BEGIN:VCALENDAR VERSION:2.0 PRODID:-//MAN_Museo d'Arte della Provincia di Nuoro - ECPv6.16.3//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-ORIGINAL-URL:https://www.museoman.it/en/ X-WR-CALDESC:Events for MAN_Museo d'Arte della Provincia di Nuoro REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:Europe/Rome BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20130331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20131027T010000 END:STANDARD 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 END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20170217T000000 DTEND;TZID=Europe/Rome:20170521T000000 DTSTAMP:20260614T021344 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:20260614T021344 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:20260614T021344 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:20260614T021344 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:20260614T021344 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:20260614T021344 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:20260614T021344 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:20260614T021344 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:20260614T021344 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:20260614T021344 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:20260614T021344 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:20260614T021344 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:20260614T021344 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:20260614T021344 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:20260614T021344 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:20260614T021344 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:20260614T021344 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:20260614T021344 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 BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20151010T000000 DTEND;TZID=Europe/Rome:20151122T000000 DTSTAMP:20260614T021344 CREATED:20240417T140832Z LAST-MODIFIED:20240417T140832Z UID:5042-1444435200-1448150400@www.museoman.it SUMMARY:Remo Salvadori DESCRIPTION:An intervention by Remo Salvadori at MAN as part of the project: “THE COUCH TREE. NOURISHMENTS OF ART”\, edited by Achille Bonito Oliva. \nSaturday 10 October 2015. 11.00 am \nUni Nuoro – Decamaster Room \nIn the first half of the eighties Remo Salvadori creates the first version of Continuous infinite present \, a circular work\, composed of an intertwining of steel wires\, inspired by the possibility of a creation without breaks\, without interruption\, oriented towards a harmonization of spatial and temporal dimensions. From the moment of its first execution\, the work becomes a constitutive element of the artist’s language and poetics\, subsequently finding new forms of development\, with variable dimensions and thicknesses\, both inside museums and galleries\, and outside\, as public work of art. \nFor the MAN Museum Remo Salvadori imagined a participatory construction of the ring. The theoretical premises of a new paraphrase of Continuous Infinite Present will be shared with the public as part of a seminary which will see the participation of op cultural erators\, architects and curators . The seminar will be followed by material construction of the work in the natural context of Mount Ortobene and the subsequent positioning in the rooms of the MAN\, where the circle will find itself in dialogue with other works by the artist: Triad \, The observer is not the object observed \, In the moment . \nRemo Salvadori’s project for the MAN Museum\, with the participation of UniNuoro (Decamaster) and the Order of Architects of the Province of Nuoro \, falls within the scope of the program The Maypole. Art nourishments\, edited by Achille Bonito Oliva\, under the patronage of EXPO Milan 2015\, which will be presented simultaneously throughout the country on 10 October\, on the occasion of XI Contemporary Art Day AMACI – Association of Italian Contemporary Art Museums\, articulated in various interventions at public museums and private foundations\, including the MAXXI in Rome\, the MART in Rovereto\, the Castello di Rivoli (Turin)\, the MADRE in Naples. \nThe artistic experience of Remo Salvadori (Cerreto Guidi\, 1947)\, began in Florence\, where he studied at the Academy of Fine Arts\, and later developed in Milan\, where the artist settled in the early 1970s. He participated in the Venice Biennials of 1982\, 1986 and 1993 and in the 1982 and 1992 editions of Documenta in Kassel\, as well as taking part in numerous group exhibitions\, including The European Iceberg (Art Gallery of Ontario\, 1985)\, Chambres d’amis (SMAK\, Ghent\, 1986) or againHappiness: A Survival Guide for Art and Life (Mori Art Museum\, Tokyo\, 2003). His most important personal exhibitions took place at the Magasin\, Center National d’Art Contemporain in Grenoble in 1991\, at the Luigi Pecci Center for Contemporary Art in Prato in 1997\, at the Querini Stampalia Foundation in Venice in 2005 and at the MAXXI\, Rome\, in 2012. URL:https://www.museoman.it/en/event/remo-salvadori/ 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/Fattoria-Montellori-HOkWz8.tmp_-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20150807T000000 DTEND;TZID=Europe/Rome:20150830T000000 DTSTAMP:20260614T021344 CREATED:20240417T141257Z LAST-MODIFIED:20240417T141257Z UID:5023-1438905600-1440892800@www.museoman.it SUMMARY:Enrico Piras. Alessandro Sau DESCRIPTION:The MAN Museum\, in collaboration with the Municipality of Gavoi\, presents\, in the spaces of the Municipal Museum (Casa Lai)\, Reflected Eye \, a work of Enrico Piras and Alessandro Sau born from reflection on the role of the work of art\, its existence and legitimation and its relationship with the public. \nThe project\, whose final outcome consists of two series of works – Egyptian Darkness by Enrico Piras\, e Ways of Seeing by Alessandro Sau – was divided into two parts proposing a clear one separation between the intuitive\, creative and formal moment of the work created (eye)\, and the reproduction and diffusion of its artistic value (reflection) through photographic documentation\, a narrative filter between the works and the public. In the first phase it developed through a series of one-day two-person exhibitions \, created in Sardinia in unconventional spaces linked to particular historical and architectural contexts: an artificial cave\, one house of janas\, a bunker\, a fin \, a mining village and a noble villa. \nThe chosen places become an active and fundamental part of the presentation\, as well as the object of the exhibited works\, they take on the role of scenario for the exhibitions in which the structural apparatus joins the works themselves\, in a scenic construction in which lights\, electric generators\, projectors coexist and make their creation possible. \nThe exhibitions\, set up and visited solely by the two artists\, were characterized by the absence of an audience and a specific external curatorship: all aspects relating to the exhibition organization are in fact included in the artistic practice itself. In the second phase\, you stay it tution through the photographic medium made it possible to convey its content by acting not only as a reproducer of the exhibited works\, but also as a witness to a scenic reconstruction: the chosen places become an integral part of the documentation \, carrying a strong narrative value. \nEnrico Piras \, artist and visual researcher\, was born in Cagliari in 1987\, where he lives and works. He graduated in Painting at the Academy of Fine Arts in Sassari and obtained a master’s degree in Fine Arts at the Utrecht Graduate School of the Arts (NL). \nAlessandro Sau lives and works in Cagliari where he was born in 1981. He studied Painting at the Academy of Fine Arts in Rome and Art and Anthropology of the Sacred at the Brera Academy. He holds a master’s degree in Fine Arts at Transart institute (University of Plymouth). URL:https://www.museoman.it/en/event/enrico-piras-alessandro-sau/ 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/Occhio-riflesso4-nODPMO.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20150731T000000 DTEND;TZID=Europe/Rome:20150831T000000 DTSTAMP:20260614T021344 CREATED:20240417T141311Z LAST-MODIFIED:20240417T141311Z UID:5009-1438300800-1440979200@www.museoman.it SUMMARY:Claudia Castellucci DESCRIPTION:The MAN Museum\, in collaboration with the Municipality of Gavoi\, presents the second stage of Sect. Behavior frameworks\, a personal thematic of Claudia Castellucci curated by Silvia Fanti\, in collaboration with the Marino Marini Museum of Florence. Until August 30th\, the Gavoi Municipal Museum (formerly Casa Lai) welcomes a series of works created since 1985\, along a path that revolves around Representation\, crossing sculpture\, stage action\, language . \nArtist\, dancer and teacher \, Claudia Castellucci has composed dramatic and theoretical texts\, as well as having been an interpreter in many shows of the Socìetas Raffaello Sanzio\, crossing and forcing different systems of representation\, and created several dramatic schools and rhythmic\, combining gymnastics with a philosophical practice. His personal research path\, after thirty years of experience\, resulted in the composition of Sect. School of dramatic technique\, book/manual that presents 59 days of exercises\, and useful indexes for reformulating the days. Socìetas Raffaello Sanzio is one of the most well-known and appreciated theater companies on the world scene. Romeo Castellucci\, who founded it in 1981 together with Claudia Castellucci\, Chiara Guidi and Paolo Guidi\, received the Golden Lion of the Venice Biennale in 2013. \n \nThe book Sect. School of dramatic technique it is characterized by a transparent and declared purpose (the school) and by a structure intimately connected to this purpose (the exercises and the days). The schools (those she directed from 1989 to 2011\, and potential future ones) are actually a dimension of knowledge \, not a hub in its transmission. Indeed\, with an “anathema” the author warns anyone who practices these exercises to frame them in a canonical method. As Claudia Castellucci writes “the indications contained in this book do not ask to be meditated on\, but rather practiced. This practice is aimed at foundation of a way of being together : the school. The book establishes a school if at least three people decide to put it into practice. Dramatic technique is the area used by this school to competitively understand reality\, therefore it is only a means and not the purpose of this school. The book’s ambition is to be used as a useful tool for developing a school. The revolutionary character of the scholastic relationship\, which flourished in Mediterranean antiquity\, assigns an importance to the way of knowing together that prevails over the knowledge of the disciplines itself. This way is done by doing exercises. You choose a relationship that serves to promote your knowledge; you don’t simply follow a person. This book’s attempt is to facilitate this relationship. It will then be discovered that even the place is not essential.” \nThe exhibition Sect. Behavior frameworks\, is the implementation of the book. The works suggest what to do\, they are a behavioral handbook . As Castellucci herself explains in hers Notes for didactic art : “I decided to explain the contents of my book through a series of captions. I choose the explanation\, and not the theory\, as in the book. I invite critics to the theory. There are practical thoughts: exercises that serve to found a real school\, just as the decisions that are made regarding contact with it are real. The works I make are all\, in one way or another\, didactic. Technique and subject matter are also useful for learning. I don’t want to express a theory\, but to invite praxis . However\, praxis is a domain of a metaphysical order that distances utilitarianism and the utilitarian: only the useful accepts. This art\, the art that accepts this order\, is an art that serves.” \nClaudia Castellucci was born in Cesena in 1958. He completed his studies at the Liceo Artistico and the Academy of Fine Arts in Bologna. In 1981 he participated in the foundation of Socìetas Raffaello Sanzio\, for which he composed dramatic and theoretical texts\, and with which he performed in the theaters of the main capitals of the world. At the same time he created rhythmic schools\, some of which were dedicated to dance and others to the study of representation. Since 2009 he has divided his art into two branches: one delves into dance\, as a discipline of time practiced by expert dancers\, the other continues the idea of ​​school as a work made of relationships. He continues to recite autographed texts sporadically\, including the recent ones The Slave Dialogue And The Deep Realm . Published Mouth egg. Lyrical and dramatic writings\, Bollati Boringhieri\, 2000 e Sect. School of dramatic technique\, Quodlibet\, 2015. \n \nMunicipal Museum – Gavoi (Nu) \nVia Margherita sn \n From Friday to Sunday \n10.00 am – 1.00 pm | 5.00pm – 8.00pm \n \nFor information: \nMAN Museum \nvia S. Satta 27 – 08100 Nuoro \ntel. +39 0784 25 21 10 \ninfo@museoman.it \nwww.museoman.it URL:https://www.museoman.it/en/event/claudia-castellucci/ 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/Foto-C.-Castellucci-By-Luca-Ghedini_DSC4347-copia-x0ljOW.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20150710T000000 DTEND;TZID=Europe/Rome:20151018T000000 DTSTAMP:20260614T021344 CREATED:20240417T140851Z LAST-MODIFIED:20240417T140851Z UID:5070-1436486400-1445126400@www.museoman.it SUMMARY:Thomas Hirschhorn DESCRIPTION:With 3 “Easycollage” and 6 “Collage-Truth” \, Thomas Hirschhorn transforms the “project room” of the MAN Museum into a provocative environment\, full of suggestions and visual contrasts. The project\, edited by Lorenzo Giusti \, proposes a series of large-scale works\, plus others of smaller format\, created between 2012 and 2015\, in which fashion photo shoots coexist with war images . \nThe sense of alienation and repulsion provoked by the vision of the collages is the weapon with which Hirschhorn conducts his battle against a simplified relationship with the image and against the tendency of mass media photography to focus on partial aspects of reality\, which photography itself claims to capture\, removing its nuances. \nThe imposition on sight of war-torn bodies and contextually of bodies idealized by advertising marketing\, combinations apparently contrary to any logic of meaning and aesthetics\, constitutes a conscious strategy\, oriented towards the inversion of habituation/hypersensitization process induced by the media. \nThomas Hirschhorn’s works intend to stimulate the public to become aware of their own visual baggage\, to come to terms with their own sensitivity\, and to feel the need for elaborate critical thinking regarding the world of the media and\, more generally\, with respect to geopolitical reality and contemporary social conditions. \nThe project 3 “Easycollage” and 6 “Collage-Truth” develops the investigation path on collage as a tool for critical analysis carried out by Hirschhorn over the last few years. A research to which the artist combines both site-specific works\, which respond to a precise desire for critical analysis of society (environments made mostly with poor materials and commonly used objects)\, and participatory operations\, which involve a direct involvement of the public\, as in the case of the projects in the “Presence and Production” series\, such as “Deleuze Monument” (Avignon\, 2000)\, “Bataille Monument” (Kassel\, 2002)\, “24h Foucault” (Paris\, 2004)\, “The Bijlmer Spinoza- Festival” (Amsterdam\, 2009)\, “Gramsci Monument” (New York\, 2013) and “Flamme éternelle” (Paris\, 2014). \nThomas Hirschhorn (Bern\, 1957)\, moved to Paris in 1983 after studying at the Schule für Gestaltung in Zurich. He has presented his works in numerous museums\, galleries and international events\, including the Venice Biennale (1999 and 2015)\, Documenta 11 (2002)\, the 27th Sao Paulo Biennial (2006)\, the 55th edition of the Carnegie International in Pittsburgh (2008)\, the Swiss Pavilion at the 2011 Venice Biennale\, La Triennale at the Palais de Tokyo in Paris (2012)\, the 9th Shanghai Biennale (2012)\, the Gladstone Gallery New York (2012)\, Manifesta 10 in St. Petersburg ( 2014). His most recent work\, “Flamme éternelle”\, part of the “Presence and Production” project\, was presented in 2014 at the Palais de Tokyo. MIT Press-October Books has published a selection of his critical writings ( Critical Laboratory: The Writings of Thomas Hirschhorn \, 2013). Even more recent is the release of the book dedicated to the “Gramsci Monument” (published in 2015 by Dia Foundation and Koenig Books)\, a project that the artist developed in the Bronx of New York in 2013. He has received numerous awards: “Preis für Junge Schweizer Kunst” (1999)\, “Prix Marcel Duchamp” (2000)\, “Rolandpreis für Kunst im öffentlichen Raum” (2003)\, “Joseph Beuys-Preis” (2004) and the “Kurt Schwitters-Preis” (2011). URL:https://www.museoman.it/en/event/thomas-hirschhorn/ 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/Thomas-Hirschhorn_Collage-Truth-33_2012_415-x-315-cm_Courtesy-the-artist-bYlcwx.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20150710 DTEND;VALUE=DATE:20151019 DTSTAMP:20260614T021344 CREATED:20240417T140834Z LAST-MODIFIED:20240417T140834Z UID:5029-1436486400-1445212799@www.museoman.it SUMMARY:Vivian Maier DESCRIPTION:After the United States\, Vivian Maier’s charm is enchanting Europe. \nA nanny for wealthy families in New York and Chicago since the early 1950s\, for over five decades she photographed life on the streets of the cities where she lived without ever making her work known. Never an exhibition\, not even a marginal one\, never a publication. \nWhat she left behind is an immense archive\, with more than 150\,000 negatives\, a myriad of undeveloped films\, prints\, films in super 8 or 16 millimeters\, recordings\, notes and other documents of various kinds that the “French” nanny (the mother was originally from the Provençal Alps) he accumulated in the rooms in which he found himself living\, guarding everything with great jealousy. \nFinally confined to a warehouse\, the material was confiscated in 2007\, for non-payment of rent\, and then discovered by the young John Maloof in a Chicago auction house. \nThe exhibition at the MAN in Nuoro\, curated by Anne Morin\, created in collaboration with diChroma Photography\, will be Vivian Maier’s first hosted by an Italian public institution. \nStarting from the materials collected by John Maloof\, the exhibition project provides an overall vision of Vivian Maier’s activity by placing emphasis on key elements of her poetics\, such as the obsession with documentation and accumulation\, fundamental for the construction of a correct artistic profile\, as well as biographical one. \nAlong with 120 of the most important photographs from Maloof’s archive\, captured between the early 1950s and the late 1960s\, the exhibition also presents a series of ten Super 8 films and a selection of color images taken from the mid-1960s onwards. of the sixties. Without narrative fabric and without camera movements\, the films shed light on his way of approaching the subject\, providing useful clues for the interpretation of the photographic work. \nThe shots from the Seventies instead tell the story of the change in vision\, dictated by the transition from the Rolleiflex to the Leica\, which forced Vivian Maier to transfer the camera from the height of the belly to that of the eye\, offering her new possibilities of vision and storytelling. \nThe exhibition will also be enriched by a series of contact sheets\, never exhibited before\, useful for understanding the vision and development processes of the American photographer. \nWhat conquers the public\, even before the photographs\, is the story of “Nanny Vivian”\, perfect for an existential novel or as the plot of a bittersweet comedy; so unusual\, so fascinating\, that it doesn’t seem real. \nBut beyond the story\, beyond the biographical notes\, the little big secrets revealed by the people who knew her\, beyond her portrait of an eccentric and reserved woman\, tough and curious like few others\, guardian of a mystery not yet revealed\, beyond everything there is the great photographic work of Vivian Maier\, about which much still remains to be said. \nVivian Maier shot mostly in her free time and judging by the results one can believe that\, in that time\, she did nothing else. His favorite subjects were streets and people\, more rarely architecture\, objects and landscapes. \nShe photographed what suddenly appeared before her\, whether it was strange\, unusual\, noteworthy\, or the most common of everyday actions. Her world was “the others”\, the strangers\, the anonymous people of the cities\, with whom she came into contact for brief moments\, always maintaining a certain distance which allowed her to make the portrayed subjects the unaware protagonists of small-large stories of no importance . \nEvery now and then\, however\, in some more daring compositions\, Vivian Maier made herself visible\, she crossed the threshold of the scene to become part of her story herself. The reflection of his face on a glass\, the projection of the shadow on the ground\, his silhouette appear in the perimeter of many images\, almost always broken by shadows or reflections\, with the somewhat obsessive insistence of those who\, together with an idea of the world\, he is above all looking for himself. In this endless investigation she sometimes also involved the children entrusted to her\, forcing them to follow her around the city\, in often degraded areas of New York or Chicago. To a sensitive and benevolent gaze towards the humble\, the marginalized\, he combined a sarcastic streak\, evident in many stolen shots\, which struck everyone\, from the rich bourgeois of the upper neighborhoods to the drifters of the suburbs. \n“Vivian Maier – states Lorenzo Giusti\, Director of the MAN – is spoken of today as a great photographer of the twentieth century\, to be compared to the masters of street reportage\, from Alfred Eisenstaedt to Robert Frank\, from Diane Arbus to Lisette Model. However\, large museum institutions struggle to legitimize his work\, either because\, in his entire life\, he never had a single opportunity to show it\, or because of the widespread – and legitimate – distrust towards the activity of “hobbyists”. But museums\, as we know\, always arrive a little late. \nWhat is striking about Vivian Maier’s works is not only the capacity for observation\, the watchful eye attentive to every significant variation in the whole\, the skill of composition and framing. What is most impressive is the ease in moving from one register to another\, from news\, to tragedy\, to the comedy of the absurd\, always keeping firm faith in his own gaze. A voice that remained out of the chorus for a long time\, but undoubtedly well tuned.” URL:https://www.museoman.it/en/event/vivian-maier/ 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/vivian-maier-VWetcQ.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20150710T000000 DTEND;TZID=Europe/Rome:20151008T000000 DTSTAMP:20260614T021344 CREATED:20240417T141412Z LAST-MODIFIED:20240423T085938Z UID:4095-1436486400-1444262400@www.museoman.it SUMMARY:Sardinia reportage 2015 DESCRIPTION:The competition commission “ Sardinia Reportage ”\, which met in Gavoi on 13 June last\, identified four projects among the one hundred and one presented at the MAN Museum by as many competitors\, highlighting in particular the work of Matteo Melis \, “Cagliari\, life and customs of a city of 2015”. \nThe other projects reported by the commission are the reportages of Erik Chevalier \, “No Man’s Land”\, by Bruno Olivieri \, “The desire”\, and of Stefano Pia \, “Zero Kilometers”. The commission also deemed it appropriate to give a special mention to some individual shots presented by the photographers Paolo Marchi\, Gigi Murru\, Virgilio Piras And Daniele Pischedda . \nInspired by the work of Vivian Maier \, to which the MAN will dedicate an important retrospective starting next July 10\, the 2015 “Sardinia Reportage” competition was dedicated to street photography ( Street Photography)\, a genre that turns its attention to life in public spaces\, and required the ability to describe environments\, people\, situations or urban contexts of today’s Sardinia through the photographic medium\, focusing on daily life\, changes in customs\, interactions human beings\, the spirit and the contradictions of our time. Consistent with what was requested\, the works identified by the jury stand out for their ability to capture curious or pathos-filled situations and for their timing in capturing significant moments. The original motivations\, the identified themes\, the communicative strength\, the relevance to the chosen genre\, as well as the formal and quality aspects of the images were evaluated for the various works. \nThe commission – composed of Michele Smargiassi \, journalist for Repubblica and editor of the Fotocracy blog\, Paolo Curreli \, editor of the cultural pages of New Sardinia and Max Solinas \, journalist\, photo editor and photojournalist of the Sardinian Union – motivated his choice as follows: \n“Among all the projects presented\, very different from each other in terms of intentions and quality\, the jury chose to select four personal portfolios and as many single shots\, different from each other in terms of sensitivity\, formal approach\, choice of subjects and style. We would like to highlight Matteo Melis’ project\, “Cagliari\, life and customs of a city of 2015”. The five photographs presented capture\, with stylistic coherence and sensitivity of gaze\, changes in the contemporary city in which traces of a local specificity can still be seen but have now been diluted in the wake of globalisation. In the jury’s opinion\, the author has well interpreted the now classic language of “street photography”\, as requested by the announcement\, declining it in a personal way; the attention to the banal as well as to the unusual aspect of human relationships in a corner of an urban scene make this work particularly interesting and noteworthy”. \nMatteo Melis’ project\, together with the other works indicated by the commission\, will be presented at the MAN Museum starting from July 10th\, in conjunction with the exhibition dedicated to Vivian Maier. URL:https://www.museoman.it/en/event/sardegna-reportage-2015/ 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/Matteo-Melis_Cagliari-vita-e-costumi-di-una-citta-del-2015_4-AUSP5G.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20150515 DTEND;VALUE=DATE:20150629 DTSTAMP:20260614T021344 CREATED:20240417T140853Z LAST-MODIFIED:20240417T140853Z UID:5060-1431648000-1435535999@www.museoman.it SUMMARY:Italo Zuffi DESCRIPTION:“Being able to say it” is the title of the project Italo Zuffi for the MAN Museum\, the second of a series of in-depth moments on the artist’s work launched last February by Nomas Foundation of Rome and destined to involve\, during 2015\, the de Appel Arts Centre of Amsterdam and thear/ge kunst of Bolzano. \nExposure to the MAN is revealing of the two distinct research paths present in the artist’s work: a more intimate side\, of introspective investigation\, and one linked to the analysis of his relationship with the art system\, always visualized and resolved with an autobiographical filter. \nWork belongs to the first strand Double poems \, created in 2014\, one performance in which Zuffi plays some his poems written over the last few years. The content of the poems offers a look at the time of relationships\, “on a body awareness\, in transit towards an existential lightening”. The recitation of the poems from memory takes place on the basis of a choreography aimed at creating a distraction\, as well as proposing a mirroring exercise. \nThe second work on display\, Incentives \, is a new production created on the occasion of the project at MAN\, conceived as a direct dialogue with the art system \, of which they are evoked internal rules and collective logics of legitimation . A cycle of texts on canvas that reflect on the relationship between production of works and their circulation through promotional and market systems. These new works\, presented in the spaces of the museum’s project room\, continue the verification process started by the artist in 2010\, around the concept of “competition” understood as a representation of what concerns both work dissemination strategies\, is the places and agents in which these are activated . In this case\, the work questions the economy of the artist in the broader context of the art market. \nThe exhibition at MAN will be accompanied by a laboratory with the master’s students first level in Law and Economics of Art and Culture ( Decamaster ) organized by the Faculty of Law of the University of Sassari in collaboration with UniNuoro and the Banco di Sardegna Foundation. The laboratory involves carrying out a series of group exercises\, aimed at developing a critical analysis of the viewing and experience of the work in a system context. \n\n\n\nItalo Zuffi\n\n\nItalo Zuffi (Imola\, 1969. Lives in Milan) in his work he uses sculpture\, performance\, photography and writing to create “not a total drawing\, but an indefinite series of rooms” (Pier Luigi Tazzi\, 2003). He studied at the Academy of Fine Arts in Bologna ( Diploma in Painting \, 1993)\, and at Central St Martins College of Art & Design in London ( Master of Arts \, 1997). In 2001 he was awarded the Wheatley Bequest Fellowship in Sculpture at the Institute of Art & Design in Birmingham (GB). He has been a professor of Sculpture at the Academy of Fine Arts in L’Aquila since February 2015\, and since 2011 he has been Guest-Lecturer in Performance at the Royal Academy of Arts in The Hague (NL). \nPersonal exhibitions (recent): What you were\, and what you are \, Nomas Foundation\, Rome; The unaware \, private apartment\, Milan (2013); The penultimate absence of the body \, Pietro Rossini Foundation\, Briosco (2012); Zuffi\, Italo \, Pinksummer\, Genoa (2010). \nGroup exhibitions (recent): Revolution exercises \, a project by Maxxi and Nomas Foundation\, Maxxi\, Rome (2014); The laws of hospitality \, P420 Gallery\, Bologna (2014); Per4m \, Artissima\, Turin (2014); The child’s mustache \, Lucie Fontaine\, Milan (2014); La Pelle – Symphony of Destruction \, MAXXX Project Space\, Sierre (2014); The hot statues \, Marino Marini Museum\, Florence (2014); Drive my car \, OPENING Via Pola\, Milan (2013); Italy Tropics \, Angelo Mai Altrove Occupato\, Rome (2013); The discreet charm of the object. Figure 2: Still life\, GNAM\, Rome (2013); Almanac \, Newman Popiashvili gallery\, New York (2013); Outstanding \, Villa Reale\, Milan (2012)\, Me xico City Blues \, Shanaynay\, Paris (2012) and New York Gallery\, New York (2012). URL:https://www.museoman.it/en/event/italo-zuffi/ 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/Italo-Zuffi_H_w-03xpSU.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20150417 DTEND;VALUE=DATE:20150609 DTSTAMP:20260614T021344 CREATED:20240417T141414Z LAST-MODIFIED:20240423T085936Z UID:4094-1429228800-1433807999@www.museoman.it SUMMARY:LCR #1 DESCRIPTION:“ The resistance constant ” is an exhibition project that aims to provide an overall picture of more innovative research That\, from the first years of regional autonomy to the present day \, characterized the Sardinian artistic scene . A three-year program which\, by 2017\, will lead to reconstruction six decades of experimental activity \, put in evidence themes\, events\, groups and personalities . \nThe identification of a possible “specific connotation” to be recognized within the different experiences\, constitutes the backbone of this project. The “ Resistance constant Sardinian ” is a concept with which the archaeologist Giovanni Lilliu tried to express the historical struggle waged by the Sardinian people against the colonial powers which from time to time have appeared on the coasts of the island. “Sardinia\,” wrote Lilliu\, “at all times has had a strange historical mark: that of having always been dominated (in some ways still today)\, but of having always resisted. An island on which the oppressive hand of the colonizer has fallen for centuries\, to which he has systematically opposed the scratch of resistance. Therefore\, the Sardinians had the aggression of integrations of all kinds but\, despite this\, they managed to always preserve yourself .” \nAs part of the investigation into artistic and cultural production\, the concept of “resistance constant” emerges as an ideal metaphor and at the same time as a privileged viewing criterion through which to observe the development of artistic practices and expressive languages ​​in the light of external influences\, of critical debate and national and international trends\, from time to time transposed or denied\, affirmed or reinterpreted. \nThe first of three exhibitions\, “Twenty-five years of artistic research in Sardinia”\, scheduled at the MAN Museum from 17 April to 28 June 2015 \, intends to look at the generation of emerging artists between 1957 and 1983 . The time frame identified\, as well as the proposed title\, refer to an important historical precedent: the exhibition\, created in 1983 by the Municipality of Nuoro and by the Consortium for public reading Sebastiano Satta\, edited by Salvatore Naitza and Sandra Piras\, which aimed to take stock of the production of the last quarter of a century through the work of a large number group of authors of different backgrounds and tendencies. \nThe choice of 1957 as the start date of renewal process is explained by reason of an event that took place in Nuoro . That year\, as part of the Art Biennale\, a jury composed of Elena Baggio\, Felice Casorati\, Mario Delitala\, Rodolfo Pallucchini and Marco Valsecchi\, awarded the Sardinia Award of painting to Mauro Manca for the work entitled The shadow of the sea on the hill; a cubist painting\, which foreshadowed the sign-material experiments that the artist would carry out in the following years\, marked a clear watershed between figurative and abstract experiences. \nThe spread of new languages ​​will be recorded on the island following the Mauro Manca’s transfer to Sassari as director of the State Institute of Art (1959)\, which under his direction became a reference point for advanced investigations\, and with arise in Cagliari of research formations such as “ Studio 58 ” and\, in the following decade\, the “ Initiative Group ”\, active between 1960 and 1965\, the “ Transactional Group ” (1966)\, under the methodological guidance of Corrado Maltese\, and the “ Center for Democratic Culture ”\, founded in 1967. \nThe “ Group A ” (1962)\, which collects the requests of the protagonists of the new Sassari generation. Legacy subsequently implemented by “ Rose Group ” (1976) in which the investigations of those artists who left the Art Institute and returned there as teachers will see the light. \nGroups that are not always homogeneous\, formed in the two largest cities of the region\, to which\, in a general framework which also takes into account the geographical and cultural specificities of Nuoro – a production and promotional center of Sardinian culture open to receiving external influences – are placed side by side independent personalities of different orientation. \nThe Sixties and Seventies in Sardinia they were also the years of committed criticism which\, from the pages of local newspapers\, saw active intellectuals of different backgrounds (art historians\, anthropologists\, linguists) in a debate built on the parallel rejection of a closed regionalism and a mannered cosmopolitanism. A complex and sometimes contradictory experience\, poised between an internal dimension\, of defining one’s own cultural specificity\, and an external one\, in the awareness of the need to include the Sardinian cultural problems within the framework of international coordinates . \n The resistance constant #1. Artists on display: Italo Antico\, Antonio Atza\, Gaetano Brundu\, Paolo Bullitta\, Zaza Calzia\, Giovanni Campus\, Giovanni Canu\, Sergio Cara\, Giovanni Carta\, Tonino Casula\, Aldo Contini\, Salvatore Coradduzza\, Paola Dessy\, Nino Dore\, Angelino Fiori\, Gino Frogheri\, Maria Lai\, Ermanno Leinardi\, Angelo Liberati\, Carlo Loi\, Mauro Manca\, Nicolò Masia\, Luigi Mazzarelli\, Mirella Mibelli\, Rosetta Murru\, Luciano Muscu\, Costantino Nivola\, Primo Pantoli\, Igino Panzino\, Giuseppe Pettinau\, Gaetano Pinna\, Giovanni Pintori\, Roberto Puzzu\, Rosanna Rossi\, Vincenzo Satta\, Pinuccio Sciola\, Giovanna Secchi\, Antonio Secci\, Agostino Sini\, Ugo Ugo\, Italo Utzeri. \n“The resistance constant” is a multi-year project of the MAN Museum\, conceived by Lorenzo Giusti\, which will rely on the collaboration of various scholars during its development. The first of three scheduled events\, Twenty-five years of artistic research in Sardinia (1957-1983) \, is edited by Emanuela Manca\, with the consultancy of Rosanna Rossi and Silvano Tagliagambe. URL:https://www.museoman.it/en/event/lcr-1/ 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/MANCA-lombra-del-mare-sulla-collina-jHKp1U.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20150206 DTEND;VALUE=DATE:20150406 DTSTAMP:20260614T021344 CREATED:20240417T141416Z LAST-MODIFIED:20240423T085935Z UID:4093-1423180800-1428278399@www.museoman.it SUMMARY:Civil Servants DESCRIPTION:The “Civil Servants” project\, curated by Micaela Deiana\, was born from a survey of the artistic practices of an antagonistic nature carried out in Sardinia\, aimed at formulating models of analysis\, deconstruction and problematization of the current socio-political context. In this rich vein\, on the ridge between activism and artistic research\, the exhibition focuses in particular on those investigations which\, over the last few years\, have raised important environmental questions\, fundamental for the future of the island. \nThe expression “ Civil Servant” it belongs to Anglo-Saxon culture and indicates the responsibility and profound civic sense with which state officials provide their service to the community of which they are part. The selected artists make this attitude a key element of their poetics\, giving life to works\, but above all actions\, in which art becomes a tool of social criticism to raise awareness in the territory of the value of the common good. \nThrough the narratives of Leonardo Boscani\, Riccardo Fadda\, Pasquale Bassu and Eleonora Di Marino\, the exhibition recounts in particular the effects of the occupation and exploitation of the land by industrial centers that characterized the so-called “Sardinian industrial renaissance” in the Sixties and the Seventies\, and the critical tools with which today we try to deal with the political-economic failure of those development strategies and to start the difficult process of reconversion. \n\n\n\nLeonardo Boscani \n\n\nLeonardo Boscani (Sassari\, 1961)\, active for years on the front of social criticism through artistic research projects\, proposes Feasibility study for the breeding of semi-wild deer in the Monte Rosè area\, “dystopian” work\, curated by the A. Cicchiarelli Foundation\, for the planning of a new development of the livestock sector in northern Sardinia parallel to the reclamation interventions of the chemical industry in the Porto Torres area. \n\n\n\nRiccardo Fadda\n\n\nRiccardo Fadda (Porto Torres\, 1976)\, founder of the artistic collective AZ.Namusn.Art\, presents a group of works from the series Anarchaeology \, in which it critically addresses the theme of cultural heritage\, inviting awareness of a renewed local identity that takes into account the conditions of the environment and the contradictions of the territory. \n\n\n\nPasquale Bassu\n\n\nPasquale Bassu (Nuoro\, 1979)\, one of the new members of the Nuoro group “Seuna Lab”\, gives rise to a performance entitled I have been\, involving the public in a mutual exchange of services guaranteed by a banknote circuit created by the artist himself. \n\n\n\nEleonora Di Marino\n\n\nEleonora Di Marino (Carbonia\, 1990) presents Bethyl\, a work included in the research of Spa – Soluzioni Per l’Ambiente\, an ongoing project that highlights the contradictions of the “Red Mud” case\, land protected from a landscape point of view although toxic\, due to the presence of metal residues due to mining operations . The artist is part of the Giuseppe Frau Gallery collective\, operating in Sulcis – Iglesiente. URL:https://www.museoman.it/en/event/civil-servants/ 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/Civil-Servants_web-wB4abQ.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20150206 DTEND;VALUE=DATE:20150406 DTSTAMP:20260614T021344 CREATED:20240417T140856Z LAST-MODIFIED:20240417T140856Z UID:5040-1423180800-1428278399@www.museoman.it SUMMARY:Street singing DESCRIPTION:The result of an ideal dialogue arising from the sharing of a conception of the journey as a driver of artistic experiences\, the exhibition\, curated by Lorenzo Giusti\, presents a series of new works – photographs\, wall drawings\, drawings and installations – born from the common travel experience in the mountains of central Sardinia. Hamish Fulton (London\, 1946) is one of the most representative figures of English art of recent decades. Together with Richard Long he is considered the founding father of an international movement of “ walking artists ”\, of which the Austrian Michael Höpfner (Krems\, 1972) is today one of the most significant exponents. \nThe exhibition at the MAN in Nuoro compares the work of the two artists for the first time\, identifying the journey on the mountains of Supramonte and Gennargentu a common ground for comparison. An experience of total immersion in the harsh nature of eastern Barbagia which saw the two artists move for two weeks in the same environment\, without ever meeting. United by the same passion for the mountains and by a common vision of artistic practice as an expression of personal experiences (even when done in groups)\, Fulton and Höpfner open\, through the use of different languages ​​- the former’s more conceptual\, with texts or route graphs\, the second one is more visual\, with photographs and installations – a significant reflection on the role of art\, on the concepts of experience and creation\, as well as on the relationship between man and the environment. \nA catalog will complete the project\, published by BLACK \, with lyrics by Lorenzo Giusti\, Giovanni Carmine and Muriel Enjalran . \nThe exhibition will be accompanied by a program of laboratory activities edited by the educational section of the museum and by walking experiences for the public\, in collaboration with local artists and environmental guides. \n\n\n\nHamish Fulton\n\n\nHe began his career at the end of the Sixties\, defining himself as “Walking Artist”\, a way to distinguish his work from the Land Art practices with which he had initially been lumped together. His is an experiential art\, which is nourished by long walking routes in natural contexts\, particularly in the mountains\, from Europe to South America\, from Tibet to Japan. Since the 1990s he has declined part of his work in a participatory dimension\, aimed at sharing the experience of walking\, which has also found application and development in urban contexts. His works are preserved in the collections of the most important museums in the world\, from the MOMA in New York\, to the Center Pompidou in Paris\, to the Tate Modern in London. \n\n\n\nMichael Höpfner\n\n\nHe lives between Vienna and Berlin. His work focuses on the experience of traveling on foot\, through desert or sparsely inhabited areas from Ukraine to China\, from Kyrgyzstan to South Korea. A journey that began as a physical and mental exploration of geographical spaces and which continued as a reflection on the concepts of reality and place. Among the most recent exhibitions are those at the Kunstforum Bank in Vienna\, at the Kunsthalle in St. Gallen\, at the Kunstverein in Salzburg\, at the ar/ge Kunst in Bolzano and in the Olaf Stüber galleries in Berlin and the Hubert Winter galleries in Vienna. URL:https://www.museoman.it/en/event/street-singing/ 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/canto-di-strada-liiduM.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20150206 DTEND;VALUE=DATE:20150406 DTSTAMP:20260614T021344 CREATED:20240417T140854Z LAST-MODIFIED:20240417T140854Z UID:5051-1423180800-1428278399@www.museoman.it SUMMARY:Antonio Rovaldi DESCRIPTION:“ A cloud has descended on me.” recounts Antonio Rovaldi’s bicycle journey around Sardinia. The exhibition at the MAN Museum – which follows last year’s exhibition in Gavoi\, on the occasion of the “Isola delle Storie” Literary Festival – is part of the project Horizon in Italy \, begun by the artist in 2011 and concluded with the Sardinian experience in the summer of 2014. \nThe exhibition\, conceived specifically for the museum rooms\, consists of a photographic installation made up of 20 elements corresponding to as many stages of the journey. Images of the horizon – in line with the general project – on which the artist reports the sections traveled\, reconstructing a sort of punctuation of the perimeter of the island\, as well as a new chromatic pentagram to tell of “a distance”. \nAn audio installation accompanies the images\, a montage of voices of the inhabitants of the area\, questioned by the artist on the paths to take to reach the set goals. What is created is a surreal dialogue\, based on a personal idea of ​​distance between places and things. The directions of the map of Sardinia followed by the artist are constantly contradicted and redesigned by the people encountered\, creating a true oral mapping of the territory. \nThe exhibition will be accompanied by a bilingual catalogue\, published by Humboldt Books\, which collects the entire project Horizon in Italy \, with travel notes\, images\, drawings and texts by Lorenzo Giusti Leonardo Passarelli\, Pier Luigi Tazzi and Francesco Zanot. \n\n\n\nAntonio Rovaldi\n\n\nBorn in Parma in 1975. His research moves around themes relating to the perception of places and landscape\, always relating the different media used\, such as photography\, video\, sculpture. The dimension of the distance between places\, the physical and mental crossing in them\, whether real or imaginary\, are a constant in his research. Since 2006\, Rovaldi has shared his adopted city\, Milan\, with New York where he has participated in several artist residencies and exhibitions. Among his most recent solo exhibitions are those at the Hirshhorn Museum in Washington DC\, at the Monitor gallery in Rome and at The Goma gallery in Madrid. URL:https://www.museoman.it/en/event/antonio-rovaldi-2/ 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/A.Rovaldi_Mi-e-scesa-una-nuvola_web-dXtHgV.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20141213T000000 DTEND;TZID=Europe/Rome:20150125T000000 DTSTAMP:20260614T021344 CREATED:20240417T140907Z LAST-MODIFIED:20240417T140907Z UID:5069-1418428800-1422144000@www.museoman.it SUMMARY:Marinella Senatore DESCRIPTION:The MAN museum\, as part of the second edition of the “Museo Call Artista” project\, promoted by AMACI\, is pleased to present to the public the film “Jammin’ Drama Project”\, by the artist and filmmaker Marinella Senatore. The work will be visible in the rooms of the MAN Museum starting from December 13th during the museum’s opening hours. \nThe documentary is a participatory project that involved over 450 members of the diverse Harlem community in the collective construction of a plot for a radio drama\, structured in 4 chapters and recorded live. The collaboration between the participants\, based on the dialogue between different identities\, generations and races\, gave rise to a jam session of ideas\, desires and experiences\, analyzing the social dynamics and ways of coexistence in a multicultural society. An archive of shared narratives that redefines the meaning of community. \n“I feel I am part of those processes that see the artist as an activator of energy – states Marinella Senatore – who has a score through which people negotiate\, or contest\, their participation. I try to implement an emotional exchange\, which passes from story to story. The story itself becomes an exchange and often an open laboratory situation is built\, where those who work learn something and take it with them together with the memory of having been on the set”. \nMarinella Senatore (1977) lives and works between London and Berlin. Since 2006 he has been curating public participation projects\, involving entire communities in the creation of collective works in which the roles of the artist as author and the public as passive recipient are questioned and reworked. He has exhibited his works (short films\, photographs\, drawings\, installations) in numerous Italian and foreign museums including the Kunsthalle of San Gallo\, the Museum of Contemporary Art of Santa Barbara\, the Castello di Rivoli Museum of Contemporary Art. In 2014 she was awarded the MAXXI Prize. \nMuseum Call Artist\, is an AMACI project (the National Association of Museums of Modern and Contemporary Art) born with the aim of actively supporting the contemporary system in our country\, encouraging and disseminating the newest forms of artistic experimentation through commissioning artists Italians of works subsequently presented in associated museums. \nThe 2014 edition\, curated by Ludovico Pratesi and Angela Tecce\, sees the collaboration with the MiBACT consolidated through the Plan for Contemporary Art\, an instrument that the Ministry has given itself for the financing of proposals aimed at increasing the public heritage of art of our time. \nThe choice of Marinella Senatore\, who bases her artistic practice on participation and sharing of the creative process\, responds to the ambition of bringing contemporary art into the daily lives of citizens\, highlighting the relationship between personal creativity and social dynamics . URL:https://www.museoman.it/en/event/marinella-senatore/ 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/M.Senatore-R9cu9D.tmp_.jpg END:VEVENT END:VCALENDAR