BEGIN:VCALENDAR VERSION:2.0 PRODID:-//MAN_Museo d'Arte della Provincia di Nuoro - ECPv6.16.3//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:MAN_Museo d'Arte della Provincia di Nuoro X-ORIGINAL-URL:https://www.museoman.it/en/ X-WR-CALDESC:Events for MAN_Museo d'Arte della Provincia di Nuoro REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:Europe/Rome BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20110327T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20111030T010000 END:STANDARD 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 END:VTIMEZONE BEGIN:VEVENT DTSTART;VALUE=DATE:20150515 DTEND;VALUE=DATE:20150629 DTSTAMP:20260614T123005 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:20260614T123005 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:20260614T123005 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:20260614T123005 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:20260614T123005 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:20260614T123005 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:20260614T123005 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:20260614T123005 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:20260614T123005 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:20260614T123005 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:20260614T123005 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:20260614T123005 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:20260614T123005 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:20260614T123005 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:20260614T123005 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:20260614T123005 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:20260614T123005 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:20260614T123005 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 BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20130913T000000 DTEND;TZID=Europe/Rome:20131103T000000 DTSTAMP:20260614T123005 CREATED:20240417T140949Z LAST-MODIFIED:20240417T140949Z UID:5031-1379030400-1383436800@www.museoman.it SUMMARY:Arm DESCRIPTION:“Braccia” is a two-stage project by the artist Alessandro Biggio (Cagliari\, 1974)\, born from the need to experiment with a different relationship between conception and realization in the production of the work of art. Supported by the MAN Museum of Nuoro and the Marino Marini Museum of Florence\, the project sees\, for the exhibitions scheduled at the MAN Museum\, the participation of six international artists – Alexandra Bircken (Cologne\, Germany 1967)\, Michael Höpfner (Krems\, Austria 1972 )\, Luca Francesconi (Mantua\, Italy 1979)\, J. Parker Valentine (Austin\, USA 1980)\, Ian Pedigo (Anchorage\, USA 1973) and Luca Trevisani (Verona\, Italy 1979). \nThe artists involved\, selected by Biggio according to criteria of affinity and proximity to his own work\, were asked to develop a project for the creation of an unpublished work starting from some general information\, different from time to time\, and from the exchange what resulted from it. Once the project was defined\, Biggio took charge of its implementation\, keeping faith with the indications received. \nAll the works were created in Sardinia\, where Biggio resides\, far from their intellectual authors. The condition of distance\, together with the principle of delegation\, becomes one of the key elements of this project. In addition to the emergence of specific dynamics linked to the creative processes of the work of art\, “Arms” seeks to break the semantic association between the concepts of insularity and isolation\, promoting an alternative idea of ​​insularity\, as a place of relationship. \nThe project conceived by Biggio also opens a discussion on the principle of authorship\, revealing widespread mechanisms in the art production system. Who is the author of the works created? How do the mind and arms interact? And how much do they depend on each other? And viceversa? The choice to trace the authorship of the works produced to both subjects – therefore to the different intellectual authors\, but also always to Biggio himself – promotes the idea that in each of the two generative moments of the work – the intellectual and the material – there is a creative component\, as obvious as it is difficult to recognise. \nThe paths to arrive at the definition of the projects and the way of understanding the relationship between creator and material executor are extremely different for each of the artists involved. The duration and intensity of the discussion are different and the level of detail of the different projects\, the level of involvement during its implementation and its actual duration are different. \nSpecifically for this first stage in Nuoro\, Luca Francesconi developed a project starting from a material full of suggestions and implications: Pau obsidian. Luca Trevisani’s work focuses on the concept of border (inside/outside; perishable/lasting ). Distance\, silence\, journey\, are some of the recurring words in the long exchange with Michael Höpfner. With Ian Pedigo the work takes shape starting from reflections and exchanges on the relationships between transparency\, architecture and body. The path taken with J. Parker Valentine led to a three-dimensional drawing\, a spine\, a worm\, a stem. Finally\, a saddle\, the body and absence are the elements from which Alexandra Bircken’s project took shape. \nA bilingual catalog with the documentation of all the works carried out as part of the project will be published\, thanks to the contribution of the Banco di Sardegna Foundation\, on the occasion of the second exhibition\, scheduled at the Marino Marini Museum in Florence starting next December. URL:https://www.museoman.it/en/event/arm/ 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/CREDIT-PHOTO-MARIACARMELA-FOLCHETTI-BRACCIA-bycV7G.tmp_-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20130705T000000 DTEND;TZID=Europe/Rome:20130901T000000 DTSTAMP:20260614T123005 CREATED:20240417T141444Z LAST-MODIFIED:20240423T085939Z UID:4084-1372982400-1377993600@www.museoman.it SUMMARY:Rosanna Rossi DESCRIPTION:For the cycle Sardinia in abstract\, the MAN Museum\, on the occasion of the Sardinia Literary Festival\, “The island of stories”\, is pleased to announce the opening of the exhibition to the public Testimonials by Rosanna Rossi. \nThe exhibition will be open during the days of the festival\, from 5 to 7 July\, from 10:00 to 22:00. Subsequently\, the exhibition will be open to visitors\, until 1 September 2013\, on Saturdays and Sundays from 9.30 to 12.30 and from 15.00 to 18.00\, or by appointment. \nThe project\, conceived by the MAN Museum and coordinated by Giovanni Curreli and Enrico Piroddi\, together with Giovanni Pisano and Alessandra Pinna\, reconstructs Rosanna Rossi’s intense artistic career through a selection of abstract works created between the early 1970s and the present day. \nWithout a definable focus\, Rosanna Rossi’s works present impalpable boundaries\, determined exclusively by the physical size of the canvas. Apparently orderly and sequential\, the works created since the beginning of the Seventies are actually characterized by accelerations and continuous deviations that transform points into segments and straight lines into wavy paths. \nWhat derives from this is the voluntary emergence of intermediate elements\, normally considered secondary: the void between the solids\, the pauses of light\, the tension between the graphic fields. \nRosanna Rossi was born in Cagliari in 1937\, where she still lives and works. After completing his studies at the Zileri Art Institute in Rome\, in 1958 he returned to Sardinia where he began to exhibit regularly. He is among the founding artists of “Studio 58”\, a free debate group oriented towards the renewal of artistic languages ​​and the promotion of exhibition activity. With the group he exhibited on several occasions\, initially presenting works characterized by an expressive figuration altered by material suggestions\, in contrast with the folkloristic languages ​​of local painting. \nIn the following decade\, Rosanna Rossi’s research is oriented towards abstraction\, interacting naturalistic reminiscences in the use of color and neo-informal connotations of signs. Since then\, despite periodic trespassing into the realm of the ready-made\, the artist has always maintained a design ambivalence\, oscillating between a constructive order of concrete origin and abstract material-expressive solutions\, to which he has combined a parallel research in field of assembly\, with the use of poor or commonly used materials for the creation of sculptural objects and installations. \nThe strength of Rosanna Rossi’s work\, presented in almost sixty years of activity in prestigious contexts\, both in Italy and abroad\, is demonstrated by the numerous critical texts dedicated to her by authors such as Gillo Dorfles\, Lea Vergine\, Marisa Volpi \, Tommaso Trini\, Enrico Crispolti\, Fred Licht\, Marcello Venturoli\, Maria Luisa Frongia\, Mario Ciusa Romagna\, Salvatore Naitza\, Placido Cherchi and others. \nSardinia in abstract is a cycle created by the MAN Museum dedicated to abstraction in the artistic production of the last fifty years. The cycle includes a series of personal exhibitions by Sardinian-born or resident artists who\, since the 1970s – and in some cases even earlier – have developed research in the field of abstraction and who are still active on national circuits today. The exhibition aims to highlight variations and recurrences of the different productions\, placing historical works alongside recently created works. The first appointment of the cycle\, which was held at the MAN Museum in May and June 2013\, was dedicated to Italo Antico (Cagliari\, 1934). URL:https://www.museoman.it/en/event/rosanna-rossi/ 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:20130614T000000 DTEND;TZID=Europe/Rome:20130901T000000 DTSTAMP:20260614T123005 CREATED:20240417T141443Z LAST-MODIFIED:20240423T085941Z UID:4085-1371168000-1377993600@www.museoman.it SUMMARY:The Invention of Sardinia DESCRIPTION:The MAN Museum and the Municipality of Orosei\, in collaboration with the Superintendence for Architectural\, Landscape\, Historical\, Artistic and Ethnoanthropological Heritage for the Provinces of Sassari and Nuoro and with the Department of Humanistic and Social Sciences of the University of Sassari\, are pleased to announce the opening of the exhibition “The invention of Sardinia. Painting from the MAN and Mus’A collections – 1900-1950”. \nCurated by Giuliana Altea and Maria Paola Dettori\, the exhibition aims to provide a detailed picture of pictorial production in Sardinia in the first fifty years of the 20th century through some notable works coming mainly from the collections of the MANe Museum of the Mus’A in Sassari. The itinerary develops in two sections\, the first dedicated to the process of construction of a new Sardinian identity by the artists (MAN Museum in Nuoro)\, the second dedicated to the theme of the representation of the Sardinian landscape (L’Ormeggio di Orosei). The project takes the opportunity of the return to Nuoro\, after restoration work\, of some works from the MAN’s Sardinian art collection\, including “The Expulsion of the Arrendadore” by Mario Delitala\, which will be presented to the public in the exhibition together with the four allegorical lunettes that made up the decoration of the council hall of\nMunicipality of Nuoro (1924-26). \nOn Saturday 15 June\, the opening day of the section dedicated to the Sardinian landscape\, at 5.00 pm\, in the Siena Room of the Giovanni Guiso Museum in Orosei\, a conference open to the public will be held in which some of the themes addressed in the exhibition will be explored in depth. Among the speakers Lorenzo Giusti\, director of the MAN Museum\, Giuliana Altea\, professor of History of Contemporary Art at the University of Sassari\, Maria Paola Dettori\, official of the\nSuperintendency of Sassari\, Maria Albai\, restorer\, Antonella Camarda\, art historian\, Michele Carta\, researcher (Giuseppe Guiso Study Center). \n\n\n\n\nThe Construction of Identity\n\n\nThe first fifty years of the twentieth century were those in which Sardinian artists and intellectuals developed and defined a new image of Sardinia. The perception of an economically and socially backward land is replaced by the vision of an uncontaminated Eden\, immune from the failures of civilization and progress. The agro-pastoral culture\, once considered an expression of backwardness\, is now taken as the cornerstone of the new representation of the Island. The Sardinian rural reality is first observed through the filter of a naturalism still of a nineteenth-century nature by painters such as Giacinto Satta\, Antonio Ballero\, Mario Paglietti\, Giuseppe Altana. Then\, in the primitivist climate of the 1910s\, she was portrayed in an exotic and decorative key by Giuseppe Biasi and by young people influenced by her example\, such as Carmelo Floris\, Mario Mossa De Murtas\, Edina Altara\, Melkiorre Melis\, Paolo Maninchedda\, Tona Scano. \nThe experience of war and the trenches marks the spread of the new feeling of identity at a popular level; consolidated with the birth of the Sardinian party\, this did not disappear even during fascism. In the 1920s\, it was above all Mario Delitala\, Filippo Figari and Stanis Dessy who acted as interpreters with a realist painting nourished by classical echoes\, centered on the themes – typical both of the ideology of the regime and of the Sardinian ethics – of work\, family\, faith . These are themes exemplary reflected in Mario Delitala’s decoration for the council room of the Municipality of Nuoro (1926)\, of which\, on the occasion of the restoration of the large MAN painting “The Expulsion of the Arrendadore”\, already the focal center of the room\, it will be reconstructed in shows the entire decorative complex.\nIn the years between the two wars\, with the contribution of artists such as Cesare Cabras\, Pietro Antonio Manca\, Giovanni Ciusa Romagna\, Antonio Mura\, Tarquinio Sini\, Francesca Devoto\, the foundations of a regionalist iconography were laid which would dominate Sardinian painting even in the two decades later\, while the robust initial realism would subsequently weaken and soften with the fading of the ideological assumptions that had guided its birth. But already during the 1930s alternative paths to the prevailing discourse show two eccentric figures such as that of Brancaleone Cugusi da Romana\, with a solemn figuration\, full of Renaissance echoes but also imbued with romanticism\, and of Salvatore Fancello\, whose tender\, fantastic transfiguration and ironic of a Sardinia relived in memory closes the exhibition itinerary. THE SARDO LANDSCAPE | THE MOORING\, Orosei\nThe second section is more specifically focused on the theme of the representation of the Sardinian landscape.\nIntensely frequented by protagonists of the local context of the early twentieth century such as Antonio Ballero and\nFelice Melis Marini\, the landscape appears in a new light in the works of the painters of the 1910s\, a period in which\nthe habit of staying in places in the interior of the island began to spread among artists. Joseph’s\nBiasi\, Mario Mossa De Murtas or Melkiorre Melis is a landscape “in costume” as are the human presences\nwho populate it; a colorful backdrop for the unfolding of festivals and processions\, stylized in geometric cadences\nwhich transform the panorama of the mountain valleys and villages into nativity scenes.\nThe more austere and meditative climate of the post-war period is reflected in the sober melancholy of the views\nof Carmelo Floris and in the monumentality of those of Filippo Figari\, as\, later\, in the dry colors of the villages\nby Giovanni Ciusa Romagna. But we can say that everyone\, protagonists and supporting actors of painting\, dedicate themselves to landscape\nSardinian of the first half of the twentieth century\, dividing up areas and areas of relevance: Olzai to Carmelo Floris\, Aritzo to\nStanis Dessy\, Arzana to Mario Delitala\, Campidano to Cesare Cabras\, etc.\nAfter the Second World War\, the intense local characterization of early twentieth-century views definitively disappeared\nto make way for more generic images\, often suffused with romance and nostalgia. Ideal caesura\, e\nend of the exhibition\, is the landscape with flock by Maria Lai from 1959\, in which organic and inorganic nature come together\nseamlessly in the extreme formal reduction of the image. \n\n\n\n\nTHE SARDINIAN LANDSCAPE | THE MOORING\, Orosei\n\n\nThe second section is more specifically focused on the theme of the representation of the Sardinian landscape.\nIntensely frequented by protagonists of the local context of the early twentieth century such as Antonio Ballero and\nFelice Melis Marini\, the landscape appears in a new light in the works of the painters of the 1910s\, a period in which\nthe habit of staying in places in the interior of the island began to spread among artists. Joseph’s\nBiasi\, Mario Mossa De Murtas or Melkiorre Melis is a landscape “in costume” as are the human presences\nwho populate it; a colorful backdrop for the unfolding of festivals and processions\, stylized in geometric cadences\nwhich transform the panorama of the mountain valleys and villages into nativity scenes.\nThe more austere and meditative climate of the post-war period is reflected in the sober melancholy of the views\nof Carmelo Floris and in the monumentality of those of Filippo Figari\, as\, later\, in the dry colors of the villages\nby Giovanni Ciusa Romagna. But we can say that everyone\, protagonists and supporting actors of painting\, dedicate themselves to landscape\nSardinian of the first half of the twentieth century\, dividing up areas and areas of relevance: Olzai to Carmelo Floris\, Aritzo to\nStanis Dessy\, Arzana to Mario Delitala\, Campidano to Cesare Cabras\, etc.\nAfter the Second World War\, the intense local characterization of early twentieth-century views definitively disappeared\nto make way for more generic images\, often suffused with romance and nostalgia. Ideal caesura\, e\nend of the exhibition\, is the landscape with flock by Maria Lai from 1959\, in which organic and inorganic nature come together\nseamlessly in the extreme formal reduction of the image. URL:https://www.museoman.it/en/event/linvenzione-della-sardegna/ 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:20130614T000000 DTEND;TZID=Europe/Rome:20130818T000000 DTSTAMP:20260614T123005 CREATED:20240417T141445Z LAST-MODIFIED:20240423T085938Z UID:4083-1371168000-1376784000@www.museoman.it SUMMARY:The Fantastic Library DESCRIPTION:The fantastic library is a project by Cherimus\, an association active for several years in Sulcis and dedicated to the use of contemporary art as a tool for enhancing the territory\, in collaboration with the School of the trip And Oxfam Italy\, and involved the Municipalities of Giba\, Masainas\, Perdaxius\, Piscinas\, Santadi and Villaperuccio and the Province of Carbonia Iglesias. Curated by Emiliana Sabiu\, the exhibition wanted to tell the adventurous journey of a large group of middle school children and fifteen artists\, musicians\, photographers and directors\, coming from different parts of the world. It was the journey of Fantastic Library \, which at the MAN in Nuoro\, was transformed from a project to enhance the Sulcis libraries into an opportunity to meet and share relational and artistic processes. \nThe fantastic library it was meeting 76 kids from six villages in Sulcis\, inviting 12 artists and musicians to let themselves be carried away by the kids. Abandon preconceived ideas\, transform them\, make them grow. Accepting the crisis and doubt as part of the game\, as the first step from which to then rebuild something that is no longer just one’s own. The shock of sharing and transforming an idea that starts from a twelve-year-old boy\, passes through the head of an artist\, flows out and bounces again. Comparing different cultures\, creating encounters\, explosions\, waves. \nRoma\, Arab\, Wolof and Caribbean worlds\, concentrated in 6 libraries in six small Sulcis towns. Six libraries in a corner of Sardinia like six screening rooms in Manhattan or Berlin. Senegalese percussion\, impossible disguises made of paper and bags that take you to Mars\, stories full of suspense and love\, suspended between real and imaginary worlds\, drawings\, collages and puppets: everything constitutes material for telling stories\, for narrating about oneself. An exhibition that recounted a year-long journey. URL:https://www.museoman.it/en/event/la-biblioteca-fantastica/ 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:20130518T000000 DTEND;TZID=Europe/Rome:20130609T000000 DTSTAMP:20260614T123005 CREATED:20240417T141455Z LAST-MODIFIED:20240423T085936Z UID:4082-1368835200-1370736000@www.museoman.it SUMMARY:Ancient Italian DESCRIPTION:The MAN Museum is pleased to announce the inauguration of the exhibition “Ipotesi”\, by Italo Antico. \nBorn in Cagliari in 1934\, after a childhood spent between Trieste\, Cagliari and Naples and after some youthful experiences as a cabin boy and long-term captain on the routes to the Americas and the Orient\, Italo Antico came to sculpture around the mid-1960s and since then he has devoted himself predominantly to this\, together with other activities such as painting\, carpet design\, ceramics and jewellery. \nLong-time resident in Milan\, where he has exhibited regularly since the mid-1970s\, Antico is the author of works in stainless steel\, with an abstract-structuralist approach\, which develop the themes of the line and the set of lines as modulation tools of space. Inclined or angled lines which\, over time\, have increasingly taken on an environmental value\, occupying architectural spaces\, both indoors and outdoors\, of which\, through changing solutions\, they seem to want to overcome the limits. \nOne of the most original Sardinian artists of his generation\, for the MAN Italo Antico Museum he conceived an exhibition project that includes six works\, of which five created between the mid-seventies and the end of the following decade – among the most significant of his career sculptural – and one created for this occasion. \nThe five works from the Seventies and Eighties exemplify the artist’s thought\, his approach to sculptural construction\, his attempt\, reiterated over time\, to conquer space through the sign. Works\, as Gillo Dorfles wrote already in 1976\, which undermine the idea of ​​plastic mass\, which deny any principle of monumentality to open up to a vision of the world “in which sculpture increasingly takes on the function of personalizer of an environment\, of index inserted within a context”. \nThe recent work\, “Vita Sospesa”\, the fulcrum of the entire exhibition project\, is the last of a cycle dedicated to his son Angelo\, who died prematurely a year ago. The sculpture\, composed of a bundle of steel rods \, typical of Italo Antico’s production\, rests on a base of books that belonged to the son and is covered with a wet white cloth from which the folds of the auctions can be seen. To be treated\, with the delicacy and lightness of which Antico\, like few others\, is capable\, are the themes of memory\, transparency and abandonment\, evoked here both in the way of treating the materials and in the forms created. \nConceived as an opportunity to reread the artist’s work and at the same time as a look\, however limited\, at his activity today\, which is more intense and full of ideas than ever before\, Italo Antico’s exhibition at the MAN Museum opens a cycle of events dedicated to abstraction in Sardinian artistic production of the last fifty years. URL:https://www.museoman.it/en/event/italo-antico/ 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:20130518T000000 DTEND;TZID=Europe/Rome:20130518T000000 DTSTAMP:20260614T123005 CREATED:20240417T141458Z LAST-MODIFIED:20240423T085938Z UID:4079-1368835200-1368835200@www.museoman.it SUMMARY:Federico Carta DESCRIPTION:Curated by Marco Peri\, the project saw the creation of a large mural on the facade of the building in front of the MAN entrance\, first covered with a paneled surface in construction wood. A public art operation and at the same time urban redevelopment\, the mural was executed in the days between 14 and 15 May and concluded on Saturday 18 May in the presence of the public. The different stages of realization of the work were documented by the videomaker Gian Mario Atzeni (Giado). \nBorn in Cagliari in 1984\, Federico Carta\, aka crisa \, approached the world of writing at a very young age. In 2001 he began painting on recycled materials\, focusing on an original style that projected him onto a new artistic path. Alongside the spray can – a favored tool in traditional writing – Carta combines experimentation with different techniques such as water-based paint\, oil tempera and enamel. Made on canvases\, rusty sheets or other recycled supports\, Federico Carta’s works deal with the theme of the relationship between nature and urbanisation. \nCarta lives and works in Cagliari\, has painted many walls in his city and exhibited his works in various galleries\, in Sardinia and abroad. Since 2008 he has been involved in social work with artistic projects aimed at young people in the Quartucciu juvenile prison and in the Cagliari psychiatric service. In 2009\, one of his site-specific interventions enriched the collection of the Tiscali Campus of Sa Illetta. In 2011 he exhibited at the PAV of the Time in Jazz Festival in Berchidda\, within the exhibition Earth . \nThe inauguration of Federico Carta’s project was included in the events organized by the MAN Museum on the occasion of Museum Day. The event\, which took place in the street\, was accompanied by a DJ SET by Stefano Ferrari (http://www.menion.org/). Composer and instrumentalist born in Nuoro\, his productions are a mix of electronic music\, Glitch Hop\, Ambient and post-rock. URL:https://www.museoman.it/en/event/federico-carta/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Focus Sardegna,MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20130323T000000 DTEND;TZID=Europe/Rome:20130421T000000 DTSTAMP:20260614T123005 CREATED:20240417T141457Z LAST-MODIFIED:20240423T085939Z UID:4080-1363996800-1366502400@www.museoman.it SUMMARY:Little hands DESCRIPTION:The MAN is pleased to announce the inauguration of the “Manine” exhibition\, dedicated to the creations created within the museum’s laboratory activities over the last ten years. \nPresented as true works of art\, with adequate exhibition standards\, the works – a selection of the most intense and original preserved in the archives of the educational department – will be visible until 21 April 2013 in the museum’s project room. \nOn display are drawings\, paintings\, collages\, terracotta and ceramic sculptures\, photographs and installations created between 2003 and 2013 by the youngest artists from the Barbagia area and the surrounding area\, pupils from nursery and primary schools who are now mostly high school students. \nA journey back in time\, which through a series of “small masterpieces” traces the history and themes of the main exhibitions held at MAN since the opening of its current headquarters\, in via Satta 27. \nA unique opportunity for young students to rediscover their childhood visions and for their parents to relive\, through a series of curious and captivating images\, some important stages of their education and growth. URL:https://www.museoman.it/en/event/manine/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Focus Sardegna,MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20130302T000000 DTEND;TZID=Europe/Rome:20130331T000000 DTSTAMP:20260614T123005 CREATED:20240417T141309Z LAST-MODIFIED:20240417T141309Z UID:5018-1362182400-1364688000@www.museoman.it SUMMARY:Giovanni Nonnis DESCRIPTION:On the occasion of Marino Marini’s retrospective\, Horses and riders \, extended until March 10\, 2013\, the MAN Museum is pleased to announce the opening of a new exhibition project dedicated to the equestrian theme: Giovanni Nonnis: SOS cabaddos . \nBorn in 1929\, Nonnis played an important role in the post-war Sardinian artistic context. Influenced at a young age by the painters Pietro Antonio Manca and Giuseppe Biasi\, over the course of his career he developed an original language characterized by a marked expressiveness\, with stylized features and bright\, contrasting chrome. \nKnown above all for his paintings of warriors inspired by Nuragic statuary\, between the end of the 1950s and 1975\, the year of the painter’s death\, who died prematurely in a road accident\, Nonnis created a large series of drawings and paintings on paper depicting horses in movement. Compared to the paintings of warriors\, where the themes of myth and fairy tales are treated\, Nonnis’ horses carry out a parallel\, more sober and immediate research\, in line with the stylistic solutions developed in 1959 within the Crucifixions cycle . \nThe Casa Lai exhibition complex in Gavoi will host around fifty works\, many of which are unpublished\, coming from the collection of Pier Paola Nonnis\, Giovanni’s daughter\, and from other private collections. Open to the public on Friday\, Saturday and Sunday\, the exhibition will be accompanied by a critical text by Enzo Avanzi. URL:https://www.museoman.it/en/event/giovanni-nonnis/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Extramuros,MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20121214T000000 DTEND;TZID=Europe/Rome:20130224T000000 DTSTAMP:20260614T123005 CREATED:20240417T140951Z LAST-MODIFIED:20240417T140951Z UID:5066-1355443200-1361664000@www.museoman.it SUMMARY:POST SCRIPTUM DESCRIPTION:The theme “Horses and Riders” is the subject of two parallel exhibitions curated by Lorenzo Giusti\, director of the MAN Museum\, and Alberto Salvadori\, director of the Marino Marini Museum. A profoundly Sardinian theme expressed\, on the one hand\, by the artist of our twentieth century who represented it more than anyone else\, Marino Marini\, and on the other through the gaze of some contemporary artists\, authors of video works in which the theme of knight is reread in a current key\, according to different points of view and perspectives which\, in the project as a whole\, constitute a sort of critical text in images. \n\n\n\nPost Scriptum\n\n\nConceived as a project parallel to Marino Marini’s exhibition and at the same time independent\, the “Postscriptum” exhibition presents video works created in the last ten years by Italian and international artists: Tania Bruguera (Cuba\, 1968)\, Alberto De Michele (Italy\, 1980)\, Pietro Mele (Italy\, 1976)\, Anri Sala (Albania\, 1974)\, Carolina Saquel (Chile\, 1970)\, Nedko Solakov (Bulgaria\, 1957)\, Salla Tykkä (Finland\, 1973). The selected works\, although different from each other in language\, sensitivity and purpose\, share the reference to the figures of the horse and the rider\, subjects still capable of evoking precise suggestions and becoming privileged interpreters of the present reality. \nTania Bruguera’s slideshow is a simple documentation of the performance created in 2008 in the Turbine Hall of the Tate Modern in London and replicated in Ljubljana and Cardiff. Fifth part of the Tatlin’s Whisper project\, the work consists in the application of some techniquescontrol of the masses by mounted police forces. The traditional image of the knight – and what is usually associated with this image in terms of magnificence and value – is here deconstructed through a process of decontextualization. The experience causes the viewer to reflect on the limits of authority and power in civil society. \nAlberto De Michele’s work\, Indomita Jet vs Dardo Coca (2010)\, illustrates the phenomenon of illegal horse racing in Southern Italy. Using his family members as actors\, De Michele organizes a competition in his father’s birthplace (Catania) and films the action using multiple cameras. The horse race is shown in different shots to simulate the mode of transmission done on the screens of gaming halls\, frequentedby regular bettors. \nIn Ottana (2008) by Pietro Mele\, the camera frames an initially unrecognizable glimpse of the countryside. After a few minutes a figure on horseback bursts onto the scene\, proceeding slowly forward. This is followed by others\, which accompany the slow vertical movement of the camera\, gradually revealing the identity of the place in which the scene takes place. This is the petrochemical center of Ottana\, in Sardinia\, whose fumes and appearance contrast with the archaic image of the man on horseback and with the natural context in which the site is located. A reflection on the complex relationship between nature\, living beings and progress. \nIn Anri Sala’s video\, Time after time (2003)\, a horse is trapped on the side of the road in a big city. The slowness of the movements and the thinness of the horse contrast with the speed of the lights of the cars and trucks\, which speed by regardless of the animal. A disturbing imageand moving\, whose strength is amplified by the fixity of the video camera\, which reflects on the conflictual relationship between nature and progress and on the sense of alienation in contemporary society. \nCarolina Saquel’s video\, Pentimenti (2004)\, presents a timeless scenography. Against an indistinguishable background\, in the middle of an expanse of sand\, a horse performs movements on the rider’s orders\, moves from right to left and vice versa\, passes in front of the camera and stops to perform the exercises. The orders are not pronounced directly by the jockey\, but by a voice-over that describes the development of the action\, as if it were a synthesis of the “dialogue” between the two protagonists. \nIn Knights (And Other Dreams) Nedko Solakov gives vent to his obsession with narration\, the mechanisms of fairy tales and the development of childhood and adolescent fantasies. Created between 2010 and 2012\, the work was presented as a multimedia installation at the latest edition of Documenta. In a series of video works and in other works Solakov retraces the myth of the medieval knight\, rooted in collective memory\, making it dialogue with modernity\, inserting it in contexts in which the sense of fiction is evident. In episode #8\, The Three Drummers and the Knight\, the artist realizes two of his greatest boyhood dreams: being a knight and playing drums in a rock band. \nSalla Tykkä’s video\, Airs Above the Ground (2011)\, tells the story of the fate of the Lipizzan horses. One of a kind\, these horses are born gray to become white as adults and are subjected to very harsh training that forces them to perform a dance of unnatural movements\, called “dressage”. The meaning of this work is all in the vision of a presumed beauty that clashes with the breathlessness and breathing of the horse under stress. Freedom\, beauty and perfection are only “a priori”\, abused and emptied of real meaning. URL:https://www.museoman.it/en/event/post-scriptum/ 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/CREDIT-PHOTO-GIGI-MURRU-1-eaky48.tmp_-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20121012T000000 DTEND;TZID=Europe/Rome:20121203T000000 DTSTAMP:20260614T123005 CREATED:20240417T140953Z LAST-MODIFIED:20240417T140953Z UID:5056-1350000000-1354492800@www.museoman.it SUMMARY:Werner Bischof DESCRIPTION:The exhibition\, curated by the Fondation Werner Bischof of Paris\, the Magnum Photos Agency and the Contrasto Agency\, is organized by Imago Multimedia\, a photographic agency and publishing house from Nuoro\, in collaboration with the MAN Museum of Nuoro. Over 100 photographs\, a selection of the most famous shots. Furthermore\, 30 photographs taken in Sardinia in 1950\, many of which were unpublished and presented as world premieres. \nA unique event in Sardinia\, with over 130 of Bischof’s most famous photographs combined with a series of previously unpublished shots\, the exhibition constitutes a comprehensive retrospective\, a journey into the heart of the work of one of the most important reporters of the twentieth century\, an artist recognized worldwide \, with insatiable talent. \nThe first photographer\, in 1949\, to become a member of Magnum Photos\, Werner Bischof was able to combine the documentary observation of reality\, the need not to manipulate the gaze on events\, with a lyrical\, almost intimate vision of every situation and every subject with which he found himself operating. As he stated several times\, he felt more like an artist than a photojournalist. And not many like him\, in fact\, have been able to condense\, in a few but intense years of photographic and artistic activity\, such a precise and profound\, conscious and absolutely original observation. \nRejecting the “superficiality and sensationalism” of magazines\, he dedicated much of his life to the study of traditional cultures\, often neglected\, an area that allowed him to keep his distance from publishers eager only for cover material. He thus traveled all over the world creating exceptional reportages of a social nature\, touching countries such as Japan\, Indochina\, Korea\, India – where\, in 1951\, for «Life magazine»\, he created the famous series dedicated to famine – and again\, Mexico\, Hong Kong\, Panama and Peru\, where he lost his life at just 38 years old. The images of those reports\, which appeared in the main magazines and the most important international magazines\, are visible for the first time in Sardinia thanks to the exhibition at the MAN Museum in Nuoro. \nAn important aspect of the Nuoro exhibition is the presence of an entire section dedicated to the shots that WERNER BISCHOF took in SARDINIA in 1950\, some of which were presented in their WORLD PREMIERE. \nBischof was sent to the island by «Epoca» to document the miserable working conditions of the farmers of Campidano and the miners of Iglesiente. His reportage is characterized by total immersion in the context. The seriousness of the topics covered\, which led many of his photojournalist colleagues to expressionism\, was an opportunity for him to grasp the less dramatic side of events and people. A result he achieved by using the stylistic solution of “slightly out of focus”\, capable of restoring an original freshness to the events. The photos taken in Sardinia\, in satisfying a certain degree of formal research\, find a balance between aesthetics and objective rigor in the care of the balance of the images: high cuts\, centered shots\, low and stunning close-ups with raised lights. Mastery of the technique allowed him to choose the best of an “unrepeatable” moment. His humanity is enhanced by the choice of subjects: there is the daily life of a people rather than a land\, there is the Sardinia of the people rather than the idea of ​​an abstract lineage or an offended land. And with the lightness of smile on their faces\, he managed to transcend the horrors and devastation caused by the war. URL:https://www.museoman.it/en/event/werner-bischof/ 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/CREDIT-PHOTO-GIGI-MURRU-6-viHL6g.tmp_-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20120420T000000 DTEND;TZID=Europe/Rome:20120520T000000 DTSTAMP:20260614T123005 CREATED:20240417T141506Z LAST-MODIFIED:20240423T085941Z UID:4076-1334880000-1337472000@www.museoman.it SUMMARY:DNA DESCRIPTION:With the exhibition DNA \, the MAN presented the works of its permanent collection to the public through an itinerary organized by great authors\, thematic areas and recent acquisitions and donations. The works of the MAN collection constitute the most intimate structure of the museum\, they build its history\, becoming the most visible witnesses of its constant growth. The increase in the heritage of works\, through donations and acquisitions\, responds to the nature of the museum. \n10 years after the establishment of the original nucleus of 165 works\, the MAN\, faithful to its role as an institution\, proposes a contemporary rereading of the history of Sardinian art of the twentieth century\, with works that can be considered constitutive of the local artistic panorama. As has happened in the past\, the new acquisitions are also the result of patient research work\, inspired by the same guidelines that led to the creation of the original corpus\, to give space to the testimonies of the artistic expressions that have characterized Sardinian culture\, focusing on the most representative works of the first half of the twentieth century to continue with those of more recent or contemporary artists. \nWith this setup\, which is the same as the MAN museum\, DNA. The collection it recounted the heterogeneity of Sardinian artistic history\, bringing together different worlds and styles\, experiments and innovations\, both from the point of view of themes and subjects\, and from that of creative techniques. URL:https://www.museoman.it/en/event/dna/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Focus Sardegna,MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20120420T000000 DTEND;TZID=Europe/Rome:20120520T000000 DTSTAMP:20260614T123005 CREATED:20240417T141500Z LAST-MODIFIED:20240423T085936Z UID:4078-1334880000-1337472000@www.museoman.it SUMMARY:Igino Panzino DESCRIPTION:The exhibition Catalog by Igino Panzino was the third of the cycle Soluchifera . Igino Panzino was born in Sassari where he studied at the state art institute under the direction of Mauro Manca. He began his activity in the early 1970s starting from the idea of ​​a work of art understood as the product of a peculiar and autonomous language\, endowed with infinite expressive possibilities with the creation of three-dimensional structures with a neo-constructivist geometric layout. \nIn the 80s he dedicated himself to painting\, transferring the same design approach into analytical research. On the occasion of the exhibition Catalog the latest works that make up various series will be presented\, including Domestic deities \, Urban plan \, Art commedy and others where manual skill is combined with imagination which becomes a powerful message made of joints\, overlaps and balanced relationships between lights\, shadows and colors URL:https://www.museoman.it/en/event/igino-panzino/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Focus Sardegna,MAN END:VEVENT END:VCALENDAR