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:20120325T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20121028T010000 END:STANDARD 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 END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20160422T000000 DTEND;TZID=Europe/Rome:20160703T000000 DTSTAMP:20260614T090824 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:20260614T090824 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:20260614T090824 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:20260614T090824 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:20260614T090824 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:20260614T090824 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:20260614T090824 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:20260614T090824 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:20260614T090824 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:20260614T090824 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:20260614T090824 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:20260614T090824 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:20260614T090824 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:20260614T090824 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:20260614T090824 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:20260614T090824 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:20260614T090824 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:20260614T090824 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 BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20141107T000000 DTEND;TZID=Europe/Rome:20150125T000000 DTSTAMP:20260614T090824 CREATED:20240417T141421Z LAST-MODIFIED:20240423T085940Z UID:4092-1415318400-1422144000@www.museoman.it SUMMARY:Vincenzo Satta DESCRIPTION:Inside the event Winter magic \, the Montblanc Prize will be awarded\, a recognition of the creativity and ingenuity of the city of Nuoro\, which involves the annual selection of two representative personalities. The ceremony\, which will take place on November 7th at 5pm at the Regional Ethnographic Institute\, will be followed by the inauguration of Vincenzo Satta’s exhibition at the MAN museum. \nSatta’s research develops starting from geometric shapes to reach\, over the years\, freer solutions. After a first phase influenced by research in the informal area\, and a second in line with the climate of analytical painting\, within which the artist identifies an autonomous path of great rigour\, in his more mature production the geometric shapes give way to curved lines and wavy shapes and the attention is still focused\, as always\, on the central role of light. \nThe unpublished works on display at MAN belong to this last period. Canvases structured on light and evanescent tones\, yellow\, pink or blue\, in which the painting is lightened by blurring that transforms the timbre\, attenuating it. The light of these surfaces is therefore not obtained through the use of color\, which almost transcends its materiality\, but through infinite veils that condition its perception. \nModulated by the changing emotional inclination of the artist\, the light is not enhanced and projected outside but\, on the contrary\, captured and almost hidden in the succession of the different phases of creation of the painting\, caught in its last possibility of being\, stopped a moment before it goes out. \n\n\n\n\nVincenzo Satta\n\n\nBorn in Nuoro in 1937. He attended the Art Institute of Sassari in the Architecture section with Stanis Dessy and Vico Mossa. In 1961 he enrolled at the Academy of Fine Arts in Bologna. His work develops over fifty years of activity\, from the first solo exhibition in Bologna in 1966\, with a presentation by Andrea Emiliani\, up to the 54th International Art Exhibition of the Venice Biennale in 2011. He lives and works in Bologna. URL:https://www.museoman.it/en/event/vincenzo-satta/ 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/Immagine_sel-x-web-X7vauk.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20141024T000000 DTEND;TZID=Europe/Rome:20150125T000000 DTSTAMP:20260614T090824 CREATED:20231220T153229Z LAST-MODIFIED:20231220T153229Z UID:5078-1414108800-1422144000@www.museoman.it SUMMARY:Alberto Giacometti. One step away from time DESCRIPTION:Edited by Pietro Bellasi and Chiara Gatti \nRich in around seventy pieces\, the exhibition reveals to the public the great fascination that ancient statuary (Egyptian\, Etruscan\, Greek\, Celtic or African) had in the eyes of the twentieth century master famous for his walking figures\, the motionless women and silent like idols of the past. \n«All the art of the past\, of all eras\, of all civilizations\, appeared before me. Everything was simultaneous\, as if space had taken the place of time.” From this intense confession was born the idea of ​​restoring the dimension of eternity to the masterpieces of Alberto Giacometti (1901-1966)\, bringing a precious selection of finds from some among the most important Italian museums of ancient art. \nThe loans of Giacometti’s works\, granted by important Swiss collections as well as by the Kuntshaus of Zurich and the Peggy Guggenheim Collection of Venice\, will be combined for the first time with the archaic works of the National Archaeological Museum of Cagliari\, the Civic Archaeological Museum of Bologna\, the Civic Museum of Palazzo Farnese in Piacenza and the National Etruscan Museum of Villa Giulia. \nGiacometti’s works and those of his ancestors will animate a compelling journey\, developed by themes and iconography\, based on a game of references\, of crossed glances between masterpieces\, removed from the dimension of time and relocated in the space of contemporaneity. \nFrom the studies conducted over the years on the points of contact between Giacometti’s work and the statuary of the ancient era – from Egyptian to Sumerian art\, from Bronze Age artefacts to Greek art up to African sculpture – it has emerged the possibility of building a map of the iconographies of the past and of the cultures most loved by the artist\, taken as a model for his contemporary reflection\, aimed at searching for ancestral expressive forms\, capable of representing modern man in an eternal vision\, in a recovery of our origins and our history. \nA fascinating journey through time (and space) will then demonstrate how its Femme qui marche \, performed between 1932 and 1936\, proposes the same canons of stylization of the body\, the frontality\, the hieraticity\, the short advanced step of the left leg\, a pure concept of movement\, inspired by Egyptian iconography. In the context of art nègre\, the Oko Insignia or the Igala Figures of Nigeria with the flat and elongated belly\, are testimonies of images of the spirit\, the visible form of an invisible that man carries within himself\, and which Giacometti studied to background for his sculptures with small heads and highly elongated busts. \nThe famous figures of Etruscan origin\, such as the Haruspices with the “blade” bodies of the Villa Giulia Museum in Rome\, discovered by the artist during his first trip to Italy between 1920 and 1921\, seem to ideally return to the motionless forms of the sculptor with which they share linearism\, composure and harmony. In the same way\, the dialogue with the Nuragic bronzes – which mark a link with the Sardinian territory – can be explained through the words of the art historian Giuseppe Marchiori dedicated precisely to the anthropological flavor of Giacometti’s research and to the shapes of his bodies «slender as Nuragic warriors\, without spears and shields\, or similar to the Volterran idol\, to the men of the night”. \nProceeding by comparison\, here are finally some small bronze Kore\, with their compact shapes\, their arms stretched out along their sides\, recalling the delicacy of Giacometti’s most slender works\, those figures a few centimeters high\, like the image of Silvio debut; while some portraits of Diego or Annette sitting can be compared to those praying in Egyptian culture\, to Templar statues or to kneeling mourners\, with the classic pose of open hands resting on bent knees. URL:https://www.museoman.it/en/event/alberto-giacometti-one-step-away-from-time/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2023/12/IMG_9317-KsQOLH.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20141024T000000 DTEND;TZID=Europe/Rome:20141024T000000 DTSTAMP:20260614T090824 CREATED:20240417T140858Z LAST-MODIFIED:20240417T140858Z UID:5032-1414108800-1414108800@www.museoman.it SUMMARY:Gavino Ledda - Zimmerfrei DESCRIPTION:Engaged for several years in a personal research on the essence of language\, Ledda\, thanks to the intervention of Zimmefrei\, composes a soundscape in which the spoken words take on the consistency of things\, resonating in a darkened space\, like material objects that meet moving in the dark. In Gavino Ledda’s vision\, the words spoken (stones\, mare\, water\, guazza\, drool and oxen…) are like colors (colòres)\, a minimal primer of sinni\, the quavers of the Sardinian language\, which the sound makes flourish. \nThe maieutics of the writer\, shepherd-child who names the visible\, taking possession of the world by escaping the law of the father-patriarch\, is intact and still enchanted. The territory explored by Zimmerfrei is made of matter\, and sound is the part of matter that can be extracted from things and deposited in other places\, without those things changing their nature. \nZimmerFrei was born in Bologna in 2000 from the meeting between Anna Rispoli\, theater director and performer\, Anna De Manicor\, video maker\, and the sound designer Massimo Carozzi. Through the production of works of various formats (sound environments\, video installations\, performances\, multimedia shows\, documentary films and photographic series)\, the collective carries out an investigation of the natural landscape\, the city\, and the contemporary social universe of which they are identified from time to time\, images\, narratives\, emotional tones. An exploration of the present strongly connected to the idea of ​​”permanence”\, of a period of time spent observing and living in close contact with a specific place\, which highlights the complexity\, the gray areas\, the stratifications of times and spaces\, stories and the symbolic power of places. \nGavino Ledda born in Siligo in 1938\, he is a writer\, glottologist and scholar of the Italian and Sardinian languages. After a childhood spent in the countryside with his shepherd father\, he emancipated himself from illiteracy as an adult by graduating in glottology at the “La Sapienza” University of Rome. In 1970 he was admitted to the Accademia della Crusca and the following year appointed assistant of Romance philology at the University of Cagliari. He subsequently tells his autobiographical story in the novel Master father . The success of the novel\, translated into forty languages\, led the Taviani brothers to make a film from it in 1977. \nI know sinnoso\, frese de su sonnu is created in collaboration with Venticinquegradi. On 25 October\, at 9pm\, in the space of Vico II delle Acacie 5 (Saline/Cagliari/Parco di Molentargius)\, Zimmerfrei presents “Safari”\, a real-time selection and recombination of an archive of sound recordings collected in different parts of the world in the last 10 years. URL:https://www.museoman.it/en/event/gavino-ledda-zimmerfrei/ 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/zimmerfrei-ZZ3vIS.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20140712T000000 DTEND;TZID=Europe/Rome:20141012T000000 DTSTAMP:20260614T090824 CREATED:20240417T140306Z LAST-MODIFIED:20240417T140306Z UID:5088-1405123200-1413072000@www.museoman.it SUMMARY:Maria Lai DESCRIPTION:The exhibition\, created thanks to the contribution of the Banco di Sardegna Foundation\, offers a chronological and thematic itinerary structured in three different locations: the Palazzo di Città in Cagliari\, the MAN Museum in Nuoro\, the town of Ulassai. With more than three hundred works from both public and private collections\, as well as from the family collection\, Mend the world it is the first complete retrospective dedicated to the artist. \nThe section of Mend the world hosted by MAN\, curated by Barbara Casavecchia and Lorenzo Giusti\, focuses on the most mature phase of Maria Lai’s production\, from the 1980s until her death\, analyzing the dense web of relationships that the artist weaves with the world outside her own study. \nWhile he continues to create the cycles (shown here) of Frames\, Sheets \, Sewn books \, to which are added the cosmic visions of Geographies \, Lai involves the public in reflecting on the liberating potential of art through site-specific public works\, collective actions\, performances\, theatrical writings. \nThe itinerary opens on the third floor with the work that acts as an intersection between the offices of Cagliari\, Nuoro and Ulassai: the action Bonding to the mountain(1981)\, represented here by a fragment of the original tape\, from the installation with which Maria Lai wanted to summarize that experience on the occasion of her previous solo show at MAN (As if for fun\, 2002) and from a series of famous black and white documentary photos taken by Piero Berengo Gardin\, on which Lai intervened by coloring the ribbon in each image light blue. Through unpublished documentary materials\, photos\, videos and some of the works produced by the artist on various occasions\, the exhibition documents all of Lai’s environmental interventions and actions\, from Exhibit(Villasimius\, 1982)\, The defeat of the monitor lizards (Camerino\, 1983)\, The poet’s hive(Orotelli\, 1983) up to The bitter honey tree (Siliqua\, 1997)\, whose sheets spread and woven with words accompany the visitor from the entrance. We see Lai supervise the creation of masks\, headdresses\, poems\, or invite children to roll old toys in sand to make sculptures. The “thread” stretched by Lai to the public passes through the story: for example\, of an ancient story like that of Maria Pietra – to which a special thematic section is dedicated – the protagonist of the story My heart by Salvatore Cambosu\, Lai’s master\, who becomes the archetype of the saving magic of art. Literature and\, above all\, poetry\, the rhythmic alternation of words and silences\, full and empty spaces\, orality and writing\, is the reservoir from which Lai draws to communicate. Other channels through which Lai “calls the other to see a part of himself” are the theater and staging: to tell it here\, the original scores sung by the soprano Ille Strazza\, scenography by the Fueddu and Gestu Company\, the headdresses worn to the public during a performance at the Tommaseo Gallery in Trieste (1986). \nThe link with the childhood universe (understood as a “place of the soul”) and pedagogy is one of the richest and most vital elements of this period\, which leads Lai to create sewn fairy tales and books (Holding hands with the sun \, 1984; Holding the shadow by the hand \, 1987; The distracted god\, 1994; Curious\, 2002)\, games (The flight of the Goose Game\, 2002)\, decks of cards (The places of art at your fingertips\, )\, calligrams\, workshops (Signs and dreams\, 1991\, which from Cagliari takes her to the Atelier des Enfants of the Center Pompidou in Paris) theater-school experiments in Alessandria\, Prato\, Mira (VE)\, Cagliari\, whose paths intertwine fruitfully in the artist’s work. \nAt MAN\, Like Little Worker Bees I (Nuoro)\, the four-handed work by Claudia Losi and Antonio Marras\, pays an affectionate homage to Maria Lai through a weaving of metal threads that starts from the outside of the museum and crosses its walls and windows in a zigzag pattern\, until it “binds” the walls a myriad of intimate objects (greeting cards\, jewellery\, fabrics\, embroidery)\, created by Lai during his life and donated to friends\, relatives and associates. It thus underlines her role as an active artist in her community\, who generously shares and “disperses” her work\, in private and in public. URL:https://www.museoman.it/en/event/maria-lai-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/lai14-allestimenoMAN_cv2630-uHNGDl.tmp_-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20140711T000000 DTEND;TZID=Europe/Rome:20141012T000000 DTSTAMP:20260614T090824 CREATED:20240417T140911Z LAST-MODIFIED:20240417T140911Z UID:5061-1405036800-1413072000@www.museoman.it SUMMARY:Paolo Chiasera DESCRIPTION:THE Gardens of Sardinia\, Cyprus and Jerusalem is a project by Paolo Chiasera and Micaela Deiana which involves the MAN museum in Nuoro and the “De Vleeshal” Visual Arts Center in Middelburg (Holland). The work follows a path undertaken by the artist in 2011 with the development of the concept of exhibition painting\, a pictorial genre\, invented by him\, characterized by the creation of exhibitions on canvas – which can include works by different artists\, both already existing and commissioned for the occasion – conceived as a space for meeting and discussion between artists\, curators and institutions . \nIn continuity with this research\, the artist later developed the idea of II.STYLE \, a artist run space with a nomadic character\, which in the name refers to the developments of Roman painting of the second style period\, characterized by a particular attention to the power of the imagination. The imaginary itself presents itself as an ideal place for experimentation and the definition of an artistic production according to new exhibition models. \nWith The Gardens of Sardinia\, Cyprus and Jerusalem the II.STILE project enters a museum space for the first time\, in which Chiasera orchestrates a reflection on circularityto of the life cycle\, symbolized in references to the Paleolithic and Neolithic culture\, permeated by a religiosityto closely linked to the cult of the Great Mother\, to nature and its manifestations\, with a particular predilection for waters and woods. \nStarting from the suggestions aroused by a visit to the gardens of the eighteenth-century Villa d‘Orri (Sarroch – Sardinia) and from the atmospheres of the frescoes of the Augustan Villa di Livia (Rome)\, Paolo Chiasera creates an evocative nocturnal garden on canvas\, in which space\, together with the curator\, offers a selection of works from the MAN collection. The path created\, with works from the end of the nineteenth century to the latest acquisitions\, aims to invite a different\, diachronic reading of the cultural heritage. Cyclicity to of human life and history becomes an opportunity for reflection on the perception of cultural heritage in different historical moments and in different territorial contexts\, resulting in a form of reinterpretation of the permanent collections of art museums\, in a vision that intertwines archeology and the world contemporary. \nAt the MAN in Nuoro the “Giardini” will host works by Alessandro Biggio with J. Parker Valentine and Diego Perrone\, Stanis Dessy\, Salvatore Fancello\, Antonio Mura\, Costantino Nivola\, Giovanni Pintori and Giacinto Satta. \nThe De Vleeshal Visual Arts Center will host the second event of the project in November 2014. On this occasion\, the catalogue\, created at the conclusion of the two experiences\, will be presented. \nPaolo Chiasera (Bologna\, 1978) lives and works in Berlin. Since 2013 he has been carrying out the II.STILE project. His personal exhibitions in museums include: Ain’t No Serious Gonna Hold My Body Down \, SMA K . Stedelijk Museum voor Actuele Kunst\, Gent (2010); Unter Freiem Himmel / Under the Open Sky \, MARTa Herfod\, Herford (2009); Forget The Heroes \, MACRO\, Museum of Contemporary Art Rome (2008); The Trilogy: Cornelius\, MAMbo\, Museum of Modern Art of Bologna (2006). In addition to his artistic research activity\, he has collaborated as a lecturer with various institutions including the Kunsthochschule in Kassel (2013) and the Transart Institute in Berlin (2011). URL:https://www.museoman.it/en/event/paolo-chiasera/ 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/lai14-allestimenoMAN_cv2662-pxiHkb.tmp_-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20140703T000000 DTEND;TZID=Europe/Rome:20140831T000000 DTSTAMP:20260614T090824 CREATED:20240417T141311Z LAST-MODIFIED:20240417T141311Z UID:4993-1404345600-1409443200@www.museoman.it SUMMARY:Antonio Rovaldi DESCRIPTION:“Orizzonte in Italia” is a work by Antonio Rovaldi born from the bicycle trip made in 2011 along the perimeter of the Italian peninsula. At the Gavoi Literary Festival – “The Island of Stories” which will take place from 3 to 6 July 2014 – and until 31 August 2014\, the MAN Museum will present\, in the spaces of the Municipal Museum\, the series of 148 photographs of the horizon created on that occasion by the artist\, accompanied by an unpublished sound work\, also the result of the experience of the trip to Italy. \nGavoi’s exhibition is the first part of a work in two stages which will conclude in Nuoro\, in the spaces of the MAN museum\, in February 2015\, at the end of a new journey made – once again by bicycle – along the perimeter of Sardinia. \n“During the trip to Italy – explained Rovaldi – I photographed the horizon line at more or less regular intervals\, depending on my body’s reaction to physical efforts. I collected many images of the horizon at different hours of the day and evening\, a very long chromatic pentagram viewed from the Italian coast\, from North to South and then again from South to North\, going up again.” \nThe empty spaces between one image of the horizon and the next are\, in the journey as in the photographic installation\, moments of emptiness and suspension\, physical pauses of a breath that seems to capture the sinuous line of the coast in a single glance\, filling for a the partiality of our vision of the landscape is instant. The precise awareness of the morphology of the Italian coast thus becomes an abstract and metaphysical image of a feeling that fades into the horizon. \n“I like to think of photography not so much as a single image but\, rather\, as a chain of images that chase each other\, punctuated by short or long pauses\, as is the pattern of breathing when riding a bicycle covering long distances : sometimes breathing becomes labored\, other times it slows down\, flat and horizontal like our visual horizon. The photographic film extends along the horizon line\, covering\, line after line\, portions of territory”. \nA bilingual catalogue\, published by Humboldt Books\, will be presented in February\, on the occasion of the exhibition at the MAN Museum. The book will compare the different ideas of horizon\, the different perceptions of oneself and of the path undertaken\, in relation to the different geographical concepts of the Island and the Peninsula. \n\n\n\n\nAntonio Rovaldi\n\n\nAntonio Rovaldi was born in Parma in 1975. Active between New York and Italy\, his research develops through different media\, such as photography\, video\, sculpture and drawing. Winner of the Columbia University New York Prize in 2006\, he has exhibited in numerous museums and galleries\, both in Italy and abroad. Among his latest solo exhibitions we remember 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/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Extramuros,MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/foto/mo/man_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20140530T000000 DTEND;TZID=Europe/Rome:20140629T000000 DTSTAMP:20260614T090824 CREATED:20240417T140913Z LAST-MODIFIED:20240417T140913Z UID:5053-1401408000-1404000000@www.museoman.it SUMMARY:Step two DESCRIPTION:Artists: Alexandre Alexeieff & Claire Parker\, Max Almy\, Berthold Bartosh\, Claudio Cintoli\, Segundo de Chomón\, Émile Cohl\, Maya Deren\, Nathalie Djurberg & Hans Berg\, Ed Emshwiller\, George Griffin\, Noa Gur\, Claus Holtz & Harmut Lerch\, William Kentridge \, Fernand Léger\, Len Lye\, Norman McLaren\, Diego Perrone\, Fratelli Quay\, Robin Rhode\, Jan Švankmajer\, Stan Vanderbeek\, Kara Walker. \nEdited by Lorenzo Giusti and Elena Volpato \nFrom 30 May to 29 June 2014 the MAN museum in Nuoro presents the exhibition “Passo a due. The avant-gardes of the movement”. The project\, curated by Lorenzo Giusti\, director of the MAN Museum\, and Elena Volpato\, curator of the GAM in Turin\, responsible for the Artist’s Film and Video Collection\, delves deeper\, through a cross-section that from the origins of animated cinema to the present day \, one of the most fascinating aspects of animation works\, that possibility cherished by many artists and filmmakers of using filmic movement as a magical ritual that gives life to the drawing line\, the silhouette\, the puppet or the photographic image. \nThe creative\, properly demiurgic imagination\, which is often underlying drawing and representation through figures\, takes on the bewitching traits of enchantment\, of a life that is a dance of fantasy\, through movement and musical rhythm. It is no coincidence that artists and film-makers\, when approaching the different animation techniques\, often focus on the body image and link to it evocations of the figure of Frankenstein\, the Golem or the robot\, and in general of artificial birth of a body\, as if they wanted to repeat in the mythical tale their own power as animators: to give soul to the inanimate. \nThe works on display therefore offer the possibility of a historical journey in experimental and artistic animation\, through the image of the body\, its construction and its “assembly”. When the animation is based on drawing everything seems to arise from a line\, as in pioneering Phantasmagoria by Émile Cohl (1908) or in Lifeline (1960) by Ed Emshwiller\, where the continuous white line is enveloped in knots of matter which little by little become organic arabesque\, mixing with the photographic image of a dancer’s body. Or as in Head by George Griffin (1975)\, where the basic shape of the face and the artistic tradition of the self-portrait are stripped of any realistic detail and then unexpectedly revived with emotional expressiveness and psychological nuances rendered pictorially. \nIn other works the drawing leaves room for sculpture and the myth of Pygmalion connected to it\, as in the case of Jan Švankmejer who in Darkness Light Darkness (1990) shows a body capable of self-shaping\, starting from the two hands\, closed in a room\, into which all the limbs flow in sequence to form a unit. Švankmejer’s two hands have an antecedent in the surrealism of Alexeieff and Parker with The nose (1963)\, where single\, rebellious and independent arts claim for themselves the power of the vital spell\, and seem to find a recent development in some works by Nathalie Djurberg and Hans Berg. \nThe tale of Frankenstein lives explicitly in Len Lye’s film\, Birth of a robot (1936) and again in Street of Crocodiles (1986)\, by the Quay Brothers\, or in the video by Max Almy\, The Perfect Leader (1983)\, where what is artificially constructed is not a creature destined to serve its creator\, as in Frankenstein and the Golem\, but it is the future political leader who is programmed on the computer so that in his dictatorial ferocity he reflects the society that wanted him and created. \nOther works represent the body as a place of construction\, not of individual identity\, but of social identity. This is the case of the famous one The idea (1932) by Berthold Bartosh\, but also\, in a different way\, by the works of William Kentridge\, in which the pain of the masses leaves traces of black dust on the white pages of history compared to the immodest bodies bathed in the blue water of the rich tycoons. This is the case of Kara Walker’s silhouettes\, also black against the white background\, tortured and violated by colonial ferocity. \nFinally\, it is dance\, the ultimate expression of beauty in movement\, which allows us to show the magic of the animated body in the most diverse places of thought and imagination: in Easter Eggs by Segundo de Chomón (1907)\, in Ballet Mecanique by Fernand Léger\, where machine and body tend to merge into a single moving subject\, in the absolute space of Pas de deux by McLaren\, on the astrological night of The Very Eye of Night (1958) by Maya Deren or in the two-dimensional universe of Robin Rhode’s drawing\, where body and drawing meet on a single plane of reality and dream. \nThe itinerary is completed by the works of Claudio Cintoli (More\, 1964)\, in which the aesthetic matrix of Pop Art disarticulates the identity of the body in clothes and advertising products; by Stan Vanderbeek (AfterLaughter\, 1982)\, where the movement of the body in space becomes modified through time\, as in a phylogeny of the human\, and by Claus Holtz & Harmut Lerch (Portrait Kopf 2\, 1980) in which the overlapping animation of faces and heads leads\, in a backwards\, anti-Lombrosian path\, to an original unity of the human trait. Finally\, the most recent works by Diego Perrone (Totò naked\, 2005) where the icon of Totò is broken down and recomposed with a mechanism that does not forget the actor’s ability to become a puppet\, an inanimate body\, and Noa Gur (White Noise\, 2012) whose linguistic essentiality ideally closes the journey\, restoring the ancient root of drawing to the animation of the body: the capture\, through the simple technique of the imprint\, of an individual and his vital breath. \nA bilingual catalog published by NERO will accompany the exhibition. URL:https://www.museoman.it/en/event/step-two/ 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/image001-nUaNWu.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20140307T000000 DTEND;TZID=Europe/Rome:20140518T000000 DTSTAMP:20260614T090824 CREATED:20240417T141425Z LAST-MODIFIED:20240423T085936Z UID:4089-1394150400-1400371200@www.museoman.it SUMMARY:Sardinia Reportage DESCRIPTION:The commission of the “Sardegna Reportage” competition\, which met in Nuoro on 24 February\, identified six projects among the one hundred and twenty presented to the MAN Museum by as many competitors\, highlighting in particular the work of Manuela Meloni\, “The land of memory”. \nThe other projects indicated by the commission are those of Alessandra Cecchetto with “Cleopatra Uras”\, Elisabetta Loi and Sergio Melis with “The courage of a mother”\, Stefania Muresu with “Luci a mare”\, Giuseppe Onida with “Senza titolo” and Stefano Pia with “Quail Penne”. \nInspired by the story of Robert Capa\, to whom the MAN will dedicate an important retrospective starting from March 7th\, the “Sardinia Reportage” competition sought an updated vision of today’s Sardinia through the gaze of photographers. Consistent with what was requested\, the works identified by the jury stand out for their ability to approach the chosen subject and for their courage in describing contemporary aspects of the island\, outside of clichés and traditional clichés. Of the various works\, the original motivations and intentions\, the importance\, from a social point of view\, of the chosen theme and the communicative power of the images were evaluated\, even before the formal elements. \nThe commission – composed of Gian Luigi Colin\, artistic director of the Corriere della Sera and of the cultural insert La Lettura\, Paolo Curreli\, editor of the cultural pages of Nuova Sardegna and Max Solinas\, journalist\, photo editor and photojournalist of the Unione Sarda – has thus motivated the choice made: \n“The large participation in the competition and the high quality of many of the projects presented convinced us to select six works\, different from each other in their approach to photography\, formal sensitivity\, chosen themes and language. Among all\, we would like to point out Manuela Meloni’s project\, dedicated to the fate of the lands of Quirra\, an area of ​​central-eastern Sardinia\, home to a military easement known as PISQ\, now abandoned. The ten photographs presented\, part of a broader research carried out during 2013\, describe with formal rigor and sensitivity of gaze the strange union between military architecture and agricultural landscape\, describing the “immutable and suspended” atmosphere of the life of the local communities . The importance of the chosen theme\, specific and universal at the same time\, the quality of the shots\, the charm of the color ranges\, the coherence of the points of view\, make this project extremely interesting and worthy of attention”. \nManuela Meloni’s project\, together with a selection of shots of the other projects selected by the commission\, will be exhibited at the MAN Museum starting next March 7\, in conjunction with the exhibition dedicated to Robert Capa. URL:https://www.museoman.it/en/event/sardegna-reportage/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Focus Sardegna,MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/foto/mo/man_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20140131T000000 DTEND;TZID=Europe/Rome:20140302T000000 DTSTAMP:20260614T090824 CREATED:20240417T141426Z LAST-MODIFIED:20240423T085934Z UID:4088-1391126400-1393718400@www.museoman.it SUMMARY:Cristian Chironi DESCRIPTION:“Cristian Chironi. Open” is a project of the MAN Museum of Nuoro in collaboration with the Fondation Le Corbusier of Paris. Focused on the analysis of problems of a communicative and social nature in relation to the contamination of languages\, the project involves the creation of an exhibition at the MAN Museum in Nuoro\, entitled Broken English\, the development of a second exhibition project\, My house is a Le Corbusier\, to be completed in the autumn of 2014\, and the publication of a book\, published by NERO\, to integrate and document the two different experiences. \n\n\n\nOPEN #1: Broken English\n\n\n“Broken English” is the title of Cristian Chironi’s exhibition at the MAN Museum. The term indicates the uncertain variants of the English language\, poorly structured terminologies mostly coined by non-native speakers. Variants which\, within the project\, from simple elements of language become images\, objects\, sounds\, videos\, texts\, installations and actions expressed in a multidisciplinary exhibition itinerary that integrates linguistic problems (communication\, contamination\, dis-identity) with questions of socio-economic character. The project arises from the emergence of some fundamental questions: Is a society that possesses different languages\, therefore different forms of expression\, more or less strong\, more or less rich\, than a society that possesses only one? Is it conceivable that there is only one language\, one market\, one currency in the world?In addition to the identification of a series of significant linguistic episodes\, the exhibition at the Man Museum starts from the reinterpretation of an important figure for 19th century Sardinia: the Welsh engineer Benjamin Piercy\, who built the first railway line on the island. He lived for a long time in Sardinia\, where he came to own various estates\, including Villa Piercy\, immersed in a magnificent English park in the center of Sardinia\, which he lived in with his family. In the park\, together with native species\, plants of different origins still live today: Greek fir\, Caucasian fir\, Spanish fir\, Himalayan cedar. In addition to plants\, Piercy also imported animals from abroad to improve the local pig\, sheep and goat breeds\, each time creating new\, more resistant and profitable crosses. \n \n\n\n\nOPEN #2: My house is a Le Corbusier\n\n\n“My house is a Le Corbusier” is the title of Cristian Chironi’s second exhibition within the “Open” programme. The project\, to be carried out in the autumn of 2014\, is inspired by an event that actually happened in Orani (NU)\, Chironi’s town of origin. In the early seventies the artist Costantino Nivola\, a friend of Le Corbusier and his collaborator\, arrived in Orani with in his hand the project of a house created by the great architect for Costantino’s nephew\, Daniele Nivola (a bricklayer by profession)\, as a gift from wedding. The story of Daniele’s modification of the project – unaware of the architect’s fame and insensitive to his artist uncle’s recommendations regarding the need to slavishly execute the project’s indications – is a singular example of contamination\, of a mixture of popular\, spontaneous architectural languages \, and cultured languages.In fact\, Daniele did not respect Nivola’s wishes\, bending Le Corbusier’s project to his own needs. “And from the grapes I glimpsed those who did not juchiat neither jannas nor portellos” (but where did I enter from that had neither doors nor windows?)”. This seems to have been the response to Constantine’s protests. Starting from the analysis of the relational dynamics that determined the episode and from the study of the architectural results of Orani’s house\, developed by applying critical thinking functional to the modernist principles of Le Corbusier\, Chironi’s project once again interweaves reflections on foundational linguistic aspects and on consequent socio-economic implications. URL:https://www.museoman.it/en/event/cristian-chironi/ 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/IMG_5748-vxBd3B.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20131207T000000 DTEND;TZID=Europe/Rome:20140126T000000 DTSTAMP:20260614T090824 CREATED:20240417T140915Z LAST-MODIFIED:20240417T140915Z UID:5038-1386374400-1390694400@www.museoman.it SUMMARY:AMACI Museum Call Artist DESCRIPTION:After having been previewed from November 6th – until December 8th – in the Teatro del Castello di Rivoli\, for its second stage the film A return was screened from 7 December 2013 to 26 January 2014 at the MAN_Museo d’Arte Provincia di Nuoro\, to continue until the end of 2014 with a calendar full of events in the AMACI associated museums of the entire peninsula\, from Naples to Gallarate\, from Milan to Pesaro\, from Rome to Matera\, from Florence to Caraglio\, from Venice to Pistoia to Bologna. Born from the collaboration between the Contemporary Architecture and Art Service of PaBAAC and AMACI\, the Museum Calls Artist project aims to actively support the contemporary system in our country\, commissioning Italian artists year after year to produce a new work that will be able to circulate in associated museums\, forming the basis for the creation and use of a common heritage. “The Museum Call Artist project – declares Beatrice Merz\, President of AMACI – was born from the common intention of AMACI and PaBAAC to concretely support Italian contemporary art museums\, in the awareness\, on the one hand\, of their fundamental role for the consolidation of Italian contemporary art and\, on the other\, of the importance of safeguarding a of the constitutive principles of a museum\, the increase and valorisation of the heritage.” For the first edition of Museo Gioca Artista\, curated by Ludovico Pratesi and Angela Tecce\, the Directors of the AMACI museums have chosen to commission the creation of a new work to the twins Gianluca and Massimiliano De Serio\, who for several years have combined their path of visual artists with cinematographic careers\, in a constant search for balance between photography\, in which they are masters\, and artistic purposes. From this call the film took shape A return \, born in a moment of creative crisis among artists\, and from their need to understand the reasons and overcome it. Making use of the collaboration of Giuseppe Regaldo – hypnotist expert in rapid hypnosis techniques – the pair of artists becomes the subject and object of a simultaneous hypnosis experiment: in this state they dialogue and film each other\, intertwining the conversation with childhood memories up to the moment prenatal\, in which they were in the maternal womb\, in a process of progressive regression without the mediation of the story. In addition to being the first experiment of its kind known to date\, in which two twins are induced into a state of simultaneous hypnosis\, it is an attempt at dialogue on the crisis they are going through\, with the aim of reaching a state of deep introspection. . A return tries to complete the transfer of the crisis from external (creative) to internal (identity)\, through a cross-gaze aimed at that normally invisible area which is the unconscious. The protagonists are themselves\, their being twins\, their talking to each other and looking at themselves in a living mirror – reiterates Beatrice Merz – I am the double\, the beginning of multiplication where the doubt of the other in himself is born . URL:https://www.museoman.it/en/event/amaci-museum-call-artist/ 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/Unritorno01_De-Serio-u6rhwA.tmp_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20131115T000000 DTEND;TZID=Europe/Rome:20140112T000000 DTSTAMP:20260614T090824 CREATED:20240417T141442Z LAST-MODIFIED:20240422T101631Z UID:4086-1384473600-1389484800@www.museoman.it SUMMARY:Gavino Tilocca DESCRIPTION:Il museo MAN è lieto di annunciare l’apertura della mostra Gavino Tilocca\, Ceramiche\, a cura di Giuliana Altea\, realizzata da EIKON snc (Nuoro) con il patrocinio dell’Assessorato al Turismo e Artigianato della Regione Sardegna e con il contributo della Fondazione del Banco di Sardegna. \nVitalismo\, senso del colore\, tensione formale sono le qualità salienti delle ceramiche di Gavino Tilocca\, una delle figure di spicco nel mondo della ceramica italiana tra gli anni Cinquanta e i Sessanta\, in un momento cioè in cui questa tecnica attraversava una fase di rinnovamento in sintonia con le nuove tendenze dell’arte e del gusto. Pluripremiato ai concorsi nazionali della ceramica di Faenza\, protagonista delle Biennali dell’artigianato sardo\, Tilocca è tra i più felici interpreti di un filone espressivo arcaizzante\, legato all’evocazione del mito mediterraneo e di una preistoria idealizzata. \nCon oltre 110 pezzi\, la rassegna del MAN è la prima a presentare un ampio spaccato della produzione ceramica dell’artista. Avvicinatosi da autodidatta a questa tecnica nel 1955\, quando già era uno scultore affermato\, Tilocca spazia dal materismo esuberante degli inizi a un espressionismo che dialoga liberamente con la ricerca plastica contemporanea\, rivisitando in modo originale la lezione di autori come Marino Marini e Henry Moore\, per poi arrivare negli anni Settanta a composizioni più controllate\, scarne e asciutte\, in cui l’indagine sulla forma brucia quasi interamente ogni residuo narrativo. \nNucleo centrale della mostra sono le piccole plastiche cui Tilocca deve soprattutto la sua fama\, ispirate al passato nuragico o al mondo popolare della Sardegna e incentrate sul motivo dell’accostamento tra figura umana e animale. Accanto a queste opere\, caratterizzate da una sintassi compositiva abbreviata e da raffinate ricerche cromatiche che ne sottolineano il tono antinaturalistco\, la mostra presenta gli altri generi e filoni tematici che hanno impegnato l’artista: \n\ngli oggetti per l’arredamento\, che privilegiano motivi associati alla tradizione sarda (come le stilizzate figure femminili in costume regionale\, o animali carichi di valenze simboliche come il cinghiale); lavori che\, per quanto realizzati in serie\, presentano sottili variazioni di colore e di modellato apportate prima della cottura\, tanto da trasformare ogni esemplare in un pezzo unico\, come rivela la scenografica Cavalcata del 1959 composta di 23 elementi.\nLa decorazione architettonica\, che\, nel clima di vivace interesse per la “sintesi delle arti” e la collaborazione tra progettisti e artisti visivi proprio del secondo dopoguerra\, rappresentava un aspetto importante nella carriera di ogni ceramista\, e che viene documentata in mostra attraverso bozzetti\, piccoli pannelli e ingrandimenti fotografici. Tilocca lascia anche in questo campo prove significative\, sia nell’ambito delle commissioni pubbliche (si pensi al suggestivo rilievo per l’esterno del Padiglione dell’Artigianato a Sassari\, eseguito nel 1956 e purtroppo oggi perduto) quanto in interventi di scala minore per alberghi o case di abitazione.\ninfine\, i ritratti\, che costituiscono un momento di continuità con la scultura\, e nei quali Tilocca adotta un linguaggio più composto e classicheggiante e un tono spesso lievemente venato di malinconia\, senza per questo dimenticare la ricchezza di spunti cromatici tipica del resto della sua produzione.\n\nGavino Tilocca (Sassari\,1911-1999)\, formatosi a Carrara con Arturo Dazzi\, esordisce come scultore verso la metà degli anni Trenta\, segnalandosi nelle mostre sindacali sarde. Sul finire del decennio debutta nella decorazione pubblica\, con la statua della Santa Barbara per la Parrocchiale di Carbonia (1938) e i rilievi dei Dieci comandamenti (1939) eseguiti in collaborazione con Eugenio Tavolara per il Tribunale di Sassari. Durante il servizio militare prosegue l’attività espositiva\, con la partecipazione alla XXII Biennale di Venezia (1940) e alla Mostra artisti italiani in Armi a Roma (1942). La crisi del monumentalismo fascista lo spinge ad abbandonare il classicismo appreso da Dazzi per una maniera più espressiva e sensibile\, percorsa da una tenue inquietudine sentimentale\, rispecchiata dai molti ritratti di fanciulle e di adolescenti. L’approdo alla ceramica arriva nel 1955\, in un momento che vede in Italia un rilancio di questa tecnica nell’ambito decorativo e in Sardegna un forte risveglio delle attività artigiane\, che sarà coronato nel 1956 dalla costruzione del Padiglione dell’Artigianato di Sassari e nel 1957 dalla fondazione dell’ISOLA (Istituto Sardo Organizzazione Lavoro Artigiano).  \nIl nuovo terreno di ricerca suggerisce a Tilocca inedite esperienze formali che lo condurranno a rinnovare anche la produzione scultorea. In veste di ceramista ottiene immediato successo di pubblico e un’ottima accoglienza da parte della critica. Protagonista nelle Biennali dell’artigianato sardo indette dall’ISOLA a partire dal 1957\, partecipa ripetutamente ai concorsi nazionali di ceramica di Faenza\, in cui è premiato nel 1959\, 1960\, 1961 e 1962; altri riconoscimenti ottiene nelle Mostre Nazionali dell’Arredamento di Monza (1958\, 1959)\, nelle mostre dell’artigianato di Firenze (1956\, 1959\, 1960) e nelle rassegne ceramiche di Gubbio (1962)\, Cervia (1963\, 1964) e Laveno Mombello (1965). La produzione di oggettistica prosegue fino all’inizio degli anni Settanta\, quella di pezzi unici qualche anno in più. Negli anni Novanta l’artista rivisita il proprio percorso nella ceramica dipingendo a freddo terrecotte eseguite in precedenza e realizzando una serie di figure femminili nere\, spoglie ed essenziali\, alcune delle quali oggi sono nella collezione del MAN.  \nCompleterà la mostra un catalogo EIKON con testi di Giuliana Altea\, Antonella Camarda e apparati di Davide Mariani. Eventi musicali a cura dell’Ente Musicale di Nuoro. URL:https://www.museoman.it/en/event/gavino-tilocca-2/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Focus Sardegna,MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20131115T000000 DTEND;TZID=Europe/Rome:20140112T000000 DTSTAMP:20260614T090824 CREATED:20240417T141441Z LAST-MODIFIED:20240423T085943Z UID:4087-1384473600-1389484800@www.museoman.it SUMMARY:Gavino Tilocca DESCRIPTION:The exhibition was curated by Giuliana Altea\, created by EIKON snc (Nuoro) with the patronage of the Department of Tourism and Crafts of the Sardinia Region and with the contribution of the Banco di Sardegna Foundation. The MAN exhibition\, with over 110 pieces\, was the first to present a broad cross-section of the artist’s ceramic production. Having approached this technique as a self-taught person in 1955\, when he was already an established sculptor\, Tilocca ranges from the exuberant materialism of the beginning to an expressionism that dialogues freely with contemporary plastic research\, revisiting in an original way the lessons of authors such as Marino Marini and Henry Moore\, and then in the Seventies he arrived at more controlled\, spare and dry compositions\, in which the investigation into form almost entirely burns away any narrative residue. \nVitalism\, sense of colour\, formal tension are the salient qualities of the ceramics of Gavino Tilocca\, one of the leading figures in the world of Italian ceramics between the 1950s and 1960s\, at a time when this technique was going through a phase of renewal in harmony with the new trends in art and taste. Multi-awarded at the national ceramic competitions in Faenza\, protagonist of the Biennials of Sardinian craftsmanship\, Tilocca is among the happiest interpreters of an archaic style of expression\, linked to the evocation of Mediterranean myth and an idealized prehistory. \nThe central nucleus of the exhibition were the small sculptures to which Tilocca owes above all his fame\, inspired by the Nuragic past or the popular world of Sardinia and centered on the motif of the juxtaposition between human and animal figures. Alongside these works\, characterized by an abbreviated compositional syntax and refined chromatic research that underlines their anti-naturalistic tone\, the exhibition presented the other genres and thematic threads that engaged the artist: furnishing objects\, which favor motifs associated with the Sardinian tradition (such as the stylized female figures in regional costume\, or animals full of symbolic values ​​such as the wild boar)\, the architectural decoration\, (which\, in the climate of lively interest in the “synthesis of the arts” and the collaboration between designers and visual artists of the post-war period\, represented an important aspect in the career of every ceramist\, and which is documented in the exhibition through sketches\, small panels and photographic enlargements) and finally\, the portraits\, which constitute a moment of continuity with sculpture\, and in such as Tilocca adopts a more composed and classical language and a tone often slightly tinged with melancholy\, without forgetting the richness of chromatic cues typical of the rest of his production. URL:https://www.museoman.it/en/event/gavino-tilocca/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Focus Sardegna,MAN ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/foto/mo/man_.jpg END:VEVENT END:VCALENDAR