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DTSTART;VALUE=DATE:20241122
DTEND;VALUE=DATE:20250310
DTSTAMP:20250530T082717Z
CREATED:20241028T082906Z
LAST-MODIFIED:20250530T082717Z
UID:7001-1732233600-1741564799@www.museoman.it
SUMMARY:El Greco. Dialogue Between Two Masterpieces
DESCRIPTION:In collaboration with the Accademia Nazionale di San Luca\, Rome and Musei Civici di Reggio Emilia \nFollowing the success of the exhibition dedicated to the ideal dialogue between Giotto and Lucio Fontana\, centered on gold and its symbolism\, the MAN Museum presents a new\, original project for Christmas 2024. This exhibition will explore the dialogue between two masterpieces by El Greco\, born Domínikos Theotokópoulos (1541–1614)\, the renowned master of Spain’s Golden Age. El Greco is famous for his elongated forms\, luminescent tones\, and the intense rhythm of lines and gestures on canvas. \nDubbed the “Delacroix of the Renaissance” and the “Nabi of beautiful icons\,” and admired by Cézanne and Picasso—who proclaimed his debt with the phrase\, “Yo soy El Greco!”—El Greco stands as one of the greatest figures of late Renaissance European painting. \nBorn in Crete in the first half of the sixteenth century\, then part of the Republic of Venice\, he moved to Venice in 1567. \nIn search of a new way of painting\, a dynamic dimension that departed from the two-dimensional\, abstract\, and static universe of Eastern tradition\, he worked in the workshop of the elderly Titian. From him\, he learned the expressive use of color: vibrant\, intense\, thick\, luminous\, and spiritual. In Venice\, he was struck by the sense of movement and the dramatic use of light by Tintoretto. From Jacopo Bassano\, he absorbed the formal elements of pictorial narration\, the use of perspective\, and architectural backgrounds.    \nAfter a brief and tumultuous stay in Rome as a guest of Cardinal Alessandro Farnese\, he moved to Toledo\, dreaming of winning the favor of King Felipe II and being appointed the official painter of the cathedral. Although he did not achieve this honor\, he found prestigious commissions in the Spanish city that allowed him to develop his vibrant pictorial language\, characterized by sudden bursts of light and bold twists of fluid bodies\, which impart a keen expression of their feelings and the movements of the soul.  \nThe MAN\, thanks to a collaborative agreement with the Accademia Nazionale di San Luca in Rome\, presents the recent discovery of a masterpiece by El Greco\, The Adoration of the Magi. This work remained unknown for centuries and has only recently been attributed to the Cretan genius\, thanks to a careful restoration and a scientific study campaign that has unveiled its troubled history. A documentary film produced by the MAN and directed by Stefano Conca Bonizzoni\, featuring contributions from Claudio Strinati\, Fabrizio Biferali\, and Fabio Porzio\, introduces visitors to the exhibition\, which also includes a second masterpiece\, The Blessing Christ from the Civic Museums of Reggio Emilia\, returning from an important retrospective of the master at the Royal Palace of Milan.
URL:https://www.museoman.it/en/event/el-greco-dialogue-between-two-masterpieces/
CATEGORIES:MAN
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20241122
DTEND;VALUE=DATE:20250310
DTSTAMP:20250530T082659Z
CREATED:20241028T082920Z
LAST-MODIFIED:20250530T082659Z
UID:7002-1732233600-1741564799@www.museoman.it
SUMMARY:Christiane Löhr. Accumuli
DESCRIPTION:curated by Chiara Gatti with an essay by Bruno Corà – from November 22 to March 9\, 2025. \nArchitectures of nature. Domes of seeds and cathedrals of blades of grass. A large installation by the German-born artist\, Tuscan by adoption\, dots the first floor of the museum with diaphanous\, almost impalpable sculptures; an ode to the ethereality of nature and\, all the same\, to its complexity.\n \nThe talented and masterful hands of Christiane Löhr create sculptures made of dandelions\, stems\, pods\, or horsehair and hoist tapered arboreal structures up into the space\, edifying minimalist landscapes. \nSmall temples consisting of a plethora of abstract forms are enriched for this occasion with a special tribute to Sardinia: tiny piles of grains or seeds conjure towers and Nuragic constructions. In Löhr’s exploration\, natural inspiration is not a mere explanation of the vegetation and its species\, though. Her reflection raises matter to a dimension of radical abstraction and absolute form\, where paramount importance is attributed to balance and proportion between the elements\, sense of the space and value of the void. The exhibition also features a selection of pastel\, graphite\, and ink drawings on paper; the fruit of a similar sculptural process\, in which the fibres of paper are rubbed and scratched as if it were plastic. \n  \nPortrait Christiane Löhr / Foto Salvatore Mazza \nChristiane Löhr\, (Wiesbaden\, Germany\, 1965) lives and works in Prato and Cologne. She graduated from the Kunstakademie in Düsseldorf with Jannis Kounellis in 1994; under his supervision\, she completed her Master of Arts in 1996. Her works were exhibited in several venues and art centres: Chaumont-sur-Loire\, Haus am Waldsee\, Museo e Real Bosco in Capodimonte\, Museo San Fedele in Milan\, Wuppertal\, Kunsthaus Baselland\, Muttenz\, MART in Rovereto\, Villa Panza in Varese\, Centro Pecci in Prato. In 2001\, she exhibited at the 49th Venice Art Biennale curated by Harald Szeemann and\, in 2016\, she was awarded the Premio Pino Pascali.
URL:https://www.museoman.it/en/event/christiane-lohr-accumuli/
CATEGORIES:MAN
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20241122
DTEND;VALUE=DATE:20250310
DTSTAMP:20250530T082649Z
CREATED:20241028T082931Z
LAST-MODIFIED:20250530T082649Z
UID:7037-1732233600-1741564799@www.museoman.it
SUMMARY:Una Szeemann. Scenafenomenica
DESCRIPTION:  \ncurated by Elisabetta Masala with an essay by Juliette Desorgues \nMagic and mythology\, classical traditions and archaic culture merge in the exploration advanced by the Swiss artist\, who experiments with materials imbued with strong expressive value\, giving life to a choral narrative relying on epic nuances. \nDivinities of the earth and the night\, arcane symbols\, the beneficial properties of the plants and an ancient wisdom engulf Una Szeemann’s works with mystery and primordial memories\, as the wild sentiment of the woods takes shape through highly suggestive abstract forms. \nThe project designed for the MAN is tied to the land of Sardinia\, its harsh surroundings\, the folktale of Janas\, and the archaeological remnants in its landscape\, where nature seems to fossilise\, and blend with the rocks and peaks of Supramonte. \n   \nUna Szeemann – Courtesy dell’artista \nUna Szeemann (Locarno\, Switzerland\, 1975) lives and works in Zürich and Tegna. She studied drama in Milan. Her works were showcased at several international exhibitions\, including Kunsthaus Zürich\, Kunsthalle Winterthur\, Museo Cantonale d’Arte in Lugano\, Kunstmuseum Luzern\, Kunstverein Hamburg\, Belvedere 21 in Vienna\, Venice Art Biennale\, Busan Biennale\, Lyon Biennale\, and Manifesta 11 in Zürich. She lectures at several institutions and universities\, including the Zürcher Hochschule der Künste (ZHdK) and the Haute École d’Art et de Design in Geneva (HEAD).
URL:https://www.museoman.it/en/event/una-szeemann-scenafenomenica/
CATEGORIES:MAN
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20241122
DTEND;VALUE=DATE:20250310
DTSTAMP:20250530T082640Z
CREATED:20241028T082939Z
LAST-MODIFIED:20250530T082640Z
UID:7097-1732233600-1741564799@www.museoman.it
SUMMARY:Alessandro Biggio. Filira
DESCRIPTION:curated by Chiara Gatti with an essay by Caterina Riva \nThe Cagliari-born artist presents an unprecedented project\, Filira (Phillyrea)\, showcasing a new series of works in an exhibit designed as an all-embracing environment where canvases and sculptures are connected to each other in a systematic and all the same unitary overall vision. Known for his exploration of ash generated by the combustion of plants from his garden in Calasetta\, which he turns into a plastic medium to create sculptures characterised by a fragile appearance\, Biggio has recently experimented with a form of painting using the juice of phillyrea berries that he squeezes to produce a dark ochre colour with purple nuances. Just as his series of ash sculptures is the result of an authentic reflection on the cycle of life and the elements\, the medium of painting transcribes imprints of nature\, in its metamorphosis and consumption. \nLingering in the background is the reference to a Greek myth: the nymph Philyra (Filira)\, daughter of Oceanus and Tethys\, was loved by Chronos from whom she tried to escape by transforming herself into a mare. But Chronos\, transforming himself into a stallion\, reached her and raped her. Philyra gave birth to a son\, a hybrid creature\, the centaur Chiron. Shocked at the sight of her son\, she asked Zeus to be transformed into a shrub that would take her name\, phillyrea. With the extract of the berries of this plant\, Biggio uses the canvas to trace the vestiges of an ephemeral vegetation. \n. \n\nA Biggio_portrait_ph Barbara Pau \nAlessandro Biggio  \n\n(Cagliari\, 1975)\, lives and works in Cagliari and Calasetta. He graduated in economics and now dedicates himself to aesthetic research. In his artistic practice\, the process of exploration and experimentation on matter plays a fundamental role. His sculptures\, installations\, and monotypes are always the result of layered gestures and phases\, whose final result represents a possible moment of balance\, between control and loss of control over the process\, between decay and form. His participation in solo and group exhibitions in public and private spaces includes: Gherdëina Contemporary Art Biennale\, Museo MAN of Nuoro\, Fondazione di Sardegna\, Museo Marino Marini in Florence\, Gallerie d’Arte Moderna e Contemporanea of Cagliari\, Galerie Stadtpark Krems\, GAMeC in Bergamo\, CLER in Milan\, Fondazione Bartoli-Felter in Cagliari. In 2020\, he was awarded the Pollock-Krasner Foundation Grant. \n 
URL:https://www.museoman.it/en/event/alessandro-biggio-filira/
CATEGORIES:MAN
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250321
DTEND;VALUE=DATE:20250616
DTSTAMP:20250730T062302Z
CREATED:20250225T135605Z
LAST-MODIFIED:20250730T062302Z
UID:8609-1742515200-1750031999@www.museoman.it
SUMMARY:GIOVANNI PINTORI (1912–1999). Advertising as art
DESCRIPTION:curated by Chiara Gatti and Nicoletta Ossanna Cavadini\ncoordinated by Rita Moro \njoint project with m.a.x. museo\, Chiasso \nThe MAN in Nuoro presents a monographic exhibition celebrating Giovanni Pintori\, a master of Italian and international graphic design. Renowned for shaping Olivetti’s iconic visual identity\, Pintori stands as a pivotal figure in the field. This exhibition is part of the museum’s ongoing research showcasing Sardinian-born artists who have made a lasting impact on the global art scene. \nThe MAN in Nuoro\, in collaboration with the m.a.x. museo in Chiasso – its partner in a joint project to promote the artist – delves into Giovanni Pintori’s work through an extensive “graphic story”. This exhibition highlights the modernity of his visual language and the brilliance of his creative choices. \nThree hundred works\, including drawings and paintings\, original sketches\, scale models\, magazine advertisements\, photographs and posters\, span fifty years of activity recognised by the world’s most prestigious cultural institutions: from the Palma d’Oro of the Federazione Italiana di Pubblicità (1950) to the prestigious exhibition at the MoMA in New York (1952) – in whose garden Pintori built an iron advertising sculpture –\, from the exhibition at the Louvre in Paris (1955) to the certificate of excellence from the American Institute of Graphic Arts (1955)\, from the Medaglia d’Oro at the Fiera Internazionale di Milano (1956) to the Eight Annual Typographic Excellence Award from the Type Directors Club of New York (1962). During the first meeting of the newly formed AGI (Alliance Graphique Internationale)\, Pintori was nominated as a member and then became the Italian president of the same award\, while the famous Japanese magazine Idea included him on the list of the thirty most significant designers of the 20th century\, thus testifying to his talent and his success worldwide. \nA true genius of advertising graphics\, Pintori was commissioned by the forward-thinking captain of industry Adriano Olivetti to promote his company and its legendary products all over the world\, from the Studio 44 to the very popular Lettera 22. He succeeded admirably in uniting form and content in every single image. Light\, colour\, composition and creative play define Pintori’s artistic exploration\, elevating his graphics as “a metaphorical unicum of communication\,” as noted by renowned American designer Paul Rand\, the creator of the IBM logo. The rapid tapping of fingers on typewriter keys\, letters springing to life\, and the inner mechanisms of calculators reimagined as dynamic\, playful motifs – these are the hallmarks of Pintori’s visual language. His work embodies a true art of writing\, distinguished by elegance and a touch of irony. \n“Graphics is not underpainting\,” Pintori would say to those who questioned his visual language – the only one\, as his friend\, poet Vittorio Sereni\, observed\, capable of “liberating the latent resources contained in the object or product that … is proposed.” \nThe exhibition looks back over the artist’s creative and professional journey\, illustrating the creative process behind the projects that have characterised his remarkable career\, ranging from the creation of posters to playbills\, corporate identities and company logos. \nBiography \nGiovanni Pintori was born in 1912 in Tresnuraghes (Oristano)\, to parents originally from Nuoro\, where the family lived from 1918 onwards. After attending the ISIA (Higher Institute of Artistic Industries in Monza) together with fellow Sardinians Salvatore Fancello and Costantino Nivola\, in 1936 he began working with the Olivetti Technical Advertising Department\, becoming its manager in 1940 and linking his name to the image of the Ivrea-based company through a long and successful series of posters\, advertising pages\, outdoor signs and exhibition stands. In 1950 he received the first of many accolades: the Palma d’Oro from the Federazione Italiana Pubblicità. This was also the year he became Art Director of Olivetti\, earning the esteem of Adriano Olivetti\, with whom he had a direct relationship. In 1952 the MoMA in New York staged the exhibition Olivetti: Design in Industry which also included Pintori’s graphic works. In 1953 he joined the AGI (Alliance Graphique Internationale) of which he later became president. In 1955\, during the exhibition at the Louvre in Paris\, an entire room was devoted to his graphics for Olivetti. Also in 1955 he was awarded the Certificate of Excellence in the Graphic Arts by the AIGA (American Institute of Graphic Arts) and\, the following year\, the Medaglia d’Oro and the Diploma di Primo Premio from Linea Grafica and Fiera di Milano. In 1957 he was awarded the Diploma di Gran Premio at the 11th Milan Triennale and participated in the annual AGI exhibition in London. His images accompanied numerous articles about the Olivetti company\, while his design and communication work travelled around the world\, appearing in magazines such as Fortune (USA\, 1953\, 1957)\, Graphic Design (Japan\, 1967) and Horizon (USA\, 1969). In 1962 (two years after the death of Adriano Olivetti)\, Pintori received another prestigious international award: 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 of his work was held in Tokyo. After 1967\, he left Olivetti to set up on his own\, working on projects for Pirelli\, Gabbianelli\, Ambrosetti and Parchi Liguria\, among others. In 1981 he began working with the transport company Merzario\, creating the graphics for their annual reports and advertising. Following this experience he left his job as a graphic designer and devoted himself entirely to painting. Giovanni Pintori passed away in Milan on 15 November 1999\, leaving behind a rich documentary archive\, an invaluable resource for studying industrial advertising graphics spanning five decades\, from the 1930s to the 1980s. \nHis family donated part of the archive to the MAN_Museo d’Arte Provincia di Nuoro and a substantial portion is now on loan. The exhibition draws inspiration from this rich legacy\, focusing particularly on materials from Pintori’s private archive – sketches\, drawings\, paintings and photographs – that offer a deeper insight into his passions\, shared with fellow artists and art enthusiasts\, through an innovative critical interpretation. \nJoint project with m.a.x. museo\, Chiasso  \nThe m.a.x. museo\, which opened on 12 November 2005 on the initiative of the Fondazione Max Huber–Kono in Chiasso\, became a public institution run by the Comune di Chiasso in 2010 and is a member of ICOM (International Council of Museums). The mission of the m.a.x. museo is to promote an understanding of contemporary graphics\, design\, photography and visual communication. The term “graphics” refers to the field of artistic production focused on the design and creation of visual communication materials\, particularly graphic design and art graphics (or historical graphics). The m.a.x. museo aims to bridge the gap between the past and the new generations of graphic artists and designers. Situated near the Cinema Teatro and the Spazio Officina\, the museum’s location fosters a connection between the border town’s key cultural institutions and has also contributed to the development of the new and vital Centro Culturale Chiasso\, renowned for its international exhibitions and theatrical productions. On 3 April 2019\, the Centro Culturale Chiasso received a prestigious award in Zug from the Swiss Foundation for the Doron Prize. The prize\, delivered with a presentation speech by Isabelle Chassot\, director of the Federal Office of Culture (FOC)\, was awarded for the “excellent cultural offering” promoted by the border town \n  \nset-up by Stand Up\, Cagliari \ncatalogue published by Silvana Editoriale  \nwith texts by Chiara Gatti\, Nicoletta Osanna Cavadini\, Mario Piazza\, Davide Cadeddu\, Luigi Sansone\, Angela Madesani \n  \n  \n 
URL:https://www.museoman.it/en/event/giovanni-pintori-1912-1999-advertising-as-art/
CATEGORIES:MAN
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250321
DTEND;VALUE=DATE:20250616
DTSTAMP:20250730T062252Z
CREATED:20250225T141750Z
LAST-MODIFIED:20250730T062252Z
UID:8613-1742515200-1750031999@www.museoman.it
SUMMARY:Gregorio Botta_Silence is so accurate
DESCRIPTION:curated by Chiara Gatti and Elisabetta Masala\n  \nwith a critical text by Davide Ferri\n  \nIn the beginning\, there was light. \nBut also water and fire\, wax and lead\, all shaped by time and the elements. In the work of the Neapolitan artist (born in 1953)\, the ancient power of these elements engages in dialogue with classical iconographies\, exploring themes of the sacred and the unseen \nFor the MAN in Nuoro\, Gregorio Botta has created a new project that\, drawing on his research into balance and silence\, distils abstract forms within space\, creating an interplay of reflections and transparencies in the material\, pure geometries\, raindrops\, streams of water and staves punctuated by minimal shapes. \nThe exhibition title\, Silence is so accurate\, inspired by a quote from Mark Rothko\, embarks on a journey where the precision of the drawing defines distant horizons and traces the passage of time through the circuits and mechanisms of small\, solitary machines\, as Duchamp might have described them. These absurd machines\, lacking specific function\, are poetic in their orchestration of movement in a vacuum\, producing sounds\, vapours or free-flowing writing in space. \nWhen iron and glass\, alabaster and dried flowers come together\, they create intimate landscapes\, enclosed architectures\, and references to everyday iconography – objects\, symbols and allegories of a life stitched onto waxed paper\, which is consumed\, worn\, and transfigured in anticipation. Epiphanies and disappearances\, secrets and subtle revelations\, all reflect Botta’s commitment to “an art of removal\, of little\, of less\, with the hope of reaching an art of nothing. An art that disappears\, leaving only\, like a vibration\, like a hidden motor\, the very action for which it was created.” \nThe imprint serves as a trace of legacy in the Pompei series\, while the weight of the smoke represents the enduring presence of matter in the work that lends the exhibition its title. \nMelted wax\, shaped into archetypal forms\, evokes Morandi-like patterns on a crystal plane that stretches infinitely in the Orizzonti cycle\, where the timeless theme of the threshold carries with it the rich literary tradition exploring the boundary between the visible and the invisible\, between the contingent and the immaterial. \n  \nBiography \n  \nGregorio Botta \nGregorio Botta was born in Naples on 18 April 1953. In 1980 he enrolled at the Accademia di Belle Arti in Rome\, where he attended the courses taught by Toti Scialoja\, graduating in 1984. \nAfter his debut\, during which he participated in several exhibitions at the Galleria Rondanini and had his first solo exhibitions at the Galleria Il Segno\, both in Rome\, he attracted the attention of critics on the occasion of important exhibitions\, including Trasparenze dell’arte italiana sulla via della seta (Transparencies of Italian Art on the Silk Road) curated by Achille Bonito Oliva\, held in Beijing in 1993\, the XII Quadriennale and the Biennale dei Parchi at the Galleria Nazionale d’Arte Moderna in Rome\, held in 1996 and 1998 respectively\, as well as the solo exhibition\, also in 1998\, presented by Ludovico Pratesi at the Italian Cultural Institute in Cologne. In 2006 he presented a selection of works at the Magazzini del Sale in Siena in which particular elements of his language reappear in a unique interplay of contrasts: the lightness and transparency of glass\, the opacity and hardness of iron. The introduction of movement is unprecedented\, animating installations such as La Porta di Pietro\, inspired by Piero della Francesca’s Madonna del Parto. \nHis solo exhibitions have included: Fondazione VOLUME!\, Rome (2024\, 2009); Galleria Peola Simondi\, Turin (2023\, 2020); Galleria Studio G7\, Bologna (2021)\, Galleria Nazionale d’arte moderna\, Rome (2020); Cripta Borromini in San Giovanni dei Fiorentini\, Rome (2019); Francesca Antonini Arte Contemporanea\, Rome (2017); MAC — Museum of Contemporary Art\, Santiago de Chile (2016); MAC — Museum of Contemporary Art\, Lima\, Peru (2016); Centro d’arte contemporanea Pescheria\, Pesaro (2016); Milan Triennale (2015); Forte di Bard\, Aosta (2014); Palazzo Te\, Mantua (2014)\, MACRO\, Rome (2012); Magazzini del Sale\, Siena (2006); Certosa di Padula\, Salerno (2005); Vanvitelli underground station\, Naples (2005); Galleria Lo Scudo\, Verona (2001); Italian Cultural Institute\, Cologne (1998). He designed the sets for three shows by Sergio Rubini: Delitto e Castigo\, Dracula and Il caso Jekyll. A writer and essayist\, his work has been published by Einaudi (2020) Pollock e Rothko\, il gesto e il respiro and by Laterza (2022) Paul Klee\, genio e regolatezza.
URL:https://www.museoman.it/en/event/gregorio-botta_silence-is-so-accurate/
LOCATION:MAN\, Via Sebastiano Satta 27\, Nuoro\, NU\, 08100\, Italia
CATEGORIES:MAN
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