BEGIN:VCALENDAR VERSION:2.0 PRODID:-//MAN_Museo d'Arte della Provincia di Nuoro - ECPv6.16.3//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-ORIGINAL-URL:https://www.museoman.it/en/ X-WR-CALDESC:Events for MAN_Museo d'Arte della Provincia di Nuoro REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:Europe/Rome BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20010325T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20011028T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20020331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20021027T010000 END:STANDARD 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 END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20070525T000000 DTEND;TZID=Europe/Rome:20070902T000000 DTSTAMP:20260622T073050 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:20260622T073050 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:20260622T073050 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:20260622T073050 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:20260622T073050 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:20260622T073050 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:20260622T073050 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:20260622T073050 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:20260622T073050 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:20260622T073050 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:20260622T073050 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:20260622T073050 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:20260622T073050 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:20260622T073050 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:20260622T073050 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:20260622T073050 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:20260622T073050 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:20260622T073050 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 BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20040701T000000 DTEND;TZID=Europe/Rome:20040919T000000 DTSTAMP:20260622T073050 CREATED:20240417T141143Z LAST-MODIFIED:20240417T141143Z UID:5010-1088640000-1095552000@www.museoman.it SUMMARY:The stubborn look DESCRIPTION:At the same time as the exhibition on Ugo Mulas\, the MAN is offering an important video exhibition which is configured as a sort of survey of Italian video in recent years. The invited artists\, all Italians of the latest generation (between 20 and 40 years old)\, propose through their works\, a reflection on reality and our time\, according to that special declination of the visual language typical of the most current and contemporary artistic instrument. \nThe proposed videos\, around 15 in total\, will present one or more works by the selected artists\, intending to give not only a state of Italian research but also a brief chronological journey of the personal investigation of the most established artists\, together with first works by debutants who are characterized by the strength and technical ability of the medium. \nThe theme\, to which the title refers\, focuses on the idea of ​​video as a gaze that lingers\, which delves intensely through a sort of suspension of time and judgment on the things recorded by the camera. \nThe exhibition reaches out to the public who are increasingly fond of and intrigued by an art form that is not easily accessible and attractive due to its charm which is halfway between cinema and television. But precisely because of this false familiarity\, the public is often contradicted and seduced by the surprise that video works normally produce. \nEdited by Elio Grazioli\, contemporary art critic URL:https://www.museoman.it/en/event/the-stubborn-look/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20040312T000000 DTEND;TZID=Europe/Rome:20040613T000000 DTSTAMP:20260622T073050 CREATED:20240417T141159Z LAST-MODIFIED:20240417T141159Z UID:4989-1079049600-1087084800@www.museoman.it SUMMARY:ALIGI SASSU DESCRIPTION:MAN presents for the first time in Sardinia an important exhibition dedicated to the figure of Aligi Sassu. An anthological journey which\, since the 1920s\, marks the most relevant and significant stages of his artistic trajectory through around ninety works from prestigious public and private collections: the Museum of Lugano\, the National Gallery of Modern Art in Rome\, the Museum of ‘Modern Art of Genoa\, the Museum of Udine\, the Municipal Gallery of Cagliari\, the Aligi Sassu and Helenita de Olivares Foundation of Lugano. \nThe sections of the exhibition include works relating to Futurism\, Primitivism\, the Red Men series\, historical\, religious\, mythological\, social themes\, Cafés\, Maison Tellier\, Hispanidad and Majorcan Landscapes. \nAligi Sassu faced the complex and intricate artistic scene of the avant-garde as a protagonist without ever losing sight\, despite the evolution and renewal of his own language\, of the primary and essential objective of direct comparison with reality. Seen from the perspective that the new century and the death of the artist a few years ago now allow\, Sassu’s painting appears as a great act of absolutely modern individual freedom\, and this not only in terms of morality and expressive quality but also in its intimate root within the art of our time. Sassu claimed\, practiced and maintained his poetic universe in the daily flow of existence as well as in the historical dimension of the crucial junctions of the era to which he was confronted. […] He followed his very singular paths through enthusiastic outbursts\, periods of reflection\, necessary returns and sudden ignitions\, to free himself from time to time from those aesthetic filters that could have excessively conditioned his spontaneously enthusiastic immersion in the spiral of life \, in the expanded dimension of memory and consciousness. \nAligi Sassu was born in Milan on 17 July 1912. Between 1926 and 1927 he met Bruno Munari\, enrolled in the evening courses at the Brera Academy\, showed up at the meeting with the artists called by Filippo Tommaso Marinetti\, who in 1928 invited him to exhibit at the XVI International Art Exhibition of Venice. In 1929 he progressively distanced himself from the futurist movement\, moving closer to primitivism. Between 1930 and 1933 he started the series of Red men . The dominant red that characterizes the cycle represents a significant turning point for Italian painting of the 1930s. In 1933 he created the series of Argonauts and that of the begins Coffee . Between 1934-1940 he went to Paris. Returning to Italy he is confronted with the debate on the role of the artist\, to which Sassu claims a social solution; in the same period he began his clandestine activity together with De Grada\, Grosso and Guttuso. In 1935 he created the Shooting in Asturias \, a sort of manifesto of European opposition to fascism\, and makes his second trip to Paris. The following year he exhibited at the Venice Biennale. \nIn 1937 he took part in the Italian Art Exhibition in New York. On 6 April of the same year he was arrested by the OVRA police (Opera di Vigilanza e Repressione Antifascista). Aligi Sassu accused of conspiracy\, is tried and sentenced to ten years in prison. In July 1938 King Vittorio Emanuele III granted him a pardon. He continues to paint oppositional works in which the political metaphor emerges clearly. Participate in Corrente’s activities. In 1942 the series of Councils . Work around the Deposition which ends the following year. He stays in Albissola dedicating himself to the activity of ceramist. In 1944 he dedicated himself to the cycle Maison Tellier inspired by a short story by Guy De Maupassant. Shaken by the episode of the shooting of the martyrs of Piazzale Loreto\, which he witnessed\, he painted the work of the same name in just two days. After the war it was active and continued its presence in the most important exhibitions in Italy and abroad. He took part in the Venice Biennale in 1948\, 1952 and 1954. In Albissola he met the Colombian opera singer Helenita Olivares who he married in 1972. In 1963 he opened an atelier in Cala San Vicente (Mallorca). \nThe series is born Bullfighting . In 1965 he was appointed member of the Italian UNESCO committee for the plastic arts. The Gallery of Modern Art in the Vatican dedicated a room to him in 1973. Important museums and galleries of an international level organize exhibitions on the work of Aligi Sassu. He was made an honorary citizen of Palma de Mallorca in 1987; in the same year a large anthology was held at the Staatsgalerie Moderner Kunst in Munich with works created between 1927 and 1985. Celebrate sixty years of work with a major exhibition at Castello di Rivoli. In Florence\, in 1990\, he was awarded the Lorenzo il Magnifico prize. In 1992\, on the occasion of his eightieth birthday\, eighty works created between 1927 and 1990 were hosted by various South American museums. In 1993\, after two years of work\, he completed the large ceramic mural entitled The myths of the Mediterranean for the new headquarters of the European Parliament in Brussels. In 1995 the exhibition opened at the Gallery of Modern and Contemporary Art in Bergamo. Aligi Sassu from 1930 to Corrente . The same year\, together with his wife Helenita Olivares\, Aligi Sassu donated 362 works created between 1927 and 1996 to the city of Lugano; in 1997 the Aligi Sassu and Helenita Olivares Foundation was established in Lugano\, with the aim of valorising the artist’s work and spreading his art internationally. In March 2000 the Aligi Sassu and Helenita Olivares Foundation of Mallorca was born. \nAligi Sassu passed away in Pollensa (Mallorca) in 2000\, on his eighty-eighth birthday. \nBy Rudy Chiappini\, director of the City of Lugano Museums. URL:https://www.museoman.it/en/event/aligi-sassu/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20031205T000000 DTEND;TZID=Europe/Rome:20040229T000000 DTSTAMP:20260622T073050 CREATED:20240417T141203Z LAST-MODIFIED:20240417T141203Z UID:5007-1070582400-1078012800@www.museoman.it SUMMARY:MINIMAL CATASTROPHES DESCRIPTION:The Man presents Minimal Disasters \, an exhibition which in its theoretical approach tends to transform the catastrophe from object to subject of the work\, investigating rather than the documentary\, sociological and\, in a certain sense\, spectacular aspect (definitely weakened\, as the title indicates) that which Blanchot defined as the disaster writing . The works on display do not limit themselves to recording a catastrophe but tend to take the form of accidents or catastrophes of the visible themselves. A work in some way can only be the writing of a disaster of meaning\, a minimal disaster\, after all\, unless\, with Stockhausen\, one thinks of the September 11 attacks as the greatest work of art ever created . \nThe starting point is Thom’s theory on the concept of catastrophe (simplified in the famous phrase: a butterfly flapping its wings in the Amazon forest can generate a meteorological disturbance in London) following a tragicomic itinerary on the different experiences of catastrophe\, understood not only as negativity but also seen as an ironic event\, as a joke\, a fatality that leaves us more perplexed than destroyed. \nThe word catastrophe and the word apocalypse have shared a common destiny of distorting their etymological sense to take on negative notes and to evoke only mourning and destruction. But by catastrophe we also mean a continuous\, gradual\, minimal variation in the conditions of a phenomenon but capable of producing a great effect and a great change. The exhibition does not want to be a dark story that only sees the negative meaning of the term\, but also wants to explore different aspects that involve a more analytical vision without becoming cynical\, through a language that is sometimes ironic and irreverent. \nThere is no intention of showing a series of real or simulated disasters\, a task already perfectly accomplished by TV and cinema. The catastrophe will be understood rather as a breaking point\, as a concatenation of events\, as the unstoppable beginning of uncontrolled events\, as a turning point or crisis\, as a new incipit. We will play with the images of catastrophe as opposed to the disasters of the image\, the images of violence and the violence of images. The lens will be focused on individual\, daily and environmental catastrophes\, always trying to bend the term catastrophe to a concrete reflection\, taking away from it that spectacular value that always risks surprising us. \nBy Fernando Castro Florez\, Saretto Cincinelli\, Cristiana Collu \nArtists: Ángeles Agrela\, Lara Almarcegui\, John Baldessari\, Isabel Banal\, Massimo Bartolini\, Christian Boltansky\, Sergey Bratkov\, Alberto Burri\, Carlos Capelan\, Loris Cecchini\, Sarah Ciracì\, Gordon Matta-Clark\, Berlinde De Bruyckere\, Fischli&Weiss\, Florentino Díaz\, Patrick Jolley \, Lucio Fontana\, Carlos Garaicoa\, Jonathan Hernández\, Cisco Jiménez\, Mike Kelley\, Abraham Lacalle\, Peter Land\, Armin Linke\, Fabian Marcaccio\, Armando Mariño\, Mateo Maté\, Isaac Montoya\, Pedro Mora\, Adrian Paci\, José Alvaro Perdices\, Claudio Perna\, Reynold Reynolds\, Osvaldo Salerno\, Fernando Sánchez Castillo\, Allan Sekula\, Ane-Liise Semper\, Paul Smith\, Robert Smithson\, Frank Thiel\, Isidoro Valcárcel Medina\, Eulalia Valldosera\, Javier Vallhonrat\, Erwin Wurm\, Chen Zhen. URL:https://www.museoman.it/en/event/minimal-catastrophes/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20031003T000000 DTEND;TZID=Europe/Rome:20031123T000000 DTSTAMP:20260622T073050 CREATED:20240417T141200Z LAST-MODIFIED:20240417T141200Z UID:4983-1065139200-1069545600@www.museoman.it SUMMARY:PAINTERS DESCRIPTION:Il Man presents the largest and most exhaustive anthology ever organized on the figure and work of this extraordinary protagonist in the history of graphics in Italy\, celebrated and recognized internationally. The story of his journey starts from the end of the 1930s to the 1990s through a corpus of over 130 works\, collected according to an interpretation that highlights the modernity of the design to underline the importance and meaning of his choices and the uniqueness of his figure within the panorama of international graphics. \nPintori was an extremely lucid character and aware of the mechanisms and problems connected to the profession of graphic designer in the choice of the compositional\, iconographic and symbolic devices used. His competence\, his professionalism and his culture\, together with his imagination and creativity\, shine through in all his works and make us understand his relevance in the practice and aesthetics of contemporary design\, from the hypothesis of an original style of enterprise to a way of thinking before composing. \nGiovanni Pintori was born in 1912 in Tresnuraghes (Oristano)\, to parents originally from Nuoro\, a town where the family returned in 1918. After having attended the ISIA in Monza\, in 1936 he began collaborating with the Olivetti Advertising Technical Office\, of which he became responsible for in 1940\, linking his name to the rise of the Ivrea company in a very long and successful series of posters\, advertising pages\, external signs and stands. In 1950 he obtained the first of a long series of awards: the Palme d’Or from the Italian Advertising Federation. In 1952 the MoMA in New York organized the exhibition Olivetti: Design in Industry. In 1953 he joined the AGI (Alliance Graphique Internazionale)\, which in 1955\, during the exhibition at the Louvre in Paris\, dedicated an entire room to Pintori’s work for Olivetti. Also in 1955 he was awarded the Certificate of Excellence of Graphic Arts by the AIGA (the Association of American Graphic Designers) and\, the following year\, the Gold Medal and the First Prize Diploma in Graphic Line and the Fair from Milan. In 1957 he obtained the Grand Prix Diploma at the XI Triennale of Milan and participated in the annual AGI exhibition in London. His images accompany numerous articles on the Olivetti company\, his design and communication travel around the world\, appearing in newspapers such as Fortune (USA\, 1953\, 1957)\, Graphic Design (Japan\, 1967)\, Horizon (USA\, 1969) .In 1960 Adriano Olivetti passed away. In 1962 Pintori obtained another prestigious international recognition: the Typographic Excellence Award from the Type Directors Club of New York\, followed in 1964 by the Certificate of Merit from the Art Directors Club of New York. In 1966 a large solo exhibition was dedicated to him in Tokyo. \nAfter 1967\, having left Olivetti to dedicate himself to freelance work\, he collaborated\, among others\, on projects for Pirelli\, Gabbianelli\, Ambrosetti and Parchi Liguria. In 1981 he began a collaboration with the transport company Merzario\, for which he created the graphics for the annual budgets and advertising pages. After this experience he leaves the profession of graphic designer and dedicates himself completely to painting. Giovanni Pintori died in Milan on 15 November 1999. \n \nEdited by Carlo Branzaglia URL:https://www.museoman.it/en/event/painters/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20030703T000000 DTEND;TZID=Europe/Rome:20030921T000000 DTSTAMP:20260622T073050 CREATED:20240417T141201Z LAST-MODIFIED:20240417T141201Z UID:5012-1057190400-1064102400@www.museoman.it SUMMARY:ERWIN OLAF DESCRIPTION:Born in Holland in 1959 Erwin Olaf is one of the most innovative artists currently working in the field of photography. He has held important solo exhibitions at the Stedelijk Museum in Amsterdam\, at the Groninger Museum in Holland\, at the Frankfurter Kunsteverein and at the Ludwig Museum in Germany\, at Paris Photo\, at the Flatland Gallery in Utrecht\, at the Wessel O’Connor in New York\, at the Espacio Minimo of Madrid and numerous others. In 1988 he won the award Young European Photographers in Germany\, in 1998 the Silver Lion at Cannes for the Diesel advertising campaign and again in 2001 for the Heineken advertising campaign. One of his photos was chosen as the poster for the 2001 Valencia Biennial. Next September 2003 the Groninger Museum will inaugurate a major retrospective on 25 years of his work. Il Man presents the complete series of: Paradise The Club\, Paradise Portrait\, Mature\, Royal Blood\, a selection from Fashion Victims\, Blacks and Body Parts for a total of 48 photographs as well as the videos Tadzio\, Millennium and Clowns\, thanks to Studio Erwin Olaf \, at the Espacio Minimo Gallery and at the B&D Gallery. \nOlaf’s works are characterized by a sense of humor and by the constant allusion to images from the world of art and subculture\, by reference to the setting of pornographic photography\, advertising and fashion to which he gives a disturbing and captivating imprint. In his latest series\, Olaf delves into the heart and soul of beauty\, ridicules contemporary views on eroticism\, and analyzes many uncomfortable ideas such as pornography as folklore\, acrobatic sex as comical liberation\, and rape as family entertainment and mischievous pleasure. \nThe Royal Blood series presents the story as a crime story. In his historical research Olaf selects nine stars of violent melodrama. In these portraits the characters\, with their red-rimmed eyes\, stare at the viewer with a cursed expression of accusation and condemnation. Lady D\, with the Mercedes emblem on her arm\, Poppea killed in childbirth\, Princess Sissi\, her son Ludwig\, Tsarina Alessandra\, Cesare\, Marie Antoinette. \nIn the Mature series Olaf reveals the imperfect beauty of sexy pensioners as pin-ups by making fun of their young counterparts. In Fashion Victims the models are essentially sexual objects. Olaf says: “I’ve always tried to be ironic about beauty to try to offer a new perspective on the whole stupid\, overvalued fashion industry.” In the Blacks series\, classic portraits revisited in black\, Olaf experiments with monochrome with black (painted) models on completely black backgrounds. \nOlaf for the Paradise series is based on both Hippodamia rat by Rubens\, a disturbing scene of violence and lasciviousness\, and “about the horror and decadence of the nightlife of the Paradise in Amsterdam nightclub parties”. In this series\, diabolical clowns are the emotionally corrupt actors of a seemingly fantastic scene. Olaf defines this series as “A terrible nightmare where clowns are the bad guys. Everyone\, whether they are passive\, violent or mocking\, is guilty”\, their figures pure caricatures\, lucid allegories that “represent anonymity and anger and even if they want to entertain children\, they are scary”. The images refer to the so-called clown case\, an episode that occurred in Holland in the late 1980s. Many local children suddenly claimed that they had been molested by a clown. The police questioned hundreds of people\, but nothing was ever confirmed. No suspicious clowns were found. Several psychologists believed they were dealing with an intriguing case of mass youth hysteria\, but it has never been established whether it was actually a case of abuse. \nIn Booby-trap\, an exhibition that is a sort of trap that takes the viewer by surprise\, Erwin Olaf’s exercise of irony apparently says less than he thinks\, as he unmasks unfounded ideas and pushes himself into criticizing those who think that “the world has become a fairy tale”. \n Edited by Francesca Alfano Miglietti_Cristiana Collu URL:https://www.museoman.it/en/event/erwin-olaf/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20030314T000000 DTEND;TZID=Europe/Rome:20030615T000000 DTSTAMP:20260622T073050 CREATED:20240417T141218Z LAST-MODIFIED:20240417T141218Z UID:5000-1047600000-1055635200@www.museoman.it SUMMARY:PICASSO DESCRIPTION:There Vollard Suite it is considered the most important work in the history of twentieth-century engraving. It has rarely been exhibited complete and will be for the first time in Italy at the MAN museum\, thanks to the loan granted by the prestigious museum of modern and contemporary art MNCARS\, Centro de Arte Reina Sofía Museum in Madrid \, one of the most important European and international museums. \nMade up of 100 engravings made by Picasso between 1930 and 1937\, the Vollard Suite includes 27 recordings with different themes and 73 with five specific themes: The battle of love\, The taller of the sculptor \, Rembrandt \, El Minotauro and The Blind Minotaur and 3 portraits of Ambrosias Vollard \, in which Picasso recreates the complex personality of the merchant. At first glance\, the variety of iconography might suggest a certain incoherence\, but considered as a whole\, the engravings show a great conceptual and formal unity. \nThe most intense work is that of the series The taller of the sculptor fruit of one of those frenetic creative moments that characterized Picasso’s life. In fact\, although the artist worked for almost seven years on Suite \, 40 of those 46 recordings were made in just 3 months\, between March and May 1933. The world of creation\, the atmosphere and tension between the model and the work of The taller of the sculptor it is interesting above all for the fact that those engravings are the direct consequence of the sculptural work created by Picasso between the end of the twenties and the beginning of the thirties. The sculptures produced in that period sparked heated controversy. Some critics and artists believed they saw in the recovery of the classical world a kind of betrayal of the artistic avant-garde that Picasso had embodied since the beginning of the century. Picasso had come into contact with classical and ancient art a year earlier\, in Italy\, during his travels to Florence\, Naples and Pompeii. The work begun in the sculptures continues in much of the Vollard Suite\, and precisely the engravings of The taller of the sculptor gave rise to the question\, malicious according to Breton\, that specialists asked regarding Picasso’s renunciation and his “return to order”\, surprised by the apparent subversion of old values ​​carried out by the Malagueño artist. \nThe tension\, the melancholy\, the eroticism\, the search for form that can be observed in the hundred engravings of Vollard Suite \, are in close relation with Picasso’s life in those years. Picasso had turned 50 in 1931\, divorced from Olga Koklova\, had a relationship with Marie Thérèse Walter and at the same time began his new and conflictual relationship with Dora Maar. It is also the period of the Spanish Civil War which profoundly shook the artist. In some of the engravings that are part of the Vollard Suite \, very clear antecedents of what is considered Picasso’s masterpiece can be found: Guernica . \nThere Suite it can be considered as the highest point of the relationship between Picasso and Ambroise Vollard\, the historic gallery owner and publisher who in 1901 created his first exhibition\, sensing his genius. In this work Picasso uses all the techniques of engraving: drypoint\, burin\, etching and aquatint\, offering extraordinary and masterful examples of artistic invention and incomparable technical versatility. URL:https://www.museoman.it/en/event/picasso/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20021129T000000 DTEND;TZID=Europe/Rome:20030302T000000 DTSTAMP:20260622T073050 CREATED:20240417T141220Z LAST-MODIFIED:20240417T141220Z UID:4991-1038528000-1046563200@www.museoman.it SUMMARY:FOUR CENTURIES OF ANDALUSIAN PAINTING DESCRIPTION:A journey through Andalusian painting from the Baroque to the mid-twentieth century\, four centuries to tell an extraordinary history of painting through rich iconography and 70 masterpieces by the most prestigious Spanish masters. From the Baroque to its persistence in the first part of the century of the Enlightenment\, from early romanticism to the famous Andalusian regionalist painting of the late 19th century and the social realism of the first decades of the 20th century. From El Greco\, Francisco Pacheco and Juan de Roelas\, the masters who paved the way for baroque artists such as Francisco de Zurbarán\, Bartolomé Esteban Murillo and Juan de Valdés Leal\, who will be followed by a veritable legion of disciples and followers such as Juan de Zurbarán\, Lucas Valdés and Domingo Martínez\, the painters of the first half of the 18th century. \nThe panorama of Andalusian painting in the 19th century was different\, when the Italian light attracted Spanish artists. Contacts with Italy have always been frequent and the influences very important\, so much so that artists such as El Greco or Roelas resided in Italy and became acquainted with the works of the great Italian masters. 19th-century Andalusian artists regularly traveled to Italy where they studied\, completed their training\, and painted in both Rome and Naples. For all of them the reference is Mariano Fortuny\, they attend lessons at the Chigi Academy in Rome\, work in José Villegas’ studio\, paint Venice live\, where someone will settle for a long period. A spirit that the selection of the works proposed in the exhibition wanted to let shine through. Andalusian artists\, educated in both Spain and Italy\, establish a bond between the two countries that will last a long time. Many of them will benefit from scholarships created specifically to travel to Italy. All this in the shadow of the important role that the Schools of Fine Arts and National Exhibitions played in Spain and\, in Italy\, the Spanish Academy in Rome. \nBut we also find important names of Andalusian romanticism. The works of Gutiérrez de la Vega and José María Romero represent the romantic generation that learned to paint by copying the works of Murillo. Landscapes and the first costume painting\, with canvases by Cabral Bejarano\, Domínguez Bécquer\, Cortés and Rodríguez de Guzmán. Finally\, the works of the painters who will represent on canvases the typical and topical of Andalusia\, such as Salinas\, Ferrandiz\, Rico Cejudo and García Ramos\, reflecting daily life\, with its characters and its anecdotes. Added to these are the canvases of Jiménez Aranda or Denis which recreate the world and clothing of the 18th century. No less important are the works included in the so-called “Orientalist painting”\, the one that followed Fortuny and which testifies to the travels of Andalusian artists in the bright and colorful world of Morocco\, such as Gallegos Arnosa and Villegas. Landscape painters from the Alcalá de Guadaíra School\, such as Pinelo or García Rodríguez; artists between the two centuries\, who\, like Gonzalo Bilbao\, had known the Parisian avant-garde; 20th century realists\, López Mezquita\, Lozano Sidro and Diego López; painters en plein air like José Arpa. \nA great range of techniques and iconographies. From the purest landscape to the representation of a patio\, from the “bandolero” to the refined “señorita”\, from the simple market to the livestock fair\, from religious painting to the theater\, from orientalist scenes to the refined world of the Venetians\, passing through the portrait and the scenes goyesche\, everything reflects the feelings of the Andalusian people and of artists who were able to give a special character to the painting of their land. \nBy Enrique Pareja Lopez – Director of the Museum of Fine Arts of Seville URL:https://www.museoman.it/en/event/four-centuries-of-andalusian-painting/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20021011T000000 DTEND;TZID=Europe/Rome:20021117T000000 DTSTAMP:20260622T073050 CREATED:20240417T141222Z LAST-MODIFIED:20240417T141222Z UID:4984-1034294400-1037491200@www.museoman.it SUMMARY:Home Sweet Home DESCRIPTION:The review Maneuvers in its third edition\, it changes the formula\, and invites twenty-one artists from different countries and realities to work on a project that aims to investigate the idea of ​​home through a multiple gaze\, a direct\, didactic\, ironic\, transversal interpretation: hearth\, refuge \, lair\, laboratory\, office\, prison\, circus\, proliferating module\, theater of the most brutal baseness\, place from which to escape and return to\, place to build\, to search for and probably to reinvent. \n“Home Sweet Home” is one of the most well-known and abused popular aphorisms and yet\, with the addition of a simple question mark\, the motto acquires a disturbing and ambiguous quality: once doubt has crept in\, certainties falter. Disruptive and often unspeakable news. Fall of the myth of the family\, of quiet and harmony\, of the protective and reassuring space of “normality”. \nLiterature\, starting from Edgar Allan Poe up to all the horror and splatter production of the last decades\, and even more\, cinema\, have made the house an increasingly threatening and looming organism\, inhabited by invasive demonic presences and supernatural entities or by a hypertrophic but no less pervasive technology. And yet\, the news\, the most brutal one\, surpasses cinema and literature in brutality with its sick fruits of a coveted yet non-existent “normality”\, immediately swallowed up by an omnivorous television which assimilates everything and transforms it into a morbid Reality show in episodes. The artists\, relating to the news\, to the reality of everyday life\, struggle not to lose the specificity that separates art from life so as not to transform it into petty sociology or mere documentation of what exists. \nArt has often chased the news. They were the years of Posthuman and the artists focused on the bloodiest and most repugnant aspects of reality\, transforming “trauma” and “disgust” into new contemporary aesthetic categories. \nHome Sweet Home tries to observe the object of his investigation from a different point of view: not chasing reality and its horrifying and spectacularized involutions but avoiding its flattery\, and opposing an “unspeakable” shouted and flaunted by the news with the dimension of the “unsaid ” for a proposal that is never satisfied\, never approved and pacified but full of disturbing ambiguities. In this cryptic\, allusive\, oblique dimension\, the house\, from being the theater of everyday life\, of its miseries\, its tragedies and its “normalities”\, becomes a “non-place” full of destabilizing charm\, an indefinite mental space in which the ” inside” and “outside” appear to be relative and interchangeable categories. There is no need to stigmatize or justify anything. \nEdited by Ivo Serafino Fenu and Chiara Leoni \nThere are works by: Frank Bauer\, Leonardo Boscani\, Filipa César\, Cristian Chironi\, Enrico Corte\, Gruppo Eya\, Cameron Jamie\, Martin Kersels\, Sandrine Lescaroux\, Deborah Ligorio\, Pinuccia Marras\, Oliver Musovik\, Andrea Nurcis\, Sven Påhlsson\, Marco Papa\, Robert Pettena\, Pietrolio\, Salis&Vitangeli\, Simona Secci\, Gianfranco Setzu\, Aldo Tilocca URL:https://www.museoman.it/en/event/home-sweet-home/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20020711T000000 DTEND;TZID=Europe/Rome:20020929T000000 DTSTAMP:20260622T073050 CREATED:20240417T141223Z LAST-MODIFIED:20240417T141223Z UID:5013-1026345600-1033257600@www.museoman.it SUMMARY:Maria Lai DESCRIPTION:Maria Lai (Ulassai\, 1919) starting from her debut during the 1940s\, occupies a particular place in the panorama of Italian art which is increasingly clearly revealing itself to this day to be extraordinarily current and capable of communicating with the works of the artists of the latest generations. \nThe link with the land of origin and the reinterpretation of local culture with an attitude attentive to what is nearby but never provincial\, the ability to freely express this link within a broader reflection on the reasons for artistic creation\, the close comparison with the public’s reactions and the interest in activating social relations through the dynamics suggested by the works themselves\, the freedom in the use of materials and languages ​​considered traditionally artisanal\, are in fact some of the central themes present in the artist’s work and\, in fact\, are the same themes addressed by numerous artists protagonists of the international art scene of the last decade. \nMaria Lai’s exhibition at the Man\, Art Museum of the Province of Nuoro is a precious opportunity to learn about the central steps of this journey. In addition to significant historical works by the artist\, others created specifically for the occasion are on display (Cafeteria\, Ulassai\, Beach\, Sa domu de su dolu) and still others born from the rethinking and resumption of works created previously which\, in the light of current sentiment\, see the dramatic component accentuated accompanied by the desire that the process of transformation and search for dialogue does not fail. Landslide \, for example\, takes up in stone and ceramic the intervention Legarsi alla Montagna created by the artist in his hometown in 1981\, Tower it is composed of one of the artist’s well-known time-tested frames with a new wooden structure and the result symbolically recalls the presence of a torn building. \nJust as the memories that are deposited in our memory are destined to be reread\, redefined\, questioned with the passage of time\, so Maria Lai looks at the past not as an entity consolidated once and for all but as a set of elements subject to continuous revisions. The dynamic flow of memory prevails over History. \nEdited by Emanuela de Cecco URL:https://www.museoman.it/en/event/maria-lai/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20020510T000000 DTEND;TZID=Europe/Rome:20020630T000000 DTSTAMP:20260622T073050 CREATED:20240417T141225Z LAST-MODIFIED:20240417T141225Z UID:5006-1020988800-1025395200@www.museoman.it SUMMARY:Face to face DESCRIPTION:Vis à vis an artist’s self-portrait is a thematic exhibition that revolves around the idea of portrait and self-portrait \, understood not so much as places and figures of affirmation of a full subjectivity but\, paradoxically\, of its withdrawal\, retrar-si understood as a step backwards that takes place in the very place of its exhibition. L’ self-portrait contemporary is configured\, in fact\, as a silhouette\, shadow\, reflection\, imprint or as a sort of portrait of the artist as a model\, character or stereotype etc. which instead of affirming the fullness of a creative subject tends to deny it\, disguise it\, deconstruct it\, mask it or multiply it. In short\, the methods of portrait and self-portrait examined in this exhibition seem to definitively abdicate the classical idea. It will not be an exhibition of portraits and self-portraits (pictorial\, photographic or video\, etc.) that deal with their historically determined forms but rather with their mythical origins and their posthumous incarnations. In fact\, the exhibition is not moved by the intention of tracing analogies between the contemporary and the history of art\, but instead seeks to reflect on the meaning of similarities that should not be surprising. If it is true that “the portrait makes its appearance in the history of art parallel to the subject in the history of philosophy” (Jean-Luc Nancy) it should not seem strange that\, in an era of full-blown crisis of the subject\, portrait and self-portrait find themselves articulate the differences and contradictions that mark the partitions between identity and new practices of subjectivity\, nor\, therefore\, that the representation of a face be separated from the problem of identity and its visible elaboration. \nEdited by Saretto Cincinelli and Cristiana Collu. \nThe exhibition includes works by: Andy Warhol\, Cindy Sherman\, Ketty La Rocca\, Francesca Woodman\, Robert Mapplethorpe\, Daniela de Lorenzo\, Liliana Moro\, Massimo Barzagli\, Cesare Viel\, Ana Mendieta\, Shirin Neshat\, Luigi Ontani\, Michelangelo Pistoletto\, Giulio Paolini\, Gino De Dominicis\, Arnulf Rainer \, Roman Opalka\, Ugo Mulas\, Gilbert & George\, Urs Luthi\, Massimo Barzagli\, Grazia Toderi\, Vanessa Beecroft\, Eulalia Valldosera\, Nan Goldin\, Andres Serrano\, Greta Frau\, Claudia Casarino\, Mariko Mori\, Nan Goldin\, Barbara Bloom URL:https://www.museoman.it/en/event/face-to-face/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20020308T000000 DTEND;TZID=Europe/Rome:20020428T000000 DTSTAMP:20260622T073050 CREATED:20240417T141240Z LAST-MODIFIED:20240417T141240Z UID:4999-1015545600-1019952000@www.museoman.it SUMMARY:The shapes of the butt DESCRIPTION:The Vitra Design Museum has one of the richest and most important collections of modern furniture design\, with over three thousand documented works. The exhibition\, 100 years – 100 chairs \, organized by Man in collaboration with the Vitra Design Museum\, brings the public a paradigmatic selection of masterpieces from this museum. The shapes of the butt intransitive accompany us in the analysis of one of the three fundamental static postures of man: erect\, lying or sitting. The aim of the exhibition is to present an emblematic itinerary of the different eras of industrial design\, from the end of the 19th century to the present day\, through authentic masterpieces by the most prestigious architects and designers. It all began in the second half of the 19th century with curved wooden furniture that allowed industrial mass production. At the beginning of the 20th century\, design played a decisive role in cultural development. \nGerrit Rietveld developed furniture with a purified form\, while Marcel Breuer designed the first tubular steel chairs. This formal lightness later inspired Alvar Aalto who was the first to use plywood and Jean Prouvé who used techniques and materials until then reserved for aeronautics. After World War II\, American design collaborated closely with industry. Designers such as Charles Eames\, Eero Saarinen and Harry Bertoia created models that were to be mass-produced to furnish American homes. Design then became an element of everyday life. \nIn Europe\, in that same period\, furniture design developed essentially in Italy and Scandinavia. The goal was certainly the same as in the United States: to make design more accessible to the general public. Hans Wegner and Arne Jacobsen were the precursors in the Nordic countries of the research and creation of wooden furniture\, while the Italians were exploring the possibilities of a new material\, plastic\, in that same period. The great versatility of these materials and the development of new types of foams allowed for great creative imagination in the 1960s\, when inspiration was sought in Pop Art and the play of shapes and colours. The main representatives of this trend are Verner Panton and Joe Colombo. Later\, in the 70s the design will be even more radical\, forcing opposition to the rules of Modernism. Designer groups such as Memphis or Archizoom emphasized the fun and playful character of the shapes rather than the functional character. During the 1980s we observed a simultaneous search for individualism and pluralism which led to a diversity of styles that were unprecedented at the time. Philippe Stark\, Ron Arad and Gaetano Pesce are important representatives of this trend. The decade of the 90s is instead characterized by a search for simple but innovative shapes and materials. Frank Gehry and Jasper Morrison are two key figures of this period. Imagination continues to be\, without a doubt\, an important criterion in the conception of forms as demonstrated by Ron Arad and Marc Newson who in turn maintain a concern for functionality and large-scale production. \nEdited by Serge Mauduit. URL:https://www.museoman.it/en/event/the-shapes-of-the-butt/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20020308T000000 DTEND;TZID=Europe/Rome:20020428T000000 DTSTAMP:20260622T073050 CREATED:20231220T153226Z LAST-MODIFIED:20231220T153226Z UID:5098-1015545600-1019952000@www.museoman.it SUMMARY:100 masterpieces from the Vitra Design Museum collection DESCRIPTION:Section under construction URL:https://www.museoman.it/en/event/100-masterpieces-from-the-vitra-design-museum-collection/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN END:VEVENT END:VCALENDAR