BEGIN:VCALENDAR VERSION:2.0 PRODID:-//MAN_Museo d'Arte della Provincia di Nuoro - ECPv6.16.3//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:MAN_Museo d'Arte della Provincia di Nuoro X-ORIGINAL-URL:https://www.museoman.it/en/ X-WR-CALDESC:Events for MAN_Museo d'Arte della Provincia di Nuoro REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:Europe/Rome BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20140330T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20141026T010000 END:STANDARD 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 END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20181109T000000 DTEND;TZID=Europe/Rome:20190303T000000 DTSTAMP:20260613T213534 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:20260613T213534 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:20260613T213534 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:20260613T213534 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:20260613T213534 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:20260613T213534 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:20260613T213534 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:20260613T213534 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:20260613T213534 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:20260613T213534 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:20260613T213534 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:20260613T213534 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:20260613T213534 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:20260613T213534 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:20260613T213534 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:20260613T213534 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:20260613T213534 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:20260613T213534 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 BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20160715T000000 DTEND;TZID=Europe/Rome:20161009T000000 DTSTAMP:20260613T213534 CREATED:20240417T140801Z LAST-MODIFIED:20240417T140801Z UID:5052-1468540800-1475971200@www.museoman.it SUMMARY:Garry Winogrand DESCRIPTION:Great photography once again at MAN. One year after the success of Vivian Maier’s exhibition\, the Museum of the Province of Nuoro is pleased to announce the imminent opening of a new exhibition project\, a national preview\, dedicated to Garry Winogrand\, father of street photography . \nIn recent years the work of Winogrand (1928-1984) has been compared on several occasions to that of Vivian Maier. He too\, like the now famous nanny photographer\, worked on the streets of New York starting in the early 1960s\, carrying out a widespread and obsessive work of reportage. \nWinogrand was one of the most important chroniclers of American society\, as well as one of the most famous international photographers of the 1960s and 1970s. His gaze on the habits of American citizens\, apparently distracted\, almost casual\, often ironic\, was influenced above all by the social photography of Robert Frank and Walker Evans\, which he reinterpreted in a new and radical form. \nWinogrand identified in the anonymous inhabitants of American cities the ideal subject to give substance to his vision of the world\, telling lateral stories\, without a script or twists\, always captured in public places: in parks\, at the zoo\, in shopping centers\, in museums \, at airports\, or at political demonstrations and sporting events. \nHis technique is characterized by the use of wide-angle lenses. The many specimens that have come down to us demonstrate how Winogrand voluntarily sought the presence of a space outside the subject\, often forcing the inclination of the camera. As has been written on several occasions\, it would be wrong to dismiss these backgrounds as secondary elements\, as irrelevant visual “noise”. According to Winogrand’s original vision\, the external details\, included in the frame of the photograph\, instead contributed to increasing the strength and meaning of the portrayed subject. \nThe exhibition at the MAN\, curated by Lola Garrido\, created in collaboration with diChroma Photography\, presents\, for the first time in Italy\, the complete collection of photographs which\, in 1975\, made up the famous volume “Women are Beautiful”\, which became today an object of worship. Instant images\, proposed here through a series of original prints\, which celebrate the female figure with an authentic gaze\, in which admiration and irony\, veneration and sarcasm are mixed. \nA controversial work in many respects\, parallel to that of the poets of the Beat Generation\, who were not spared heavy criticism. In fact\, if in the eyes of some interpreters the photographs appeared as a joyful reflection on the emancipation of women and on sensuality\, others – for the presence of shapely figures\, in sleeveless dresses or miniskirts\, or for the lingering of Winogrand’s gaze on the breasts and backsides – they perceived them instead as the twisted expression of a chauvinistic and misogynistic vision. \nWhat is clear is that this is not a superficial reflection on new concepts of beauty\, but rather a description of the social consequences of American counterculture\, as well as a statement of support for women’s rights and freedom at a time when Puritan conservatism seemed to want to call into question some of the most important achievements of the post-war period. The well-known photographer Joel Meyerowitz spoke of “a collision and an embrace at the same time: he is a contradiction and the images are contradictory”. \n*** \nGarry Winogrand (1928-1984) was born into a working-class family in the Bronx. He began taking photographs during his military service. He studied painting at the City College of New York and photography at Columbia University. In 1949 he attended a photojournalism course at the New School for Social Research in New York and from 1952 until 1969 he worked as a freelance photojournalist. His first major exhibition was held at the MOMA in 1963. In 1966 he exhibited his photos in the exhibition Toward a social landscape at the George Eastman House of Rochester\, together with Lee Friedlander\, friend and companion of wanderings. With him and Diane Arbus he participates in the exhibition New Documents (MOMA\, 1967). He won three times Gugghenheim Fellowship Awards (1964\, 1969\, 1979) and once again the National Endowment of the Arts Award (1979). Garry Winogrand’s documentary photographs have appeared in magazines such as Sports Illustrated\, Fortune\, and Life. Upon his death in 1984 due to cancer\, he left behind an enormous archive of images\, many of which were never developed. Some of these were collected\, exhibited and published by MOMA in the volume Winogrand. Figments from the Real World (1988). Winogrand’s works are present in the collections of the most important museums in the world\, such as the MOMA in New York\, the Tate Modern in London\, the Center Pompidou in Paris. \nLola Garrido is an art historian specializing in photography. She was responsible for the collection of the Banesto Foundation\, which today enriches the heritage of the Reina Sofia Museum. As an art critic he has collaborated with the most important Spanish newspapers. His personal photography collection has been the subject of numerous exhibitions. \nThe MAN Museum is an institution of the Province of Nuoro\, supported by the Autonomous Region of Sardinia and the Sardinia Foundation. URL:https://www.museoman.it/en/event/garry-winogrand/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN ATTACH;FMTTYPE=image/png:https://www.museoman.it/wp-content/uploads/2024/04/garry84JPG-eLYHkA.tmp_.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20160715T000000 DTEND;TZID=Europe/Rome:20161009T000000 DTSTAMP:20260613T213534 CREATED:20240417T140759Z LAST-MODIFIED:20240417T140759Z UID:5062-1468540800-1475971200@www.museoman.it SUMMARY:Petra Feriancová DESCRIPTION:From July 15\, 2016\, until October 9\, the project room of the MAN museum will host the project by Petra Feriancová\, An exhibition on doubt \, edited by Emanuela Manca. \nRecurring themes in Petra Feriancová’s research are the exploration of the processes of perception of reality and construction of memory and the (almost never univocal) way in which they are completed. His works\, through the use of different visual languages ​​- installations\, photographs\, texts – reflect reality in a fictitious way and trigger doubts about the spatial and temporal dimension in which the spectator moves. \nEven in the new installation created for the MAN in Nuoro\, the artist introduces a multiple space-time that opens up to multiple interpretations\, a mixing of eras and places through which to reconsider the ways of enjoying reality and art. \nThe viewer will have the impression of being in a traditional ethnographic museum that illustrates the life and crafts of Sardinia. The objects on display\, presented as artefacts\, will in reality be replicas of common tools\, oversized and handcrafted with different materials compared to those traditionally used. The change in scale and material characteristics make the objects clearly created for pure aesthetic contemplation\, through a process of canceling functional uses. Untouchable artefacts\, relics of which\, even before finding their initial function in shared knowledge\, only the form is perceived. \nThe exhibition therefore materializes the idea of ​​a distant island\, using exclusively Slovak elements – craft objects\, photographs of folklore and popular festivals – determined by natural and cultural conditions surprisingly similar to those of Sardinia (shepherding\, customs\, music\, instruments ). The artist’s goal is to demonstrate that\, just as our understanding and interpretation of history can be contested\, in the same way what appears to our eyes can be persuasive even if non-existent or based on false imagery. \nThe typical idea of ​​Sardinia is therefore uprooted and questioned here. Each representation of places is an indication of a precise reality\, which the artist\, in the space generated by doubt\, nevertheless manages to transform into a metaphor; a process of personal interpretation that connects individual experience and learning mechanisms conditioned by history and culture. Forms\, images and traces of the past are welcomed in the awareness that their original meaning has long been degraded or lost\, but precisely because of this distortion of the “original” meaning\, one can question the vision of reality\, redefining one’s own version of the world. \nPetra Feriancová’s work was selected by the MAN Museum on the occasion of ArtVerona 2015\, as part of the Level 0 project\, which some of the most important Italian contemporary art museums have joined. The exhibition is organized with the contribution of Slovak Art Council. \nPetra Feriancová was born in 1977 in Bratislava\, where she still lives and works. He works mainly with texts\, photographs and installations. Winner of the 2010 Oskar Cepan prize for young visual artists\, organized by the FCS Foundation for a Civil Society\, she has exhibited in numerous institutions including: Fondazione Morra Greco\, (Naples\, 2014)\, ISCP International Studio & Curatorial Program (New York\, 2011)\, Brno House of Arts (2012)\, In 2013 he represented Slovakia and the Czech Republic at the 55th Venice Biennale with the project Still the same place . URL:https://www.museoman.it/en/event/petra-feriancova/ 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/Petra-1-1nqApn.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20160611T000000 DTEND;TZID=Europe/Rome:20160703T000000 DTSTAMP:20260613T213534 CREATED:20240417T140535Z LAST-MODIFIED:20240417T140535Z UID:5087-1465603200-1467504000@www.museoman.it SUMMARY:Frottage athlete DESCRIPTION:edited by MEGA and Nicola Ricciardi \nGavoi\, Municipal Museum \n11/06 – 03/07/2016 \nOn the occasion of 13th edition of the Literary Festival Island of Stories \, the artists Diego Perrone and Andrea Sala they return to deal with a discipline distant from their usual sculptural practice\, namely the photography \, understood in the etymological sense as “ writing by means of light ”. \nThe unreleased one collaboration proposed by MAN for the spaces of the Gavoi Municipal Museum \, found its first original formalization in April 2016 with an exhibition at the MEGA space in Milan (“Unghia”\, curated by MEGA [ Davide Giannella\, Delfino Sisto Legnani\, Giovanna Silva ] And Nicola Ricciardi ). On that occasion Perrone and Sala exhibited a series of works created within handcrafted darkrooms in cellars\, waste spaces and disused rooms. In these homely but transitory places\, over the course of a year\, the two artists therefore became familiar with the chemical processes of photographic development and with the freehand drawing on photosensitive supports \, using a small electric light source\, also built manually\, as a brush. The resulting canvases—characterized by a plastic\, almost sculptural materiality—represent apparently abstract forms\, which nevertheless allude to some assumptions underlying their research: the blind observation of technique\, engraving as a primordial writing tool\, error as a category of experience (hence the recurring iconography of the bumper). \nIf the first stage was characterized by the squeeze collaboration with the photographer Delfino Sisto Legnani — who took the shots that subsequently inspired the drawings — for this second moment the artists decided to meet and interact with the protagonists of the Festival . In fact\, since the Milan event\, the collaboration between Perrone and Sala has found strength and traction precisely in opening up to continuous experimentation in terms of formats\, contexts\, approaches\, and participations. For the Island of Stories \, the proven technique of “ write with light”—intended as a practical and at the same time theoretical methodology—is made available to writers\, who are invited to enter a darkroom specially built and designed for the spaces of the Municipal Museum; here the literary guests will be asked to write sentences\, thoughts\, considerations\, without there being a pre-established theme\, but being guided by the unstable equalsbooks between photographic processes and typographical characters. The resulting pages of photosensitive film—hybrid objects between sculpture\, photography and literature—will live as autonomous and at the same time collective works of art\, and will be exhibited during the Festival together with the works originally presented in Milan. “Frottage athlete” however does not simply represent the second chapter of “Unghia” but rather its narrative development\, the evolution of an investigation into the links between technique and language which in this new context becomes a more explicit exploration of the relationship between the word and its physicality. URL:https://www.museoman.it/en/event/frottage-athlete/ 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/SL_2372-bdFMk5.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20160422T000000 DTEND;TZID=Europe/Rome:20160703T000000 DTSTAMP:20260613T213534 CREATED:20240417T141356Z LAST-MODIFIED:20240419T073219Z UID:4125-1461283200-1467504000@www.museoman.it SUMMARY:Salvatore Fancello DESCRIPTION:On the occasion of centenary of the birth of Salvatore Fancello \, the MAN is pleased to present\, for the first time gathered in a single viewing path\, the complete corpus of drawings by the artist from Dorgali preserved within the museum collection. A nucleus of over fifty works \, representative of the different strands of Fancello’s graphic research\, to which\, within the framework of the exhibition\, a further group of drawings will be added\, recently obtained on loan and never exhibited before. \nBorn in 1999 by will of the Province of Nuoro\, L he MAN collection it is the result of a careful selection of works by Sardinian artists from the end of the nineteenth century to the present day. A collection of around 600 works within which the large group of drawings by Fancello constitutes one of the most important and representative parts. \nSalvatore Fancello’s artistic career takes place over just a decade\, from the moment in which\, in 1930\, he moved to Monza to attend the Istituto Superiore per le Industrie Artistiche – also attended by his friends Giovanni Pintori and Costantino Nivola – until his subsequent stays in Milan\, Padua and Albissola\, concluding with the early death in war in 1941\, on the Greek-Albanian front\, at the age of only twenty-five. \nStudent of Giuseppe Pagano\, Pio Semeghini\, Raffaele De Grada\, but also of Arturo Martini and Marino Marini \, teachers of decorative plastic\, Fancello refined his skills in Monza ceramist skills \, a discipline he had learned as a boy in the Dorgali workshop of Ciriaco Piras\, a pupil of Francesco Ciusa. But even before ceramic production\, Fancello distinguished himself as skilled and original designer\, a practice that he never abandoned during his short life\, during which he created many sketches\, preparatory sketches\, but also actual paintings on paper\, which today are recognized as having a significant value by virtue of the great fantasy\, of the unique style\, of the bold graphic sign and for them free and refined formal solutions. \nIt is during this single decade of activity that the fantastic creatures for which Fancello is best known\, interpreters of a bizarre and surreal world \, populated by both exotic animals – mostly African – and typical of the fauna of his Sardinia \, always present in the artist’s memories. A bestiary “more fairy-tale than moralistic\, (…) transposition from the human in the key of polite irony”\, as he had the opportunity to define it Giulio Carlo Argan\, among Fancello’s first supporters together with other important writers and critics of Milan in the 1930s\, such as Leonardo Sinisgalli\, Nino Bertocchi and Giulia Veronesi . \nIn addition to the depictions of the animal world amply described by the group of drawings in the MAN collection\, Fancello’s graphic production sees the presence of other subjects\, all represented within the exhibition itinerary\, in particular the female nudes – of which some of the most important – and some significant – examples are on display landscapes\, both rural and urban. \nIn addition to highlighting the heterogeneity of the subjects addressed by Fancello\, the exhibition at MAN is also representative of different graphic techniques adopted by the artist; from ink or ink drawings\, to watercolours\, to charcoal\, to colored inks\, to finally reach graffiti\, where results of great audacity are achieved\, as demonstrated by works such as The harvester\, or again Lion and Boar\, dated around the end of the 1930s\, both in the MAN collection\, to which a singular will be added Feline with gazelles of private collection. \n *** \nSalvatore Fancello was born in 1916 in Dorgali. In 1929 he began his apprenticeship as a ceramist at the laboratory of Ciriaco Piras. In 1930 he took part in the competition organized by the Nuoro Chamber of Commerce\, of which he was the winner. The prize is a scholarship for enrollment at the Istituto Superiore per le Industrie Artistiche (ISIA) in Monza. After participating in the IV Sardinian Interprovincial Fine Arts Exhibition in Cagliari in 1933\, he was awarded his diploma in 1935. In these years he created the first terracotta bestiaries. He took part in the V Craft and Small Industry Exhibition in Cagliari and in the IV Trade Union Exhibition in Nuoro\, exhibiting his ceramics. Also in these years\, as a guest in Padua of his teacher Virgilio Ferraresso\, he produced a series of new ceramic works. He moved to Milan with Costantino Nivola and Giovanni Pintori in 1936. Here he participates in the VI Triennale where\, with Nivola himself\, he creates a large graffiti wall\, obtaining a prize for his Zodiac signs. In 1938 he collaborated with the “Settebello” creating satirical cartoons. Also in 1938 he created the Uninterrupted Drawing\, now preserved in the Municipality of Dorgali. Giulia Carlo Argan and Cesare Brandi\, meanwhile\, try to promote his work in some magazines\, including “Corrente”. He then goes to Albisola Marina\, to the renowned ceramic workshop of Giuseppe Mazzotti\, where he creates numerous works\, including bestiaries\, nativity scenes and vases. It is here that he meets Lucio Fontana. In 1939 he was called up to arms. A year later he exhibited at the VII Triennale of Milan\, winning\, together with Leoncillo Leonardi\, the Honorary Diploma. He left the following year for Albania\, where he died on 12 March 1941 in Bregu Rapit. In December 1941\, a few months after the artist’s death\, the prestigious magazine “Domus” dedicated its cover to Fancello followed\, the following year\, by a monographic publication on the occasion of his first retrospective at the Pinacoteca di Brera. URL:https://www.museoman.it/en/event/salvatore-fancello/ 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/fancello-hvYdOU.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20160422T000000 DTEND;TZID=Europe/Rome:20160703T000000 DTSTAMP:20260613T213534 CREATED:20240417T141346Z LAST-MODIFIED:20240417T141346Z UID:4980-1461283200-1467504000@www.museoman.it SUMMARY:Salvatore Fancello DESCRIPTION:On the occasion of centenary of the birth of Salvatore Fancello \, the MAN is pleased to present\, for the first time gathered in a single viewing path\, the complete corpus of drawings by the artist from Dorgali preserved within the museum collection. A nucleus of over fifty works \, representative of the different strands of Fancello’s graphic research\, to which\, within the framework of the exhibition\, a further group of drawings will be added\, recently obtained on loan and never exhibited before. \nBorn in 1999 by will of the Province of Nuoro\, L he MAN collection it is the result of a careful selection of works by Sardinian artists from the end of the nineteenth century to the present day. A collection of around 600 works within which the large group of drawings by Fancello constitutes one of the most important and representative parts. \nSalvatore Fancello’s artistic career takes place over just a decade\, from the moment in which\, in 1930\, he moved to Monza to attend the Istituto Superiore per le Industrie Artistiche – also attended by his friends Giovanni Pintori and Costantino Nivola – until his subsequent stays in Milan\, Padua and Albissola\, concluding with the early death in war in 1941\, on the Greek-Albanian front\, at the age of only twenty-five. \nStudent of Giuseppe Pagano\, Pio Semeghini\, Raffaele De Grada\, but also of Arturo Martini and Marino Marini \, teachers of decorative plastic\, Fancello refined his skills in Monza ceramist skills \, a discipline he had learned as a boy in the Dorgali workshop of Ciriaco Piras\, a pupil of Francesco Ciusa. But even before ceramic production\, Fancello distinguished himself as skilled and original designer\, a practice that he never abandoned during his short life\, during which he created many sketches\, preparatory sketches\, but also actual paintings on paper\, which today are recognized as having a significant value by virtue of the great fantasy\, of the unique style\, of the bold graphic sign and for them free and refined formal solutions. \nIt is during this single decade of activity that the fantastic creatures for which Fancello is best known\, interpreters of a bizarre and surreal world \, populated by both exotic animals – mostly African – and typical of the fauna of his Sardinia \, always present in the artist’s memories. A bestiary “more fairy-tale than moralistic\, (…) transposition from the human in the key of polite irony”\, as he had the opportunity to define it Giulio Carlo Argan\, among Fancello’s first supporters together with other important writers and critics of Milan in the 1930s\, such as Leonardo Sinisgalli\, Nino Bertocchi and Giulia Veronesi . \nIn addition to the depictions of the animal world amply described by the group of drawings in the MAN collection\, Fancello’s graphic production sees the presence of other subjects\, all represented within the exhibition itinerary\, in particular the female nudes – of which some of the most important – and some significant – examples are on display landscapes\, both rural and urban. \nIn addition to highlighting the heterogeneity of the subjects addressed by Fancello\, the exhibition at MAN is also representative of different graphic techniques adopted by the artist; from ink or ink drawings\, to watercolours\, to charcoal\, to colored inks\, to finally reach graffiti\, where results of great audacity are achieved\, as demonstrated by works such as The harvester\, or again Lion and Boar\, dated around the end of the 1930s\, both in the MAN collection\, to which a singular will be added Feline with gazelles of private collection. \n *** \nSalvatore Fancello was born in 1916 in Dorgali. In 1929 he began his apprenticeship as a ceramist at the laboratory of Ciriaco Piras. In 1930 he took part in the competition organized by the Nuoro Chamber of Commerce\, of which he was the winner. The prize is a scholarship for enrollment at the Istituto Superiore per le Industrie Artistiche (ISIA) in Monza. After participating in the IV Sardinian Interprovincial Fine Arts Exhibition in Cagliari in 1933\, he was awarded his diploma in 1935. In these years he created the first terracotta bestiaries. He took part in the V Craft and Small Industry Exhibition in Cagliari and in the IV Trade Union Exhibition in Nuoro\, exhibiting his ceramics. Also in these years\, as a guest in Padua of his teacher Virgilio Ferraresso\, he produced a series of new ceramic works. He moved to Milan with Costantino Nivola and Giovanni Pintori in 1936. Here he participates in the VI Triennale where\, with Nivola himself\, he creates a large graffiti wall\, obtaining a prize for his Zodiac signs. In 1938 he collaborated with the “Settebello” creating satirical cartoons. Also in 1938 he created the Uninterrupted Drawing\, now preserved in the Municipality of Dorgali. Giulia Carlo Argan and Cesare Brandi\, meanwhile\, try to promote his work in some magazines\, including “Corrente”. He then goes to Albisola Marina\, to the renowned ceramic workshop of Giuseppe Mazzotti\, where he creates numerous works\, including bestiaries\, nativity scenes and vases. It is here that he meets Lucio Fontana. In 1939 he was called up to arms. A year later he exhibited at the VII Triennale of Milan\, winning\, together with Leoncillo Leonardi\, the Honorary Diploma. He left the following year for Albania\, where he died on 12 March 1941 in Bregu Rapit. In December 1941\, a few months after the artist’s death\, the prestigious magazine “Domus” dedicated its cover to Fancello followed\, the following year\, by a monographic publication on the occasion of his first retrospective at the Pinacoteca di Brera. URL:https://www.museoman.it/en/event/salvatore-fancello-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/fancello-hvYdOU.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20160422T000000 DTEND;TZID=Europe/Rome:20160703T000000 DTSTAMP:20260613T213534 CREATED:20240417T140805Z LAST-MODIFIED:20240417T140805Z UID:5033-1461283200-1467504000@www.museoman.it SUMMARY:Roman Signer DESCRIPTION:The MAN Museum is pleased to announce the imminent opening of the exhibition Roman Signer. Films and Installations\, edited by Lorenzo Giusti and Li Zhenhua. \nRich in over two hundred films and a series of new installations created for this occasion\, the one at the MAN in Nuoro will be Roman Signer’s first solo exhibition in an Italian museum. \nSigner began his career as an artist in the second half of the 1960s\, after having worked as a draftsman for an architect\, as an apprentice radio engineer\, and\, for a short time\, as a technician in a pressure cooker factory. Known for having defined a new concept of sculpture linked to process\, transformation and movement\, Signer creates installations as actions\, experiments\, almost always solitary\, for which he uses everyday objects (umbrellas\, tables\, boots\, containers\, hats \, bicycles) activated by gunpowder or natural forces\, such as wind or water. Processes of explosion or collision that transform into visually and emotionally engaging aesthetic experiences and that interpret the empirical approach as an artistic question. \nThe project at MAN in Nuoro is divided into two segments. The first\, born from the collaboration with the Chronos Art Center in Shanghai\, presents the entire production of Super 8 films made by the artist during his career. A nucleus of 205 works ranging from 1975 to 1989 – the year in which Signer abandoned film to move on to other media – presented within a fascinating 100-channel video installation created in China and proposed here in a new\, enriched and developed version . Videos shot in their own “laboratory” in St. Gallen or in natural spaces\, especially in Weissbad\, in the canton of Appenzell. \nThe second segment of the project presents three new sculptural works created for the exhibition at MAN\, characterized as always by subtle irony. Among the new productions\, Umbrellas (2016) is an opera site specific for the museum staircase\, a bizarre system of rain covers held together by an unstable balance. Installation (2016) is a walkable sculpture that will occupy an entire room of the museum\, a surreal journey that reflects on the perception of oneself and one’s body\, in which the observer becomes an observed object. Closes the route Eyeglasses (2016)\, an unusual object\, composed of a Super 8 projector and a pair of glasses to alter the light projection\, which seems to cast an irreverent gaze on the artist’s production\, always on the border between sculpture and video\, between stillness and movement \, between action and vision. \nThe exhibition will be completed by a catalog with texts by Lorenzo Giusti\, Li Zhenhua\, Barbara Casavecchia and Rachel Withers. In addition to the documentation of the new works\, the publication will also contain a DVD with a collection of the actions carried out by Signer in Italy\, starting from the beginning of the nineties\, in places such as Civitella d’Agliano\, Stromboli\, the Maremma\, but also Venice\, on the occasion of the 1999 Biennial. \nRoman Signer (Appenzell\, 1938) has participated in the most important international art exhibitions\, such as “documenta” in Kassel (1987)\, the Skulptur Projekte in Münster (1997)\, the Shanghai Biennial (2012). In 1999 he represented Switzerland at the Venice Biennale. Among his latest solo exhibitions are: Bonnefantenmuseum in Maastricht (2000)\, Camden Arts Center in London (2001); OK Centrum für Gegenwartskunst in Linz (2005); Aargauer Kunsthaus in Aarau (2006); Hamburger Bahnhof Berlin (2007); Sala de Arte Publico Siqueiros in Mexico City (2011); Hangar à Bananes in Nantes\, Kunsthalle in Mainz (2012)\, Kunstmuseum in St. Gallen (2014)\, Barbican Center in London\, Kunsthus in Zug and Center Culturel Suisse in Paris (2015). In China his work has recently been presented at the Hangzhou Academy of Art\, the CAFA Art Museum in Beijing (2014)\, the GAFA Art Museum in Guangzhou and the OCT in Shenzhen (2015). \nRoman Signer. Films and Installations is a project of the MAN museum\, curated by Lorenzo Giusti and Li Zhenhua\, created in collaboration with CAC – Chronos Art Center in Shanghai\, with the technical partnership of WTI International Co. Limited\, the support of Pro Helvetia and the contribution of Regione Sardegna \, Province of Nuoro and Foundation of Sardinia. URL:https://www.museoman.it/en/event/roman-signer/ 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/stromboli-00073503-SR5fOa.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20160422T000000 DTEND;TZID=Europe/Rome:20160703T000000 DTSTAMP:20260613T213534 CREATED:20240417T140803Z LAST-MODIFIED:20240417T140803Z UID:5043-1461283200-1467504000@www.museoman.it SUMMARY:Ettore Favini DESCRIPTION:The MAN Museum is pleased to announce Arrivederci\, a solo exhibition by Ettore Favini\, curated by Chiara Vecchiarelli. \nEttore Favini’s work has been built for over ten years around the relationship between the work and the environment in which it is inserted\, be it an ecosystem\, the memory of a life or a collective narrative. In fact\, the environment itself takes on a generative function\, in its being the object of investigation and at the same time\, thanks to the experience of using the work\, an instrument for the analysis of the relationship between man and space. \nArrivederci is an exhibition project that lives through different moments. Divided into two phases – a double solo exhibition at the MAN in Nuoro and the Villa Croce Museum of Contemporary Art in Genoa – the project finds a textual extension in the volume created by the publisher Humboldt Books\, specialized in visual arts and travel literature. \nFor this project\, Favini developed an itinerary of exploration in the territory of Sardinia\, immersing himself in the narratives of the island weavers. Driven by the desire to come into contact with one of the oldest traditions of the Mediterranean basin\, the artist visited the numerous textile workshops present in the area\, receiving over one hundred fabrics as gifts from the people he met (artisans\, artists\, stylists…). The individual fragments\, and the stories they tell\, constituted the material from which a new corpus of works came to life. In particular\, in the works created for the MAN\, the relationship between the warp and the weft is transfigured into a new relationship between time and space: the different temporalities of the events that created the texture of the experiences encountered converge\, for the period of the exhibition\, in the space of the work. \nMade up of the many threads of a common narrative\, the exhibition will at the same time constitute a double homage to the sea. If the cruise sails arrive from the sea and will contribute – together with the fabrics collected in Sardinia and dyed the blue of Genoa – to compose the installation that will be visible at Villa Croce\, above all the shape of the large sail made with the donated fabrics comes from the sea which will pass through the halls of MAN. It is therefore literally like a sail that the memories linked to the different fabrics unfold in the exhibition; a choral portrait of the Island that transforms the temporal limbo that the title announces into the wish to see each other again soon\, that every exhibition brings with it. \nDuring the course of the two exhibitions in Nuoro and Genoa\, which will take place a short distance from each other\, a work created by Favini will travel on board a ship en route between Sardinia and Liguria\, making waves that connect the two lands an exhibition venue on par with the museums involved. \nThe publication will complete the project by presenting\, in addition to a rich array of texts and images\, an unpublished writing by the artist which recounts the experience of collecting fabrics and the stories of the island and the way in which these are conveyed in the work and\, finally\, in the exhibition. \nEttore Favini (Cremona\, 1974) lives and works in Milan. He has exhibited in important national and international institutions including: Ocat\, Shanghai (2015); PAC\, Milan (2014); Pastificio Cerere Foundation\, Rome (2013); PAV\, Turin (2012 and 2010); Rice Museum\, Palermo (2011); ISCP\, New York (2009); Song Eun Art Space\, Seoul; Futura Space\, Prague; Gallery of Modern Art\, Milan; MA.GA\, Gallarate; CCCS Strozzina\, Florence (2009); Sandretto Re Rebaudengo Foundation\, Turin (2008); Italian Academy of Columbia University\, New York (2007); French Academy\, Rome; American Academy\, Rome (2009); Olivetti Foundation\, Rome (2006); URL:https://www.museoman.it/en/event/ettore-favini/ 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/arrivederci_low-yikiAZ.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160226 DTEND;VALUE=DATE:20160411 DTSTAMP:20260613T213534 CREATED:20231220T153227Z LAST-MODIFIED:20240423T090437Z UID:5123-1456444800-1460332799@www.museoman.it SUMMARY:80/90 DESCRIPTION:80/90. Art in Sardinia And the second stage of the MAN’s three-year programme “ There 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. \nOne year after the first event dedicated to the period 1957-1983\, the “80-90” exhibition\, edited by Antonella Camarda and Rita Pamela Ladogana \, proposes a comparison with the complexity of the Sardinian cultural field through a polyphonic vision of the visual art of the last twenty years of the twentieth century. \nThe project aims to describe events and experiences developed on the island territory\, in order to propose an overall vision of the artistic fabric and the critics who supported its development. A relationship of which not only works of art remain but also a rich documentary corpus – composed of press reviews\, films and above all invitations\, catalogues\, posters and posters – proposed again on this occasion within the exhibition itinerary. \nTwo decades characterized in equal measure by continuity and change \, in which coherence and experimentation coexist in a complex scene which\, once the ideological tensions of the Seventies have disappeared\, sees the consolidation of individual itineraries and the emergence of new protagonists. \nAlthough the discussion on identity is certainly not foreign to artists working in Sardinia – who in some cases carry out craft design projects that rethink the experiences of the ISOLA (Istituto Sardo Lavoro Artigiano) – rather than a claim for local specificities in a collective sense \, the ones that prevail are determination needs of the individual self\, to promote one’s personal research outside of adhering to specific currents. \nThe tension towards one existential dimension moreover\, it is in line with the general context of the 1980s: the age of feelings and private life\, of quotation and the media\, of the end of ideology\, of experimentation\, sometimes ephemeral\, with new languages\, new materials and the beginnings of the revolution digital. Between echoes of the Transavantgarde and a massif return to painting \, declined in neo-expressionist experiments or formal research that points to the geometric and the abstract\, the first evidence of participatory\, performative and video art . \nIn the nineties\, if the closure of the Duchamp Gallery in Cagliari and the Chironi 88 Gallery in Nuoro – driving centers for the contemporary on the island – showed the vulnerability of the art system in Sardinia\, old and new generations of artists and critics find different spaces and new impulses\, also thanks to the support of a part of the political class that promotes acquisition policies and events dedicated to the local art scene. \n It is no longer possible to identify labels or groupings\, a fragmented picture dominates where variants prevail over constants and diversity over affinities. They become important autobiographical research \, the dialogue between otherness and identity\, the increasingly in-depth investigation of relationship with space and the practices related to the use of the body \, declined in different directions. \nThe exhibition journey ends with the end of the millennium \, ideally marked by the exhibition Atlas. Geography and History of Young Italian Art\, cured in 1999 in Sassari by Giuliana Altea and Marco Magnani\, in which the discussion of cultural geographies is rethought from new perspectives\, carrying forward a group of emerging artists different in terms of training\, languages ​​and requests\, but united by an experimental attitude and intolerance for the limits – mental and physical – of the island. In the same year in Nuoro\, the MAN Museum opened to the public\, soon to establish itself as the main center for contemporary art in Sardinia. \nArtists on display: Italo Antico\, Gianni Atzeni\, Leonardo Boscani\, Gaetano Brundu\, Zaza Calzia\, Giovanni Campus\, Giovanni Carta\, Francesco Casu\, Tonino Casula\, Erik Chevalier\, Aldo Contini\, Enrico Corte\, Pietro Costa\, Attilio della Maria\, Antonello Dessì\, Paola Dessy\, Nino Dore\, Angelino Fiori\, Greta Frau\, Gino Frogheri\, Salvatore Garau\, Gianni Nieddu\, Giorgio Urgeghe\, Maria Lai\, Ermanno Leinardi\, Angelo Liberati\, Gabriella Locci\, Lalla Lussu\, Antonio Mallus\, Pinuccia Marras\, Luigi Mazzarelli\, Italo Medda\, Mirella Mibelli\, Marco Moretti\, Wanda Nazzari\, Costantino Nivola\, Andrea Nurcis\, Antonello Ottonello\, Primo Pantoli\, Igino Panzino\, Pastorello\, Bruno Petretto\, Roberto Puzzu\, Rosanna Rossi\, Anna Saba\, Giulia Sale\, Graziano Salerno\, Giovanna Salis\, Josephine Sassu\, Giovanna Secchi\, Danilo Sini\, Pietro Siotto\, Aldo Tilocca\, Y Liver. \nAntonella Camarda she is a researcher in History of Contemporary Art at the University of Sassari and since 2015 director of the Nivola Museum in Orani. \nPamela Ladogana she is a researcher in History of Contemporary Art at the University of Cagliari and part of the management committee of Medea\, an international journal of intercultural studies. URL:https://www.museoman.it/en/event/80-90/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Focus Sardegna ATTACH;FMTTYPE=image/png:https://www.museoman.it/wp-content/uploads/2023/12/prova_def2-pJNZT5.tmp_.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20151212T000000 DTEND;TZID=Europe/Rome:20160214T000000 DTSTAMP:20260613T213534 CREATED:20240417T140829Z LAST-MODIFIED:20240417T140829Z UID:5058-1449878400-1455408000@www.museoman.it SUMMARY:Zanele Muholi - Lindeka Qampi DESCRIPTION:AZOLA / Somnyama Ngonyama is the title of the exhibition by South African photographers Zanele Muholi and Lindeka Qampi\, the result of their residency in Sardinia and the workshop held at the MAN museum in December. \nThe project\, curated by Emanuela Falqui\, Erik Chevalier and Laura Farneti\, consists of a selection of works focused on visual activism and the politics of self-representation\, plus a new series of shots taken in Sardinia. \nIn continuity with the workshop and seminar activities promoted by MAN\, the artists were invited to hold a photography workshop\, in which various themes were addressed: from a community archive to a family story\, to a self-portrait \, up to the problems of the digital age\, in a perspective of sharing oriented towards social responsibility. \nZanele Muholi has dedicated almost a decade of her life to documenting the visual identity of South Africa’s lesbian and transgender people\, creating a voluminous body of more than 250 portraits\, “Faces & Phases”\, and with the declared intention of bringing to life to a “Map […]\, a visual history of black lesbians in South Africa after apartheid” to give the LGBTQI community an archive in which they can recognize themselves and rediscover their dignity. To work on homosexual identity\, Muholi had to deal with the lack of a visual story that represented it and inserted his narrative into the broader framework of the formation of identities in South Africa\, which includes the problem of racism\, the of sexuality and colonialism. \nHis work continues in this direction with a new series of black and white self-portraits\, entitled Somnyama Ngonyama (which means “Hail\, Black Lioness”)\, in which her narrating body provocatively takes on race\, class and gender stereotypes\, interpreting different female archetypes. Once again the artist reworks his personal experience\, his origins and transposes them into a collective and redeeming dimension with an aestheticizing and contradictory language\, for example by constructing his character with makeshift clothing made of ornamental domestic objects or by emphasizing the color of his skin to reflect on the cliché of race; as she explains: “By exaggerating the blackness of my skin tone\, I reclaim my blackness which I feel is continually enacted by the privileged other. My reality is that I don’t imitate black: it’s my skin and the experience of being black that are deeply rooted in me.” The goal is to create a new photographic archive on the politics of race and pigment. Some shots recall dramatic moments in the history of South Africa\, such as the massacre of striking miners killed by the police in Marikana in 2012\, Thulani I\, Paris; others refer to the recent death of black citizens in the United States at the hands of law enforcement\, MaID I\, Syracuse: the white gloves in the photo are used by the police when they investigate the death of someone without wanting to leave a trace but in this case\, for the artist\, they hide their guilt. \nSome photos are tributes to loved ones\, such as the one dedicated to her mother\, in which the artist wears the typical work tools of a maid\, the profession that her mother did for more than 40 years. \nThe Somnyama Ngonyama series is enriched with new shots during the trips Muholi takes for work. Each image has precise references and contains symbolic elements that belong to different cultures and countries\, to people or communities encountered; he relates these elements to his body and his identity. \nDuring his residency in Sardinia\, Muholi continued to work on self-portraits and added five images to his series. \nThe photographer is also currently working on another series of portraits with multiple identities\, MaID (My Identity)\, which can also be read as maid \, housekeeper. An autobiographical work in which the visual activist transforms her own body into an art subject with which she encourages photographers and women to pay attention to the many substances they are made of\, to heal\, before venturing into the spheres of other individuals. \nLindeka Qampi met Zanele Muholi in 2006 within the Iliso Labantu collective\, of which she is a member: a group of photographers from the townships who document contemporary urban life. David Goldblatt wrote for them: “apartheid is no more\, but gaps remain in the social fabric\, in our experience and in the mutual understanding of our lives. Iliso Labantu can make a significant contribution to reducing these shortcomings.” \nLindeka Qampi she began her career as a self-taught photographer\, creating postcards for tourists about life in the townships around Cape Town where she will exhibit for the first time in 2010. She continues as a street photographer with a series developed over the course of 10 years and still in progress\, Daily Lives . Originally from those places\, the artist dissects from the inside all those visual aspects linked to the most common gestures\, to the confined space which was the most explicit sign of apartheid and which has designed the form of living even today\, to the diversity of cultures \, to people’s creativity\, to cultural norms\, to the value of a shared history. His photos go beyond the Western pietistic vision of the third world and make the daily gesture reappear as a political gesture capable of living the present\, transforming it or at least dreaming about it. Another series\, Living in this World \, tells the story of the life of young people from the suburbs who grew up with absent fathers. \nIn 2015 Qampi turns the lens on itself. Azola \, his latest work\, is part of a larger body entitled Inside My Heart \, which tells familiar\, often painful stories. In Azola reworks a universal female trauma through a personal story of violence\, rape\, often accompanied by silence\, repression and loneliness. Her dream language seeks its roots in the subconscious\, in an atavistic world\, to rediscover the bowels of the earth and heal an incurable wound with a liberating cry\, to definitively break her silence but also that of many other women. To tell his story Qampi involved his family; her daughter Azola represents her experience of violence as a child; the husband and brother symbolize male aggression\, while the women accompany his pain. Qampi also worked in Sardinia producing new images for this story in which he portrays himself continuing his inner journey. \nFor several years Zanele Muholi and Lindeka Qampi have been collaborating on training projects to encourage anyone to use the photographic medium and the image as tools of emancipation. \nIn 2014 the photography laboratory “Photo XP. The 2014 XP\, Siyafundisana”\, which means “sharing one’s knowledge”\, took place in Soweto\, one of the largest townships in South Africa which has historically played an important role in the fight against apartheid. The course was aimed at young girls from a school to encourage them to talk about themselves and work on their environment. The latest project in 2015 “Visual Activism Cultural Exchange Project (VACEP)” took place in Europe\, in Oslo\, and involved not only local artists but also asylum seekers\, African migrants currently in Europe. \nThe workshop was attended by: Leonardo Boscani / Lucia Cadeddu / Emanuela Cau / Franco Casu / Giulia Casula / Alessandra Cridar / Chiara Coppola / Francesca Corriga / Rita Delogu / Simone Loi / Moju Manuli / Antonio Mannu / Katia Marroccu / Melania Massa / Michela Mereu / Veronica Muntoni / Stefania Muresu / Gigi Murru / Medea Laura Pace / Cristina Pia / Stefano Pia / Anna Zurru \nThe project was carried out thanks to the collaboration with the Department of Social Sciences and Institutions and with that of History\, Cultural Heritage and Territory of the University of Cagliari. \nThe exhibition is sponsored by QSS Europa\, Stampa URL:https://www.museoman.it/en/event/zanele-muholi-lindeka-qampi/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2024/04/2015-Nov.-12-MaID-in-Songhai-sm-_-Porto-Novo-_-BENIN_9921-zwlPMh.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20151127T000000 DTEND;TZID=Europe/Rome:20160214T000000 DTSTAMP:20260613T213534 CREATED:20240417T141410Z LAST-MODIFIED:20240423T085939Z UID:4096-1448582400-1455408000@www.museoman.it SUMMARY:The prying eye DESCRIPTION:Nuoro\, MAN Museum – Cagliari and Sassari\, Banco di Sardegna Foundation Headquarters \nExhibition curated by Maria Paola Dettori \nAR/S – Shared Art in Sardinia is born. The new project of the Banco di Sardegna Foundation begins its journey with a retrospective dedicated to Bernardino Palazzi. Critics have brought him closer\, more or less properly\, to Degas\, Boldini\, Sargent\, Carena and Casorati. But compared to them\, Bernardino Palazzi also knows how to propose other registers\, many of which are completely personal\, secret\, unknown to scholars themselves and to large collectors. Which now\, and finally\, the retrospective that his Sardinia dedicates to him in three different locations\, from 27 November to 14 February\, has the merit of revealing. The initiative is carried out by the Banco di Sardegna Foundation which with it launches an ambitious and necessary project: “AR/S – Shared Art in Sardinia”. Starting from the significant art heritage preserved by the Foundation itself\, AR/S intends to encourage the networking of public and private collections\, offering them to the Sardinian population and guests of the island\, often for the first time\, in exhibitions spread across multiple locations in the regional territory. All accompanied by moments of in-depth analysis\, meetings\, workshops\, artist residencies and public art projects in the area. The focus of AR/S is concentrated on artistic production in Sardinia from the end of the nineteenth century to today. A focus which\, as already confirmed by the exhibition “The indiscreet eye. Bernardino Palazzi. Graphic designer\, illustrator\, photographer”\, curated by Maria Paola Dettori\, is not rigidly understood. \nIf\, in fact\, Palazzi is of Sardinian origin\, having been born in Nuoro in 1907\, his artistic activity developed largely between Padua\, Venice\, Liguria and Milan. Thirty years after his death and almost as many years after the last exhibition dedicated to him (Vicenza\, 1987)\, Bernardino Palazzi is now being investigated in his homeland with the aim of returning him to the history of twentieth-century European art.There are three exhibition locations: the MAN Museum in Nuoro and the two Foundation locations\, in Sassari and Cagliari\, which alone would deserve a visit for their architectural features and the artistic complement that characterizes them.As per the objectives of the AR/S project\, this first exhibition brings together works owned by various entities requested by the Foundation: the Banco di Sardegna and the Museo del Novecento in Milan first and foremost\, together with various private collectors\, Sardinian and otherwise\, who have generously accepted the invitation to make their works available alongside those belonging to the collection of the Banco di Sardegna Foundation. The two offices of the Foundation in Cagliari and Sassari will host the most significant canvases\, those which best exemplify the highest moments of the painter’s career: the masterpieces of nude painting of the Twenties/Thirties (in Cagliari) and the theme of collective portrait of the world of intellectuals\, like the one captured in the Bagutta painting (in Sassari). Testimony of a worldly and elegant painter\, but at the same time much less obvious and simple than it may appear on the surface\, for whom the representation of the female body will be a constant theme\, a subject loved and investigated throughout his life\, but who will have years of work in his works. its excellent results in Milan.Nuoro\, and the MAN Museum\, will instead host a rich catalog of graphic and illustration works\, accompanied by documentary equipment and interesting unpublished works. Overall\, not an anthology\, but an exhibition that presents the artist for what critics and the market unanimously recognized as his goals: the female nude\, the portrait and the illustration. And\, together with these key themes\, the unpublished and private Palazzi is on display. Including the very private one of erotic drawings and the photographer Palazzi.We will thus enter the painter’s studio and creative universe\, where the theme of the body (and secondarily also of eros) flows like an underground current: and from here it overflows into his entire work\, even where one would not imagine it. With the disenchantment of Boccaccio’s novels\, the erotic drawings reveal themselves as divertissements in which the author has no hesitation in depicting for himself only a world in which sensuality dictates the law\, dominates and overwhelms\, without paying attention to roles\, age \, missions. The photographic section presents the artist’s personal and private work material: a corpus of study images\, where Palazzi portrays himself and\, above all\, his models\, the same ones found in various paintings. The observation of these materials accompanies the visitor along the painter’s creative path\, making him “voyeuristically” an accomplice to the atmosphere of his atelier\, never cold and detached\, but warm\, intimately experienced like the tangled sheets on which they lie down\, cheeky or modest. \, his models. \nInfo: www.fondazionebancodisardegna.it Facebook: AR/S – Shared art in Sardinia URL:https://www.museoman.it/en/event/locchio-indiscreto/ 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/B.Palazzi-2203RM.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20151030T000000 DTEND;TZID=Europe/Rome:20160214T000000 DTSTAMP:20260613T213534 CREATED:20240417T140827Z LAST-MODIFIED:20240417T140827Z UID:5072-1446163200-1455408000@www.museoman.it SUMMARY:Paul Klee DESCRIPTION:“The initial disorientation in the face of nature is explained by the fact that we begin by seeing only its latest ramifications\, without going back to the root. However\, once one has realized it\, he can recognize even in the most distant leaflet the manifestation of the only law that regulates everything and take advantage of it” (Paul Klee\, Diaries\, n. 536). \nAfter the exhibition dedicated to the relationship between the work of Alberto Giacometti and archaic statuary\, the MAN_Art Museum of the Province of Nuoro continues its program aimed at analyzing little-researched aspects of the production of the most important artists of the 20th century with an exhibition dedicated to Paul Klee (1879-1940) . \nUnpublished in Sardinia\, Klee is one of the most complex and original authors of the last century. With this exhibition\, created by the MAN Museum with the contribution of Autonomous Region of Sardinia\, the Province of Nuoro and the Banco di Sardegna Foundation\, with the patronage of the Swiss Embassy in Italy\, curated by Pietro Bellasi and Guido Magnaguagno\, with the scientific coordination of Raffaella Resch\, we intend to explore a fundamental element in the artist’s work\, namely the perception of the presence of a vital\, generative principle inherent in the matter of things. \nIn a specific sense Klee never spoke of “animism”\, yet his work appears permeated with one animated spirit felt throughout the material reality and evoked from action creativity of the artist . “Superior creature” (Diaries\, n. 660)\, the artist\, through his own vivifying gaze\, brings to light the generating element present in the different worlds that populate the cosmos\, hidden beneath the surface of things. Let them be men\, children\, animals\, objects\, landscapes or architecture\, Klee’s worlds all obey the same law of nature\, which the artist investigates and imitates. \nA single vital principle governs the entire natural order\, from large things to infinitesimally small things. This principle seems to be evident in many of the artist’s works\, particularly in the drawings and watercolors of the 1920s and 1930s. Works like Feigenbaum ( FIG )\, of 1929\, or Im Park ( In the park )\, from 1940\, present in this exhibition\, or even the important painting Wohin? (Where? ) from 1920\, coming from the collections of the City of Locarno\, exhibited in 1937 in the “Degenerate Art” exhibition\, organized by the German National Socialist regime. \nThere representation of the animal world offers a series of parables\, moral fables\, where the animal is elevated to the role of human being\, in its vices and virtues. Here it is in the drawing Tierfreundschaft ( Friendship between animals ) from 1923\, for example\, a dog and a cat good-naturedly accompany each other on a quiet walk\, embodying the sense of friendship that can arise between two human beings. \nThe study of architectural works reveals Klee’s interest in shape perception and the understanding of the organic element\, alive\, inside it\, evident in some watercolors such as Americanisch – Japanisch (American – Japanese )\, created in 1918\, where the icon of the eye is flanked by towering stylized buildings. “Once the numerical element of the concept of organism is understood\,” writes Klee\, “the study of nature proceeds more quickly and with greater exactness” (Diaries 536). \nBut the generative principle inherent in all things can be seen above all in those works which\, in a declared manner\, evoke or imitate the world of childhood \, as in Hier der bestellte Wagen! – Here is the cart requested\, from 1935\, but also in the very fine painting Getrübtes – Troubled\, from 1934\, coming from the collections of the GAM of Turin\, or even in those works where the figures are represented with simple\, stylized features\, in the manner of children\, as in the painting Gebärde eines Antlitzes (Expressions of a face)\, from 1939\, coming from the collection of the Museum of the Biella Territory. \nOrganic life forms and spirits of matter animate the different subjects present in Klee’s works. An image that seems to find a formal synthesis in a work like Figural Blätter ( Figured leaves )\, a work from 1938 where some anthropomorphic figures \, like small fetuses\, live curled up inside incubator leaves. \nArtist immersed in the spirit of his time\, where sensational scientific discoveries take place \, Klee understands the upheavals caused by the theories of relativity and quantum physics \, as well as the evolution of psychoanalytic studies \, reworking them independently within a magical-phenomenal vision of the universe. \n*** \nThe exhibition will be accompanied by a catalog published by Magonza Editore with essays by Pietro Bellasi\, Guido Magnaguagno and Raffaella Resch\, as well as the complete reproduction of the works on display and a bio-bibliographic apparatus. \nPietro Bellasi he is a scholar of anthropology of art\, he taught at the University of Bologna and at the Sorbonne\, he is the curator of various exhibitions and catalogues\, including “Giacometti and the archaic”\, Nuoro 2014; “Body\, automatons and robots”\, Lugano 2010\, “The Giacomettis. The valley and the world”\, Milan and Mannheim\, 2000-2001; “A devil by the hair”\, Bologna 2005; Tinguely and Munari\, La Spezia\, 1994 \nGuido Magnaguagno \, Swiss art historian; he was deputy director of the Kunsthaus in Zurich and for many years director of the Tinguely Museum in Basel. He has curated numerous contemporary art exhibitions and is an expert in Swiss. \nRaffaella Resch he organized and coordinated numerous exhibitions and catalogs at the Antonio Mazzotta Foundation. He currently collaborates with various institutions and artists as a freelancer. URL:https://www.museoman.it/en/event/paul-klee/ 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/Fico_web-raNmuJ.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20151030T000000 DTEND;TZID=Europe/Rome:20151206T000000 DTSTAMP:20260613T213534 CREATED:20240417T140830Z LAST-MODIFIED:20240417T140830Z UID:5050-1446163200-1449360000@www.museoman.it SUMMARY:Eugenia Vanni DESCRIPTION:The project The true color of the sky \, by Eugenia Vanni\, is part of a path of reflection\, started by the artist in 2008\, on the possible ways of applying and developing professional manual activities. The artist’s objective is to expand the potential of specific knowledge through the completion of aesthetic experiences\, according to a process of transposition of skills and cancellation of functional uses. In continuity with this path\, the project room of the museum will be transformed into a painting atelier\, an open laboratory for sharing knowledge and studying new unconventional perspectives. \nThe workshop\, which took place at MAN from 23 to 25 October\, involved professionals from different sectors\, unrelated to the world of art (surgeons\, chefs\, beauticians…). The people involved were invited to address the theme of the portrait and create works of an ambiguous nature\, identifiable neither with the work of a professional nor with that of an amateur\, rather expressing the essence\, the quality\, of specific manual skills. The artefacts created will be presented in the museum rooms starting from 30 October together with a selection of works by the artist. \nEugenia Vanni’s work is configured as an articulated reflection on painting\, an analysis in which “know-how” becomes the object of an expanded investigation into techniques and processes. Here the traditional artistic procedures – from the priming to the clay surface for bas-relief – from being a tool become the subject of the painting. The intermediate steps\, of which usually no trace remains\, become the protagonists of anomalous works\, in which painting\, an illusion of reality\, becomes a second reality in which to believe. \nEugenia Vanni’s work\, presented by the Fuoricampo Gallery\, was selected by the MAN Museum on the occasion of Art Verona 2014\, as part of the project Level Zero \, which was joined by ten of the most important Italian contemporary art museums. \nEugenia Vanni (Siena\, 1980) attended the Academy of Fine Arts in Florence and the NABA in Milan. Among the most recent exhibitions: Postpone my departure\, International Museum and Library of Music\, Bologna 2015; Barbecue \, Riccardo Crespi Gallery\, Milan 2014; Sturm und drang \, Marino Marini Museum\, Florence 2012; Cartabianca-Florence \, Villa Croce Museum\, Genoa 2012. URL:https://www.museoman.it/en/event/eugenia-vanni/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2024/04/03-bL0drs.tmp_-scaled.jpg END:VEVENT END:VCALENDAR