as transformation \, presents a series of truly extraordinary and little-known works that retrace the salient phases of the art of the period between return to order\, mannerist forms\, twentieth centuryism and anti-twentieth centuryism. \nFrom Giacomo Balla to Filippo De Pisis\, from Libero Andreotti to Nino Franchina\, passing through Giorgio de Chirico\, Mario Mafai\, Pericle Fazzini\, Giacomo Manzù\, Marino Mazzacurati\, Fausto Pirandello and Antonietta Raphaël Mafai\, the history of the figurative culture of a The era that wanted to portray everyday life and reality with attention and grace\, recording those family and social values ​​of dedication and feeling that were considered an integral part of the Italian spirit of that period. \nFurthermore\, this overview offers the opportunity to reflect on the motivations and methods of acquisition of the works by the most important Italian museum institution responsible for contemporary art\, the National Gallery of Rome. They largely propose the stylistic and content values ​​that the State wanted to propose to public enjoyment in order to direct its taste. They therefore represent an interesting choice often within important exhibition events\, such as the Venetian Biennials and the Rome Quadrennials\, and also record the epochal transition between the direction of the Gallery by Roberto Papini\, coinciding with the years of fascism and of the war\, and that\, from 1941 onwards\, of Palma Bucarelli. \nArtists of lesser fame\, but not of lesser caliber\, are also represented in the exhibition\, who contribute significantly to a more in-depth knowledge of the very lively artistic panorama that characterizes these two decades of Italian life; among them: Antonio Biggi\, Quirino Ruggeri\, Amedeo Bocchi\, Alfredo Biagini\, Pasquarosa Bertoletti\, Bruno Saetti\, Emilio Sobrero\, Alberto Salietti. Also among the works\, including four De Chirico works never exhibited before. \nAmong the most significant works are: The friends And Portrait of Isa by Giorgio De Chirico\, The queue for the lamb And The four of us in the mirror by Giacomo Balla\, Brandano the fisherman And Forgiveness by Libero Andreotti\, Still life with pipe and books And Flowers by Filippo De Pisis\, Seated man by Pericle Fazzini\, Asparagus by Achille Funi\, Dried flowers by Mario Mafai\, Woman combing her hair by Giacomo Manzù\, Portrait of Alfonso Gatto by Marino Mazzacurati\, Objects And Roofs by Fausto Pirandello\, Bacchus at the tavern by Gregorio Sciltian. \nBy Mariastella Margozzi\, head of the 20th century collections at GNAM\, Rome \nThe exhibition is placed under the High Patronage of the President of the Republic and has received the patronage of the President of the Chamber of Deputies. URL:https://www.museoman.it/en/event/daily-italy/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20040701T000000 DTEND;TZID=Europe/Rome:20040919T000000 DTSTAMP:20260622T010019 CREATED:20240417T141144Z LAST-MODIFIED:20240417T141144Z UID:5001-1088640000-1095552000@www.museoman.it SUMMARY:UGO MULAS DESCRIPTION:Ugo Mulas was born on 28 August 1928 in Pozzolengo\, near Desenzano del Garda (Brescia)\, where his father had moved from Sardinia. He completed his studies and classical high school diploma in Desenzano. In 1948-52 in Milan\, he enrolled in law studies\, but abandoned them before graduating to take courses at the Brera Academy of Fine Arts. He frequents the Jamaica bar\, a meeting place for artists and intellectuals. He begins to take an interest in photography. Between 1954-58 he began his professional activity as a photographer at the Venice Biennale. In this period he photographed the bidonvilles\, the station and the suburbs of Milan. He earns his living by taking advertising\, fashion and reportage photographs for various magazines and newspapers\, but his main interest is in the world of art. He photographed the Venice Biennale until 1972\, capturing its most important events. He began his collaboration with Giorgio Strehler of the Piccolo Teatro in Milan. In 1960 he carried out numerous reportages in Europe for Illustrazione Italiana with Giorgio Zampa\, for Settimo Giorno\, for Rivista Pirelli\, for Novità (Vogue)\, Domus\, Du. He collaborates with the advertising offices of Pirelli and Olivetti. From 1962-64 are the photographs of the outdoor sculpture exhibition in Spoleto (1962) of David Smith in his atelier in Voltri (1962)\, of Alexander Calder in Spoleto and in Saché in Touraine in 1962\, and in 1964 in his atelier in Roxbury in Massachusetts\, the photographs for the poems of Eugenio Montale Ossi di Seppia. In these years he met Alan Solomon\, Leo Castelli\, and numerous American artists at the 1964 Biennial. He traveled to New York in 1964\, 1965 and 1967\, years in which he created an exceptional documentation of the New York art scene. The collaboration between Giorgio Strehler and Ugo Mulas began a model of theater photography according to the Brechtian principles of estrangement. The staging of The Life of Galileo in 1964 is testimony to this. In 1969 he took a series of photographs for the sets of Benjamin Britten’s opera The turn of the screw\, based on the novel by Henry James\, directed by Puecher at the Piccola Scala in Milan (1969) and for opera by Alban Berg Woyzeck\, from the drama by Georg Büchner\, directed by Puecher\, at the Teatro Comunale of Bologna. \nBetween 1970-72 he fell seriously ill. The series of photographs The verifications begins: twelve photographs\, each accompanied by a text in which he retraces his being a photographer and his profession as a man. He died in Milan on 2 March 1973. \nUgo Mulas is not only the photographic witness of Milan\, artistic but not only\, of the 50s and 60s\, of the Venice Biennale of the same years\, of American art experienced firsthand of the developments of Abstract Expressionism and Pop Art \, the friend of Calder and many artists. He is also and above all a protagonist of those years\, the one who changed photography\, not only in Italy. His famous ones Checks \, the last series created before death took him prematurely\, is not only the final outcome of his research and the definition with which it is classified as conceptual photography is not enough to exhaust its meaning. Mulas is a photographer who has had his eye on the analysis of the photographic medium since the beginning\, who scrutinizes\, while portraying\, the conditions of artists’ creativity\, who changes the conventional methods of the photographic genres to which he dedicates himself\, from portrait to photography of theatre\, from fashion to scenography; he is a careful researcher who immediately understands that art is changing and immediately leaves to go where\, in New York\, he understands that what interests him is happening; he is the art reporter who understands the importance of process in artistic creation\, both others and one’s own; he is the photographer who makes the leap into art\, who makes it possible for Italian photography and beyond. Mulas is the most influential photographer of Italian art. His work deserves a revisitation that shows these aspects: verification of checks\, verification of his work in the light of his own Checks\, a coherent path like few others\, which was among the first to open Italian art to conceptuality\, immediately showing how awareness of the medium is indispensable to art as much as art is to awareness of the medium\, that the concept does not exist without creation and research without sensitivity. \nThe exhibition will offer a selection of around 110 photographs\, not without unpublished and little-known images\, reconstructing Mulas’s artistic career in its entirety\, focused on sequences and contacts\, showing Mulas’s personal artistic reflection. \nWe will insist on the figure of Mulas as an artist (not as a documentary photographer)\, and the chronological path will be in reverse: from the Verifications (12) to his work on the scenography (10 from Wozzeck and 10 from The Turn of the Screw)\, to the sequences (6 Cuttlefish Bones\, 10 Duchamp\, 6 Fontana + a sequence on Giacometti)\, to then move on to the work on art (the artists) (3 large complete specimens: Johns\, Lichtenstein\, Noland\, 25 portraits + 1 Urban field) and return to the one on Milan (15 Milan of the 50s\, 5 Milan of the 60s + 3 colour)\, but not in a documentary sense\, but rather as personal research\, and for this reason\, in this last section the images will be mixed from a chronological point of view \, precisely to show the continuity of the artist’s project. \n Edited by Elio Grazioli\, contemporary art critic URL:https://www.museoman.it/en/event/ugo-mulas/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN END:VEVENT END:VCALENDAR