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DTSTART;VALUE=DATE:20251205
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SUMMARY:ALFREDO CASALI. Isolitudine
DESCRIPTION:Opening\, December 5\, 6:30 PM\n  \nCurated by Massimo Ferrari and Chiara Gatti\n  \nIn the context of a year devoted to an extensive and multifaceted reflection on the concept of the island – understood not only in its geographical dimension\, but also as a semantic device\, a generator of narratives\, cosmologies\, ideals\, and utopias – the MAN Museum in Nuoro continues its path of investigation with a solo exhibition by Alfredo Casali\, entitled Isolitudine\, scheduled for the winter season. \nAfter MinorIsland Fotographic notes from 1990 to today Islands and Idols\,  the new exhibition (on view until November 16)\, is part of a series that explores the concept of insularity through different perspectives\, giving voice to artistic visions that question the meaning and boundaries of the island — as an idea that becomes a place\, a concept that takes shape in space. \nAn exponent of a pictorial research deeply devoted to the very language of painting and to its persistence in a delicate balance between narration and abstraction\, between sign and matter\, Alfredo Casali presents at the MAN Museum a body of new and recent works that delve into the theme of porous boundaries\, archaic origins\, voluntary detachment\, and\, at the same time\, the re-emergence from the shallows of forgetfulness. The neologism “isolitudine” shapes in his painting a complex and fascinating existential condition: that of those who identify with the island — in its physical coordinates\, but also in its dwelling within the unconscious. an ancestral longing for belonging\, intertwined with a melancholic sense of isolation. \nSailing through the territories of identity\, memory\, and the perception of the self and the world\, isolitudine becomes a state of mind — a fulfilling sorrow for the surrounding emptiness\, a vertigo before the liquid desert. Intense pages of modern insular literature\, from Salvatore Satta to Gesualdo Bufalino\, have unearthed the fossils of a life lived on the margins and yet at the centre — within a microcosm that is also infinite\, in a solitude that is also beauty. In this acute tension between rootedness and detachment\, between the thirst for elsewhere and the pride in that remote territoriality theorized by anthropologist Matteo Meschiari\, one rediscovers a universal dimension that unites distant peoples — all children of an island\, all inhabitants of isolitudine. \nAlfredo Casali gives visual form to it through painting. Since his earliest works\, influenced by the lyrical abstraction of Gastone Novelli and Cy Twombly\, by visual poetry\, and by a suspended figuration imbued with a sense of waiting and heir to Morandi’s silent lesson\, the artist has traced within space the most minimal boundaries — vital places confined to the dimension of an intimate everyday\, sublimated into domestic archetypes: the house\, the tree\, the chair\, the patch of landscape opening onto the void of the sea or the sky. Formal rigor\, geometric synthesis\, and an attention to the sign as both an expressive and literary element — rooted in his solid philosophical training — nourish a coherent and deeply meditated pictorial practice and imagery\, slow in gesture\, in pauses\, in the articulation of planes that construct further voids. His rarefied and essential poetics now reaches the threshold of the island — a drawing with frayed edges on the maps of consciousness\, an epiphany of rock and sand upon the Cartesian plane of human and cosmic geography. \nAlfredo Casali was born in Piacenza in 1955\, where he currently lives and works. He graduated in Philosophy from the University of Bologna in 1983\, under the supervision of Luciano Anceschi. After an articulated journey through painting\, visual poetry\, and theoretical studies\, he arrived at a personal artistic language characterized by an essential poetic inquiry and by the recurrence of archetypal elements organized in thematic cycles. Among the first to recognize the value of his work was Giovanni Fumagalli\, who welcomed him into the historic Galleria delle Ore in Milan and guided him as a mentor between 1986 and 1996. Casali took part in the 32nd Milan City Art Biennale (1993) and in the Cremona Biennale (1993 and 1999)\, and over the years has exhibited in numerous solo and group shows. Among his most significant exhibitions are the solo show at the San Fedele Cultural Center in Milan (2011); his participation in the exhibition dedicated to Imre Reiner and international abstraction at the Museum of Art of Mendrisio (Switzerland); and the group exhibitions Sogno e Confine (Biffi Gallery\, Piacenza\, 2012) and La natura obliqua (Il Chiostro Contemporary Art\, Saronno). In 2014\, he presented a solo exhibition at Galleria Ceribelli in Bergamo. Among his recent exhibitions\, in 2019 he showed at the Studio d’Arte del Lauro in Milan\, and in 2023 at MAN – Museum of Art of the Province of Nuoro\, in a project developed in collaboration with the University Campus of Agrigento. The recent exhibition held in 2023 at the Magazzino del Sale in Cervia\, entitled Alfredo Casali\, Giovanni Fabbri. Geografie vita\, territorio\, storia\, anticipated by a few months the major retrospective of 2024 Alfredo Casali. La memoria delle cose\, curated by Massimo Ferrari for Volumnia in the Renaissance nave of the former Church of Sant’Agostino in Piacenza. \nThey have written about him:  Michele Tavola\, Franco Fanelli\, Sara Fontana\, Stefano Fugazza\, Ivo Iori\, Stefano Crespi\, Flavio Arensi\, Chiara Gatti\, Marina De Stasio\, Rocco Ronchi\, Giorgio Seveso. \nCatalogue ITA/EN Nomos Edizioni \nText byi Massimo Ferrari and Chiara Gatti \nCoordination Rita Moro \nGraphic by Sabina Era \n  \n 
URL:https://www.museoman.it/en/event/alfredo-casali-isolitudine/
CATEGORIES:MAN
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DTSTART;VALUE=DATE:20260313
DTEND;VALUE=DATE:20260615
DTSTAMP:20260317T072440Z
CREATED:20260129T090231Z
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SUMMARY:Pellizza e Ballero. La divina luce
DESCRIPTION:curated by Chiara Gatti on a project by Rita Moro\nwith the scientific contribution of Gabriella Belli and Antonello Cuccu \n13 March – 14 June 2026\ninauguration: Friday 13 March at 7 pm \nA friendship\, an exchange of correspondence\, a shared vocation for landscape\, painting\, for translating nature into heartbeats of vibrant colour. This new project launched by the MAN Museum of Nuoro aims at tracing the ideal heritage that Giuseppe Pellizza da Volpedo (1868-1907)\, the noble father of Italian Divisionism\, passed down to Antonio Ballero (1864-1932)\, a Sardinian artist who\, suspended between past and progress\, ferried a style of painting still imbued with precepts of Realism towards the experimental explorations of Divisionism\, conveying the late-romantic culture that distinguished the artistic landscape of Sardinia of the time in the direction of a scientific investigation into colour\, without neglecting a vibrant narrative of the images transposed onto the canvas. Antonio Ballero and Pellizza da Volpedo were bound by mutual esteem\, a strong bond that was broken by the tragic death of the Piedmontese artist. Drawing on Pellizza da Volpedo\, Ballero vigorously contributed to introducing Sardinia to the new language of painting and the theories delving into the “separation” of colours\, which were at the heart of the artistic debate on the national and international scale. It was precisely thanks to the lesson learned from Pellizza da Volpedo and an intense intellectual exchange with the latter that Ballero managed to conquer a leading role in the evolution of the artistic exploration experienced by his Island\, which rightfully took an active role – via his action – in the debate that was shaking the landscape of art on the ‘mainland’. \nThis project\, curated by Chiara Gatti and coordinated by Rita Moro\, with the scientific counselling of Gabriella Belli\, a major scholar of Italian Divisionism\, and of Antonello Cuccu\, a scholar and expert of Sardinian art\, explores the close connection between the solutions devised by the Sardinian master and the spur he received from his privileged relationship with Pellizza da Volpedo through an iconographic comparison and the letters the two artists exchanged between 1904 and 1907\, which document their contacts and their intense dialogue. Two works by Ballero were praised by Pellizza and labelled as a true “revelation”\, as he personally declared to the Sardinian artist in a brief letter. It was through and thanks to this ideal closeness that Ballero’s expressive and formal exploration shifted towards an aesthetic growth strewn with new and more powerful social content. \nThe exhibition path comprises over thirty works distributed by sections. They include ten masterpieces by Pellizza da Volpedo on loan from important Italian museums and galleries: the Gallerie degli Uffizi in Florence\, the Museo Nazionale Scienza e Tecnologia Leonardo da Vinci in Milan\, the Galleria d’Arte Moderna in Milan\, the Galleria Civica d’Arte Moderna e Contemporanea in Turin\, the Pinacoteca Divisionismo in Tortona\, and the Pinacoteca in Alessandria; besides public and private collections that provide ongoing preservation and curatorial support for Antonio Ballero’s oeuvre\, including the Municipality of Atzara and the MAMA Museum\, the Chamber of Commerce\, Industry\, Craft\, and Agriculture of Nuoro\, the Banco di Sardegna bank\, and the MAN Museum of Nuoro with its collection of ten works by the Sardinian master. Thanks to a collaboration with the Ilisso publishing house of Nuoro\, the art exhibition will also display precious archival material\, the correspondence exchanged between the two artists\, coeval photographs of the Quarto Stato (The Fourth Estate)\, and period photographs of Ballero and Nuoro. \nAntonio Ballero debuted as a painter at the Esposizione Artistica Sarda (Sardinian Art Exhibition)\, held at the Palazzo della Provincia in Sassari in 1896. He would soon distinguish himself on a national level after swiftly detouring a Realism of macchiaioli imprint and a poetic feeling for the painted subject\, mostly landscapes\, and rather looking to the new style introduced by Divisionism and its multifaceted and variable conception of light and colour that was to be tackled via an innovating scientific method applied to painting. The style advocated by Ballero earned him the accolade of Pellizza da Volpedo. Salvatore Farina – an experimental writer born in Sorso who had moved to Milan\, where he became closely associated with the Scapigliatura and the Italian intelligentsia of the time – also acknowledged Ballero’s breakthrough in the art world and paralleled his action to Giovanni Segantini\, to his lyrical balance between Realism and Symbolism\, between a daily life imbued with mundane concerns and a reified sacred dimension that takes shape in the spectacle of nature and in the silent gestures that man performs to pay homage to the universe.\nBallero’s bonds and acquaintances with authors of the calibre of Grazia Deledda and Francesco Ciusa\, in Sardinia\, and of Leonardo Bazzaro and Carlo Fornara\, speaking of artists active in the rest of Italy\, contributed to stirring his vocation to give voice to and recount the diuturnal existence of the humble. His dignified figures\, solemn yet fragile in the face of the cosmos\, inhabit rural horizons where the profound sense of truth in things is sublimated in a timeless expectation. “The paramount pride of shepherds wandering through the bush\, the wild galloping of horses\, or the willowy and joyful movements of dancers”: that is how Ballero described his subjects\, who held on tightly to the traditions of his native land while being projected into the absolute. The radical shift from works such as Paesaggio con alberi (Landscape with Trees) from 1890 to paintings such as Mattino di Marzo (A March Morning) from 1903 ca. or L’appello serale (Evening Call) from 1904\, clearly shows the turning point of the Sardinian artist: the heritage of Corot with his use of colour tones\, fluid brushstrokes\, and vibrant naturalism\, which Ballero adhered to in his juvenile years\, was forsaken to the benefit of a painting achieved with small patches\, complementary colours\, penetrating twilights\, and a choral vision of the characters. \nPellizza Da Volpedo\, four years junior to Antonio Ballero but already in the spotlight of the national artistic landscape\, shared his vision with his peer from Nuoro: his thoughts on the theme of landscape\, on the spirit of truth\, and the power of observation that life requires to be grasped and translated into images\, through its intimate and continuous flow. Tracing a connection between the two artists and advancing points of contact therefore means to delve into the richness and results of their dialogue\, into the heritage that Pellizza passed down to his friend and how the latter managed to add his contribution to this legacy in his native land\, an environment marked by a different\, extremely reserved culture\, profoundly tied to and dependent on the harshness of its mountains and heart-wrenching tasks of shepherds. An analysis of the conception of Pellizza’s paintings – the scenes that filled his eyes when he glimpsed at moments of daily rural life\, suffering because of poverty notwithstanding a mystical hope for a better future – may help understand the evolution of Ballero’s style: the way he embraced a new poetics of everyday life. By wandering across villages\, or bordering alleys overlooking barns\, we may identify the stages of a journey and pinpoint them according to main themes. \nA New Technique for a New Light\nSome surviving works from 1894 document Antonio Ballero’s relentless studies on the issue of a relationship between colour and light and colour and material. This milestone date marks the development and growth of his production. Further to his participation at the historical Esposizione Artistica Sarda (Sardinian Art Exhibition) in 1896\, when his name was spotlighted along with his senior and more famous peer\, Giacinto Satta\, Ballero received the acknowledgement for his expressive talent from critics up-to-date with new explorations in the art field. The artistic scenario was at the time divided into two fronts: the advocates of the achievements of Pointillisme in France\, on the one hand\, and the coeval spreading of a scientific method focusing on the separation of colours championed by Divisionists in Italy\, on the other. The latter allowed for greater freedom as to sign and gesture in contrast to the stern rigorousness of their French counterparts. It is no coincidence that 1896 was the year of the Turin Triennale\, which enjoyed the participation of outstanding names\, including Morbelli\, Grubicy\, Longoni\, Nomellini\, Previati\, Tominetti\, who displayed paintings created by relying on the Divisionist technique. It goes without saying that the number of these innovative paintings was decidedly lower than canvases drawing on traditional languages. However\, they were crucial in setting a point of departure for the revolution that was about to take place. “Keeping colours separate and close to one another\, rather than mixing them on the palette”\, as Grubicy codified in the pages of the Triennale\, held in the same year\, became common practice to increase the best possible brightness in a painting\, whereby this special technique was meant to respond to an expressive need\, and was certainly not the ultimate goal of a flaunting virtuoso. “[…] I firmly believe – Pellizza would later state – that this is nothing but the means to lend greater effect to a work of art\, and the result will be more consistent with modern ideals.” At the dawn of the 20th century\, the Nuoro-born artist\, too\, embraced this new technique and stubbornly changed his horizon heading for a separation of chromatic elements\, which allowed for the creation of enveloping light effects\, patches of shadow\, and flickering flares\, the intensity of which had never been achieved before. In the wake of Pellizza\, Antonio Ballero declared in his turn: “The science concerning light and colours should always arouse your interest: only by relying on scientific methods will you acquire confidence of what you are doing. When you replicate the truth\, do not think of theories\, but rather of translating it with all means at your disposal. Do not embrace Divisionism in and of itself: you must be convinced that your vision will be better expressed by relying on it. When it is too apparent\, Divisionism damages a work of art: instead\, if you keep its positive principles in mind\, the resulting effect is as if you had created your work of art with no effort at all; the work of art must appear as the outcome of a spontaneous gesture. In my opinion\, it is not a question of championing a technique that relies solely on dots\, or lines\, or a blend of pigments; nor entirely smooth or rough\, because it varies as the expressions of nature do.” \nThe Destiny of the Humble\nNext to natural phenomena\, highlighted by the optical effects created by the Divisionist technique\, it is worth underlining the attention devoted by Pellizza da Volpedo and his Nuoro-born peer to a world inhabited by wretched and all the same heroic figures: wrecks\, countenances marked by suffering\, or motionless persons cloaked in dust. “Once back to my hometown\, the first thing I did was to portray my parents […]”\, Pellizza recounted in his memories published in Copialettere e minutari in 1895. The extensive literature focusing on realism that permeated the century was retained by Ballero\, thanks also to his relationship with Sebastiano Satta and Grazia Deledda. The three artists lived in and shared a land that – not so much dissimilarly from the town of Volpedo – soaked up lifeblood from nature\, returning harshness in turn\, in a sort of “demoniac sadness” that – quoting Salvatore Satta’s Il Giorno del giudizio (The Day of Judgement) – singled out Nuoro as a “nest of crows”\, a steep wasteland\, and his prominent people and shepherds as priests and bandits. The true joining link that\, in this section\, connects Ballero and Pellizza is the feeling of death in the present\, the metaphysics that crosses the gaze of their characters\, either dead or alive\, who are eternally dangling above the cliff of their existence. The characters portrayed by the two masters dialogue\, caressed by a compassionate light\, using a language that blends Divisionism and sentiment for the sacred in a boundless grievous land. Their figures become the mirror of the entire population living on earth and that is suddenly swallowed up\, thanks to the desperate sweetness of a painting that translates the destiny of the humble onto a palette of colours. Ballero’s courtyards\, silent and parched in summer\, become the symbols of the Sardinian world\, of its rhythms\, and its social truth. \nArt as a Social Function\nAgainst the backdrop of a late 19th-century gentrified Sardinia\, the region was hit by the same tragedies that Pellizza blamed by relying on his canvases to condemn them universally. Labour and oppression\, poverty and illnesses\, fragility and violence that the activism of his art contributed to denouncing with the visual and touching strength of a programmatic manifesto. “It is the works that ennoble the dignity and beauty of humble jobs and the life of people\, and that exalt and glorify their joy and sorrow\, that will anticipate a true art of the future.” This heartfelt statement\, voiced by Ballero in his younger days\, would regrettably stumble against the disillusionment with the modern world and a romantic idealism dismayed by the logic of power and labour exploitation. Social unrest spread all over Italy between the two centuries and became a spur to tackle new representations of daily life marked by iniquity\, which the social poetics of Divisionist masters translated into accusing images. This was the case of the massacre in Buggerru in 1904\, which occurred during a strike of miners that\, ideally\, can be connected with Pellizza’s masterpiece: the march portrayed in the Quarto Stato (The Fourth Estate)\, the manifesto of all struggles for the conquest of civil rights at the dawn of modern times. Sardinia experienced social tensions whose extent was certainly not second to what was taking place in the rest of the country. In 1906\, thirteen strikes were organised on the Island\, and Cagliari staged the notorious revolt of female cigar-makers: this event took place in the month of May\, concurrently with the lecture on sculpture held by Ballero. On that occasion\, the artist sharply addressed the theme of social function that art was called upon to play\, emphatically referring to the social message of works of art that openly revealed a political perspective. The sentiment of an entire epoch\, exemplified by the march of peasants and their absolute message of dignity and courage\, reached its peak with Pellizza and the heritage he passed down to Ballero\, namely the consistency of art with real life: the harbinger of other struggles for the defence of the working class. The seizure of factories by workers anticipated the so-called Biennio Rosso (a two-year period of intense social conflict) and recorded exhausting struggles in a period when the country was facing increasing industrialisation: these battles were immortalised by the masters of colour in their indelible “snapshots” of a country on the edge between tradition and modernity. \nThe exhibition also spotlights a twelve-minute narrative rich with archival footage\, produced by Storyville. The video traces the history of the Quarto Stato (The Fourth Estate)\, starting with its acquisition via a public subscription. On 17 January 1920\, a public call for tenders was launched to gather the necessary funds to purchase the painting\, which had remained the property of Pellizza’s heirs. The initial bid was set at fifty thousand Italian liras. That amount was not negotiable. Thanks to the gallery owner Lino Pesaro\, the enlightened leftist Milan City Board\, led by Mayor Emilio Caldara\, had the idea of an open call to raise awareness among locals regarding the ethical sense of the acquisition. The response of the Milanese community was resolute and unanimous. Businessmen\, shop-owners\, artists\, and individual citizens paid free shares\, according to their means\, in keeping with the feeling of a choral action. On 20 May 1920\, the sum due was gathered and The Fourth Estate became a public asset of the City of Milan. \nCatalogue published by Edizioni Ilisso\nwith texts by Gabriella Belli and Antonello Cuccu
URL:https://www.museoman.it/en/event/pellizza-e-ballero-la-divina-luce/
CATEGORIES:MAN
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260424
DTEND;VALUE=DATE:20260615
DTSTAMP:20260424T070046Z
CREATED:20260407T152253Z
LAST-MODIFIED:20260424T070046Z
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SUMMARY:Monica Biancardi. Growing capital
DESCRIPTION:From 24 April to 14 June 2026\, MAN hosts Growing capital\, an exhibition by Monica Biancardi and the winning project of the PAC – Piano per l’Arte Contemporanea 2025\, promoted by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture. \nThe exhibition\, curated by Chiara Gatti\, grew out of the acquisition of eleven black-and-white photographs documenting\, between 2009 and 2023\, the coming of age of Bedouin twins Sara and Sarah\, whom the artist first encountered during one of her many trips to Palestine. Over the course of seventeen years\, Biancardi followed the two young women with consistency\, respect\, and extraordinary sensitivity\, building with them a relationship of quiet trust and unobtrusive presence. Shot on medium-format analogue cameras\, the photographs render with poetic force and documentary rigour not only the physical transformation of the twins\, but also the deeper shifts in identity\, social roles\, and the gradual narrowing of their freedoms and prospects. Each portrait holds the tension between permanence and change\, bearing witness to the silent resilience of the two young women. \nThe exhibition expands through a series of accompanying works that broaden its scope: seven maps etched on plexiglas trace the progressive fragmentation of Palestinian territory from 1917 — historical Palestine — to the present day; a travel video retraces the journey from East Jerusalem to the village of Hataleen; and a selection of drawings made by children from the local community explores the theme of the sea — a place that is near yet unreachable\, and therefore imagined. \nThe exhibition is accompanied by the talk Growing capital: Perspectives on a Changing Palestine\, scheduled for Thursday 23 April. The event will bring Director Chiara Gatti into conversation with Monica Biancardi\, exploring the genesis of the project and its central themes — time\, transformation\, and the right to freedom — offering audiences the opportunity to step inside the creative and human process that made it possible. \nGrowing capital is part of MAN’s mission to promote contemporary art as an instrument of testimony and awareness\, contributing to a critical reading of the transformations unfolding across human and cultural geographies. \nThe project is supported by PAC2025 – Piano per l’Arte Contemporanea\, promoted by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture. \n  \n 
URL:https://www.museoman.it/en/event/monica-biancardi-growing-capital/
CATEGORIES:MAN
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DTSTART;VALUE=DATE:20260703
DTEND;VALUE=DATE:20261115
DTSTAMP:20260706T062715Z
CREATED:20260514T111806Z
LAST-MODIFIED:20260706T062715Z
UID:10733-1783036800-1794700799@www.museoman.it
SUMMARY:Futurama. Nostalgia for the Future
DESCRIPTION:Curated by Chiara Gatti and Elisabetta Masala \nin collaboration with Storyville \n4 July – 15 November 2026 \n\nFUTURAMA concludes MAN’s exhibition trilogy devoted to the ways human beings construct their relationship with reality\, the environment\, and time. Following SENSORAMA\, which explored perception as a cognitive structure\, and DIORAMA\, which examined post-natural ecologies and the reconfiguration of the relationship between the human and the non-human\, FUTURAMA focuses on the imagination of the future as a cultural\, political\, and emotional device. \nThe exhibition takes its title from the celebrated Futurama attraction presented by General Motors at the 1939 New York World’s Fair\, a spectacular installation that offered five million visitors an idealized vision of America’s tomorrow. Through vast immersive models designed by Norman Bel Geddes\, the future took the form of rational metropolises traversed by skyscrapers and elevated highways\, urban landscapes organized around the dominance of the automobile and the myth of technological efficiency. It was a future that appeared orderly\, luminous\, conflict-free\, and capable of guaranteeing prosperity and control. FUTURAMA draws upon this futuristic vision to reflect on an era in which progress seemed not only desirable but inevitable. The post-war decades ushered in a period of radical optimism\, fueled by economic growth\, scientific achievements\, and technological acceleration. The space race\, industrial automation\, and the emergence of computing fostered the belief that humanity was entering a phase of definitive emancipation from material and biological limitations. \nThis confidence gave rise to a widespread aesthetic of the future that permeated every field of visual culture. Artists experimented with new industrial materials—as exemplified by Gino Marotta’s methacrylate bestiary—and new conceptions of space\, as seen in Giulio Turcato’s Lunar Surfaces and Lucio Fontana’s Spatial Concepts. Design and architecture conceived modular environments and dynamic surfaces\, while fashion embraced geometric lines and abstract cuts in direct dialogue with contemporary artistic research. The exhibition unfolds through iconic objects of 1960s design\, characterized by an aesthetic approach that materialized fantastic visions through form and colour\, and includes a fashion section curated by Michela Gattermayer. At the same time\, science fiction populated the collective imagination with robots\, interplanetary travel\, and hyper-technological societies. Popular culture played a crucial role in this process. The first Japanese robot toys of the 1950s\, inspired by American science fiction and anticipating the giant “super robots” of later animation\, transformed fascination with machines into playful objects. Science-fiction book series helped disseminate visions of the future as a realm of adventure\, discovery\, and limitless possibility. A remarkable selection of Urania publications from the Arnoldo and Alberto Mondadori Foundation is presented in the exhibition. \nAmong the exhibition’s most compelling sections are video installations dedicated to science-fiction cinema and the Space Race\, the symbolic arena in which the Cold War rivalry between the United States and the Soviet Union was played out. \nFUTURAMA reconstructs this period of profound faith in progress as a genuine aesthetic utopia\, when technology was perceived not as a threat but as a promise of liberation from labour\, deprivation\, and even mortality itself. Yet the exhibition gradually reveals the fractures underlying this vision. The very forces that fuelled modernist optimism also generated new forms of inequality\, alienation\, and ecological fragility. Intensive industrial growth\, uncontrolled urban expansion\, and an unquestioning reliance on technology produced environmental and social consequences that the utopia of progress had failed to foresee\, although artists such as Piero Gilardi sensed them early on. With the decline of the grand narratives of modernity and the emergence of postmodernism\, the future ceased to appear as a shared promise and became an unstable territory\, often represented through dystopian or paradoxical scenarios. \nOver recent decades\, global traumatic events have further eroded confidence in the future. Wars\, financial crises\, environmental disasters\, pandemics\, and renewed geopolitical conflicts have exposed the systemic vulnerability of contemporary societies. In this context\, narratives of the future oscillate between renewed techno-optimism—which entrusts digital and scientific innovation with solving every problem—and nostalgic retreats into identity\, tradition\, and models of the past. \nFUTURAMA interprets this condition as a manifestation of the paradox of hypermodernity: an age marked by constant acceleration\, information overload\, and rapid transformation\, generating both enthusiasm and anxiety\, boundless possibility and a pervasive sense of lost control. The exhibition introduces the notion of a “nostalgia for the future”: an emotional tension in which the desire for a better tomorrow endures despite the uncertainties of the present. What is missed is not the past itself\, but the twentieth century’s confidence in change and its capacity to imagine the future as a collective horizon. \nBy bringing together utopian visions\, aesthetics of progress\, and critical perspectives on the contemporary condition\, FUTURAMA opens a shared space for reflection. Rather than simply diagnosing a crisis of imagination\, it invites visitors to reactivate the possibility of conceiving plural\, desirable\, and conscious futures\, restoring to the future its role as a horizon to be collectively imagined and constructed. \n\nArtists  \nValerio Adami\, Vincenzo Agnetti\, Getulio Alviani\, Enrico Baj\, Agostino Bonalumi\, Davide Boriani\, Achille e Pier Giacomo Castiglioni\, Fabrizio Dusi\, Mario Schifano\, Lucio Fontana\, Piero Gilardi\, Pietro Gallina\, Gianni Colombo\, Sergio Lombardo\, Gino Marotta\, Germana Marucelli\, Pino Pascali\, Alberto Rosselli\, Paolo Scheggi\, Giulio Turcato\, Grazia Varisco \nThe exhibition is accompanied by a catalogue featuring essays by Carlo Antonelli\, Paolo Campiglio\, Michela Gattermayer\, and Silvia Casagrande.
URL:https://www.museoman.it/en/event/futurama-nostalgia-for-the-future/
CATEGORIES:Current Exhibitions
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