BEGIN:VCALENDAR VERSION:2.0 PRODID:-//MAN_Museo d'Arte della Provincia di Nuoro - ECPv6.16.3//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-ORIGINAL-URL:https://www.museoman.it/en/ X-WR-CALDESC:Events for MAN_Museo d'Arte della Provincia di Nuoro REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:Europe/Rome BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20150329T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20151025T010000 END:STANDARD 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 END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20210119T000000 DTEND;TZID=Europe/Rome:20210620T000000 DTSTAMP:20260613T194824 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:20260613T194824 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:20260613T194824 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:20260613T194824 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:20260613T194824 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:20260613T194824 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:20260613T194824 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:20260613T194824 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:20260613T194824 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:20260613T194824 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:20260613T194824 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:20260613T194824 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:20260613T194824 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:20260613T194824 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:20260613T194824 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:20260613T194824 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:20260613T194824 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:20260613T194824 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 BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20171013T000000 DTEND;TZID=Europe/Rome:20171119T000000 DTSTAMP:20260613T194824 CREATED:20240417T140603Z LAST-MODIFIED:20240417T140603Z UID:5085-1507852800-1511049600@www.museoman.it SUMMARY:Contemporary Sardinia DESCRIPTION:“Contemporary Sardinia. Production Archive Spaces” And the third stage of the MAN Museum’s multi-year program “The resistance constant”\, dedicated to the study of the most innovative research which\, starting from the end of the 1950s\, has characterized the regional artistic scene. \nThe identification of a possible specific connotation\, to be recognized within the different experiences\, constitutes the backbone of this project. The “Sardinian resistance constant” is in fact a concept with which the archaeologist Giovanni Lilliu tried to express the historic struggle waged by the Sardinian people against the colonial powers that from time to time appeared on the coasts of the island. \nThe exhibition\, curated by Micaela Deiana\, presents us with an artistic panorama in which the question of language and its synchrony with official debates is less pressing: the globalized age\, the speed of exchange thanks to the web and the ease of physical movements alter the relational dynamics between the center and suburbs. \nStarting from these changed conditions\, yes proposes a reconstruction of artistic production on the island expanded compared to the research of individual artists and collectives \, which also includes the artist-run-space\, exhibition centers\, galleries and cultural associations who helped shape the local scene. The project thus opens up to all the figures who have inhabited the art system of the last twenty years – artists\, curators\, critics\, gallery owners\, collectors and patrons – highlighting relationships and collaborations. \n“Contemporary Sardinia” is divided into two levels of investigation \, on the one hand the organization of an exhibition with choral curation\, on the other the creation of a first archive of visual production in Sardinia in the 2000s. \nThe exhibition reconstructs the events of the island’s production through the narratives of the individual spaces that have animated the cultural debate of the last fifteen years. Seventeen organizations were invited to participate and each chose the exhibition methods through which to tell their experience\, organizing their own exhibition section free from institutional constraints. Thus\, a choral and horizontal process of self-determination was triggered\, a reflection of the heterogeneity of the proposals and visions carried out in Sardinia in the 2000s. \nThe project room instead welcomes the archive-library \, a study room for anyone who wants to delve deeper into artistic production in Sardinia in the 2000s. An open archive is established\, a first implementable fund that launches a survey of the research of individual artists active in this period of time. The first step in a study and research program\, the archive aims to be a continuously developing project\, capable of photographing the evolution of the island’s artistic reality over time. It is accompanied by a library that collects catalogues\, editorial productions and portfolios. \nThrough “Contemporary Sardinia. Production Archive Spaces” The MAN Museum it’s done open space \, research lab in which to experiment with new forms of production and exhibition. On this occasion\, the institution presents itself as a network of different experiences brought together in a single place of comparison and production. \nThe exhibition will be followed by the publication of the volume Contemporary Art in Sardinia (1957-2017) \, published by Magonza Editore with the special contribution of Banco di Sardegna. The book\, edited by Lorenzo Giusti\, Micaela Deiana and Emanuela Manca\, collects a rich selection of critical texts on artistic production in Sardinia starting from the end of the 1950s\, with chronological reconstructions and thematic insights dedicated to geographical contexts\, groups and events. Twelve authors involved in the volume: Sonia Borsato\, Antonella Camarda\, Simona Campus\, Antonello Cuccu\, Micaela Deiana\, Rita Pamela Ladogana\, Emanuela Manca\, Emanuelle Mureddu\, Giangavino Pazzola\, Marta Pettinau\, Roberto Sirigu\, Luca Vargiu. \nThey participate in the Sardegna Contemporanea laboratory: Askosarte\, blublauerspazioarte\, Casa Falconieri\, Man Ray Cultural Centre\, Cherimus\, Bartoli Felter Art Foundation\, Capitol Gallery\, Giuseppefraugallery\, Little Room Gallery\, LEM – Modern Aesthetics Laboratory\, Madriche\, MEME | Upcoming contemporary art / Contemporary Project\, Seuna Lab\, S’Umbra Visible Paths\, Su Palatu Photography\, (In)visible Space\, Spazio P. URL:https://www.museoman.it/en/event/contemporary-sardinia/ 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/foto/mo/man_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20170610T000000 DTEND;TZID=Europe/Rome:20170702T000000 DTSTAMP:20260613T194824 CREATED:20240417T140533Z LAST-MODIFIED:20240417T140533Z UID:5095-1497052800-1498953600@www.museoman.it SUMMARY:Luca Bertolo DESCRIPTION:Gavoi\, Former Barracks \nAs part of the Prelude of the “Island of Stories” Literary Festival \nOpening Saturday 10 June 2017\, h. 17.30 \nUntil July 2\, 2017 \n \nOn the occasion of the 14th edition of the “Island of Stories Literary Festival” in Gavoi\, the MAN Museum is pleased to present Luca Bertolo’s exhibition\, If not here where. \nAfter the projects of Alessandro Pessoli\, Jennifer West and Jakub Julian Ziolkowski\, Luca Bertolo’s is the fourth appointment in an annual cycle of personal exhibitions aimed at reflecting on the multiple uses and possible relevance of painting\, a medium that has always been debated\, to constant questioning and radical transformations\, which in recent years has regained significant spaces of investigation and visibility within the international art system. \nLuca Bertolo’s works implement a careful reflection on the ways of representation. His research moves from an elaborate speculative approach\, revealing at the same time an attention to pictorial materials and a specific interest in the dimension and languages ​​of the figurative. The meeting of two apparently distant worlds which\, in the vision pursued by the artist\, find recurring points of contact. \nThe fulcrum of Gavoi’s exhibition are the three paintings that occupy the center of the first three rooms of the exhibition itinerary\, supported by traditional painting easels. Created between 2014 and 2016\, these paintings break the symbolic mechanism of classical representation\, depicting on the front what is usually found on the back\, namely the frame\, the flap of the canvas fixed to the wood of the painting. Mindful of a precise pictorial tradition that has its roots in the Italian Renaissance\, in the genre of trompe-l’oeil and in the seventeenth-century Flemish painting of authors such as Gijsbrechts – the first to represent the verse of a painting – and naturally in the theoretical speculation of the avant-gardes historical\, Bertolo’s works question the status of the painting as an object and figurative device\, and the multiple and at the same time limited functions of painting\, in a suspended space-time dimension. \nThe path finds development in the three Signs (which in English has the double meaning of sign and sign) presented in the fourth and final room of the exhibition\, a series of works in which the linguistic codes of painting overlap with the communicative mechanisms of public space and specifically of signage. A simple stick can transform the canvas into a new visual code\, a “signal” whose definition would require immediacy and clarity\, while what in this case is offered to vision\, a painted surface\, rather stimulates arbitration and contemplation. Reflecting on the difference between coding and decoding\, between criteria of representation and communication\, the artist reveals how stimulating middle paths full of expressive strength can be identified between the immediacy of the sign and the patient pictorial composition. \nThe work completes the exhibition Existentialist prayer (2011)\, a simple sound that reproduces some songs taken from the famous documentary High School by Frederick Wiseman (USA\, 1968)\, in which the rhythm and alternation of voices between speaker and assembly\, typical of prayer in the Catholic tradition\, are used in the context of a school lesson\, thus overturning the codes of communication\, in a dimension suspended between sacred and profane. \nLuca Bertolo (Milan\, 1968) graduated in Information Sciences from the State University of Milan and graduated in painting from the Brera Academy of Fine Arts. He lived in Sao Paulo\, London\, Berlin and Vienna. Since 2006 he has lived in a town in the Apuan Alps. He has participated in exhibitions in public and private spaces\, including GAM\, Turin; GNAM\, Rome; Kettle’s Yard\, Cambridge; Luigi Pecci Center\, Prato; MACRO\, Rome; Municipal Gallery of Monfalcone; Palazzo delle Papesse\, Siena; Nomas Foundation\, Rome; SpazioA\, Pistoia; Arcade\, London; Prada Foundation\, Milan; 176 / Zabludowicz Collection\, London; uqbar\, Berlin; Galerie Tatjana Pieters\, Ghent; The Goma\, Madrid; Marc Foxx\, Los Angeles. His articles have appeared in Flash Art\, Il Giornale dell’arte\, Exibart\, Artribune\, Warburghiana\, Doppiozero. He currently teaches painting at the Academy of Fine Arts in Bologna. \n \nGavoi – Former Barracks \nvia S. Antioco 1 \nTimetables: \nJune 11-28 \n10:00-13:00 / 16:00-19:00 \nJune 29th – July 2nd \n10:00 -22:00 URL:https://www.museoman.it/en/event/luca-bertolo/ 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/Bertolo_img_sito-Zssz5S.tmp_-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20170601T000000 DTEND;TZID=Europe/Rome:20171001T000000 DTSTAMP:20260613T194824 CREATED:20240417T140733Z LAST-MODIFIED:20240417T140733Z UID:5049-1496275200-1506816000@www.museoman.it SUMMARY:Love and revolution DESCRIPTION:In the year of the centenary of the October Revolution\, the MAN and the Sardinia Foundation are pleased to announce the imminent opening of the exhibition Ablackberries and revolution. Couples of Russian avant-garde artists\, scheduled from 1 June to 1 October 2017. \nBorn from the collaboration with the State Tretyakov Gallery in Moscow and with the Schusev National Museum of Architecture\, in partnership with Bank Austria Kunstforum in Vienna and thanks to the special contribution of the Sardinia Foundation\, the exhibition\, curated by Heike Eipeldauer and Lorenzo Giusti\, adopts an innovative point of view – the pairs of artists – to reread the events of the Russian visual avant-garde through the contribution of six authors of the first generation\, united in the search for new expressive languages\, as well as in common life: Natalia Goncharova (1881–1962 )and Mikhail Larionov (1881–1964)\, Varvara Stepanova (1894–1958) and Alexander Rodchenko (1891–1956)\, Lyubov Popova (1889–1924) and Alexander Vesnin (1883–1959). \nDestined to attract a varied audience\, not only of art history lovers\, but also of twentieth-century history\, communication\, design and photography enthusiasts\, the exhibition intends to tell the close link between art and life that the different couples found to experiment\, in a phase of intense collaboration and great commitment\, both artistic and political. Through a nucleus of over one hundred works\, including paintings\, sculptures\, drawings\, collages\, photographs\, advertising and political propaganda posters\, the working methods\, techniques\, languages ​​will be investigated\, focusing on the points of contact\, but also on the specificities and therefore on the different profiles of the authors considered. \nShared by the ambition to connect all genres of artistic creativity with aesthetic action\, theoretical elaboration and political perspective\, the avant-garde artists contributed to fueling the aspiration for change and building the foundations of a new idea of ​​society . \nCharacterized by great productivity\, the movements born under the pressure of the Bolshevik revolution of 1917 brought to the fore not only an unprecedented number of women artists\, active in the same way as men\, but also an unusual series of couples within which the three involved in this project can be considered the most important and representative. Working side by side\, sharing spaces\, ideas\, programs\, the couples of the Russian avant-garde came to inextricably merge the private sphere with the public one\, promoting and bearing witness to that utopian vision\, that possibility of a collective creation alternative to the myth of art as a sphere of the solitary genius\, of which the revolution had promoted together with the great ideal of gender equality. \nWhich artistic aspects and which social ideals are predominant in the path of these couples? Did this collaboration actually work as an instrument of emancipation or did genre conventions continue to condition artistic production and its reception by the public? With these questions at the base\, the exhibition at the MAN intends to trace a genealogy of the Russian avant-garde: from the pre-revolutionary beginnings around 1907\, influenced by the experiments of modern Western art\, up to the development of the most famous artistic movements of the 1910s and 1920s\, capital in the development of the languages ​​of the international avant-garde\, starting from the cubo-futurism of Liubov Popova and Varvara Stepanova\, passing through the Rayonism of Natalia Goncharova and Mikhail Larionov\, who\, like Popova\, also participated in Malevich’s suprematism\, up to the experimentation of new criteria of functionalization of art in the context of constructivism\, frequented by Stepanova\, Vesnin\, Popova and above all Rodchenko\, of which\, together with a significant number of paintings\, collages and posters\, a nucleus of over 20 photographs will be presented which\, in their together\, they effectively constitute an exhibition within the exhibition. \nThe exhibition is completed by the catalogue\, published by Silvana Editoriale\, with texts by Heike Eipeldauer\, Lorenzo Giusti\, Verena Krieger\, Alexander Lavrentiev and Florian Steininger. URL:https://www.museoman.it/en/event/love-and-revolution/ 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/AR_Guida-copia-NgTlli.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20170601T000000 DTEND;TZID=Europe/Rome:20171001T000000 DTSTAMP:20260613T194824 CREATED:20240417T140711Z LAST-MODIFIED:20240417T140711Z UID:5073-1496275200-1506816000@www.museoman.it SUMMARY:Jakub Julian Ziolkowski DESCRIPTION:From next June 1st until October 1st 2017\, the project room of the MAN Museum will host the exhibition Nosepads \, the Polish artist’s first solo exhibition in an Italian museum Jakub Julian Ziolkowski\, edited by Lorenzo Giusti\, with the collaboration of Rowena Chiu. \nZiolkowski is mainly known for his surreal paintings\, populated by fantastic and often disturbing creatures. A “pictorial organicism” nourished by heterogeneous references\, in which Western and Eastern traditions mix\, dialoguing with the history of the artistic avant-garde. The resulting iconographies describe states of mind\, chaotic worlds in which reality and imagination blend into each other\, projecting the viewer into a universe of dreams\, memories\, desires. Apparently dominated by chaos\, Ziolkowski’s works actually contain an internal order\, regulated by intertwined narrative flows. \nThe exhibition at the MAN\, the third of an annual program which sees the museum engaged in a widespread investigation into the possible relevance of the pictorial medium\, revolves around a particular type of pasta\, the “Nasellini”\, a non-existent format\, derived from the shape of the cavity nasal\, which evokes the legend of tortellini\, born\, according to what is said\, by observing the shape of the navel. \nThrough paintings\, sculptures and a series of short videos created during a period of residence in Sardinia\, the artist will stage a surreal advertising campaign for the promotion of “Nasellini”\, exploring the border between real and unreal and deconsecrated\, through irony\, the playful expedient and sarcasm\, the collective imagination linked to pasta\, one of the main identity elements of Italy. The works will be housed in an environment modified for the occasion\, almost an installation site specific \, evoking the atmosphere of a traditional trattoria\, with colored walls and paintings and posters hung in a disorderly manner. \nThe videos\, all shot between Nuoro and the coasts of Sardinia with non-professional actors\, were made thanks to the special contribution of the Sardegna Film Commission Foundation. \nJakub Julian Ziolkowski (Zamosc\, Poland\, 1980)\, lives and works in Krakow\, the city where he studied at the prestigious “Jan Matejko Academy of Fine Arts”. Among the most recent exhibitions: tbc \, Zamosc Gallery\, Zamosc\, 2017; Glimpses \, Fundacja Galerii Foksal\, Warsaw\, 2017; Neues Museum\, Das Leben Selbst \, Nuremberg\, 2017; Sick Of Love\, Café Nhà Sàn\, Hanoi\, Vietnam\, 2016; Jakub Julian Ziolkowski. Imagorea’ \, Warsaw Academy of Fine Arts\, Warsaw\, 2014; Raw Thoughts\, Hauser & Wirth Zurich\, Zurich\, 2013; Jakub Julian Ziolkowski. Skin and Bread\, Foksal Gallery Foundation\, Warsaw\, 2012; Jakub Julian Ziolkowski: In Utero\, Parasol Unit\, London\, 2011; Jakub Julian Ziolkowski. Timothy Galoty & The Dead Brains\, Hauser & Wirth New York\, New York\, 2010. Among the numerous participations in collective exhibitions: An Uncanny Likeness\, Simon Lee\, New York\, 2017\, Animality \, Marian Goodman Gallery\, London\, 2016\, State of Life’ \, National Art Museum of China\, Beijing\, China\, 2015\, The Encyclopedic Palace \, 55th Venice Biennale\, Venice\, 2013\, Painting Between the Lines \, CCA Wattis Institute\, San Francisco\, 2011\, The Generational: Younger Than Jesus \, The New Museum of Contemporary Art\, New York\, 2009. URL:https://www.museoman.it/en/event/jakub-julian-ziolkowski/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2024/04/45-875x70cm-2017-300dpi-QSg6wf.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20170217T000000 DTEND;TZID=Europe/Rome:20170521T000000 DTSTAMP:20260613T194824 CREATED:20240417T141353Z LAST-MODIFIED:20240417T141353Z UID:4127-1487289600-1495324800@www.museoman.it SUMMARY:LCR#3 - Prelude DESCRIPTION:The installation of will be inaugurated on February 17th\, together with the exhibitions of Berenice Abbott and Jennifer West Leonardo Boscani\, Golden Zimmer \, specifically created for the spaces of the Project Room of the MAN Museum. \nGolden Zimmer it is the first of a series of initiatives that introduce the third and final appointment of the multi-year exhibition project The Resistance Constant \, dedicated to more innovative research That\, from the first years of regional autonomy to the present day \, characterized the Sardinian artistic scene . \nAfter the first two events in 2015 and 2016\, The Resistance Constant #3 \, edited by Micaela Deiana\, it will be dedicated to the most recent artistic research\, developed during the 2000s. The Prelude\, through a cycle of appointments\, events and exhibitions\, will propose thematic insights on issues related to socially engaged art\, video research\, the relationship between art and sound and performance. \nThe search for Leonardo Boscani Since the 1990s\, it has been aimed at analyzing the social and political-economic contradictions of Western society\, to which it opposes science fiction utopias\, in which criticism and irony are balanced in the creation of a new linguistic world. \nIn Golden Zimmer the reflection focuses on migratory exodus which is characterizing the European panorama in recent years. The attempts and contradictions of the social policies implemented by the European Union to respond to the ongoing emergency are sublimated into a golden environment\, a place divorced from temporality\, dreamed of and unattainable\, which recalls the symbolism and aesthetics of the places of worship of the Orthodox religion or the icons and altarpieces of Byzantine and medieval art. \nThe material with which the installation is made\, however\, is not the precious gold leaf but the equally delicate – and much more easily deteriorated – matte of thermal blankets used in first aid situations. The room cited by Boscani in the title of the installation therefore evokes the domestic one dreamed of by the migrant seeking a new life in Europe. The reference to individual\, intimate and human experience is accompanied by statistical data on migratory policies\, the numbers of which are scientifically reported by the artist in a decorative frieze that runs along the entire room. \nSymbol And functionality\, decoration And social commitment they balance as one space for critical thinking which\, through the sensorial experience of color and light\, stimulates individual and collective consciences. \nLeonardo Boscani(Sassari\, 1961) trained at the Academy of Fine Arts in Sassari: Among the most recent exhibitions are the solo exhibitions “Umana Ambizione + Notre Siècle\, Boscani + Bertozzi”\, Musée de la Corse\, Corte\, FR (2014) \, “DNA-Natural Discipline of the Antagonist 2\, Boscani + Delogu”\, curated by Emanuela Falqui\, Galleria S’Umbra\, Cagliari (2014) and the group shows “Par le Bleu\, la « grande couleur”\, curated by Anne Alessandri \, FRAC-Corse\, Bastion de France\, Portovecchio\, FR (2015)\, “Civil Servants”\, curated by Micaela Deiana\, MAN Nuoro (2015)\, Love for risk\, MSU-Museum of Contemporary Art Zagreb\, Zagreb\, Croatia (2012 ) URL:https://www.museoman.it/en/event/lcr3-prelude/ 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/Golden-zimmer_ld_striscia2-tpBjjF.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20170217T000000 DTEND;TZID=Europe/Rome:20170521T000000 DTSTAMP:20260613T194824 CREATED:20240417T141344Z LAST-MODIFIED:20240417T141344Z UID:4988-1487289600-1495324800@www.museoman.it SUMMARY:LCR#3 - Prelude DESCRIPTION:The installation of will be inaugurated on February 17th\, together with the exhibitions of Berenice Abbott and Jennifer West Leonardo Boscani\, Golden Zimmer \, specifically created for the spaces of the Project Room of the MAN Museum. \nGolden Zimmer it is the first of a series of initiatives that introduce the third and final appointment of the multi-year exhibition project The Resistance Constant \, dedicated to more innovative research That\, from the first years of regional autonomy to the present day \, characterized the Sardinian artistic scene . \nAfter the first two events in 2015 and 2016\, The Resistance Constant #3 \, edited by Micaela Deiana\, it will be dedicated to the most recent artistic research\, developed during the 2000s. The Prelude\, through a cycle of appointments\, events and exhibitions\, will propose thematic insights on issues related to socially engaged art\, video research\, the relationship between art and sound and performance. \nThe search for Leonardo Boscani Since the 1990s\, it has been aimed at analyzing the social and political-economic contradictions of Western society\, to which it opposes science fiction utopias\, in which criticism and irony are balanced in the creation of a new linguistic world. \nIn Golden Zimmer the reflection focuses on migratory exodus which is characterizing the European panorama in recent years. The attempts and contradictions of the social policies implemented by the European Union to respond to the ongoing emergency are sublimated into a golden environment\, a place divorced from temporality\, dreamed of and unattainable\, which recalls the symbolism and aesthetics of the places of worship of the Orthodox religion or the icons and altarpieces of Byzantine and medieval art. \nThe material with which the installation is made\, however\, is not the precious gold leaf but the equally delicate – and much more easily deteriorated – matte of thermal blankets used in first aid situations. The room cited by Boscani in the title of the installation therefore evokes the domestic one dreamed of by the migrant seeking a new life in Europe. The reference to individual\, intimate and human experience is accompanied by statistical data on migratory policies\, the numbers of which are scientifically reported by the artist in a decorative frieze that runs along the entire room. \nSymbol And functionality\, decoration And social commitment they balance as one space for critical thinking which\, through the sensorial experience of color and light\, stimulates individual and collective consciences. \nLeonardo Boscani(Sassari\, 1961) trained at the Academy of Fine Arts in Sassari: Among the most recent exhibitions are the solo exhibitions “Umana Ambizione + Notre Siècle\, Boscani + Bertozzi”\, Musée de la Corse\, Corte\, FR (2014) \, “DNA-Natural Discipline of the Antagonist 2\, Boscani + Delogu”\, curated by Emanuela Falqui\, Galleria S’Umbra\, Cagliari (2014) and the group shows “Par le Bleu\, la « grande couleur”\, curated by Anne Alessandri \, FRAC-Corse\, Bastion de France\, Portovecchio\, FR (2015)\, “Civil Servants”\, curated by Micaela Deiana\, MAN Nuoro (2015)\, Love for risk\, MSU-Museum of Contemporary Art Zagreb\, Zagreb\, Croatia (2012 ) URL:https://www.museoman.it/en/event/lcr3-prelude-2/ 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/Golden-zimmer_ld_striscia2-tpBjjF.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20170217T000000 DTEND;TZID=Europe/Rome:20170521T000000 DTSTAMP:20260613T194824 CREATED:20240417T140737Z LAST-MODIFIED:20240417T140737Z UID:5030-1487289600-1495324800@www.museoman.it SUMMARY:Jennifer West DESCRIPTION:The MAN Museum is pleased to announce the imminent opening of Jennifer West’s exhibition\, Action Movies\, Painted Films and History Collage\, edited by Lorenzo Giusti. \nThe American artist’s first solo exhibition in an Italian museum\, the exhibition is made up of a group of 10 works created since 2005 and a new work which constitutes a turning point in the artist’s production. \nFilm Title Poem (2016) it is in fact the last and only sound film made by West. The artist describes the work as a “psychic montage of my inner history of cinema”. The work is presented as a collage of images\, taken from over 500 film titles\, transferred onto 35mm film. The materiality of the film – later transferred to digital support – is underlined by the direct intervention on the film through engraved motifs\, contours\, traces and perforations. Sensual\, abstract and imaginative at the same time\, the work investigates the impact of fiction on our memory and the way in which the digital revolution has changed the experience of viewing. \nJennifer West began systematically exploring the possibility of producing films without the aid of a video camera in 2004. The artist removes the film from its context of conventional use\, intervening on it through different processes\, which can range from traditional artistic techniques (painting\, drawing\, collage\, graffiti\, engraving)\, to alternative actions such as emulsion\, chemical manipulation or direct exposure to light of photosensitive materials. The result is an immersive and psychedelic “filmic space”\, a material animation of signs and images\, characterized by acid tones and excited rhythms. \nConceived in some cases as real performances\, Jennifer West’s actions on film often involve the involvement of other people\, as well as the use of everyday materials\, from food to lipstick to motorcycle tyres\, or exposure to action of natural agents in places of particular significance. \nIt is the case of Salt Crystal Spiral Jetty Dead Sea Five Years Film (2013)\, one of the ten works in the exhibition\, created by immersing a film in a clay bath at a high temperature in 2008 and then cramming it among other objects in a suitcase\, placed among the waste paper in the waste bin of the artist’s studio\, covered of clay for five years and finally dragged along the salt-encrusted rocks of the famous Spiral Jetty by Robert Smithson\, before being thrown into the icy waters of the Utah salt lake\, in an attempt to evoke the original spirit of the work and the poetic vision of the American artist. \nThe exhibition at the MAN in Nuoro will also be an opportunity to launch a new work which\, starting from an exploration of the territory\, will originate in Sardinia in the days preceding the inauguration. \nJennifer West (Topanga\, California) is internationally known for her research on materialism in cinema. He has received commissions from some of the most prestigious museum institutions\, such as Tramway\, Glasgow (2016); PICA TBA Fest (2014); High Line Art\, New York (2012)\, The Aspen Art Museum (2010) and the Turbine Hall at TATE Modern in London (2009). \nSolo exhibitions include: S1 Artspace\, Sheffield\, United Kingdom (2012); Contemporary Art Museum\, Houston (2010); Kunstverein Nuremberg (2010); Transmission Gallery\, Glasgow (2008) and White Columns\, New York (2007). \nWest has presented his work in numerous museums\, events and exhibition spaces\, including: Shenzhen Animation Biennial\, Shenzhen (2016); Carnegie Museum of Art\, Pittsburgh (2015); Kunstlerhaus KM-Halle fur Kunst & Medien\, Kunsterhaus Graz\, Austria and Cincinnati Art Museum\, Ohio (2014); Palais de Tokyo\, Paris; Nottingham Contemporary\, England; Utah Museum of Contemporary Art (2013); Henry Moore Foundation\, Leeds\, UK; MOCA\, Cleveland\, OH; deCordova Sculpture Park and Museum\, Lincoln\, MA\, Saatchi Gallery\, London (2012); White Flag Projects\, St. Louis; Contemporary ArtsForum\, Santa Barbara; White Columns\, New York; the Rubbell Family Collection\, Miami (2015/2011); Schirn Kunsthalle\, Frankfurt\, Leubsdorf Gallery\, Hunter College\, New York\, Seattle Art Museum (2010)\, Tate Modern\, London; Institute of Contemporary Art\, Philadelphia (2009)\, Drawing Center\, New York\, Aspen Art Museum\, Tel Aviv Museum of Art (2008)\, CAPC Musée d’Art Contemporain\, Bordeaux\, France\, Contemporary Art Museum\, Detroit\, Henry Art Gallery\, Seattle\, ZKM Museum for New Media\, Karlsruhe\, Tate St. Ives (2007). A solo exhibition of his\, “Film is Dead…” is currently on display at the Seattle Art Museum\, Seattle (2016-2017). URL:https://www.museoman.it/en/event/jennifer-west/ 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/Solaris-S9e60G.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20170217T000000 DTEND;TZID=Europe/Rome:20170521T000000 DTSTAMP:20260613T194824 CREATED:20240417T140735Z LAST-MODIFIED:20240417T140735Z UID:5041-1487289600-1495324800@www.museoman.it SUMMARY:Berenice Abbott DESCRIPTION:The MAN Museum is pleased to announce the imminent opening of the first anthological exhibition in Italy dedicated to Berenice Abbott (USA\, 1898-1991)\, one of the most original and controversial protagonists of the photographic history of the twentieth century. \nThird of a great cycle dedicated to Street Photography\, the exhibition at the MAN in Nuoro\, curated by Anne Morin\, presents\, for the first time in Italy\, a selection of eighty-two original prints made between the mid-twenties and the early sixties. Divided into three macro sections – Portraits\, New York and Scientific Photographs – the exhibition itinerary provides a general picture of the great talent and varied activity of Berenice Abbott. \nBorn in Springfield\, Ohio\, in 1898\, Berenice Abbott moved to New York in 1918 to study sculpture. Here he came into contact with Marcel Duchamp and Man Ray\, leading exponents of the Dada movement. With Man Ray\, in particular\, she formed a friendship that led her to follow him to Paris and work as his assistant between 1923 and 1926. \nThe first photographic portraits dedicated to the major protagonists of the European artistic and literary avant-garde\, from Jean Cocteau to James Joyce\, from Max Ernst to André Gide\, date from this period. Portraits which – according to many interpreters – constitute the expressive channel through which Berenice Abbott – a declared lesbian\, in an era still far from accepting female homosexuality – talks about her own sexual dimension. \nHaving moved away from Man Ray’s studio to open her own photography laboratory – frequented by a circle of intellectuals and lesbian artists such as Jane Heap\, Sylvia Beach\, Eugene Murat\, Janet Flanner\, Djuna Barnes\, Betty Parson – already in 1926 Abbott exhibited her portraits in the “Le Sacre du Printemps” gallery. It is at this moment that he comes into contact with the French photographer Eugène Atget\, known for his images of the streets of Paris\, aimed at capturing the disappearance of the historic city and the changes in the urban landscape. \nFor Abbott it is a turning point. The photographer decides to abandon the research carried out up to that moment and to make her own the poetics of the neglected Atget – of whom\, upon his death\, she will acquire a large part of the archive\, making it known in Europe and the United States – dedicating herself\, from that moment onwards\, to the story of the metropolis of New York. \nThe entire 1930s\, after his return to the United States\, were in fact dedicated to the creation of a single large project\, aimed at recording the transformations of the city following the great depression of 1929. His attention focuses on architecture\, urban expansion and the skyscrapers that progressively replace old buildings\, as well as on shops and signs. The result is a volume\, among the most famous in the history of 20th century photography\, entitled “Changing New York” (1939)\, which collects an extraordinary series of photographs characterized by strong contrasts of light and shadow and dynamic angles\, to enhance the power of the shapes and the internal rhythm of the images. \nIn 1940 Berenice Abbott becomes picture editor for the magazine “Science Illustrated”. The experience gained on the streets of New York will lead her to look at scientific images with different eyes\, which become for her a privileged space for observing reality beyond the urban landscape. In line with contemporary artistic research on abstraction\, Berenice Abbott then created a series of laboratory photographs\, focusing on the dynamism and balance of forms\, with extraordinary results. \nThe exhibition at the MAN Museum\, created thanks to the contribution of the Sardinia Region and the Sardinia Foundation\, recounts the three main phases of Berenice Abbott’s photographic production through a rich selection of shots\, among the most famous of her production\, and documentary material from its archive. URL:https://www.museoman.it/en/event/berenice-abbott/ 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/Berenice-Abbott_Palisades-Billboard-c.1935-Gelatina-dargento-Berenice-Abbott-Commerce-Graphics_Courtesy-Howard-Greenberg-Gallery-hXDmAc.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20161021T000000 DTEND;TZID=Europe/Rome:20170205T000000 DTSTAMP:20260613T194824 CREATED:20240417T140738Z LAST-MODIFIED:20240417T140738Z UID:5071-1477008000-1486252800@www.museoman.it SUMMARY:Subjective – Primordial DESCRIPTION:Together with Fauvism in France\, German Expressionism was the first artistic avant-garde of the twentieth century. The famous groups “Die Brücke” (The Bridge)\, founded in Dresden in 1905\, and “Der Blaue Reiter” (The Blue Knight)\, born in Munich six years later\, not only revolutionized the canons inherited from the late nineteenth-century pictorial experiences \, but they also laid the foundations for the development of one of the most important lines of artistic research of the 20th century\, destined to influence a significant part of modern experimentation. \nThe exhibition at the MAN in Nuoro\, curated by Tayfun Belgin and Lorenzo Giusti\, proposes a rediscovery of the movements of German expressionism through a selection of over one hundred works from the collection of the Osthaus Museum in Hagen\, dedicated to the great collector Karl Ernst Osthaus\, one of the fathers and supporters of the European artistic and architectural avant-garde\, the first in Germany to purchase works by Gauguin and Van Gogh. \nIn particular\, the exhibition places emphasis on two fundamental aspects\, which link together the artistic research of the different currents of expressionism: the desire to develop a new form of subjective expression\, free from literary\, symbolic or thematic conditioning\, and the research of primordial values\, to be found both in city life and – and above all – in the natural context. \nThe languages ​​experimented by German artists reacted to the transformations of modern society and the political events of Europe at the beginning of the 20th century. Caught between the conservatism of imperial politics and the growth of a mass culture favored by industrial development\, artists thus found refuge in the values ​​of individualism and primordial\, in search of authentic and original life experiences. \nAuthors such as Ernst Ludwig Kirchner\, Otto Mueller and Emil Nolde investigated the expression of human bodies\, looking both at the workers of the German provinces and at the natives of distant colonies. A work strongly linked to current events\, which intended to advance a criticism of the political system and the uncontrolled growth of cities and at the same time reiterate the importance of the individual\, with his feelings\, his states of mind\, within a increasingly massified society. \nNolde in particular – and with him Max Pechstein – undertook long journeys in the German colonial territories overseas\, in the South Pacific\, while Erich Heckel and Karl Schmidt-Rottluff instead dedicated themselves to the theme of landscape\, often working in Dangast\, in the moraine territory of the North Sea\, where they created works of great originality\, with bright and brilliant colours\, full of movement and pathos. \nThese trends were also accompanied by the search for new\, more individual forms of religiosity\, hence the rediscovery above all of the themes of the Passion of Christ\, to which – in addition to Nolde himself – Christian Rohlfs also dedicated himself. The latter\, in particular\, together with Kirchner and Nolde\, was one of the expressionist artists most loved by Osthaus and for thirty-seven years he maintained his own atelier inside the building that housed the collection of the great patron\, the Folkwang Museum \, inaugurated in Hagen in 1902 thanks to the contribution of Henry Van de Velde\, who took care of its furnishings and interior decoration. \nIn different forms\, Franz Marc and Alexej von Jawlensky – leading exponents of the “Blue Knight” group together with Wassily Kandinsky – also testified to a profound spiritual tension\, which in the former found expression in the scenarios surrounding his famous animals – almost the search for a new original paradisiacal condition – and in the second it manifested itself instead in the creation of iconic figures\, in the wake of the oriental pictorial tradition\, carried forward\, in an almost obsessive manner\, starting from 1911. \nCompleted with a series of works by Max Pechstein\, Lyonel Feininger\, Max Beckmann\, Max Liebermann\, Conrad Felixmüller and Gabriele Münter\, the exhibition at the MAN in Nuoro – created in collaboration with the Institut für Kulturaustausch (Tübingen) – constitutes a unique opportunity in Italy for the knowledge of one of the most influential movements in the history of the pictorial avant-garde of the 20th century. \n*** \nArtists on display: Max Beckmann\, Walther Bötticher\, Lyonel Feininger\, Conrad Felixmüller\, Erich Heckel\, Alexej von Jawlensky\, Wassily Kandinsky\, Max Liebermann\, Ernst Ludwig Kirchner\, August Macke\, Franz Marc\, Ludwig Meidner\, Otto Mueller\, Gabriele Münter\, Emil Nolde \, Max Pechstein\, Christian Rohlfs\, Karl Schmidt-Rottluff. \nTayfun Belgin is director of the Osthaus Museum in Hagen. From 1985 to 1988 he directed the Kunstverein Ruhr in Essen. From 1990 to 2003 he worked as collection manager and department head for the Ostwall Museum in Dortmund. From 2003 to 2007 he directed the Kunsthalle in Krems\, Austria. In 2007 he was appointed director of the Osthaus Museum in Hagen. Since 2012 he has also been director of the Cultural Department in Hagen. He has curated numerous national and international exhibitions dedicated to German Expressionist movements and artists\, as well as retrospectives on Alexej von Jawlensky\, Miró\, Immendorff\, Lüpertz\, Schmidt-Rottluff and others. \nLorenzo Giusti is director of the MAN Museum in Nuoro\, for which he has organized retrospective exhibitions dedicated to leading figures in the history of art and photography of the 20th century (Alberto Giacometti\, Maria Lai\, Jean Arp\, Marino Marini\, Vivian Maier\, Paul Klee\, Garry Winogrand) and curated contemporary art projects collaborating with international artists\, including\, in recent years\, Thomas Hirschhorn\, Hamish Fulton\, Michael Höpfner\, Michel Blazy\, Roman Signer and others. Curator of the EX3 Center for Contemporary Art in Florence between 2009 and 2012\, he is a contract professor at the University of Sassari (Decamaster) and since 2015 a member of the AMACI board (Association of Italian Contemporary Art Museums). URL:https://www.museoman.it/en/event/subjective-primordial/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2024/04/999_Jawlensky_Madchenkopf_1912-ZVsXvQ.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20161021T000000 DTEND;TZID=Europe/Rome:20170205T000000 DTSTAMP:20260613T194824 CREATED:20240417T140731Z LAST-MODIFIED:20240417T140731Z UID:5063-1477008000-1486252800@www.museoman.it SUMMARY:Alessandro Pessoli DESCRIPTION:Strengthened by a deep-rooted belief in the possibilities of painting\, Alessandro Pessoli (Cervia\, 1963) has subjected the pictorial medium to over thirty years of theoretical and formal reinterpretations. His rich visual language\, in which classical iconographies alternate with references to futurist expressiveness\, and incursions into the worlds of science fiction and comics\, finds correspondence in an equally rich plurality of materials and techniques used: from ink on paper to cinema animated. The exhibition “The Neighbors”\, the artist’s first solo show in an Italian museum\, curated by Nicola Ricciardi\, takes inspiration from the relationship between these two extreme sides. \nIn line with the attention dedicated in recent years by the MAN Museum to the relationship between visual arts and animated cinema\, Alessandro Pessoli’s exhibition was born from the study of the two stop-motion films made by the artist almost 15 years apart. ‘from each other. In Caligula (1999-2002)\, humans\, animals and inanimate objects appear and disappear in a continuous oscillation between construction and destruction. The over 4500 drawings that make up the film do not weave a single plot\, but rather follow the irrational structure and symbolic richness of a feverish dream\, alternating playful moments with grotesque representations and drawing on iconographies as distant as a Christ on the cross and a plane in the skies of the First World War. \nPetrolini self-portrait (2014) instead revolves around the figure of the Italian actor and playwright Ettore Petrolini and the Dadaist character he invented—Fortunello—who in Pessoli’s hands becomes the expedient through which to undermine themes linked to the cultural history of the country and address reflections on the identity and nature of the artist. \nThe apparent distance between these two animations is filled by the different series of drawings in the exhibition\, among them The Neighbors \, specially created for this occasion. Made at distinct moments between 2000 and the present day\, the inks on paper and the screenprints on canvas share a setting and a veiled cinematic flavour: here Captain America and Popeye make their appearance\, the religious iconography mixes with the popular culture\, personal episodes are intertwined with national history\, and allusions to the Italian Renaissance dialogue with references to European Pop painting – all without apparent continuity. \nThe set of these multifaceted works reflects Pessoli’s particular agility of thought\, an attitude that has allowed him to move over the years between very different themes and languages ​​without however ever losing sight of his own obstinate formal research. \nFinally\, the exhibition closes – also in chronological terms – with the self-portrait Studio City (2015)\, in which the artist appears as the protagonist of a colorful cartoon. The title is an explicit reference to Los Angeles\, the city where Pessoli has lived since 2009\, and in particular to neighborhood where the main film studios find their home: the ideal backdrop for the lively adventures of its characters\, partly extras waiting for a role on the set of a film\, and partly neighbours\, people from the neighbourhood\, familiar faces\, neighbors. URL:https://www.museoman.it/en/event/alessandro-pessoli/ 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/pessoli-isVXCZ.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20160715T000000 DTEND;TZID=Europe/Rome:20170131T000000 DTSTAMP:20260613T194824 CREATED:20240417T141400Z LAST-MODIFIED:20240422T101647Z UID:4097-1468540800-1485820800@www.museoman.it SUMMARY:Museo Ciusa DESCRIPTION:Grazie a un accordo tra il Comune e la Provincia di Nuoro\, che ne hanno affidato la gestione al Museo MAN nel 2016 ha riaperto al pubblico il Museo Francesco Ciusa.  \nLe sale consacrate al celebre artista nuorese (1983-1949) riuniscono il gruppo dei grandi gessi scultorei\, di proprietà della Regione Sardegna\, il nucleo di opere del Museo MAN\, riferibili soprattutto alla produzione più matura\, e un gruppo di altri esemplari provenienti da raccolte sia pubbliche sia private. \nUn insieme di quasi cinquanta opere\, rappresentativo della variegata attività dell’artista\, di cui fanno parte lavori significativi come Il Ritorno\, La Campana\, Il fromboliere\, Il Cainita\, la ricostruzione\, integrata con frammenti marmorei originali\, del Monumento a Sebastiano Satta – eretto nel 1931 e in seguito smantellato – fino alla celebre Madre dell’ucciso\, opera simbolo della cultura figurativa sarda\, che lo scultore presentò alla Biennale di Venezia nel 1907\, ricevendo il plauso della critica.  \nLe sculture presentate all’interno del percorso museale riflettono i momenti più intensi della ricerca di Ciusa\, dagli esordi\, nei primi del Novecento\, sino alla fine degli anni Quaranta. A differenza di molti suoi contemporanei\, Ciusa ebbe la possibilità di frequentare\, sino dal 1899\, l’Accademia di Belle Arti di Firenze\, al fianco di maestri come lo scultore Domenico Trentacoste\, il pittore macchiaiolo Giovanni Fattori e l’incisore Adolfo De Carolis\, dei quali rielaborò non soltanto i linguaggi\, tra realismo e simbolismo\, ma anche le idee anarchiche e socialiste.  \nUn percorso di intensa riflessione e di scambio con personalità di rilievo\, come Giovanni Papini\, Plinio Nomellini\, Galileo Chini\, grazie al cui contributo il lavoro dello scultore poté giungere a una sintesi originale\, capace di fondere la tradizione dei tagliapietre sardi\, con il suo portato di valori radicati e temi ricorrenti\, e le tecniche scultoree accademiche. Considerato l’iniziatore della scultura moderna in Sardegna\, Ciusa riuscì a conciliare due realtà distanti\, quella agropastorale e quella urbana\, dando voce al mondo popolare sardo\, fino ad allora inascoltato. \nIl percorso Sardegna 900\nInsieme alle sale dedicate a Francesco Ciusa\, gli spazi dell’ex tribunale di Nuoro ospitano un nuovo percorso espositivo dedicato agli artisti della scuola pittorica sarda della prima metà del secolo scorso\, che vede riunite le opere più importanti della collezione del MAN.  \nNata dall’accorpamento di quattro raccolte pubbliche (Provincia di Nuoro\, Comune di Nuoro\, Camera di Commercio di Nuoro\, Ente Provinciale del Turismo) e successivamente cresciuta grazie a un’attenta politica di acquisizioni e comodati\, la collezione del MAN custodisce lavori di artisti nati o attivi in Sardegna\, coprendo un arco temporale che va dalla fine dell’Ottocento ai giorni nostri. Un corpus di oltre 600 opere che al proprio interno annovera alcuni tra gli autori più importanti\, nonché alcune opere chiave della storia dell’arte in Sardegna\, come Sa ria di Antonio Ballero\, La fede di Mario Delitala (parte del ciclo decorativo della sala consiliare del Comune di Nuoro)\, Donna con frutta di Giovanni Ciusa Romagna\, Contadino alla fonte di Giuseppe Biasi e numerose altre.  \nOpere che consentono di percorrere le più importanti tappe della storia dell’arte della prima metà del Novecento in Sardegna\, caratterizzata da una riscoperta delle iconografie tradizionali\, dei costumi e dei riti quotidiani\, attraverso la quale gli artisti si propongono di promuovere una nuova visione dell’isola\, celebrandone i valori autoctoni\, il primordio\, il mito della terra incontaminata e della genuinità del popolo sardo\, contrapposti all’omologazione della modernità.  \nIl percorso si chiude idealmente con l’opera di matrice cubista L’ombra del mare sulla collina\, di Mauro Manca\, che inaugura una nuova fase della pittura in Sardegna\, segnando uno spartiacque tra le esperienze figurative della scuola regionale e quelle astratte che si sarebbero affermate da lì in avanti.   \nRecentemente il percorso “Sardegna 900” si è arricchito di due nuove sale espositive dedicate rispettivamente a Mario Delitala e ai “Sardi dell’Isia”: Salvatore Fancello\, Costantino Nivola e Giovanni Pintori.  \nLa sala dedicata a Mario Delitala\, che precede l’inizio del percorso vero e proprio\, restituisce al pubblico la visione integrata della celebre Cacciata dell’arrendadore\, recentemente restaurata\, insieme alle quattro lunette allegoriche\, realizzate nel 1924\, che componevano il ciclo decorativo del salone consiliare del Comune di Nuoro.  La decorazione riprende alcuni temi cari al regime fascista da poco affermatosi in Italia (famiglia\, fede\, lavoro\, patria)\, mentre la tela de “La cacciata dell’arrendadore”\, ispirata a un episodio della storia di Nuoro del 1772\, assurge a simbolo del riscatto di un popolo e dell’affermazione della sua identità.  \nLa seconda nuova sala espositiva\, posta al primo piano\, è dedicata ai cosiddetti “Sardi dell”Isia”\, la celebre scuola costituita dall’Umanitaria di Milano a Monza\, che\, dal 1922 al 1943\, fu un’eccezionale fucina di talenti\, dove insegnarono figure di rilievo come Arturo Martini\, Marino Marini\, Pio Semeghini e Giuseppe Pagano. Grazie a una borsa di studio della Camera di Commercio di Nuoro vi giunsero\, tra il 1930 e il 1931\, anche Nivola\, Fancello e Pintori\, artisti che hanno inciso nella cultura figurativa del Novecento e che\, nell’ambito della storia dell’arte sarda\, costituiscono un significativo momento di innovazione e sperimentazione.  \n  URL:https://www.museoman.it/en/event/museo-ciusa/ 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/Inagurazione-Museo-Ciusa_17-ADUDZ0.tmp_-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20160715T000000 DTEND;TZID=Europe/Rome:20170131T000000 DTSTAMP:20260613T194824 CREATED:20240417T141348Z LAST-MODIFIED:20240417T141348Z UID:4973-1468540800-1485820800@www.museoman.it SUMMARY:Ciusa Museum DESCRIPTION:Thanks to an agreement between the Municipality and the Province of Nuoro\, which entrusted its management to the MAN Museum in 2016 the Francesco Ciusa Museum reopened to the public . \nThe rooms dedicated to the famous artist from Nuoro (1983-1949) bring together the group of large sculptural plaster casts \, owned by the Sardinia Region \, the nucleus of works of the MAN Museum \, referable above all to the more mature production\, and a group of other specimens from both public and private collections . \nA set of almost fifty works\, representative of the artist’s varied activity\, which includes significant works such as The Return \, There Bell \, The slinger\, The Cainite\, the reconstruction\, integrated with original marble fragments\, of Monument to Sebastiano Satta – erected in 1931 and later dismantled – until the famous Mother of the murdered\, a symbolic work of Sardinian figurative culture\, which the sculptor presented at the Venice Biennale in 1907\, receiving critical acclaim. \nThe sculptures presented within the museum itinerary reflect the most intense moments of Ciusa’s research\, from his beginnings in the early twentieth century to the end of the 1940s. Unlike many of his contemporaries\, Ciusa had the opportunity to attend\, since 1899\, the Academy of Fine Arts of Florence\, alongside masters such as the sculptor Domenico Trentacoste\, the Macchiaiolo painter Giovanni Fattori and the engraver Adolfo De Carolis\, of whom he reworked not only the languages\, among realism and symbolism\, but also the anarchist and socialist ideas. \nA path of intense reflection and exchange with important personalities\, such as Giovanni Papini\, Plinio Nomellini\, Galileo Chini\, thanks to whose contribution the sculptor’s work was able to reach an original synthesis\, capable of blending the tradition of Sardinian stonecutters\, with its deep-rooted values ​​and recurring themes\, and academic sculptural techniques. Considered the initiator of modern sculpture in Sardinia \, Ciusa managed to reconcile two distant realities\, the agro-pastoral and the urban\, giving voice to the Sardinian popular world \, hitherto unheard. \nThe Sardinia 900 route\nTogether with the rooms dedicated to Francesco Ciusa\, the spaces of the former court of Nuoro host a new exhibition itinerary dedicated to the artists of the Sardinian pictorial school of the first half of the last century \, which sees them reunited the most important works from the MAN collection . \nBorn from the merger of four public collections (Province of Nuoro\, Municipality of Nuoro\, Chamber of Commerce of Nuoro\, Provincial Tourism Board) and subsequently grown thanks to a careful policy of acquisitions and loans\, the MAN collection contains works by artists born or active in Sardinia\, covering a time span from the end of the nineteenth century to the present day. A corpus of over 600 works which includes some of the the most important authors \, as well as some key works of art history in Sardinia \, as Sa ria by Antonio Ballero\, Faith by Mario Delitala (part of the decorative cycle of the council hall of the Municipality of Nuoro)\, Woman with fruit by Giovanni Ciusa Romagna\, Farmer at the source by Giuseppe Biasi and numerous others. \nWorks that allow you to travel theand most important stages in the history of art of the first half of the twentieth century in Sardinia\, characterized by a rediscovery of traditional iconography\, customs and daily rituals\, through which the artists aim to promote a new vision of the island\, celebrating its native values\, its origins\, the myth of the uncontaminated land and the genuineness of the Sardinian people\, contrasted with the homologation of modernity. \nThe itinerary ends ideally with the cubist work The shadow of the sea on the hill \, by Mauro Manca \, which inaugurated a new phase of painting in Sardinia\, marking a watershed between the figurative experiences of the regional school and the abstract ones that would become established from then on. \nRecently the “Sardinia 900” route has been enriched with two new exhibition rooms dedicated respectively to Mario Delitala and to the “Sardinians of Isia”: Salvatore Fancello\, Costantino Nivola and Giovanni Pintori . \nThe room dedicated to Mario Delitala\, which precedes the start of the actual journey\, gives the public an integrated vision of the famous woman Expulsion of the surrenderer \, recently restored\, together with four allegorical lunettes\, created in 1924\, which made up the decorative cycle of the council hall of the Municipality of Nuoro . The decoration takes up some themes dear to the fascist regime that had recently established itself in Italy (family\, faith\, work\, homeland)\, while the canvas of “The Expulsion of the Arrendadore”\, inspired by an episode in the history of Nuoro in 1772\, becomes a symbol of the redemption of a people and the affirmation of its identity. \nThe second new exhibition room\, located on the first floor\, is dedicated to the so-called “ Sardinians of Isia ”\, the famous school established by the Umanitaria di Milano in Monza\, which\, from 1922 to 1943\, was an exceptional hotbed of talent\, where notable figures such as Arturo Martini\, Marino Marini\, Pio Semeghini and Giuseppe Pagano taught. Thanks to a scholarship from the Nuoro Chamber of Commerce\, Nivola\, Fancello and Pintori also arrived there between 1930 and 1931. artists who have had an impact on the figurative culture of the twentieth century and which\, within the history of Sardinian art\, constitute a significant moment of innovation and experimentation . URL:https://www.museoman.it/en/event/ciusa-museum/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Focus Sardegna,MAN END:VEVENT END:VCALENDAR