BEGIN:VCALENDAR VERSION:2.0 PRODID:-//MAN_Museo d'Arte della Provincia di Nuoro - ECPv6.16.3//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:MAN_Museo d'Arte della Provincia di Nuoro X-ORIGINAL-URL:https://www.museoman.it/en/ X-WR-CALDESC:Events for MAN_Museo d'Arte della Provincia di Nuoro REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:Europe/Rome BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20160327T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20161030T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20170326T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20171029T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20180325T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20181028T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20190331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20191027T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20200329T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20201025T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20210328T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20211031T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20220327T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20221030T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20230326T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20231029T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20240331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20241027T010000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;VALUE=DATE:20230714 DTEND;VALUE=DATE:20231114 DTSTAMP:20260613T174704 CREATED:20231130T103254Z LAST-MODIFIED:20231130T103254Z UID:5117-1689300000-1699837199@www.museoman.it SUMMARY:Matisse - Metamorphoses DESCRIPTION:curated by Chiara Gatti from a project by Sandra Gianfreda\, curator at the Kunsthaus Zürich with Claudine Grammont\, Cheffe du cabinet d’art graphique\, Center Pompidou \nHenri Matisse he is one of the greatest artists of the twentieth century\, but\, paradoxically\, an important part of his production is still overlooked. The figure of Matisse the sculptor is\, in fact\, not known in the most subtle aspects of his research. Although painting has always remained his main expressive modality\, “his” language and the form of investigation of the visible to which he dedicated himself throughout his life\, Matisse simultaneously conducted a reflection on sculpture (and also on engraving) which makes he is one of the most complete artists of the last century. His versatility explored various techniques simultaneously\, with curiosity and keen experimentation. Against the background of this multifaceted intelligence\, Matisse’s sculptural work reveals a parallel life to that of the colourist\, a double soul devoted to matter\, volume\, space\, which deserves to be placed in relation – in terms of processes and goals – with that of other great sculptors of the 20th century\, heirs of Auguste Rodin’s lesson and who became geniuses of the avant-garde. From Brancusi to Giacometti\, from Boccioni to Wotruba. \nFor the first time in Italy\, the MAN Museum today dedicates an exhibition to the sculpture of Henri Matisse. The exhibition project\, edited by Chiara Gatti \, rereads and adapts to the spaces of the Sardinian museum\, the new and complex concept of the Matisse Métamorphoses exhibition organized in 2019 by Kunsthaus in Zurich and the Matisse Museum in Nice. \nA project intended to rethink Matisse\, to reconsider the role of his work in the art panorama of the first half of the 20th century\, in the light of a broader aesthetic research that sees sculpture as the vehicle for new and revolutionary formal solutions. In this necessary insight\, it emerges that the human figure in particular was the main theme of his tension towards synthesis. From the investigation of the body\, posture\, gesture or physiognomy\, Matisse developed a path of geometric reduction of the image which led him towards an abstraction bordering on the radical. \nAs the artist himself stated in 1908 in his Notes d’un peintre: « what interests me most is neither the still life nor the landscape\, it is the figure ». The figure\, not for its pathos\, its lyricism\, moods or existential inflection\, but for its sense of presence in space and its ideal evolution over time. In fact\, Matisse questioned the body in its relationship with the immediate environment and with the changing circumstances over a long period of time. Here then is the evolution of a naturalistic fact into a final synthesis that sublimates contingency into a dimension of absolute perfection. Space conditions\, in turn\, a system of subtle relationships between physical substance and inhabited void\, between gestures and the dynamic lines that they draw in the air. \nThe exhibition begins\, therefore\, with an analysis of the artist’s method of creation and his work of transforming the figure into serial variations. The itinerary aligns sequences of bronzes\, dating from the early 1910s to the 1930s\, and subjects presented in their various subsequent states and combined with the artist’s sources of inspiration\, including photographs of nudes and posing models\, as well as an essential selection of few paintings in which the motifs themselves reveal the double soul of his parallel research\, pictorial and sculptural\, in particular in addressing the dominant themes of the nude\, dance and odalisque. Through around 30 sculptures and around twenty drawings\, engravings\, as well as period photographs and original films\, Matisse’s sculpture will be placed in relation to the subjects of his life\, his magnificent obsessions linked to the female form\, to the physiognomic research on models\, to the attitudes and plasticity of the volumes. \nAgainst the background of this composite research\, here are many unique figures\, such as The tiarees \, of which there are no different stages\, while others are repeated at different intervals\, varying and transforming\, like the famous cycle of Jeannette (IV) . From here the artist develops a conceptual approach that can be described as a sort of method of formal progression. As in a “metamorphosis”\, which explains the title of the exhibition well\, his figures evolve from a natural transcription to a radical synthesis of the visual data. \nEven in his painting – as has been widely studied by critics in the past – it is possible to detect this process of metamorphosis\, without however ever going so far as to consider actual cycles of works as “series”\, but rather as the result of a long process of elaboration which finds in sculpture and graphics\, combined with painting itself\, investigative tools connected to each other\, in the idea of ​​a liquid boundary between techniques. An example of this is there ‘Odalisque of the Museo Novecento in Milan\, which finds subtle and surgical counterparts and relationships with contemporary drawings and bronzes and whose entire sequence the exhibition will align. \nThe exhibition is created in collaboration with Expo poster. \nclick here to listen to the audio guide\nTechnical details\nIn collaboration with Kunsthaus Zürich\, Musée Matisse de Nice\nBilingual ita/en catalogue: Sole24ore Cultura\nExhibition coordination by Rita Moro\, Myrtille Montaud and Manifesto Expo\nTexts by Sandra Gianfreda\, Bärbel Küster\nWith the participation of the Archaeological Museum of Nuoro\nMedia Partnership : Radio Monte Carlo – www.radiomontecarlo.net \nPress office\nSTUDIO ESSECI – Sergio Campagnolo Via San Mattia 16\, 35121 Padua Tel. +39.049.663499\ncontact person Simone Raddi\, simone@studioesseci.net www.studioesseci.net URL:https://www.museoman.it/en/event/matisse-metamorphoses/ CATEGORIES:MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2023/11/Matisse17_Foto-Alessandro-Moni.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20230714 DTEND;VALUE=DATE:20230919 DTSTAMP:20260613T174704 CREATED:20231130T104133Z LAST-MODIFIED:20240423T090439Z UID:5124-1689300000-1695002399@www.museoman.it SUMMARY:Alice Guareschi - Je m'appelle Olympia DESCRIPTION:edited by Chiara Gatti\ncoordination by Elisabetta Masala \nWinning project of PAC2021 – Plan for Contemporary Art promoted by the General Directorate for Contemporary Creativity of the Ministry of Culture\nThe MAN Museum of Nuoro presents for the summer\, in the spaces of its project room\, I call Olympia\, winning project of PAC2021. \n Je m’appelle Olympia was born from an “action for hall lights” performed by Alice Guareschi\, only once\, for a selected audience of guests\, on 12 April 2012 at the Olympia Music Hall\, an iconic and legendary Parisian theatre. The 16 photographs that make up this series were taken on the same day as the action\, immediately after the live activation of the light choreography in the empty space of the theatre\, which involved all thirteen tracks of colored lights\, permanently integrated into the architecture. With a fixed shot\, similar but not identical\, following the precise original score composed by the artist\, the images return a sequence of different movements of light inside the room. The photographic series thus becomes a new synthesis of the image-idea and the intention at the origin of the performance: to activate a theater without any show\, play it live \, reawaken the latent memory\, the secret life removed from the spectator’s gaze. By breaking down the duration of the action into frames\, which can be seen both individually and as a whole\, the spatial declination of the work now allows the idea to be embraced in a single glance. \nThe setup site-specific\, studied by the artist for the MAN\, displays all the photographs of the series\, alongside the punctuated musical score\, on the staves\, from the times of the action\, where presences or pauses of the lights replace the musical notes in a complex polyphony. The space – conceived as a small theater – is reached by crossing the entrance curtain\, evocation of access to an audience\, but also a border\, a limit that separates the place of life from its representation. Immersed in silence\, the ideal space of the theatre\, removed from voices or sounds\, stages itself; the light inhabits it\, revealing its nature and physiognomy. \n«The starting point is an image: that of a luminous choreography that suddenly activates in the empty space of the hall\, at a moment of the day when no show is scheduled and the theater rests uninhabited and silent. Like an explosion of energy accumulated over the years\, like the unexpected revelation of a secret life that concerns only the building. A few months ago\, when I found myself for the first time at the Olympia for a concert\, I was deeply struck by the silent wonder of the lights in relation to the somehow romantic monumentality\, marked by time and its stories\, of the theater. To such a point that music has become an almost superfluous element for me. Without having foreseen it\, I had become a spectator of another show. At the end of the evening I left the hall last\, to be able to take full advantage of the powerful atmosphere of the space left empty after the concert: the perception of the very small scale of my body in relation to the spectacular majesty of the theatre\, even more striking when on the scene nothing is happening\, it also had a truly surprising effect on me. In the narrative suspension of this present space-time\, the link between past and future suddenly seemed to show itself with its extraordinary charge of memory and possibility. “This is the space that stories inhabit\,” I thought. Left alone with herself again\, the room seemed to vibrate secretly.” Alice Guareschi\, Paris\, 12 April 2012 \nOpen call\nWorkshop for adults – aimed at art students\, artists\, researchers\, performers\, musicians\nMy name is Olympia\nThursday 14th – Saturday 16th September 2023 \nWithin the framework of the project My name is Olympia \, the workshop for adults conducted by Alice Guareschi\, in collaboration with the MAN educational department\, aims to directly involve participants\, stimulating the development of critical thinking\, discussion and the growth of creative abilities. Starting from some food for thought that the work raises – such as\, for example\, the idea of ​​”activation of a space”\, of “latent memory of a place” and of “the secret life of a building in the absence of spectacle” – the work will be divided into different moments and spaces\, starting from the MAN to explore and involve other important points of the social and cultural fabric of Nuoro\, including the civic theatre. The objective is to create a direct link between the work\, the artist\, the museum and the city\, where the participants will be active figures\, who through their theoretical and practical involvement and their personal experience\, will become agents bearers of a new look. \nBiographical note \nAlice Guareschi (1976) is a visual artist and filmmaker\, lives and works in Milan. Graduated in philosophy with a thesis on experimental cinema\, she articulates her research between video\, writing and the creation of objects. She has been an artist in residence in Paris at the Pavillon du Palais de Tokyo and at the Cité Internationale des Arts\, in Triangle\, New York\, and at Kaus Australis\, Rotterdam. In 2008 he won the Scholarship for Young Italian Art of the Friends of the Castello di Rivoli Museum of Contemporary Art\, and in 2022 he won the PAC2021 production call promoted by the General Directorate of Contemporary Creativity of the Ministry of Culture. Since 2018 he has taught Project Writing and Creative Research at the IED in Milan\, and since 2022 Visual Arts and Curatorial Studies I at NABA. He has participated in collective exhibitions and festivals in Italy and abroad\, exhibiting in public and private institutions including: Fondazione Re Rebaudengo\, Turin; Palais de Tokyo\, Paris; Castello di Rivoli Museum of Contemporary Art\, Turin; PAC\, Milan; MAMbo\, Bologna; GAMeC\, Bergamo; Mart\, Rovereto; Palazzo delle Esposizioni\, Rome; Dunkers Kulturhus\, Helsingborg; Fondation d’Entreprise Ricard\, Paris; Spanish Academy and German Academy at Villa Massimo\, Rome; Villa Arson\, Nice. Main solo exhibitions: Galleria Alessandro De March\, Milan; Sonia Rosso Gallery\, Turin; Center Culturel Français\, Milan; Rivoli Castle\, Turin; Italian Cultural Institute\, Paris; Microscope Gallery\, Brooklyn; Galerie DREI\, Cologne; Joey Ramone Gallery\, Rotterdam. Film festivals and screenings: Filmmaker Doc Festival\, Milan; Impakt Festival\, Utrecht; Italian Cinema London Festival; Pesaro New Cinema Exhibition; Milan Design Film Festival; The Foundation\, Rome; Milan Triennial; Macro\, Rome. \nPress office\nSTUDIO ESSECI\nVia San Mattia 16\, Padua\nTel. +39.049.663499\ncontact person Simone Raddi\nsimone@studioesseci.net\nwww.studioesseci.net URL:https://www.museoman.it/en/event/alice-guareschi-je-mappelle-olympia/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2023/11/Alice-Guareschi_Allestimento-Je-m-appelle-Olympia_Ph-Alessandro-Moni-41-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20230303T000000 DTEND;TZID=Europe/Rome:20230625T000000 DTSTAMP:20260613T174704 CREATED:20240417T140605Z LAST-MODIFIED:20240417T140605Z UID:5112-1677801600-1687651200@www.museoman.it SUMMARY:Studio Pratha DESCRIPTION:Studio Pratha is an experimental creative hotbed born in 2017 from an intuition of Graziella Carta\, founder and creative director of the group. Welcoming inspirations from visionary designers and eclectic artists\, Studio Pratha reinterprets in a contemporary key\, a refined weaving technique with a thousand-year history\, now practiced only in the village of Sarule. \nThe execution phase of the tapestries remains firmly anchored to the heart of Barbagia\, where the master weavers create the Pratha works using exclusively Sardinian sheep’s wool and working on the traditional vertical loom\, totally manual: faithful to an extremely complex and precious executive specification\, they create only a few centimeters of product per day\, working with two or four hands. \nThe creative phase instead crosses island and national borders\, opening up to new collaborations who bring Studio Pratha tapestries to international museums and galleries. Although ranging between various styles and inspirations\, Pratha’s works move mainly in the dimension of abstractionism with a conceptual imprint\, but there is no shortage of experiments in the figurative field\, including the recent tribute to Guernica Tessere la Pace\, born from the collaboration with the MAN Museum of Nuoro. \nToday\, design and high craftsmanship intertwine on Studio Pratha frames\, in a continuous experimentation that fully fits into the contemporary artistic panorama. URL:https://www.museoman.it/en/event/studio-pratha/ 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-Studio-Pratha-5-aQs6r5.tmp_-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20230303T000000 DTEND;TZID=Europe/Rome:20230625T000000 DTSTAMP:20260613T174704 CREATED:20240417T140603Z LAST-MODIFIED:20240417T140603Z UID:5081-1677801600-1687651200@www.museoman.it SUMMARY:Odessa Steps DESCRIPTION:edited by Giovanni Francesco Tuzzolino and Federico Crimi \nwith the contribution of Paolo De Marco \n \nin collaboration with \nTerritorial University Center of Agrigento_University of Palermo\, \nNational University Lviv Polytechnic\, \nState Archive of the Odessa Region. \n\nThe MAN Museum in Nuoro will host\, from next March 3rd\, a new and important dedicated exhibition to the history and myth of the Odessa steps \, renamed by popular culture the “Potemkin Staircase” following the success of the famous film by Sergei Mikhailovich Ejzenštejn\, The battleship Potemkin of 1925. \nThe original project of the staircase\, a monumental hinge between the sea and the city\, was signed\, in the 1830s\, by the architect Francesco Carlo Boffo (1796-1867) whose biography remained shrouded in mystery for decades\, poised between an oral tradition that linked him to Sardinia and new documentary pieces that the exhibition today reveals along the way\, thanks to recent archival discoveries. \nAfter the exhibition dedicated to Picasso and the genesis of Guernica\, the MAN Museum returns to reflect on a historical episode which nevertheless has a topical value\, in the context of the tragic conflict in Ukraine\, exactly one year after its beginning. Twinning with Ukrainian institutions from this perspective\, it takes on a value of support and cultural and civil closeness. \nFrancesco Carlo Boffo is a figure of great interest\, both for his architectural experimentation with themes linked to urban space\, and for his role as interpreter of Italian architectural culture\, already very much alive between Russia and Ukraine since the reconstruction of the Moscow Kremlin in the Renaissance\, and which has given the multicultural Odessa\, a melting pot of various cultures and a cosmopolitan city as well as a free port\, that unmistakable classic face also betrayed by the choice of a Greek name for the city. \nBoffo presents himself\, therefore\, as the main author of many public spaces\, of representative architecture and of the staircase itself\, symbol of the place\, which connects the port esplanade to the Piazza de Richelieu\, along an ideal axis that the exhibition will return through the exhibition Of drawings provided exceptionally by the Odessa Archive\, original plans on loan from prestigious Italian institutes\, including the National Central Library of Florence and the Historical Archives of Turin\, in addition to the reconstruction of the drawings and a scale model created thanks to the collaboration with the Agrigento Territorial University Center of the University of Palermo. \nThe MAN will delve into the architect’s work for the first time\, underlining the contribution offered in the construction of the architectural and urban identity of Odessa\, together with the fascinating human and artistic story suspended between the legend of his birth on the island and the real Swiss origins of Ticino\, fertile ground for many architects who later grew up in Italy and its centers of academic culture\, strongly linked to the discipline of design. \nBut the story of Boffo and “his” staircase could not fail to intertwine with that of a film which made this panorama universally known in the eyes of the twentieth century public\, transforming a masterpiece of nineteenth-century architecture in an icon of the big screen\, thanks to the tight\, violent and dramatic editing of the famous Ėjzenštejn sequence\, engraved in the common imagination. In the catalog text by film critic Roberto Nepoti we read: «It is an indisputable sign of iconicity that the sequence is absolutely the most cited in the entire history of cinema\, both in the form of homage and in the form of parody\, by countless emulators of the Russian master. So much so that\, at the end of the 1990s\, the well-known critic Roger Ebert wrote: “… the famous massacre on the Odessa steps is so cited\, that it is probable that many spectators saw the parody before the original”». \nEnriching the exhibition are two romantic paintings of notable value and quality\, a stormy sea by Ivan Konstantinovič Ajvazovskij from 1897\, granted by National Museum in Warsaw\, and a large port of Odessa by Rufim Gavrilovitš Sudkovski from 1885\, arriving from Kunstimuseum in Tallinn\, Estonia . The presence of some rare votive offerings with scenes of Sardinian brigantines in the bay of Odessa\, before and during the Crimean War\, is curious. \nArchitecture and cinema alternate along the entire route\, now delving into the constructive analysis of the staircase\, now reviewing the frames of a film that has set a precedent and which exalts\, in its own shots\, the formal details of the scenographic ramp. Period panoramas and new views duet with the brilliant solutions of Ėjzenštejn’s direction at the center of the video installation that tells of its genesis. \n \nCoordination \nRita Moro and Elisabetta Masala \nfrom an idea by Tommaso Esca \n\nCatalog Libria editions\, texts by Viktor Proskuryakov\, Federico Crimi\, \nGiovanni Francesco Tuzzolino\, Paolo De Marco\, Roberto Nepoti \n\nVideo installations edited by Storyville \nin collaboration with Cineteca Milano \n\n\nPress office \nSTUDIO ESSECI – Sergio Campagnolo \nVia San Mattia 16\, 35121 Padua \nTel. +39.049.663499 \ncontact person Simone Raddi\, simone@studioesseci.net \nwww.studioesseci.net URL:https://www.museoman.it/en/event/odessa-steps/ 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/Odessa4-archivio-ETrkCP.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20230303T000000 DTEND;TZID=Europe/Rome:20230625T000000 DTSTAMP:20260613T174704 CREATED:20240417T140540Z LAST-MODIFIED:20240417T140540Z UID:5105-1677801600-1687651200@www.museoman.it SUMMARY:OLIVE BARBIERI DESCRIPTION:60 unpublished color photographs and a large wallpaper \nOn March 3\, the Sardinia Foundation\, in collaboration with the MAN Museum\, inaugurates the exhibition Twelve ve ee hs nine – Dolmens and Menhirs in Sardinia Of Olivo Barbieri \, edited by Marco Delogu and Chiara Gatti. \nThe artist’s unpublished series concludes his work within the Sardinia Commission\, a project that supports the production of contemporary works of art through the AR/S Arte Condivisa platform\, with the aim of opening a window on the territory\, the history and stratifications that characterize the island\, through the eyes of curators\, male and female artists invited to live residency and production experiences in Sardinia. \nOlivo Barbieri\, one of the major contemporary Italian artists and photographers\, was invited by the Sardinia Foundation to turn his gaze to the island\, to undertake three journeys over two years\, deciphering a space-time bubble between archeology and contemporary imagination . \nThe object of the research is the heritage made up of numerous megaliths\, dolmens and menhirs scattered across the island\, according to logics still unclear to scholars\, observed in their ability to modify the space that surrounds them. \nBarbieri\, who had already traveled extensively in Brittany and Carnac in the 1980s\, attracted by these megalithic monuments\, by the mystery of their genesis and their function\, even if years late and with a certain sense of guilt for having waited so long\, arrives in Sardinia to approach an equally unique heritage\, little known\, even for many almost unknown. \nGuided by the wise availability of scholars such as the archaeologist Riccardo Cicilloni\, by the indications of the local inhabitants\, by researchers and by local memories\, Barbieri in Twelveve ee hs nine – Dolmens and Menhirs in Sardinia it provides a reconnaissance\, a free and non-scientific sensorial mapping of the megaliths\, but above all it tells how the space around them has changed\, how the world has changed through unconscious shapes\, stratifications and logical passages. \nThe photographs record authentic situations of coexistence and interpenetration between the archaic past\, recent buildings and the vegetal landscape. \nThe artist has broadened his gaze from the single site to the anthropized landscape\, towards inhabited contexts that have absorbed the volumes and history of these extraordinary objects of resistance\, in a new scenario\, modified by the context of the finds and their influence\, inspiring new images and new architecture. \nOlivo Barbieri\, through this investigation into variation\, with a clear observation process free of linguistic frills\, but taking the perceptive possibilities of seeing to the extreme\, traces an imaginary geography of Sardinia that is profound\, silent and different from the well-known beauty of the internationally famous coast. \nIn his travels from Dorgali to Laconi\, from Calangianus to Barrali\, he explores adventurous routes between cultivated fields\, pastures and villages in search of vestiges sometimes swallowed up by vegetation or concrete to return them to the present. \nIn the dialogue with Chiara Gatti published in the catalog Olivo Barbieri says: «I worked and reflected a lot on the modification of the space around each find\, how the eras passed by superimposing grafts\, layers\, passages. It is a syncretic temporal tale…” \nAs Marco Delogu and Franco Carta write in the text that accompanies the exhibition: “the shapes of the stone are imbued with time and Barbieri captures their mystery\, encloses color and light in the frame\, enhances their aesthetic strength\, questions their suggestions magic and the symbolic-sacral value that dolmens and menhirs have always evoked in the mind of the observer\, be he a scholar or a layman”. \nBarbieri’s work is consistent with the original productions of the Sardinia Foundation created in recent years\, productions whose objective is to tell the island through the vision of art\, asking protagonists of primary caliber to restore an image of the island in dialogue with the most dynamic national and international creative contexts. From this dialogue emerge the signs of an unusual Sardinia that\, at times\, we struggle to recognise. \nThe exhibition is accompanied by a catalog with 105 photographs published by Punctum Press with texts by Andrea Cortellessa\, Riccardo Cicilloni\, Marco Delogu and Franco Carta and a dialogue between Olivo Barbieri and Chiara Gatti. \nBARBIERI OLIVE TREE \nTwel ve ee hs nine – Dolmens and Menhirs in Sardinia \nFrom 4 March to 25 June 2023 \nContinuous opening hours: 10am – 7pm | Monday closed \nPress Office: UC studio – press@ucstudio.it \nChiara Ciucci Giuliani chiara@ucstudio.it – ​​mob +39 3929173661 \nRoberta Pucci roberta@ucstudio.it – ​​mob +39 3408174090 URL:https://www.museoman.it/en/event/olive-barbieri/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Focus Sardegna,MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2024/04/MAN-Allestimento-Olivo-Barbieri-4-GQQAfc.tmp_-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20230303T000000 DTEND;TZID=Europe/Rome:20230413T000000 DTSTAMP:20260613T174704 CREATED:20240417T140537Z LAST-MODIFIED:20240417T140537Z UID:5077-1677801600-1681344000@www.museoman.it SUMMARY:Fading in DESCRIPTION:The MAN continues its investigation into the languages ​​of the 21st century by inaugurating the first of a series of Project Rooms\, a new exhibition concept focused on the aesthetic universe of contemporaneity. The ground floor of the museum will be conceived as a multifaceted space\, capable of changing shape with each project with the aim of acting as a spokesperson for today’s artists and their vision of the world. \nThe first date features the protagonist Massimo Grimaldi with the exhibition Fading in \, which offers a selection of five photographic reports created between 2010 and 2021. \nGrimaldi’s poetics develops in a constant tension between ethics and aesthetics. The artist has developed a working method that involves systematic collaboration with EMERGENCY\, a humanitarian association created with the aim of offering free medical support to civilian victims of war and poverty. Since 2007 the artist has participated in various competitions with projects which envisaged\, in case of winning\, the donation of the sum to EMERGENCY and the creation of reportages in places where the NGO is active. The most striking case dates back to 2009\, when Grimaldi won the international MAXXI 2per100 competition with a project which established to donate 92% of the prize of 700\,000 euros to EMERGENCY for the construction of the Pediatric Center of Port Sudan and to document the activity of hospital\, from its construction to full operation. An approach that demonstrates how Grimaldi reflects on society and intervenes on it\, re-discussing the role of the artist. \nIn Uganda is the main work presented at MAN. The video projection is the result of a reportage\, created at the beginning of 2021\, which moves on a double level: on the one hand it describes life inside the Children’s Surgical Hospital in the Ugandan city of Entebbe\, focusing the lens on the EMERGENCY staff and the patients; on the other\, it shows the human and landscape beauty of Entebbe\, the peninsula that stretches along the northern coast of Lake Victoria\, on which the hospital stands. As the images fade away\, we realize that talking about reportage is rather simplistic. In Grimaldi’s works the documentary aspect remains in the background compared to the affective component\, which is dominant. In this way\, his works trace a red thread between two worlds: at one end there is the museum where the works are enjoyed\, while at the other end there is a reality that may appear distant to many\, but not for this is less true. \nImages of projects carried out in Sudan\, Sierra Leone\, Afghanistan\, in the Central African Republic\, follow one another in the exhibition on the screens of the latest generation iPad Pro with a fade (precisely a “fade in”)\, from which the title of the exhibition derives. As the critic Luca Cerizza points out\, “the melancholy that relentlessly pervades Grimaldi’s work arises from that dichotomy that the artist shows as never reconciled\, between the ethical and aesthetic dimensions of art and\, even more specifically in his case\, of a sensual attraction towards a world of perfect\, hyper-defined\, mostly abstract forms and images\, and the awareness that every work of art risks being crushed by a process of obsolescence by which it is overcome – like any other product – from a subsequent linguistic proposal\, from a new style\, from the satisfaction\, in short\, of a new desire”. \nThe systematic use of the latest Apple models on which a looping sequence runs is a consolidated practice of Grimaldi’s poetics. In this way\, since the (self-imposed) possibility of deciding the external appearance of the works is no longer possible\, it is the artist himself who questions his own status\, aligning himself with technological evolution and its contradictions. Thus\, the assumption of art for eternity collapses. The result is a work with an ineluctable destiny\, works that become obsolete in the space of a few years\, subservient to a race for increasingly pressing technical progress. \nFading in it is the occasion for the release of a new edition of The MAN notebooks \, with a critical insight by Luca Cerizza who traces the evolution of Massimo Grimaldi’s work from the beginning of his research to today. \n\n\n\nBiography\n\n\nMassimo Grimaldi (Taranto\, 1974) is an Italian artist who lives and works in Milan. His practice investigates the nature of what we conventionally call “art”\, the way in which it is perceived\, evaluated and understood. His research is a continuous interrogation on the criteria of the production and circulation of images\, on the power and limits of aesthetic speculation\, on the possibility of its ethical redefinition. The artist has had solo exhibitions at Castello di Rivoli\, Turin (2009); Villa Croce Museum\, Genoa (2012); Team Gallery\, New York (2011/2013); West\, The Hague (2014); ZERO…\, Milan (2006/2010/2013/2017/2019/2022). His works have also been presented in numerous group exhibitions\, including Italics at Palazzo Grassi\, Venice e MCA \, Chicago (2008-2009) and the 50th Venice Biennale (2003). In 2009 Grimaldi won the international MAXXI 2per100 competition\, using the prize for the construction of the EMERGENCY Pediatric Center in Port Sudan. URL:https://www.museoman.it/en/event/fading-in/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Focus Sardegna,MAN ATTACH;FMTTYPE=image/png:https://www.museoman.it/wp-content/uploads/2024/04/grimaldi-Auwz5i.tmp_.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20221118T000000 DTEND;TZID=Europe/Rome:20230219T000000 DTSTAMP:20260613T174704 CREATED:20240417T140619Z LAST-MODIFIED:20240417T140619Z UID:5086-1668729600-1676764800@www.museoman.it SUMMARY:BELONGINGS DESCRIPTION:The work’s important entry into the collection Mother sewing by Mario Sironi\, 1905-1906\, the result of a recent purchase by the MAN museum from a private collection in Milan\, represents the opportunity for a presentation to the public of the latest acquisitions received in the form of purchase\, loan or donation. The exhibition aligns the works within a path that presents\, for each of them\, a historical and thematic analysis\, a narrative that places them in the background of the permanent collection\, explaining their value and role within the identity of the collection itself . \nThe work of Sironi (1885-1961)\, in particular\, is accompanied by a critical insight by Elena Pontiggia \, the greatest Italian expert on the master\, collected in the pages of a small dossier publication intended to inaugurate the museum’s new editorial series\, The MAN notebooks . \n«Sironi is not looking for an intimate scene – writes Pontiggia – indeed he could have signed Munch’s Saint Cloud Manifesto (1899)\, which proclaimed: “We will no longer paint interiors […]\, women knitting”. Of course\, his is an interior\, but what interests him is the volumetric construction: the solid female figure\, the chair firmly planted on the floor\, the blocks of color of the table and furniture. If anything\, you can sense a thread of melancholy in the loneliness of the mother\, all alone in the silence of the house. However\, the scene also communicates his sense of dignity and almost his intimate approval for the duty accomplished: that interior approval which\, as Thomas Mann makes Johann Buddenbrook say\, “is the most certain happiness that can be achieved on earth”. \nThe Mother Who Sews has had relatively recent critical success because Sironi\, due to his subsequent rejection of divisionism (shared by many critics in the years between the two wars)\, never exhibited it in his lifetime. We find her for the first time in an exhibition only in 1969\, eight years after her death. The first to talk about it\, however\, was Costantini\, a friend of his youth and then a relative of the artist because he had married his sister Marta. In his Contemporary Italian Painting\, published in 1934\, the critic expressly recalls the Mother who sews “among the works of intense colour”. The adjective may surprise\, because the set of greens and blues in the painting can be defined as “intense” for its refinement\, but certainly not for its brightness. Sironi does not adopt divisionism to accentuate the luminous effects of the composition\, and does not exploit the contrast of complementaries. It is true\, however\, that compared to its dark palette of the 1920s\, The Mother Who Sews stands out for a much more lively and naturalistic chromatic range.” \nAmong the other protagonists of the exhibition he then stands out Costantino Nivola (1911-1988)\, with a new work Times Square\, dated 1946\, which joins funds already held by the MAN and which arrives in the collection following a significant restoration (curated by Maria Albai) and which is now valued as a unicum in the master’s production\, due to the monumental dimensions of the canvas and for the complexity of the New York subject\, which aligns with his most famous production\, with some variations worthy of investigation. \nThe presence\, along the route\, of a dialogue between Maria Lai (1919-2013) and Jorge Eielson (1924-2006)\, in view of a future exhibition that the MAN will dedicate next year to the fraternal relationship established over time between two great names of the second half of the twentieth century\, formed during the time of the Peruvian artist’s stay in Sardinia. For the occasion\, two sewn books by Maria Lai enter the collection\, one distinct from her famous “geographies”\, and a small breviary entitled Sono qui\, loaned by the heirs. The Eielson archive instead provides a major node in the cycle Amazon \, which refers to the archaic symbolism of the “quipu” in the Inca empire\, the knot as a language\, method of writing and accounting\, for measuring time in calendars\, drawing up censuses. \nThe result of recent exhibitions and recent donations\, here are still works by Edina Altara (1898-1983)\, Vittorio Accornero (1896-1982)\, Salvatore Fancello (1916-1941) and Anna Marongiu (1907-1941)\, as well as the splendid photographs dedicated to Sardinia by Lisetta Carmi (1924-2022 )\, alongside leading contemporary figures such as Martthe Guixé (born in 1964)\, with his textile works\, large tapestries inspired by tradition and applied to designer seating\, Christian Niccoli (born in 1976) with the video ZWEI (Two) produced within the Italian Council\, and Paolo Cavinato (born 1975)\, fresh from the exhibition Sensorama where his surgical perspectives have opened passages into a space that doesn’t exist. \nA separate section\, an exhibition within the exhibition\, is reserved for the site-specific intervention of Giovanni Campus (born 1929)\, the great Sardinian artist\, Milanese by adoption\, who will unravel his Euclidean boxes made up of compositions evolving over time in the MAN rooms. Walking among its geometries\, one perceives spaces inhabited by irregular graphs\, analytical quadrants\, Cartesian planes where lines and segments run parallel and intersect infinitely. \nCampus orchestrates lines\, rhythms\, perimeters\, edges\, measurements\, rules and exceptions to erect minimal fences\, synthetic landscapes\, a domain of signs that follow each other on the walls until they design three-dimensional places within which the spectator moves as in an abstract painting\, in a liquid border between painting and architecture. \nThe “time” component is decisive and gives the title to the cycle of works Tempo in process. Since the Seventies\, in the era of conceptualism\, the artist has worked on the unity of the exhibition\, with tables connected to each other in sequence\, thus demonstrating the transformation of the modular elements – traces made of rope or metal – in the space of a pre-established duration. The effect is complete when painting and sculpture integrate\, creating enveloping scenarios\, flat surfaces projected into the third dimension. Building space through drawing\, in the time of practice and method\, is the research that runs beneath the surface of all the master’s reflections based on rigor and lyricism. For Campus\, mathematics is poetry. \nGiovanni Campus’ precious intervention will be accompanied by a dossier from the new editorial series The MAN notebooks \, with a critical text edited by Chiara Gatti. URL:https://www.museoman.it/en/event/belongings/ 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/madre-che-cuce_900-NEPPTQ.tmp_-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20221118T000000 DTEND;TZID=Europe/Rome:20221118T000000 DTSTAMP:20260613T174704 CREATED:20240417T140607Z LAST-MODIFIED:20240417T140607Z UID:5106-1668729600-1668729600@www.museoman.it SUMMARY:Picasso and Guernica DESCRIPTION:edited by Michele Tavola \nFrom September 23rd to December 31st 1953 Guernica was exhibited in Hall of the Caryatids of the Royal Palace of Milan \, together with more than three hundred other works by the Spanish master\, giving shape to the largest Picasso retrospective ever held in Italy. Subsequently the exhibition was moved to Rome\, but in a reduced format and above all without Guernica \, which from then on never entered our country again. The Hall of Caryatids\, which at the time of hosting Picasso’s masterpiece still showed signs of the bombings of the Second World War\, thus amplifying the meaning of the work\, on that occasion also hosted other dramatic compositions explicitly denouncing the disasters of war such as the Massacre in Korea And Carnage . \nToday Guernica he no longer travels\, he never leaves Spain and his room at the Reina Sofía Museum in Madrid. It will no longer return to Paris\, where it was created\, commissioned by the Spanish Republican government for the 1937 Universal Exhibition\, it will no longer return to the MoMa in New York\, where it spent a good part of its exile before returning to its homeland\, and it certainly will not he will return to Italy again. Seventy years after the historic exhibition at the Palazzo Reale in Milan\, the MAN in Nuoro celebrates the Italian passage of Guernica \, symbolically and artistically fundamental for a generation of artists\, art critics and Italian citizens. \nThe Nuorese homage is divided into two main sections: the echo of Guernica in Picasso’s artistic production and the story of the genesis of the work through the visual story of Dora Maar\, photographer and companion of the Spanish artist at the time. \nThe first section finds its main focus in the extraordinary diptych of engravings entitled Franco’s voice and lie \, a true graphic counterpart of the large painting. Picasso began engraving the first plate in January 1937 but soon abandoned the work. In the month of May\, just after the tragic bombing of the Basque town\, he completed both matrices just as he was executing the monumental canvas\, using the same studies and the same ideas. However\, it is not at all a small version of the painting\, but an original invention in its own right\, which is inspired by the same thought and the same creative impetus. Around Franco’s voice and lie we will collect a small but significant series of engravings\, drawings and paintings that directly relate to the gestation of Guernica or which\, having been created in the same period\, closely recall the style and themes of the famous painting. \nThe second soul of the exhibition would revolve around the extraordinary testimony of Dora Maar\, who documented Picasso’s work day by day\, with her own photographs. It is a series of shots that are both moving and fundamental for the philological reconstruction of the creation of Guernica . There will also be no shortage of images taken in 1953 by Mario Perroti on the occasion of the Milanese exhibition\, in the touching display of the Hall of Caryatids marked by bombing\, a tragic situation that convinced Picasso to exhibit his masterpiece in that context so similar to the soul of the painting. \nThe ideal project of the exhibition will also include a documentary section that will make the journey of the highest quality\, completing the narrative in an anniversary that Italy is called to celebrate and of which the MAN Museum of Nuoro would be the leader. URL:https://www.museoman.it/en/event/picasso-and-guernica/ 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/Picasso-1-0pIg1c.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220708T000000 DTEND;TZID=Europe/Rome:20221030T000000 DTSTAMP:20260613T174704 CREATED:20240417T140616Z LAST-MODIFIED:20240417T140616Z UID:5097-1657238400-1667088000@www.museoman.it SUMMARY:SENSORAMA DESCRIPTION:The look\, the things\, the deceptions\nfrom Magritte to augmented reality\n \ninauguration Friday 8 July at 6.30 pm \nedited by Chiara Gatti and Tiziana Cipelletti \nwith the scientific contribution of Baingio Pinna of the Department of Biomedical Sciences of the University of Sassari\, author of the book Visual perception \, the Mill\, 2021 \nExhibition project by Denis Santachiara \nCoordination of Rita Moro and Elisabetta Masala \nVideo installations by Storyville \n \nSENSORAMA adopts the model of the Museum of Illusions in a cultured and original way and entrusts the works of contemporary artists and videomakers with the exploration of the relationship between Vision and Perception with the aim of showing the complexity of cognitive phenomena and the “pleasure” of being deceived. \nIllusion is our reality. Because we see little of the world out there that our eyes are able to see. “How your eyes trick your mind”\, as the English say. The result is a representation of things that is not real at all. It’s up to our brain to orient ourselves between appearances and enigmas. \nThose who deal with perception start from these premises\, but know that they have centuries of philosophical discussion behind them\, from Plato onwards. The question “do we really see reality?” It’s an age-old dilemma. Today\, however\, neuroscience can begin to provide an answer by studying the sense organs and analyzing the brain’s ability to interpret the signals that they send it. \nThe MAN museum in Nuoro\, which has always been dedicated to research and the different languages ​​of the contemporary\, inaugurates a new exhibition season which aims to reflect on some themes prompted by the drama of the pandemic and confinement: interrupted communication\, the gaze veiled by the diaphragm of a screen\, the reading of images removed from sight and returned in a virtual reality. Going back to look\, to train the eyes and to ask questions about the truth (or otherwise) of vision is the aim of an exhibition which\, starting from historical antecedents\, from the noble fathers of a painting of truth and deception\, such as René Magritte and Giorgio de Chirico\, it opens the spectrum to the most recent aesthetic investigations into perception and authenticity. Here are the mirror photographs of Florence Henri or the optical-kinetic tables of Alberto Biasi\, the enveloping and disturbing environments of Peter Kogler or Marina Apollonius; and again\, the anamorphic sculptures of Marc Didou or the performances understood as real human trompe-l’œil of Liu Bolin\, the invisible man. \nThe title of the exhibition SENSORAMA it is inspired by the name of a machine created in 1957 by the American director Morton Heilig to test synesthetic experiences in his cinema of experience\, in order to amplify impressions\, not only sound with stereophonic audio\, but also tactile\, dynamic and olfactory. To see the music is the name of a section reserved for discovering synesthesia\, the psychic automatism which consists in associating two contents referring to two different sensory spheres in a single image. \nSENSORAMA is a lot of cinema\, art of fireworks par excellence\, “factory of illusions” since its debut and ground of visual experimentation of the avant-garde. The exhibition itinerary contemplates the fantastic cinematography of George Melies based on the disappearance of objects obtained with a primitive stop frame and the levitation of things and people with stop-motion shooting\, to arrive at the phantasmagoric interactions between artistic avant-gardes (Léger\, Man Ray\, Picabia\, Cocteau\, Duchamp…) and cinema. Experimental cinema which\, by adopting the statute of magic and playing with deception and perceptive deformations\, throws our “usual” experience of reality to pieces. \nThe wonderful paradoxes of the digital age. With the augmented reality installation\, “non-reality” goes beyond its boundaries\, floods our perception and gives access to new meanings in a multilayer vision/version. Without the use of devices\, but thanks to the use of your own mobile phone (Bring Your Own Device)\, you will be able to experience the “intelligent and complex” fascination of a multi-layered content\, an essential completion of the vision of a world in transition. \nThe project is enriched by site specific installations\, for example in the case of the interventions studied ad hoc for the MAN by artists such as Felice Varini \, author of drawings in space\, both monumental and ephemeral\, as well as a magical room designed by the designer Denis Santachiara and a cave of books dug like rocks by imprints of impalpable bodies created by Marco Cordero. \nSENSORAMA in short\, it wants to represent the zero degree of perception\, useful for cleaning up the gaze\, to return to amaze ourselves in the face of the paradoxes of sight\, to start observing the works again with an inquiring gaze\, to get closer to the images aware of a fluid limit between real and virtual\, but ready to sharpen our eyes to reveal the mechanisms that orchestrate the process of vision itself. An invitation to learn to look. But\, above all\, to doubt. \nArtists \nRené Magritte\, Giorgio de Chirico\, Florence Henri\, Alberto Biasi\, Luigi Mazzarelli\, Peter Kogler\, Felice Varini\, Marina Apollonio\, Denis Santachiara\, Marc Didou\, Peter Miller\, Liu Bolin\, Marco Cordero\, Humans since 1982\, Ole Martin Lund Bø\, Paolo Cavinato\, Cinzia Fiorese\, Marco Di Giovanni\, Kensuke Koike. \nElecta catalog with texts by Baingio Pinna\, Chiara Gatti and Tiziana Cipelletti \n\n\nPress office \nESSECI study by Sergio Campagnolo \ntel. 049.66.34.99 \nContact Simone Raddi: simone@studioesseci.net URL:https://www.museoman.it/en/event/sensorama/ 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/Apollonio-3-CpSr6Q.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220211T000000 DTEND;TZID=Europe/Rome:20220619T000000 DTSTAMP:20260613T174704 CREATED:20240417T140621Z LAST-MODIFIED:20240417T140621Z UID:5118-1644537600-1655596800@www.museoman.it SUMMARY:CARLO LEVI DESCRIPTION:CARLO LEVI: ALL THE HONEY IS GONE. SARDINIA\, PAINTING \nedited by Giorgina Bertolino \nand the special productive residence project of \nVITTORIA SODDU \nEVERY GOING IS A RETURN \nmade with the Sardinia Film Commission Foundation \n \nopen day: Friday 11 February 2022\, h. 10 – 19 \nopening: 11 February – 19 June 2022 \nThe MAN Museum of Art Province of Nuoro presents from Friday 11 February to Sunday 19 June 2022 the great anthology Of Carlo Levi (Turin 1902 – Rome 1975) which pays homage to the painter-writer Nei 120 from birth\, on the occasion of the anniversaries of his two trips to Sardinia\, completed in May 1952 and December 1962. The exhibition documents the entire span of his research with 89 works among paintings\, drawings and engravings\, dated from 1925 to the early seventies . It makes use of the collaboration of Carlo Levi Foundation of Rome and loans from museums\, public and private collections. It is enriched by the special productive residency project which involved the artist Vittoria Soddu (Sassari 1986) with a triple intervention created with the production of Fondazione Sardegna Film Commission\, conceived specifically for the exhibition itinerary. \nThe exhibition takes its title from All the honey is gone \, Carlo Levi’s book on Sardinia published by Einaudi in 1964. The book is the story of the trips of 1952 and 1962\, and is a palimpsest of natural\, cultural\, poetic and political landscapes. The MAN exhibition reconstructs the encounter between the artist and the island\, offering the opportunity to immerse oneself in his painting\, from his beginnings to his maturity. Carlo Levi: all the honey is finished. Sardinia\, painting it is\, at the same time\, a monographic exhibition and a large anthology\, spread over the three floors of the Museum. Dedicated to a protagonist of twentieth-century Italian history and culture\, it is an invitation to rethink his legacy in the present. \n“The exhibition that the MAN of Nuoro dedicated to Carlo Levi on the one hundred and twentieth anniversary of his birth investigates lesser-known aspects of his artistic and intellectual history\, in line with a desire for research that the museum has dedicated in recent years to the rediscovery of its territory – the insular world of the Italian Mediterranean – through the contributions of artists of different origins and nationalities who have dedicated a significant part of their research to Sardinia\, in a path that from the recent past reaches up to the work of the younger generations”\, explains Luigi Fassi in the introduction to the exhibition catalogue. \nSardinia \nThe first rooms on the ground floor of the Museum introduce the artist with three self-portraits (including the famous Self-portrait with yellow hand of 1930) and tell of his travels in Sardinia. Carlo Levi arrived on the island for the first time in May 1952 and returned in December ten years later. His reports are published in installments in “L’Illustrazione Italiana” and in “La Stampa”\, then collected in All the honey is gone in 1964. The words are intertwined with the images\, recalled in the exhibition by over 30 photographs that recompose the landscapes of Sardinia in the 1950s. Different perspectives and lenses\, between amateur snapshots and art photographs\, convey the charm of the island\, its cities\, its people\, its nature and its history\, beyond the more usual itineraries. \nA group of 10 photographs is exhibited for the first time of the unpublished Travel Album by Carlo Levi from 1952. Preserved in the photographic collection of the Levi Foundation in Rome\, the small black and white prints of the Album constituted the starting point of the research underlying the exhibition. These precious materials\, arranged on the noticeboard together with books and documents\, are flanked on the wall by the photographic campaigns of two famous authors: 16 photographs Of Federico Patellani (Monza 1911 – Milan 1977)\, taken in Sardinia in 1950 – on loan from the Museum of Contemporary Photography of Milan-Cinisello Balsamo – partly published in conjunction with Trip to Sardinia \, Levi’s first article to appear in “L’Illustrazione Italiana” in June 1952; 10 photographs of Hungarian János Reismann (Szombathely 1905 – Budapest 1976) from 1959 – on loan from the Hungarian Museum of Photography in Kecskemèt – published in the German version ofAll the honey is gone (Aller Honig geht zu Ende. Tagebuch aus Sardinien) published in 1965. \nIntroducing All the honey is gone in 1964\, Carlo Levi he compared his book to a portrait: “Thus\, this writing\, which is neither an essay\, nor an investigation\, nor a novel\, but a simple\, lateral chapter of that present history that we all live\, or write\, within ourselves and outside of ourselves\, seems to me to be similar rather to a portrait\, to an attempt\, only hinted at and partial\, of a portrait of a person known over time\, whose face tells and understands\, today\, the different moments of his history. Is this person only Sardinia?”. \nAs the curator explains\, Giorgina Bertolino “the exhibition project begins with the rereading of All the honey is gone\, a written landscape that involves and implies the artist’s body\, the physical experience on the ground\, the contact with a past blended with the soil of the present\, listening to the sounds\, songs and voices of the people. All the honey is gone it is a landscape-book\, of the sort of those readings that today we gather around the capacious notions of landscape anthropology and cultural ecology. Beyond the idea of ​​a pacified landscape\, crystallized by the rhetoric of beauty\, Carlo Levi’s Sardinian landscapes retain their dynamic\, cognitive and political capacity intact”. \n \nPainting \nThe anthology retraces the seasons of Carlo Levi’s painting\, starting from his beginnings. On the first floor\, paintings dating from 1925 to 1930 show the cities of the young Levi: Turin\, where he was born\, Paris and Alassio\, in Liguria\, where his family owns a house on the hill: this is where it is set Air\, a painting from 1929 belonging to the collections of the GAM\, Galleria Civica d’Arte Moderna e Contemporanea of ​​Turin. The paintings document his education European artist and the intense dialogue with French art; recompose the family circle (with Father at the table of 1926\, Extrusion figure of 1929 and Two ladies of 1930\, on loan from the Levi Foundation) and the field of friendships. \nThe works on the second floor retrace the following seasons\, from the early thirties to the seventies\, following the evolution of “wavy handwriting”\, the unmistakable stylistic signature that animates self-portraits and portraits (this is the case of Leone Ginzburg of 1933)\, the landscapes (the Landscape of Alassio of the Museo Novecento in Florence) and the still lifes (Still life with French bread of the artistic heritage of the Unipol Group). \nCarlo Levi’s painting is a diary\, a biography : his works talk about the confinement in Lucania (with The road to the caves of 1935\, The Bersagliere pit And The Santarcangelese of 1936\, on loan from the National Museum of Matera\, Palazzo Lanfranchi); they tell of the war\, of the Liberation (with theSelf-portrait of 1945 of the National Gallery of Modern and Contemporary Art in Rome) and thus of meetings\, of loved ones (Portrait of Linuccia Saba\, 1944-1945\, RAI Collection\, Friuli Venezia-Giulia regional headquarters in Trieste) of the places\, houses\, gardens\, trees\, depicted in the cycle of Carobs of the early seventies. For Carlo Levi\, everything is portrait: the canonical genre of art history is for him an affective and empathetic tool of knowledge. \nThe room that closes the anthology presents\, for the first time in Italy \, 12 cards belonging to the cycle of blindness\, a group of drawings from 1973 made in parallel with the writing of Gate notebook \, published after his death. In these drawings born from the darkness\, while he is recovering from an eye operation\, Carlo Levi immerses himself in the depths of the unconscious and of memory\, exploring his own imagination. \n\nVittoria Soddu: every going is a returning \nThe special project by Vittoria Soddu (Sassari 1986) is a rereading in the present of All the honey is gone \, a contemplative landscape practice inspired by the narrative of Carlo Levi. It takes the title from a sentence at the opening of the book: “Here in the contemporary world the cards have been shuffled; here on the island of the Sardinians every going is a return”. \nThe project consists of three works conceived specifically for the exhibition . The journey begins with the watercolor stroke that animates the metamorphosis of the woman into a crow in the video installation Back to back . The video\, in one of the rooms on the ground floor\, anticipates the echo of the story suggested in the soundtrack Orune on the second floor\, a reworking of archive materials with the voice of Levi himself and field recordings. On the third floor\, the most choral work: Every going is a returning returns in a filmic form\, with a strong performative matrix\, the reading of Levi’s work in dialogue with the territory and its community today. \nCarlo Levi’s book tells the story Vittoria Soddu \,“It invites us to travel through concentric centers\, accompanying us from one end of the island to the other\, sometimes superimposing events and sensations. It is a text that leads us not to seek a rigid consequentiality of events; to access its labyrinthine essence it is necessary to accept this impossibility of tracing a logical narrative\, with its own crystalline chronology”. \n“The choice of Vittoria Soddu\, an artist who works in the hybrid field between performance\, moving image and sound sculpture\, is guided by a more experimental approach to connecting with the public. Our production team placed itself at the service of the creative path of such an innovative artist according to a principle of juxtaposition\, overlap and contamination of different languages. A challenge for future formats\, to be experimented with new viewers and new platforms\, creating together a new vision of Sardinia”\, explains Gianluca Aste \, president of the Sardinia Film Commission Foundation. \nThe exhibition is accompanied by an important catalog published by MAN with the Allemandi Publishing Company . Introduced by Luigi Fassi\, the volume offers a large iconographic set with the color plates of the 89 works on display in the exhibition\, the photographs from Carlo Levi’s travel album\, the black and whites of Federico Patellani and János Reismann and period documents . The rich section of texts delves into the relationship between Levi and Sardinia\, with a selected anthology of his first articles and through the critical essays by Giorgina Bertolino\, Francesca Congiu\, Valeria Deplano\, Elisabetta Masala and the conversation between Vittoria Soddu and Nevina Satta\, Micaela Deiana\, Marco Piredda of the Sardinia Film Commission Foundation. \n \nCONTACTS FOR THE PRESS \ninfo@museoman.it \n+39.0784.252110 \nhttps://drive.google.com/drive/folders/1gQ9Kr2SgfglQfmGE8IkOfuUkMwSNNDjd?usp=sharing URL:https://www.museoman.it/en/event/carlo-levi/ 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/banner-sito3-naKFTX.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20210710T000000 DTEND;TZID=Europe/Rome:20211124T000000 DTSTAMP:20260613T174705 CREATED:20240417T140625Z LAST-MODIFIED:20240417T140625Z UID:5113-1625875200-1637712000@www.museoman.it SUMMARY:Sonia Leimer DESCRIPTION:The project Via San Gennaro And winner of the fourth edition of the Italian Council (2018)\, competition created by Directorate General for Contemporary Art and Architecture and Urban Suburbs (DGAAP) of the MiC-Ministry of Culture to promote Italian contemporary art in the world\, financing new works by some of the most significant Italian artists in strategic collaboration with Italian and international museum institutions. On this occasion\, MAN developed a support program for Sonia Leimer in partnership with theInternational Studio & Curatorial Program (ISCP) of New York – one of the most established incubators of innovative contemporary art productions globally – where the project was previewed from September 2019 to January 2020 edited by Kari Conte and Luigi Fassi. \nVia San Gennaro is the outcome of an intensive residency of several months by the artist in New York. During her stay Sonia Leimer conducted research on the Italian memories of Little Italy in Manhattan\, a New York neighborhood symbol of the history of Italian migration to the United States\, in particular from the southern and Mediterranean regions\, a crossroads of individual and collective destinies between the twentieth century and the new millennium. \nDivided into sculptural works\, videos and drawings\, the exhibition is a reconnaissance of a set of traces\, phenomena and urban sediments capable of narrating the transformations of Little Italy together with the inexorable disappearance of Italian memories. The exhibition takes its title from the celebration of the Feast of San Gennaro which has taken place every year in September in Little Italy since 1924. \nThe exhibition is accompanied by an extensive catalogue published with ISCP and Mousse Publishing and accompanied by critical essays by Alessandra Cianchetta\, Kari Conte and Luigi Fassi. URL:https://www.museoman.it/en/event/sonia-leimer/ 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/Sonia-Leimer_Via-San-Gennaro_ph-Studiovetroblu-29-vofUcL.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20210710T000000 DTEND;TZID=Europe/Rome:20220109T000000 DTSTAMP:20260613T174705 CREATED:20240417T140623Z LAST-MODIFIED:20240417T140623Z UID:5076-1625875200-1641686400@www.museoman.it SUMMARY:Vittorio Accornero – Edina Altara DESCRIPTION:Family group with pictures\, show curated by Luca Scarlini and dedicated to Vittorio Accornero de Testa (Casale Monferrato\, 1896 – Milan\, 1982) e Edina Altara (Sassari\, 1898 – Lanusei\, 1983) wants to bring attention to the work of the two artists and illustrators\, investigating the complex biographical and creative events that saw them united starting from their first individual works of the 1920s up to the 1980s Twentieth century. \nOn this occasion and with the important contribution of a group of set designers active with the Theater of Sardinia – Loïc Hamelin\, Sabrina Cuccu and Sergio Mancosu – the MAN transforms into a book of fairy tales\, a kaleidoscope of images of twentieth-century elegance. The fairy tale of two artists suspended between Sardinia\, mainland Italy and the world is staged. The exhibition is a tale of the fairy tale of Edina and Ninon divided into chapters in the exhibition rooms\, between the territories of graphics – as in the case of the images for the transatlantic Rex\, and the invention of objects between design and architecture – the mirrors of Edina and the neo-rococo architectural reinterpretations of Accornero in Piedmont. \nThe exhibition is accompanied by an important catalog published by MAN with Silvana Editoriale and accompanied by critical essays by Luigi Fassi\, Luca Scarlini\, Pompeo Vagliani\, Silvia Mira\, Lauretta Colonnelli\, Aurora Fiorentini\, Giorgia Toso and Federico Spano. URL:https://www.museoman.it/en/event/vittorio-accornero-edina-altara/ 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/DSC7030MAN-Altara-Accornero-DswNgS.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20210119T000000 DTEND;TZID=Europe/Rome:20210620T000000 DTSTAMP:20260613T174705 CREATED:20240417T140634Z LAST-MODIFIED:20240417T140634Z UID:5101-1611014400-1624147200@www.museoman.it SUMMARY:Lisetta Carmi DESCRIPTION:The MAN Museum of Art Province of Nuoro presents a large anthology dedicated to Lisetta Carmi (Genoa\, 1924)\, one of the most significant protagonists of Italian photography after the Second World War.The exhibition “Lisetta Carmi. Happy voices in the dark. Photographs in Sardinia 1962-1976″ is curated by Luigi Fassi and Giovanni Battista Martini and is part of the research conducted by MAN on the relationship between the great Italian photographers and Sardinia; an aesthetic dialogue that sees its previous interlocutor in last year’s retrospective on the work of Guido Guidi.The exhibition brings to light an unpublished chapter of Lisetta Carmi’s photography\, the one dedicated to Sardinia\, bringing together hundreds of black and white shots taken between 1962 and 1976 during numerous and repeated stays on the island.The exhibition is completed by a new series of color slides that portray the landscapes of the Sardinian hinterland\, with woods\, rivers and lakes captured in their most arcane and evocative dimension.Two sections of the exhibition are then dedicated to the de series The Transvestites (1965-1971) and to the workers of Genoa – port (1964).The first is the outcome of the years of association dedicated by Lisetta Carmi to the transvestite community of Genoa\, relegated to the margins of society\, sharing with empathy a daily life that contrasts social marginalization with moments of life in common.The second is the result of a 1964 photo shoot on workers in the port of the Ligurian capital\, created with the aim of denouncing the very harsh working conditions.The exhibition is accompanied by a large monographic catalog published by Marsilio and accompanied by critical essays by Etienne Bernard\, Nicoletta Leonardi\, Giovanni Battista Martini and Luigi Fassi .From Tuesday 19 January 2021 to Sunday 20 June 2021\, the MAN of Nuoro also presents the exhibition project Gold and verdigris \, a selection of works taken from the museum’s permanent collection. URL:https://www.museoman.it/en/event/lisetta-carmi/ 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/Nuoro-funerali-del-carabiniere-1962-woTtGK.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20200529T000000 DTEND;TZID=Europe/Rome:20201115T000000 DTSTAMP:20260613T174705 CREATED:20240417T140636Z LAST-MODIFIED:20240417T140636Z UID:5093-1590710400-1605398400@www.museoman.it SUMMARY:The secret kingdom DESCRIPTION:The MAN Museum in Nuoro reopens to the public\, after having arranged all the necessary measures to guarantee the health safety of visitors and the Institution’s staff.\n\nThe exhibition The secret kingdom. Sardinia-Piedmont: a postcolonial vision\, curated by Luca Scarlini\, which should have opened on March 13th\, is ready to welcome visitors from Friday 29 May and will be open to visitors until Sunday 15 November 2020. \nThrough the work of artists\, musicians and intellectuals\, the exhibition represents a broad and complex historiographical and cultural investigation that reveals the relationship between Sardinia and Piedmont\, from 1720 to the 1960s\, collecting a variety of works of art\, documents\, artefacts\, literary texts\, illustrations\, ceramics\, photographs and musical scores\, coming from prestigious Italian institutions.The exhibition is completed by a section dedicated to animation curated by Sardinia Film Commission Foundation which\, in collaboration with MAN\, has developed four experimental formats of animated shorts dedicated to Sardinian illustrators active in Piedmont in the twentieth century.The exhibition reveals an unprecedented face of the Kingdom of Sardinia\, a secret kingdom\, rich in stories not yet explored and made up of prolific meetings and great mobility\, narrated mostly in polemical terms by Sardinian historiography and with numerous misunderstandings by Piedmontese historiography.The relationship between the two regions began in fact in 1720\, when the island became Savoy\, and since then the exchanges and cultural transactions between the two territories increasingly intensified\, determining an era of movements of people\, objects and ideas that changed profoundly affected the fate of Sardinia and Piedmont and would have contributed to the establishment of the Kingdom of Italy and the development of a national culture. \nThe exhibition is accompanied by a large monographic catalog published by Ilisso which collects unpublished essays specially commissioned from important Sardinian and Piedmontese authors and writers such as Marcello Fois \, writer\, playwright and screenwriter\, Gianni Farinetti \, writer\, screenwriter and director\, Maria Paola Dettori \, art historian\, Luciano Marrocu \, historian and writer\, e Luigi Fassi\, director of MAN. URL:https://www.museoman.it/en/event/the-secret-kingdom/ 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/Vittorio-Accornero-Ricordo-di-un-ballo-1942_Courtesy-F.Spano-Archivio-Altara-Accornero-peu2qP.tmp_-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20200131T000000 DTEND;TZID=Europe/Rome:20200301T000000 DTSTAMP:20260613T174705 CREATED:20240417T140641Z LAST-MODIFIED:20240417T140641Z UID:5107-1580428800-1583020800@www.museoman.it SUMMARY:Kiluanji Kia Henda DESCRIPTION:The MAN Museum of Art Province of Nuoro presents\, from Friday 31 January to Sunday 1 March 2020 \, the first major solo exhibition in a European museum dedicated to Kiluanji Kia Henda (Luanda\, Angola\, 1979)\, one of the most significant artists and activists of African origin in the contemporary art scene.Something Happened on the Way to Heaven it is an exhibition curated by Luigi Fassi \, director of MAN\, produced ad hoc for the Nuoro museum which\, in collaboration with the Sardinia Film Commission Foundation\, invited the artist to stay on the island and offer his own aesthetic gaze on Sardinia. The project proposes an invitation-residency method already activated last year with the Franco-Ivorian artist François-Xavier Gbré and continues a line of research started by MAN on the contemporary African art scene. \nSomething Happened on the Way to Heaven presents a series of sculptural and installation works created from scratch from Kiluanji Kia Henda during her stay on the island\, alongside previously produced photographic works. In the newly produced works\, the scenic beauty of the Sardinian land merges with the architectural traces of the Cold War and the military bases still present on the island. \nThe exhibition project will then be presented by MAN within the exhibition spaces of the Galerias Municipais in Lisbon in October 2020. URL:https://www.museoman.it/en/event/kiluanji-kia-henda/ 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/The-Geometric-Ballad-of-Fear-dTCFp8.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20191108T000000 DTEND;TZID=Europe/Rome:20200301T000000 DTSTAMP:20260613T174705 CREATED:20240417T140637Z LAST-MODIFIED:20240417T140637Z UID:5084-1573171200-1583020800@www.museoman.it SUMMARY:Anna Marongiu DESCRIPTION:From Friday 8 November 2019 to Sunday 1 March 2020 MAN Museum of Nuoro presents\, the first museum retrospective of Anna Marongiu (Cagliari 1907 – Ostia 1941)\, edited by Luigi Fassi. \nThe exhibition represents an important stage in MAN’s research on twentieth-century Sardinian and Italian art. \nThe exhibition itinerary develops around three cycles of illustrations dedicated to literary masterpieces created by Marongiu between 1926 and 1930: the complete series of tables A Midsummer Night’s Dream Of William Shakespeare (1930)\, the illustrations of The Betrothed Of Alessandro Manzoni (1926) and the plates of The Pickwick Papers Of Charles Dickens (1929). This latest work\, composed of 262 plates made in ink and watercolour\, constitutes the heart of the retrospective: on loan from Charles Dickens Museum of London is today\, ninety years after its creation\, visible for the first time in a museum . \nAnna Marongiu\, who died prematurely in an aviation accident in Ostia\, is one of the most original and at the same time forgotten figures of the Sardinian artistic scene of the first half of the twentieth century. After studying in Rome and attending the English Academy in the capital\, Marongiu undertook an artistic path which crossed\, with great capacity for experimentation\, multiple techniques such as drawing\, pen\, etching\, oil\, burin . Her linguistic register\, characterized by a strong expressiveness of the sign\, moves between the humorous and the dramatic\, the comic and the mythological\, finding originality and vigor in all the techniques she uses. The exhibition dedicated to her in 1938 by the Palladino Gallery in Cagliari was one of the first solo exhibitions of a female artist in Sardinia and contributed to the further affirmation of the artist on the national scene\, who in 1940 participated in the Exhibition of modern Italian engraving in Rome. \nThe exhibition is enriched by a short film about the artist \, created by MAN and Film Commission Sardegna in collaboration with the Charles Dickens Museum and directed by Gemma Lynch. \nA catalog published by Marsilio Editore will accompany the exhibition. URL:https://www.museoman.it/en/event/anna-marongiu/ 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/AnnA-Marongiu-Il-circolo-Pickwick-Courtesy-Museo-Dickens-Londra-z3Zx3E.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20191108T000000 DTEND;TZID=Europe/Rome:20200112T000000 DTSTAMP:20260613T174705 CREATED:20240417T140538Z LAST-MODIFIED:20240417T140538Z UID:5109-1573171200-1578787200@www.museoman.it SUMMARY:The shadow of the sea on the hill DESCRIPTION:From Friday 8 November 2019 to Sunday 12 January 2020\, the MAN of Nuoro presents\, in parallel with the Anna Marongiu retrospective\, the exhibition The shadow of the sea on the hill \, a precious selection of works taken from the museum’s permanent collection\, curated by Luigi Fassi and Emanuela Manca. \nThe exhibition offers a new interpretation of the MAN collection\, telling in a new way more than a century of art in Sardinia through a varied corpus of drawings\, paintings and sculptures. The itinerary reconstructs the artistic events of the Sardinian twentieth century through some of the most representative works of the collection and continues up to the present\, establishing a close dialogue with various contemporary authors. \nIt is a work by Mauro Manca that gives the exhibition its title\, chosen due to the clear divide that it marks between figurative and abstract experiences: unanimously considered the crucial passage for the opening\, after the Second World War\, of the horizons of art modern in Sardinia\, The shadow of the sea on the hill of the Sassari artist is the hub around which the entire exhibition project revolves. \nThe exhibition recounts the heterogeneity of Sardinian artistic history\, brings together different worlds and styles\, traditions and experiments\, and reveals the new acquisitions of Aldo Contini and Mario Paglietti.\n \nAmong the artists on display there are some of the key figures for the development of the different expressive canons that have characterized the Sardinian artistic scene from the twentieth century to today: Edina Altara\, Antonio Ballero\, Alessandro Biggio\, Giuseppe Biasi\, Giovanni Campus\, Teodorico Cavallazzi\, Cristian Chironi\, Francesco Ciusa\, Giovanni Ciusa Romagna\, Aldo Contini\, Mario Delitala\, Francesca Devoto\, Salvatore Fancello\, Dino Fantini\, Gino Frogheri\, Vincenzo Grosso\, Caterina Lai\, Maria Lai\, Mauro Manca\, Melkiorre Melis\, Wanda Nazzari\, Costantino Nivola\, Mario Paglietti \, Bernardino Palazzi\, Rosanna Rossi\, Giacinto Satta\, Vincenzo Satta\, Tona Scano\, Antonio Secci. URL:https://www.museoman.it/en/event/the-shadow-of-the-sea-on-the-hill/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Focus Sardegna,MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2024/04/Mauro-Manca-Lombra-del-mare-sulla-collina-1957-olio-su-tela_-foto-Donato-Tore-Courtesy-MAN-LfPtLl.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190621T000000 DTEND;TZID=Europe/Rome:20191027T000000 DTSTAMP:20260613T174705 CREATED:20240417T140640Z LAST-MODIFIED:20240417T140640Z UID:5074-1561075200-1572134400@www.museoman.it SUMMARY:Guido Guidi In Sardinia: 1974\, 2011 DESCRIPTION:The MAN Museum of Art Province of Nuoro hosts \, from Friday 21 June to Sunday 20 October 2019 \, the first major exhibition in a Italian museum dedicated to Guido Guidi (Cesena\, 1941)\, one of the most significant protagonists of Italian photography after the Second World War. Guido Guidi – IN SARDINIA: 1974\, 2011 it is an exhibition curated by Irina Zucca Alessandrelli and co-produced by MAN in collaboration with ISRE \, Higher Regional Ethnographic Institute of Sardinia. The exhibition presents 232 unpublished photographs which testify to Guido Guidi’s relationship with the Sardinian territory\, resumed for the first time in 1974 and subsequently in 2011\, the year of an important commission by ISRE.The exhibition constitutes at the same time a anthropological and landscape story of the changes that have occurred on the island over the course of four decades and one research path on the medium of photography which places black and white images from the Seventies and color works from the 2000s in dialogue.The works on display\, reprinted by the artist for the exhibition\, are documented in a catalog in three volumes i in box set published by MACK Books \, London-based publisher of contemporary photography. URL:https://www.museoman.it/en/event/guido-guidi-in-sardinia-1974-2011/ 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/BN_8-YcYucZ.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190616T000000 DTEND;TZID=Europe/Rome:20190707T000000 DTSTAMP:20260613T174705 CREATED:20240417T140334Z LAST-MODIFIED:20240417T140334Z UID:5080-1560643200-1562457600@www.museoman.it SUMMARY:Sweets of Sin - The sweets of sin DESCRIPTION:Gavoi\, Sardinian Flower Museum \n \nAs part of the Prelude of the “Island of Stories” Literary Festival \nOpening Sunday 16 June 2019\, h. 19.00 \nUntil 7 July 2019 \n \nOn the occasion of the 16th edition of the “Island of Stories Literary Festival” in Gavoi\, the MAN is pleased to present the exhibition Sweets of Sin – The sweets of sin by Miroslaw Balka\, edited by Luigi Fassi. \nOne of the best-known figures on the European and international art scene\, the Polish artist Miroslaw Balka has placed historical and social themes in relation to collective memory at the center of his work\, with particular attention to European events and autobiographical events. His works investigate the role of the human figure through sculptures created with common materials that evoke its presence in a symbolic form\, representing rooms\, fountains\, beds\, seats. \nIn the 2004 sculptural work entitled 250 x 280 x 120 (Sweets of Sin) – a whiskey fountain – Balka stages a reflection on the figure of James Joyce (1882-1941)\, the revolutionary Irish writer of the 20th century\, with whom the Polish artist has long compared himself over the years\, in search of the reasons for the mutual artistic practice and biographical similarities\, such as for example a cultural matrix marked for both by a strongly Catholic education. \nIn its ability to combine high elements (the flow of liquid as an image of the stream of consciousness\, the main narrative technique of Joyce’s literature) and low elements (the body\, its alcoholic stupor and its secretions)\, 250 x 280 x 120 (Sweets of Sin) comments on and interprets Joyce’s work through its subversive\, humorous and almost abstract evocation. With this work Miroslaw Balka created a tribute not only to the immortal literary figure of Joyce but also to the paradoxes of existence\, to the falls and rebirths that characterize the life of everyone in the world\, thus entrusting art with a message of empathy and universal redemption. URL:https://www.museoman.it/en/event/sweets-of-sin-the-sweets-of-sin/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Extramuros,MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2024/04/MG_2573-H1yTXg.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190315T000000 DTEND;TZID=Europe/Rome:20190609T000000 DTSTAMP:20260613T174705 CREATED:20240417T140652Z LAST-MODIFIED:20240417T140652Z UID:5092-1552608000-1560038400@www.museoman.it SUMMARY:Leafless laurels DESCRIPTION:Edited by Aberto Salvadori and Luigi Fassi \nIn two intense decades of exhibitions and artistic projects\, the MAN’s strong point has been that it has been able to offer its public a varied\, unpredictable and ever-changing exhibition programme. If attention to contemporary artistic research remains a central hub of the institution’s activity\, over the years the MAN has nevertheless carefully and originally investigated the paths and developments of modern Western art. The intention of the museum is in fact to accompany visitors on a journey of knowledge where the continuity that links the different artistic experiences that have taken place over the centuries that have written the history of modern and contemporary art emerges strongly. \nLeafless laurels presents for the first time to the Italian public a fascinating exploration of the artistic laboratory of Pierre Puvis de Chavannes\, an artist who was a protagonist of French art between the nineteenth and twentieth centuries and whose activity strongly influenced the artistic development of the generations who followed him\, as evidenced by the continuous admiration paid to him by Paul Cézanne\, Paul Gauguin\, Vincent Van Gogh\, George Seurat and Henry Matisse. \nComprising loans from private and public collections\, the exhibition presents a selection of works on paper and paintings by a seminal artist of the late 19th century. \nPierre Puvis de Chavannes was born in Lyon\, France\, in 1824\, the youngest of four children of a family descended from Burgundian nobility. Having interrupted his studies in engineering following the death of his mother and a long illness\, Puvis spent a long stay in Italy to regain his health. \nThis Italian experience\, together with the encounter with the works of Giotto and Piero della Francesca\, had a profound impression on Puvis\, who decided to dedicate himself entirely to art after his return to Paris in 1848. Puvis began working in the studios of Henri Scheffer\, Eugène Delacroix\, and Thomas Couture\, eschewing conventional artistic training and painting alone in his studio. His interest in great heroic themes and classical imagery led Puvis to take up mural painting\, considered at that time the supreme ambition for all the most ambitious realist painters. \nThroughout his four-decade career\, Puvis consistently sought to perfect a classical\, highly decorative aesthetic. The French artist developed an original palette of matte and bleached shades\, painted to imbue his figures with solidity and character. His mastery emerges in finely calibrated compositions that further enhance his ethereal realism and lend his figures an essential solitude. Freed from shared movements and categories\, Puvis\, as emerges from the exhibition\, moves between symbolism and realism\, drawings and oils on canvas\, sketches and sketches\, in search of a redemption of human dignity which has its roots in the humanistic culture of the Italian Renaissance . It is precisely starting from that extraordinary chapter in Italian history that we can better understand the work of Puvis de Chavannes\, an artist who invites us to look at our time through the filter of the slow sedimentation of culture over the centuries. \nThe exhibition is accompanied by a catalog published by Marsilio with texts by Louise D’Argencourt (art historian\, former curator National Gallery of Canada\, Ottawa)\, Bertrand Puvis de Chavannes (art historian\, president of the Comité Puvis de Chavannes) and the curators. URL:https://www.museoman.it/en/event/leafless-laurels/ 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/PC-5-Etude-pour-Vision-Antique-0zgS9Z.tmp_-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190315T000000 DTEND;TZID=Europe/Rome:20190609T000000 DTSTAMP:20260613T174705 CREATED:20240417T140649Z LAST-MODIFIED:20240417T140649Z UID:5099-1552608000-1560038400@www.museoman.it SUMMARY:Personnages DESCRIPTION:edited by Luigi Fassi \n“ Personnages ” is the first museum retrospective dedicated to the Franco-Palestinian artist Maliheh Afnan (Haifa\, 1935 – London\, 2016). A figure still little known to the art public\, in five decades of intense activity Afnan has been a diasporic witness to the upheavals and destinies that have characterized the world of the Mediterranean Middle East. \nThe title of the exhibition takes inspiration from an evocative series of drawings\, Personnages \, created over the course of several years and executed by Afnan in mixed media\, in which a succession of faces and human figures appear. \nThe representations within the works simulate a crowd of ghostly presences through which the artist returns fragments of his own experience in the troubled path of twentieth-century Middle Eastern events. Each work tells a face\, a possible memory and a forgotten story\, alluding to the uprooting from one’s culture and identity as not only a historical but also an existential dimension of human destiny. \nThe exhibition itinerary presented at MAN is characterized by a series of enigmatic works carried out by the artist on different types of supports and using different techniques including glazing\, combustion and plaster reliefs. \nAlso on display are two works from the seventies\, cartoons subjected to a combustion process that allude to the contemporary drama of the civil war in Lebanon\, and an installation\, constructed using ancient Bahá’í books\, a religious cult founded by Baha’u’llah in the 19th century and the cultural bed of Afnan’s family. \nThe tour concludes with a showcase presenting a selection of sketch and small format drawings. \nFrom these sketches emerges an aspect that runs subtly throughout the artist’s work\, the perception of the tragic as indissoluble from the dimension of humor and irony. \nBorn in Palestine to Persian parents of Bahá’í religious tradition\, Afnan spent a diasporic existence\, from the Mediterranean shores of Palestine and Lebanon to the United States\, from Kuwait to France and England. \nIt is precisely the historical and social events from the 1940s onwards in the Middle East that characterize the artist’s artistic career\, witness to the traumatic events of those decades\, such as the devastation of the civil war in Lebanon. \nThe entire project is accompanied by a monographic catalog published by Arkadia of Cagliari\, with texts by Sussan Babaie (professor of the history of art of Iran and Islam at the Courtauld Institute of Art in London)\, Rose Issa (historian of Middle Eastern art\, London) and Luigi Fassi. URL:https://www.museoman.it/en/event/personnages/ 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/thescribe-afnan-xkxpFz.tmp_-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190315T000000 DTEND;TZID=Europe/Rome:20190609T000000 DTSTAMP:20260613T174705 CREATED:20240417T140601Z LAST-MODIFIED:20240417T140601Z UID:5094-1552608000-1560038400@www.museoman.it SUMMARY:The sign and the idea DESCRIPTION:Edited by Emanuela Manca and Luigi Fassi \nIn tune with the entire curatorial project and the themes addressed with “Personnages” And “Laurels without leaves” the MAN offers around twenty works belonging to the museum’s permanent collection\, including drawings\, sculptures and paintings. \nAmong the artists on display\, Antonio Ballero\, Giuseppe Biasi\, Salvatore Fancello\, Francesco Ciusa\, Francesca Devoto\, Bernardino Palazzi and Giacinto Satta\, key figures for the development of new expressive canons in the Sardinian art scene. \nThe corpus exhibition is an extraordinary opportunity to see not only finished works but also sketches and anatomical studies\, which reveal at the same time the attention towards the classics – re-elaborating their thought in the light of one’s own culture – and the investigation into physiognomy that involves fine science nineteenth century profoundly influencing the cultural history of Sardinia. \nIn the works it is the representation of the human figure in its symbolic dimension that prevails\, between details of faces and volumes of bodies\, always in close relationship with the world of 20th century Sardinia and the insular Mediterranean culture. URL:https://www.museoman.it/en/event/the-sign-and-the-idea/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Focus Sardegna,MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2024/04/Corriga-Antonio-Bambina-di-Desulo-con-cuffietta-1962-HxuAa7.tmp_-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20181109T000000 DTEND;TZID=Europe/Rome:20190303T000000 DTSTAMP:20260613T174705 CREATED:20240417T140659Z LAST-MODIFIED:20240417T140659Z UID:5114-1541721600-1551571200@www.museoman.it SUMMARY:Overseas dream DESCRIPTION:edited by Luigi Fassi \nfrom 9 November 2018 to 3 March 2019 \nWith “Sogno d’oltremare” François-Xavier Gbrè\, for the first time in Italy\, presents a photographic selection with an African subject\, which documents an exploration of the capital cities of West Africa\, Abidjan and Bamako\, Porto Novo and Dakar together with new series of images created during his stay in Sardinia and commissioned by MAN. \nGbré’s residency in Sardinia\, held with the support of Film Commission Sardinia between July and September 2018\, covering most of the historical regions of the island\, translates within this exhibition into a photographic research composed in the form of a hypothetical epistolary dialogue between an Ivorian citizen residing in Sardinia and someone who remained at home\, or perhaps\, among those who live in Africa and write to a friend now far away in the European latitudes. The emotional loneliness of geographical displacement\, the exploitation of territories\, and the relationship between what is classified as the south and what is defined as the north are the themes that emerge from these works. The exhibition aims to bring to light the difficult identity situation in contemporary West Africa\, divided between the consequences of the Cold War\, the migration of the people and the rise of an economic occupation led by China. \nGbré has developed a diary of photographic notes on the landscapes of the internal territory of the island\, following the traces of abandoned buildings\, ancient industrial settlements\, archaeological sites\, abandoned infrastructures and surrounding natural scenarios. The object of investigation\, in fact\, are civic structures and public architecture (swimming pools\, sports stadiums) and historical places such as monuments and decorative elements (murals) observed as futuristic symbols of progress and at the same time places of exclusion and social selection. \nThe artist’s journey to Sardinia turns into a cultural and social journey following the stratified traces of settlements and memories\, overseas identities of the colonial era\, victories and defeats. \nAlso on display is an ancient eighteenth-century geographical map that reveals the image of “another Sardinia” where the usual cartographic codes are unrecognizable. If in Gbré’s images Africa can no longer be distinguished from Europe and Mali from Sardinia it is because the insular Mediterranean world\, immersed in a slow layer of history as the historian wrote Fernand Braudel\, omits perspectives and submerges the present with the enigma of its own history\, between crossings and hybridizations\, languages ​​and landscapes\, deaths and rebirths. Observed from Africa\, the Sardinia that Gbré describes is thus an elusive and elusive universe\, in which other cultures\, other peoples and other worlds have previously cohabited. \nFrançois-Xavier Gbré’s research is a photographic investigation of African modernity\, an uninterrupted observation of rural places and urban scenarios that contributes to rethinking the recent history of the continent through an intimate and private instrument of confession. \nWe thank the bodies that support the MAN’s activity: Sardinia Region\, Nuoro Province\, Sardinia Foundation. URL:https://www.museoman.it/en/event/overseas-dream/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2024/04/18-10-Sardegna-56-2-T0TUqm.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20181109T000000 DTEND;TZID=Europe/Rome:20190303T000000 DTSTAMP:20260613T174705 CREATED:20240417T140657Z LAST-MODIFIED:20240417T140657Z UID:5075-1541721600-1551571200@www.museoman.it SUMMARY:O Youth and Beauty! DESCRIPTION:edited by Luigi Fassi \nfrom 9 November 2018 to 3 March 2019 \n“O Youth and Beauty!” takes its title from the story of the same name by John Cheever \, in which the American writer creates a representation of everyday life suspended between beauty and regret\, and where the setting between the suburbs and suburban areas outlines the image of post-war American conformism. Similarly\, the works of Anna Bjerger (Sweden 1973)\, Louis Fratino (United States 1994) and Waldemar Zimbelmann (Kazakhstan 1984)\, united by an intimate use of figurative painting\, attempt to outline a portrait of the cultural identity of these authors through a layering of realistic and fictional elements. Fragments of everyday life\, through the use of figurative painting\, become the tool to give shape to one’s experience in which the tones of melancholy and a cultural identity that appear uncertain and elusive dominate. \nThe paintings of Anna Bjerger they mutually refer to photographs portraying anonymous characters to trace indefinable figures in undetermined scenarios. The subjects\, caught a moment before revealing their identity\, are represented between domestic environments and natural landscapes; the artist does not provide further narrative clues and the contraction of the scenes remains unresolved\, between perspective cuts\, foreground details and distant blurs. \nLouis Fratino author of a refined corpus of works inspired by the history of classical and modern art\, through the medium of drawing and oil on canvas\, he composes a hymn to everyday life. Young men represented in quiet scenes of life\, but also lovers wrapped in passion are the protagonists of the depictions\, where the meditative register alternates with the melancholic one\, moving from solitude to the euphoria of sociality. His works are shown as a tribute to friends\, to the desire and regret of fleeting moments of metropolitan life. \nAnimated subjects such as animals\, children\, female figures superimposed on natural landscapes and domestic interiors characterize the Sixties and Seventies-inspired illustrations of Waldemar Zimbelmann . The characters depicted reveal the cultural influences that characterize the life of the artist\, born in a rural region of Kazakhstan to a family of the German minority and subsequently re-emigrated to Germany during his childhood years. Zimbelmann provides his works with a dual approach: \nliterary\, as they seem inspired by an iconography not far from the dimension of myth and fairy tale; material\, through the use and introduction of recycled materials that interact\, through a feeling of tactile perception of the material\, with the viewer. \nThe exhibition identifies a hypothesis of story in the comparison between three different figurative pictorial expressions\, transfiguring gestures and situations in a soft\, restless melancholy. \nWe thank the bodies that support the MAN’s activity: Sardinia Region\, Nuoro Province\, Sardinia Foundation. URL:https://www.museoman.it/en/event/o-youth-and-beauty/ 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/Anna-Bjerger_Louis-Fratino_Waldemar-Zimbelmann-h2mzxE.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20181109T000000 DTEND;TZID=Europe/Rome:20190303T000000 DTSTAMP:20260613T174705 CREATED:20240417T140654Z LAST-MODIFIED:20240417T140654Z UID:5083-1541721600-1551571200@www.museoman.it SUMMARY:Sabir DESCRIPTION:edited by Luigi Fassi \nfrom 9 November 2018 to 3 March 2019 \nThe exhibition itinerary imagined by Dor Guez with “Sabir” includes a collection of archive documents\, two video works and a new sound installation\, produced and commissioned for the occasion by MAN. \nThe artist activates a wide-ranging reflection on the sense of belonging to a community\, in relation to the great history and its upheavals: raised in Israel in a family in which Christian\, Arab\, Jewish and Palestinian elements are intertwined\, Guez belongs to a minority within the minority in the state of Israel\, that of the Palestinian community of Christian faith. And it is from here that the artist offers his gaze on the Mediterranean\, presented in the rooms of the Man museum. \nThe exhibition takes its name from the title of one of the two videos presented\, “Sabir”: Arabic term\, from the Latin root of the word know . It refers to a spurious language\, shared by peoples with different languages\, made of reinventions to find a common form of communication. The video begins with a close-up of the sunset descending on the beaches of Jaffa in Israel and is accompanied by the voice of Samira\, the artist’s grandmother\, who unravels the story of her life. Without showing the protagonist\, and alternating Arabic and Hebrew\, the monologue is articulated from the happy story of a Mediterranean childhood in Jaffa\, passing through the violent Israeli expulsions of ’48\, to the dispersion of a family in Middle Eastern countries and then in Europe to arrive at the establishment of the new Israeli society. \nThe title of the second video on display takes up the name of the protagonist “Sa(mira)” (2009)\, the narrator of the work\, which this time tells of the internal and social conflict of a life with a double identity in Israel\, as an Israeli citizen of Arab origin. \nThe exhibition itinerary imagined by the artist continues with a precious environmental sound installation\, Two Lines and a Yard \, produced by MAN specifically for the exhibition. Here the artist fragments and distorts the sound of the sea waves crashing in Jaffa together with the audio recording of the demolition of his grandmother’s family home by the Israeli authorities. Destruction\, death and rebirth alternate in the sound track\, highlighting a symbolic path that embodies the meaning of the entire exhibition. \nThe itinerary concludes with “The Christian Palestinian Archive” (CPA)\, a work in progress that brings together documents and photographs that testify to the history and life of the Christian-Palestinian community from the first half of the 20th century to the forced exodus following the foundation of the state of Israel . The CPA was created by the artist in 2009 and is made up of thousands of images collected through the direct involvement of some families who experienced the Christian-Palestinian diaspora. Through a reproduction process\, Guez revitalizes the photographs by making them scanograms\, analogue images obtained by performing a scan that transforms them into new and unique visual documents. \nThe “Scanograms” stand out as a reflection on the relationship between the aesthetic and cultural qualities of historical documents and on the civic value of testimony for the purposes of building a shared history. \nFor this exhibition Guez presents “Scanogram # 1 and Scanogram # 2” (2010)\, two chapters from the archive that present a large quantity of images dated 1938-1958\, depicting a woman\, Samira (the artist’s grandmother) and her family. \nThe artistic research that characterizes Guez’s works manifests\, through multiple and different modes and forms of representation\, the relationship between personal identity\, memory and the continuity of the past in the events of the present with the aim of retracing the complexity of history Israeli. Intimate and personal moments serve to reconstruct a collective story\, giving voice and testimony to the political and social events that affected the Palestinian and Israeli people. \nWe thank the bodies that support the MAN’s activity: Sardinia Region\, Nuoro Province\, Sardinia Foundation. \nThe exhibition is supported by Artis Grant Program URL:https://www.museoman.it/en/event/sabir/ 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/Dor-Guez_Samira-Lod-Ghetto-1948-Courtesy-the-artist-and-Dvir-Gallery-Tel-AVIV___-a4put0.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180622T000000 DTEND;TZID=Europe/Rome:20181021T000000 DTSTAMP:20260613T174705 CREATED:20240417T140704Z LAST-MODIFIED:20240417T140704Z UID:5103-1529625600-1540080000@www.museoman.it SUMMARY:La Boheme DESCRIPTION:Edited by Claire Leblanc and Otto Letze \nAt the end of the 19th century\, the industrial revolution brought about a drastic social change throughout Europe\, with ambivalent consequences. If industrialization dictated brutal working conditions\, it simultaneously made available a large number of new consumer goods along with opportunities for leisure recreation. Taking advantage of these new assets and witnessing the rapid multiplication of entertainment opportunities provided a brief escape from the harsh reality of daily toil. \nThese products and opportunities needed to be promoted and conveyed and mass advertising became essential\, opening up a new working ground for artists\, graphic designers and printers. \nThis rapid development allowed artists such as Henri de Toulouse-Lautrec and his contemporaries to quickly revolutionize graphic reproduction\, thus marking the beginning of a new independent artistic discipline: traditional graphic printing became poster art. \nThe exhibition La Boheme exhibits the exceptional lithographic work of Henri deToulouse-Lautrec\, presented in close interaction with the works of his predecessors and contemporaries\, who lived and experimented in the Paris of Belle Époque . This panoramic perspective allows visitors to closely follow the origins of modern mass advertising. \nThe presentation\, at the MAN – Art Museum of the Province of Nuoro in Sardinia\, is the first stage of a tours exhibition that will involve several international museums. \nWhen Henri de Toulouse-Lautrec moved to Paris as a young adult\, he quickly became a narrator of life in the French capital\, a painter of fascinating demimonde and his places: the true ateliers of his work became hippodromes\, circuses\, prose and music theatres\, cabarets and brothels. \nThe artist depicted the actors and spectators live in those places\, with passion and without filters. Toulouse-Lautrec mocked the spectators elite \, illustrating them in a caricatured way and elevating the most humble protagonists of that world – the singers\, the dancers and even the prostitutes – to the stars of his works. Through his loving and bold depiction of Parisian life\, the spirit of that era was forever ingrained in Toulouse-Lautrec’s work and has remained intact to this day. \nTo facilitate the publication of his observations on the modern and nocturnal life of Paris\, Toulouse-Lautrec began experimenting with lithographic printing starting in the second half of the 1880s. He used this technique in his artistic production and inaugurated a real revolution in lithography through the large dimensions of the works\, the richness of the saturated colors\, the brushstrokes and the techniques mixed with chalk and spray. \nIn just ten years\, until his death in 1901\, he produced 368 lithographic prints and posters which he always considered to be of equal importance to that of his paintings and drawings. Even today his name is linked to the posters of Jane Avril\, Yvette Guilbert and Aristide Bruant\, which have long since become classics in the history of art. \nBefore Toulouse-Lautrec\, Jules Chéret and Pierre Bonnard made use of the poster in advertising various shows. When Toulouse-Lautrec began to experiment with lithography\, his contemporaries\, established artists such as Alfons Mucha and Théophile-Alexandre Steinlen used the same technique and also managed to create true masterpieces. During the lifetime of these artists and thanks to their work\, lithographic prints and posters acquired a new status \, from simple advertising tools to a new artistic genre of recognized value. \nOrganized into six sections\, it is not only Toulouse-Lautrec’s Paris that comes to life in this exhibition\, but also that of his predecessors and contemporaries. Most of the posters on display are advertisements for Parisian nightlife events\, usually combined with an announcement of a live show. Other posters promote different services and products – the luxury items of the working class of the time. \nThe entire lithographic oeuvre of Toulouse-Lautrec’s advertising posters is preserved in two museum collections in Europe. Enriched by works by Alfons Mucha\, Théophile-Alexandre Steinlen\, Pierre Bonnard and Felix Vallotton\, La Boheme presents a set of 110 works from 22 June to 21 October 2018 at the MAN in Nuoro. The exhibition is organized in collaboration with the Musée d’Ixelles in Brussels and the Institute for Cultural Exchange in Tübingen\, Germany. \nA 144-page catalog accompanied by images of the works and texts by Luigi Fassi and Claire Leblanc in English and Italian is available in the MAN shop and at Silvana Editorale in Milan ( www.silvanaeditoriale.it ). URL:https://www.museoman.it/en/event/la-boheme/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2024/04/5_LAUTREC-Troupe-de-Melle-Eglantine-TOUxmO.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180610T000000 DTEND;TZID=Europe/Rome:20180610T000000 DTSTAMP:20260613T174705 CREATED:20240417T140338Z LAST-MODIFIED:20240417T140338Z UID:5104-1528588800-1528588800@www.museoman.it SUMMARY:Anne Franchetti DESCRIPTION:Gavoi\, Former Barracks \nThe Casa delle Letterature of Rome and the MAN Museum of Nuoro\, as part of the Prelude to the Festival “The Island of Stories”\, are pleased to present the exhibition Anne Franchetti. The invention of the Sardinian Petra\, edited by Ileana Florescu and Maria Ida Gaeta. \nIn the renovated spaces of the “Ex Caserma” of Gavoi\, a selection of stoneware works created by the Italian-American ceramist Anne Franchetti will be exhibited\, accompanied by photographs by Ileana Florescu and Ottavio Celestino. \nAnne Milliken Franchetti’s path crossed different countries and languages\, resulting in an original creative project in which experience\, autobiographical memory\, respect for the territory and artistic dimension merged. In over forty years of activity\, Anne Franchetti has innovated Sardinian ceramics by using stoneware clays never before experimented with in the creation of dishes and pottery and by mixing\, among other things\, ashes from native flora (ferula\, eucalyptus\, mastic\, strawberry tree etc.) to create an extraordinary and unique range of glazes. Over the years\, Sardinia will become his adopted land in the conquest of a personal and collective space that will give substance to his aspirations. \nThis project was started at the end of the Seventies – following two fundamental trips that led her to get to know Bernard Leach\, the father of modern English ceramics\, and the ceramic techniques of Faenza – with the construction\, near her home in Capo Ceraso\, of a wood-fired kiln for firing the first ceramics. A dream that would subsequently find its outcome in the creation\, in 1984\, of the “Ceramiche di San Pantaleo” company – later generously donated to a local collaborator – from which the “Petra Sarda” project would come to life. \nThe book published on the occasion of the exhibition by Imago Multimedia – Anne Franchetti. A sardine from Maine – contains texts by Marcello Fois\, Franco Masala\, Edoardo Sassi\, and photographs by Ottavio Celestino\, Simon d’Exéa and Ileana Florescu together with a tribute by Claudio Abate. It tells the story of the life path of this great ceramist\, through the testimonies of the people who shared her artistic experience\, her “recipe book” and a series of images that represent the ceramics within the context that inspired them: the earth\, rock\, sea and Sardinian sky. Words and photographs that make up the fascinating picture of a life spent in the name of creativity. \nThe exhibition will then be set up at the Casa delle Letterature in Rome – Piazza dell’Orologio 3 – from 20 September 2017. Opening at 6.30pm. URL:https://www.museoman.it/en/event/anne-franchetti/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Extramuros,MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2024/04/Franchetti-web-yqg9gL.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180309T000000 DTEND;TZID=Europe/Rome:20180610T000000 DTSTAMP:20260613T174705 CREATED:20240417T140706Z LAST-MODIFIED:20240417T140706Z UID:5096-1520553600-1528588800@www.museoman.it SUMMARY:The propeller and the light DESCRIPTION:edited by Chiara Gatti and Raffaella Resch \nAfter the projects on German Expressionism and the couples of the Russian avant-garde\, the MAN is pleased to present “The propeller and the light. The futurists. 1912_1944”\, an exhibition dedicated to futurism and women. This completes the trilogy with a new approach\, created with the artistic direction of Lorenzo Giusti and focused on the movements of the historical avant-garde. \nThe presence of women in the art of the twentieth century has been highlighted by various studies starting from the end of the seventies: beyond the intention of discovering a gender\, a specific female one in art\, historical-critical surveys have been carried out which they brought or brought to light exceptional personalities\, works of high value\, existences with complex plots\, whose dates of birth or death were previously unknown\, and they gave us a panorama of the art of women in the avant-garde\, up until that moment remained in the background. \nA still open and controversial case is the role of women in futurism\, a programmatically misogynistic movement\, which since its foundation proclaimed contempt for women and built a totalizing vision of art on values ​​such as strength\, speed\, war\, from which the female gender had to remain excluded (“We want to glorify war – the only hygiene in the world – militarism\, patriotism\, the destructive gesture of libertarians\, the beautiful ideas for which people die and the contempt for women”\, Manifesto of Futurism\, 1909). \nThe exhibition traces – through over 100 works including paintings\, sculptures\, papers\, fabrics\, theatrical maquettes and applied art objects – the work of these women who worked from the 1910s to the 1940s\, signing the theoretical manifestos of futurism\, participating in exhibitions\, experimenting with innovations in style and materials in transversal fields such as decorative arts\, scenography\, photography and cinema\, but also dance\, literature and theatre. Independent figures\, artists and leading intellectuals in aesthetic research at the beginning of the century. \nThe events are sometimes unscrupulous (exemplary is the biography of Valentine de Saint-Point)\, often passed over in silence compared to the news\, sometimes unnoticed by contemporary critics\, or absorbed by the anonymity of family life (as happened to Brunas) or deleted from the wars (Alma Fidora\, whose library and archive of documents were destroyed in the bombings). Total artists stand out\, not only the best-known Benedetta\, but also Marisa Mori\, Adele Gloria and the group of those who collaborate on “L’Italia futurista”: the fields of interest are vast\, from writing\, to painting\, to illustration \, to ceramics\, not excluding metapsychic studies and occultism\, towards which the Futurist Science Manifesto also shows attention. \nThe exhibition\, which boasts loans arriving from Italian public and private collections\, with even little-known works\, starts from Manifeste de la Femme futuriste\, published by Valentine de Saint-Point on March 25\, 1912\, in response to the Foundation and Manifesto of Futurism by Marinetti published in Paris in 1909 in “Le Figaro”. \nThe path identifies the characteristics of a collective research which – free from stereotypes\, clichés\, clichés and banal dependencies linked to kinship relationships with the “males” of the movement – testifies to the depth of an aesthetic reflection shared by the women of the group\, rich in peculiar implications. \nThe selection of works is supported by a large documentary apparatus\, first editions of texts\, autograph letters\, period photographs\, original posters\, studies\, sketches. \nEach chapter of the journey\, which proceeds by macro-themes – the body and dance\, flight and speed\, landscape and abstraction\, forms and words – documents a particular vein of futurist artists\, now dedicated to the applied arts \, to fabric\, now to the use of metal and\, in general\, to multi-material and multidisciplinary experimentation in the field of figurative\, but also literary and dance arts. \nThe exhibition tells the fascinating biographies of each of them\, which are intertwined with the artistic and cultural life of the period (the salons\, the major national exhibitions\, the magazines\, the theatres) but are also set against the backdrop of a country\, at the same time time\, excited by progress\, wounded by conflict. \nThe exhibited works will be published in the catalog with texts by Giancarlo Carpi\, Enrico Crispolti\, Chiara Gatti\, Lorenzo Giusti\, Raffaella Resch and an interview with Lea Vergine\, author of the memorable exhibition curated in 1980 for the Palazzo Reale in Milan\, “The other half of the avant-garde”\, dedicated to female artists active between 1910 and 1940. URL:https://www.museoman.it/en/event/the-propeller-and-the-light/ 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/EL-banner-sito-6gwY5y.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20171201T000000 DTEND;TZID=Europe/Rome:20180225T000000 DTSTAMP:20260613T174705 CREATED:20240417T140710Z LAST-MODIFIED:20240417T140710Z UID:5079-1512086400-1519516800@www.museoman.it SUMMARY:An abstract vision DESCRIPTION:Edited by Ilaria Bonacossa and Francesca Serrati \nAssistant curator: Michela Murialdo \nIn collaboration with the Museum of Contemporary Art of Villa Croce\, Genoa \nMaria Cernuschi Ghiringhelli was a unique figure in the panorama of Italian art between the two wars. Considered the “abstract muse” of Carlo Belli and Osvaldo Licini\, at the beginning of 1930 she became a passionate supporter of Italian and international abstract art\, managing to intercept the most innovative proposals with great independence of judgement. An Italian Peggy Guggenheim\, capable of maintaining solid relationships with artists\, even the younger and not yet established ones\, since what interested her most was “ follow and if possible encourage the developments of a type of artistic research in which I believed ”. \nStarting from some key works of Italian abstract art of the 1930s\, passing through the perceptivist and preconceptual research of the 1960s\, up to the Optical art and New Painting of the 1970s and 1980s\, the exhibition\, curated by Ilaria Bonacossa and Francesca Serrati\, traces the history of the collection – preserved at the Villa Croce Museum in Genoa – in dialogue with some of the main artistic movements and authors of the Italian twentieth century. \nMaria Cernuschi’s encounter with art is due to her husband Gino Ghiringhelli\, artist and owner of the Milanese gallery “Il Milione”\, a fundamental place for the promotion of abstract art in Italy. Between 1934 and 1935 the gallery presented the work of artists such as Kandinsky\, Vordemberge-Gildewart\, Albers\, Fontana\, Licini\, Melotti and was the first exhibition space to host works by Soldati\, Radice\, Rho and Veronesi. In 1933 the Gallery had supported the publication of Kn\, art criticism essay by Carlo Belli\, dedicated to Maria Cernuschi Ghiringhelli\, and defined by Kandinsky as “the gospel of abstract art”. \nIn 1940\, the year of her separation from her husband\, Maria Cernuschi began to purchase a series of paintings which became evidence of a new phase of her life\, representing\, more than a documentary choice\, a sentimental impulse which led her to define her collection not as a rational collection\, but more simply as “his” collection (“my paintings”). In 1950\, tired of the Milanese environment\, she moved to Liguria\, where she breathed a new\, culturally lively climate\, thanks to the presence of a large group of artists active above all in the ceramic factories of Albisola. \nStarting from 1965\, purchases became more and more frequent and the choices more rigorous. The acquisition criteria abandon the private sphere and are increasingly oriented towards the attempt to organically document the results of contemporary artistic research\, especially Italian\, in the field of abstraction. A choice which\, in the Seventies\, found an element of specificity in the attention to the research carried out in the Ligurian context. \nMaria Cernuschi Ghiringhelli was able to grasp the elements of novelty in the artistic production of her time without waiting for their consecration by critics or the market\, as evidenced by the dates – all early – of Piero Manzoni’s works\, of which in the exhibition it is possible see one of the first Achromes\, by Agostino Bonalumi\, Lucio Fontana\, Osvaldo Licini\, Gino Ghiringhelli\, Bruno Munari and numerous other authors. A foresight in choices supported and supported by the close and never interrupted relationship with the artistic generations active before the war\, and in particular Melotti\, Soldati\, Munari and Fontana. \nIf the interest of a private collection can be traced back above all to its originality\, to its “difference” from others\, dictated by a vision\, meetings and personal experiences\, that of Maria Cernuschi can undoubtedly be considered one of the Italian collections most interesting of the twentieth century. \n“An abstract vision. Works from the Maria Cernuschi Ghiringhelli Collection” aims to present to the public the heart of this private collection\, representative of a fundamental historical and artistic moment\, but also a mirror of the stories\, choices\, impulses and personal feelings of its creator. URL:https://www.museoman.it/en/event/an-abstract-vision/ 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/L3_cover-site-MAN-03-lJ5m2M.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20171201T000000 DTEND;TZID=Europe/Rome:20180225T000000 DTSTAMP:20260613T174705 CREATED:20240417T140708Z LAST-MODIFIED:20240417T140708Z UID:5089-1512086400-1519516800@www.museoman.it SUMMARY:Michele Ciacciofera DESCRIPTION:By Bonaventure Soh Bejeng Ndikung \nStarting from an anthropological approach\, Ciacciofera’s research revolves around the universe of the Mediterranean\, focusing on themes attributable to its places of origin – Sardinia and Sicily in particular – which the artist rereads in their historical\, cultural\, political and social\, through the use of different artistic media ranging from painting to sculpture\, from drawing to installation and sound. \nThe project created for the MAN Museum has as its underlying theme the social and cultural\, historical and current dimension of the Mediterranean macrocosm. A sea whose people have always woven relationships of all kinds\, giving life to an amalgam of ethnic groups\, languages\, flavours\, legends and traditions. Cradle of millenary civilizations\, place of transit\, of commercial and cultural exchanges\, but also of wars and conflicts\, as well as today of migrations and shipwrecks\, the Mediterranean becomes\, in the artist’s vision\, a metaphor of a new humanism for the creation of alternative social\, political and cultural values. \nIn particular Southern Hemispheres it is the synthesis of two projects Janas code And The Density of the Transparent Wind \, recently presented at the 57th Venice Biennale and at dOCUMENTA 14 in Kassel and Athens. The first\, in which the dimension of the archaic and the contemporary find a meeting point\, is the result of research on the Domus de Janas\, caves from the Neolithic era made legendary in the Sardinian popular and literary tradition\, which the artist conceptually synthesizes and reinterprets. \nThe second\, the sound installation created on the occasion of dOCUMENTA 14\, refers instead to the activity of fishermen in Sicily\, to their relationship with nature and above all to the dimension of solidarity that characterizes their lives also with respect to the great critical issues of the contemporary world and Mediterranean in particular. The reflections on the sea and on the human activities related to it are analyzed in this work through an anthropological prism\, through recordings of voices\, noises and sounds which\, digitally and rhythmically manipulated\, give rise to an abstract composition capable of narrating the complex experience of the sea and coexistence through work. \nFor the exhibition at MAN Ciacciofera will present two new installations that are part of the aforementioned projects which synthesize and convey the two different researches onto a single level of interpretation\, with the aim of opening up to an overall reflection on the history of the Mediterranean and its borders. \nThese two works will be accompanied by a third installation\, entitled Life Swing \, conceived specifically for the exhibition Southern Hemispheres and in particular for the vertical space which\, through the stairs\, separates the floors of the museum. The swing\, on which the book swings The Sardinian question by Antonio Gramsci\, represents a metaphor of the oscillation in time and space of human thought\, a magical game that contemplates the relationship between life and death\, between the origin\, the present and the future. \nMichele Ciacciofera (Nuoro\, 1969) lives and works in Paris. After training in political science\, anthropology and sociology in Palermo he attended the studio of Giovanni Antonio Sulas in Nuoro. He has participated in numerous exhibitions in Italy and abroad\, both collective and personal\, including\, in recent times\, the 57th Venice Art Biennale\, Long live Living Art \, Venice 2017\, doCUMENTA 14\, Learning from Athens \, Kassel/Athens 2017\, Enchanted Nature\, Revisited\, CAFA Museum\, Beijing 2016 \, In the Middle of the Middle\, Rice Museum\, Palermo 2015\, What we call love – from Surrealism to now \, IMMA Museum\, Dublin 2015\, I hate the indifferent \, Summerhall\, Edinburgh 2014\, I hate the indifferent \, Palazzo Montalto\, Syracuse 2014. URL:https://www.museoman.it/en/event/michele-ciacciofera/ 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/L3_cover-site-MAN-02-5olFvW.tmp_.jpg END:VEVENT END:VCALENDAR