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:20100328T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20101031T010000 END:STANDARD 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 END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20140711T000000 DTEND;TZID=Europe/Rome:20141012T000000 DTSTAMP:20260617T073539 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:20260617T073539 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:20260617T073539 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:20260617T073539 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:20260617T073539 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:20260617T073539 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:20260617T073539 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:20260617T073539 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:20260617T073539 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:20260617T073539 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:20260617T073539 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:20260617T073539 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:20260617T073539 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:20260617T073539 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:20260617T073539 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:20260617T073539 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:20260617T073539 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:20260617T073539 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:20260617T073539 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:20260617T073539 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 BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20120316T000000 DTEND;TZID=Europe/Rome:20120415T000000 DTSTAMP:20260617T073539 CREATED:20240417T141505Z LAST-MODIFIED:20240423T085935Z UID:4077-1331856000-1334448000@www.museoman.it SUMMARY:Primo Pantoli DESCRIPTION:Primo Pantoli’s exhibition\, like Giovanni Carta’s\, is part of the cycle Soluchifera . Primo Pantoli was born in Cesena (Forlì)\, where he completed his classical studies. \nIn 1950 he moved to Florence\, where he alternated painting with literary studies. In 1957 he settled in Sardinia\, where he taught artistic disciplines at the Liceo Artistico in Cagliari until 1990. \nHe was among the founders of the first avant-garde art groups in Sardinia (Studio ’58 in 1958; Gruppo di Initiative\, in 1961; Centro di Cultura Democratica\, in 1967). He has published writings and drawings in newspapers and periodicals\, art criticism articles in L’Unità and il Tempo; he was a satirical illustrator for Rinascita Sarda and Sardegna Oggi. \nHe has exhibited almost everywhere\, in Italy and abroad since 1952. He personally engraves and prints woodcut\, etching and drypoint works. He has designed around a hundred posters\, book covers\, brochures for the theatre\, conferences\, trade union and political demonstrations. He has created sets for theater and television (Rai 3). It has set up rooms and squares for events and conferences. Since 2000 he has dedicated himself to sculpture\, experimenting with different materials. URL:https://www.museoman.it/en/event/primo-pantoli/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Focus Sardegna,MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20120223T000000 DTEND;TZID=Europe/Rome:20120704T000000 DTSTAMP:20260617T073539 CREATED:20240417T141456Z LAST-MODIFIED:20240423T085940Z UID:4081-1329955200-1341360000@www.museoman.it SUMMARY:Tailor-made art DESCRIPTION:MAN continued its dialogue with the territory and with the city of Nuoro through the project Tailor-made art . Born from the idea of ​​a museum as a possible widespread place of creation and meeting\, Tailor-made art invited 5 Sardinian artists to create a work for the window of one of the main clothing stores in the city\, the Sotgiu Store. \n\n\n\nVincenzo Pattusi\n\n\nVincenzo Pattusi 23 February – 14 March: Linked to the manual skill of making art\, the artist paints on every type of support drawing his inspiration from everyday life and popular culture\, from comics\, as well as from experimental cinema. In a sort of virtual database it continuously acquires and re-elaborates information that comes from the most disparate channels. He presents his work as a sort of monumental tapestry that reveals belonging to the world of writers\, but also the link with the Sardinian tradition\, visible in the decorative motifs of fabrics and patterns that form the backdrop to the figures. \n\n\n\nGiulia Casula\n\n\nGiulia Casula 22 March – 11 April Through the creation of photographic works\, videos and installations\, the artist represents the visual suggestions of her daily life. It alienates the viewer\, with the intention of making them relive a personal experience\, that distant memory that emerges in the mind during half-sleep through confused sensations without detail. It’s the sensation of deja-vu\, in which familiarity and estrangement mix. His works are territorial and conceptual investigations\, reflections on time and memory\, reconstructed in an aesthetic and poetic form of social criticism. \n\n\n\nVincenzo Grosso \n\n\nVincenzo Grosso 19 April – 9 May He is interested in street art and writing. His research focuses on the sign which he investigates by experimenting with different found materials and objects\, wood\, plastic. It assembles\, transforms\, defines and brings together elements\, giving life to a particular archeology of the future. Each sign is a fragment\, part of an unfathomable and invisible whole. His latest pictorial works focus attention on post-architecture and the possible consequences of the excesses of the modern world. \n\n\n\nRita Correddu\n\n\nRita Correddu 17 May – 6 June She focuses her research on observing reality to suggest\, through delicate underlining\, with minimal interventions that are sometimes ephemeral or destined to vanish\, becoming confused\, new possibilities of action and vision. He investigates the expressive forms of human experience\, where personal and collective memory manifests itself\, through ancient and present stories\, real or imagined. Sounds\, images\, spoken and written words support a research that starts from the place\, a place of reflection\, a public place\, a work spread across time and space: a variation on the idea of ​​a contemporary monument. \n\n\n\nAlessandro Biggio\n\n\nAlessandro Biggio 14 June – 4 July The artist’s starting point for his work are physical imperfections\, waste materials or materials that have become functionless\, all elements in which there is a strong autobiographical or affective component. The objective\, however\, is not to preserve its memory but to graft onto it another hypothesis of reality. Like a new construction that rests on rubble\, in sculptures as in installations\, his work finds its meaning in this precariousness. URL:https://www.museoman.it/en/event/arte-a-misura/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Focus Sardegna,MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20120217T000000 DTEND;TZID=Europe/Rome:20120506T000000 DTSTAMP:20260617T073539 CREATED:20240417T141315Z LAST-MODIFIED:20240417T141315Z UID:5019-1329436800-1336262400@www.museoman.it SUMMARY:The still event DESCRIPTION:From 17 February to 6 May the MAN Museum hosted the exhibition The still event \, curated by Cristiana Collu\, Saretto Cincinelli and Alessandro Sarri\, renewing the now consolidated partnership with the “Casa Masaccio” exhibition center in San Giovanni Valdarno. The exhibition was born from the idea – following Borges’s idea of ​​associating the universe with a library (of Babel) – of equating time with an (infinite) book\, with something that can therefore be read\, interpreted and leafed through in an ever-changing manner. different. A risky hypothesis from which derives the idiomatic expression “flipping through time” used as the subtitle for the sixth edition of this review. The exhibition analysed\, through the presentation of video and cinematographic works\, what is permanent and fixed in every moving image and\, at the same time\, investigated the availability of time to be captured in its own interval. The demonstration attempted to outline a sort of time in a vegetative state\, a temporality in a state of arrest\, in stalemate\, such that it cannot be classified as simple movement or simple stasis. In a sort of return to the origins\, the review ranged from mythical and seminal films such as The jetée by Chris Marker and Nostalgia by Hollis Frampton\, to historical works by Ken Jacobs and Malcolm Le Grice\, to reach the present day with works by Rob Carter\, George Drivas\, Paolo Meoni\, Alejandro Moncada\, Alexandra Navratil\, Alexandros Papathanasiou\, Katja Pratschke & Gustáv Hámos\, Margot Quan Knight\, Katherine Segura Harvey\, Kathrin Sonntag\, Jutta Strohmaier\, Arnold von Wedemeyer. URL:https://www.museoman.it/en/event/the-still-event-2/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Extramuros,MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20120217T000000 DTEND;TZID=Europe/Rome:20120311T000000 DTSTAMP:20260617T073539 CREATED:20240417T141507Z LAST-MODIFIED:20240423T085939Z UID:4075-1329436800-1331424000@www.museoman.it SUMMARY:Giovanni Carta DESCRIPTION:The exhibition Breaks recently passed by Giovanni Carta opened the project Soluchifera\, which occupied the ground floor of the Museum throughout 2012 with a series of personal exhibitions aimed at a generation of notable artists who in the past actively participated in contemporary artistic research in Sardinia and who have now distanced themselves from the circuits of ‘art. Giovanni Carta\, the protagonist of this first appointment\, is the author of research oriented\, since the first creative phase\, towards a desire to simplify the image which makes the sign the protagonist of the composition. \nThe mature production\, up to the most recent results\, is characterized by a refined geometric abstractionism. His painting is geometry of the sense as well as of the intellect\, in which the rigor of the formal reduction typical of the abstract-geometric line meets that of the analytical research conducted on the primary\, physical elements of painting (support\, color\, layers). \nAn analytical attitude that however starts from an artisanal feeling\, an affective tone of work\, a manual dedication that goes back to the very sources of modern experience. Giovanni Carta studied at the Art Institute of Sassari in the 1950s\, in that period directed by Filippo Figari\, and it was by frequenting the Sassari environment that he came into contact with Mauro Manca and the new ferment that had interested numerous young people in those years artists. URL:https://www.museoman.it/en/event/giovanni-carta/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Focus Sardegna,MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20120214T000000 DTEND;TZID=Europe/Rome:20120224T000000 DTSTAMP:20260617T073539 CREATED:20240417T141314Z LAST-MODIFIED:20240417T141314Z UID:4982-1329177600-1330041600@www.museoman.it SUMMARY:TDM 5 Graphics DESCRIPTION:The MAN Museum took part in the project TDM 5: Italian graphics \, created by the Triennale di Milano\, with the loan of some important works by Giovanni Pintori from its collection. After the first surveys dedicated by the museum to contemporary graphics (The New Italian Design\, Spaghetti graphics and Graphic Design Worlds) the choice of the Triennale Design Museum to dedicate an edition to Italian graphics\, visual communication and their history is an important step to enrich and complete the path of analysis and valorization of Italian design carried out over the years by the Triennale Design Museum. TDM 5: Italian graphics focused on the twentieth century\, starting from the futurist typographical revolution\, also offering some openings on the tradition of previous centuries and on more recent production\, presenting the great production heritage of Italian graphic designers in all its surprising variety of manifestations. Figures such as Albe Steiner\, Franco Grignani\, Bruno Munari\, Bob Noorda\, Armando Testa\, Massimo Vignelli and\, indeed\, Giovanni Pintori\, have accompanied the success of the major Italian companies\, have operated in crucial sectors of cultural life\, and their work has spanned the political\, economic and social changes of twentieth-century Italy in a significant way. URL:https://www.museoman.it/en/event/tdm-5-graphics/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Extramuros,MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20111216T000000 DTEND;TZID=Europe/Rome:20120108T000000 DTSTAMP:20260617T073539 CREATED:20240417T141533Z LAST-MODIFIED:20240423T085940Z UID:4071-1323993600-1325980800@www.museoman.it SUMMARY:Art at the center DESCRIPTION:The MAN Museum continues its dialogue with the territory and with the city of Nuoro through the project Art at the center (table) which\, born from the idea that the museum is a dynamic place of creation and encounter with the outside\, proposed that a group of artists deal with an everyday space. With Art at the center (table) 5 artists were invited to create a table centerpiece\, displayed in some restaurants in Nuoro during the Christmas period\, where the work of art reinterprets the traditional and decorative function of the object. Artists: Roberto Fanari\, Nicola Filia\, Terrapintada\, Marcello Scalas\, Grazia Sini. Restaurants: From the Gennargentu mountains\, Il Portico\, Il Rifugio\, Monti Blu\, Ristorante Ciusa. URL:https://www.museoman.it/en/event/arte-al-centro/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Focus Sardegna,MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20111202T000000 DTEND;TZID=Europe/Rome:20120108T000000 DTSTAMP:20260617T073539 CREATED:20240417T141531Z LAST-MODIFIED:20240423T085935Z UID:4072-1322784000-1325980800@www.museoman.it SUMMARY:Luciano Secci DESCRIPTION:TO ssolo is a project of the MAN Museum designed as an in-depth study on Sardinian artists and as a research operation on regional artistic production. In this way the Museum intends to give an impulse for a reconnaissance and investigation of the territory which will be unique for the documentation of unknown or little-known artists whose quality is particularly significant. The program started with Luciano Secci.DM00001 DM01400 Catalog of existence. The great production of this surprising artist from Nurri is demonstrated by the use of different techniques\, from drawing to engraving\, from watercolor to ceramics\, which give us the image of a creativity in continuous evolution\, a thought that develops through a sign that identifies every fragment of life to analyze\, deepen and reveal it. A form of translating existence that passes from the mental image to drawing as an archive of thought displayed with over 370 works. The exhibition is created thanks to the generous contribution of the Secci family. URL:https://www.museoman.it/en/event/luciano-secci/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Focus Sardegna,MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20111028T000000 DTEND;TZID=Europe/Rome:20120129T000000 DTSTAMP:20260617T073539 CREATED:20240417T140955Z LAST-MODIFIED:20240417T140955Z UID:5047-1319760000-1327795200@www.museoman.it SUMMARY:Henri Cartier-Bresson DESCRIPTION:The exhibition\, curated by Fondation Henri Cartier-Bresson \, of the Magnum Photos Agency and the Contrasto Agency\, is organized by Imago Multimedia – a photographic agency and publishing house in Nuoro – with the fundamental contribution of the Sardinia Regional Promotion Agency and the collaboration of the MAN Museum. A unique event in Sardinia\, it includes 155 photographs that were chosen by the author himself\, with the intention of creating a comprehensive retrospective of his photographic work. The exhibition is like a long journey through the time of Henri Cartier-Bresson and his being present in every moment of existence; no one like him has been able to condense\, over the years of intense photographic and artistic activity around the world\, a precise and profound\, conscious and original observation in every situation. The documentary reality and Henri Cartier-Bresson’s propensity not to manipulate the gaze and the event he found in front of him\, finds its outlet in a profound poetry of everyday life\, of common gestures\, events and faces apparently unimportant. But whether they are street people – children playing\, street vendors\, passers-by – in the usual times of work and in the rituals of celebration\, or whether they are the protagonists of the main events of the twentieth century – the end of the Second World War\, the death of Gandhi\, the most famous artists of the moment – ​​every event is an opportunity for him to exercise inner awareness; an action and an exercise that condensed life into significant moments\, “decisive moments” that he – and only he – managed to grasp when he managed to “put the heart\, the mind and the eye on the same line of sight”. An exhibition that undermines the weaknesses\, the inconsistencies\, the distractions of our gaze today even too solicited by images that run fast; an exhibition that pays homage to the entire work of Henri Cartier-Bresson\, to drawing and painting which were his first true passions and which he was the first in the West to be able to share and articulate in a fullness where the relationship and use of the different means of expression are just a game\, useful for communicating with others. URL:https://www.museoman.it/en/event/henri-cartier-bresson/ 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-confini-visivi-pierluigi-dessi-1-VitsWa.tmp_-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20110928T000000 DTEND;TZID=Europe/Rome:20111002T000000 DTSTAMP:20260617T073539 CREATED:20240417T141321Z LAST-MODIFIED:20240417T141321Z UID:5005-1317168000-1317513600@www.museoman.it SUMMARY:Giovanni Pintori DESCRIPTION:On the occasion of the international graphics week\, Aiap Design Per has proposed\, in collaboration with the MAN Museum\, a large and exhaustive anthology on the figure and work of Giovanni Pintori\, an extraordinary protagonist in the history of graphics in Italy\, celebrated and recognized internationally . The story of his journey starts from the end of the Thirties to the Nineties through a corpus of works\, collected according to an interpretation that highlights the modernity of his design to underline the importance and meaning of his choices and the uniqueness of his figure all over the world. within the international graphics panorama. Pintori was an extremely lucid character and aware of the mechanisms and problems connected to the profession of graphic designer in the choice of the compositional\, iconographic and symbolic devices used. \nHis competence\, his professionalism and his culture\, together with his imagination and creativity\, shine through in all his works and make us understand his relevance in the practice and aesthetics of contemporary design\, from the hypothesis of an original style of enterprise to a way of thinking before composing. Giovanni Pintori was born in 1912 in Tresnuraghes (Oristano)\, to parents originally from Nuoro\, a town where the family returned in 1918. After having attended the ISIA in Monza\, in 1936 he began collaborating with the Olivetti Advertising Technical Office\, of which he became responsible in 1940\, linking his name to the rise of the Ivrea company in a very long and successful series of posters\, pages advertising\, external signs\, stands. In 1950 he obtained the first of a long series of awards: the Palme d’Or from the Italian Advertising Federation. In 1952 the MoMA in New York organized the exhibition Olivetti: Design in Industry. \nIn 1953 he joined the AGI (Alliance Graphique Internazionale)\, which in 1955\, during the exhibition at the Louvre in Paris\, dedicated an entire room to Pintori’s work for Olivetti. Also in 1955 he was awarded the Certificate of Excellence of Graphic Arts by the AIGA (the Association of American Graphic Designers) and\, the following year\, the Gold Medal and the Diploma of First Prize in Graphic Line and the Fair of Milan. In 1957 he obtained the Grand Prix Diploma at the XI Triennale of Milan and participated in the annual AGI exhibition in London. His images accompany numerous articles on the Olivetti company\, his design and communication travel around the world\, appearing in newspapers such as Fortune (USA\, 1953\, 1957)\, Graphic Design (Japan\, 1967)\, Horizon (USA\, 1969) . In 1960 Adriano Olivetti passed away. In 1962 Pintori obtained another prestigious international recognition: the Typographic Excellence Award from the Type Directors Club of New York\, followed in 1964 by the Certificate of Merit from the Art Directors Club of New York. In 1966 a large solo exhibition was dedicated to him in Tokyo. \nAfter 1967\, having left Olivetti to dedicate himself to freelance work\, he collaborated\, among others\, on projects for Pirelli\, Gabbianelli\, Ambrosetti and Parchi Liguria. In 1981 he began a collaboration with the transport company Merzario\, for which he created the graphics for the annual budgets and advertising pages. After this experience he leaves the profession of graphic designer and dedicates himself completely to painting. Giovanni Pintori died in Milan on 15 November 1999. URL:https://www.museoman.it/en/event/giovanni-pintori/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Extramuros,MAN END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20110927T000000 DTEND;TZID=Europe/Rome:20120205T000000 DTSTAMP:20260617T073539 CREATED:20240417T141508Z LAST-MODIFIED:20240423T085936Z UID:4073-1317081600-1328400000@www.museoman.it SUMMARY:Glo Navel gazing DESCRIPTION:Glo – Looking at your navel is the title of the first collaboration project between the Municipality of Nuoro and the MAN Museum. In the rooms of the former ASL building in Via N. Ferracciu\, from 29 March to 17 July (first part) and then from 27 September to 5 February 2012 (second part) around a hundred artists from this city took turns proposing a selection of their most recent production\, which is why we consider it the beginning of an investigation into the creative richness of Nuoro which could be extended to the Province and\, in concentric circles\, to the entire Region\, making sure to record in Nuoro what again (with a happy play on words) it is produced by artists of different generations\, from the oldest masters to the very young novices. This is the vocation of the project\, built through a few pieces\, rigorously displayed to compose a game of references and resonances that tell stories like aphorisms or haikus. The title of the event\, ironically\, invites us to observe ourselves with a certain lightness. The best position for thinking seemed to some to be one that allows you to look at your navel and meditate on that. This type of meditation is called “navel gazing”. But the navel\, with its symbolism\, is once again a conceptual choice: it contains within itself the meaning of the bond\, of the origin but also represents the caesura capable of leaving a trace of itself\, the cutting of the umbilical cord which seals the memory and indelibly the sign that builds our identity. The navel is linked to the central position in the human body which suggests a psychic\, symbolic\, geographical\, temporal fulcrum: birth\, the beginning and the end\, becoming\, a sort of ever-present mandala with all that it entails and derives from it . L’ omphalon Greek identifies not so much a fixed point but a process that is activated from this point. It is the scar of physical birth\, the tangible sign of a bond with the biological mother\, it is linked to eros\, to aesthetics but also to vulnerability due to its being in the most exposed and soft position of the abdomen. It represents the mystery of the relationship that binds us in generation and across generations. The severed bond must continually be cut and sutured\, as the only possibility for growth. A bond that builds our identity\, but also establishes the one with existence. \n\n\n\nGlo Chronogram – Navel gazing\n\n\nSecond part\n\n27.09 – 09.10.2011: Michela Balloi\, Pasquale Bassu\, Efisio Cardia\, Laura Manca\, Salvatore Marras\, Francesco Melis\, Piero Pais\, Francesco Rais\, Graziano Rocchigiani.\n11.10 – 23.10.2011: Tarcisio Balloi\, Fabrizio Bruno\, Giancarlo Crisponi\, Toni Marcovecchio\, Stefano Marongiu\, Pietrina Mattana\, Franco Mura\, Fabrizio Ortu\, Sergio Rocchigiani.\n25.10 – 06.11.2011: Franca Carboni\, Simona Ciusa\, Salvatore de Gioannis\, Francesca Floris\, Marisa Mereu\, Giuseppe Moro\, Tiziana Pala\, Graziella and Immacolata Sotgiu\, Nicola Virdis.\n22.11 – 04.12.2011: Daniele Boninu\, Renato Brotzu\, Fiorentino Deroma\, Elke Hoyer\, Thomas Longo\, Sandro Mattei\, Daniela Mureddu\, Massimo Onnis\, Salvatore Pau. URL:https://www.museoman.it/en/event/glo-guardarsi-lombelico/ LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia CATEGORIES:Focus Sardegna,MAN END:VEVENT END:VCALENDAR