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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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END:VEVENT
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
ATTACH;FMTTYPE=image/jpeg:https://www.museoman.it/wp-content/uploads/2025/02/Allestimento-Gregorio-Botta_ph-A.Moni_.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250627
DTEND;VALUE=DATE:20250908
DTSTAMP:20251205T110845Z
CREATED:20250612T110502Z
LAST-MODIFIED:20251205T110845Z
UID:9557-1750982400-1757289599@www.museoman.it
SUMMARY:ISCRA | Cultural Fleet of the Mediterranean.
DESCRIPTION:Integrated Project Between MAN\, “Mario Sironi” Academy of Fine Arts of Sassari\, and the Marco Magnani Association \nAt the MAN Museum in Nuoro\, an exhibition-restitution opens\, the result of an extensive cultural project that brought together various cultural institutions for over a year of research\, focusing on the enhancement of a rich and complex territory like Planargia. Located in the historical region of central-western Sardinia\, Planargia lies between the Temo river valley—Sardinia’s only navigable river—and the northern slope of Montiferru\, the island’s largest volcanic complex. The landscape of Planargia stretches from towering cliffs over the sea to the high plains inland\, offering a vast\, green panorama dotted with forests\, waterfalls\, basalt quarries\, and fields of asphodel. \nThe ISCRA_Flotta culturale del Mediterraneo project was conceived by artist Leonardo Boscani and formalized through a multi-party agreement signed by the MAN Museum of Nuoro\, the Academy of Fine Arts “Mario Sironi” of Sassari\, the Union of Municipalities of Planargia\, the Municipality of Flussio\, the Marco Magnani Association\, the Cosinzu de Isciareu Association of Flussio\, and the Ecomuseum of the Sea and Water of Sassari; all with the contribution and support of the Fondazione Sardegna. \nLed by Leonardo Boscani\, a fleet of artists—including the Check Point Charly collective\, with Giorgio Porcheddu\, Lucia Magnifico\, Marco Facchetti\, sound engineer and musician Alfredo Puglia\, and stone craftsman and artist Carmelo Logias—along with professors and students from the Academy of Sassari\, explored the territory of Planargia on a journey from coast to sea\, translating it into works that blend aesthetic languages and anthropological reflections. The project includes art prints and documentation of traditional heritage (e.g.\, the processing of asphodel\, “the gold of Flussio”)\, experimental photography\, acoustic traces\, and symbolic mapping of the relationship between nature and society\, sculpture\, and exploration of the region’s geosites (such as the valorization of Suni’s basaltic and columnar stones). \nFrom sailing along the coast to delving into the geological site of Suni\, from collecting asphodel to exploring the railway connecting Bosa to Macomer\, the exhibition presents a long journey through images—a narrative “interspace” that\, despite diverse languages\, converges in the shared commitment to listen\, understand\, and return the profound character of the place\, its identity\, and its emergent qualities. \nThe navigation imagery\, based on sailing routes\, serves as the backdrop for the imposing presence of a three-meter-tall\, seven-ton basalt column with a polygonal base\, symbolically laid out like an ancient sundial. This archaic monolith\, a giant stone relic\, carries the effusive volcanic memory of Planargia and\, through a QRCode engraving\, provides access to a contemporary storytelling dimension\, maps of explorations conducted during the project\, and visions of a landscape preserved for future generations in its history and nature. \nThe artistic residency hosted in the village of Flussio tied the artists’ research to the community\, which was involved day by day in the process of restitution. While a team of authors\, directors\, and photographers moved through the territory to find visual inspiration\, conduct interviews\, and document moments of daily life\, students and professors from the Academy—coordinated by professors Giovanni Sanna\, Sergio Miali\, and Davide Fadda—revisited the ancient practice of asphodel processing and interpreted its formal outcomes\, blending them with technical experimentation on the monochrome of Suni stone. This led to the creation of the “Nero di Planargia\,” a unique tone of basalt\, whose chemical composition was fixed to create a specific “RAL” color code. \nThe ISCRA project outlines a cultural route that\, from the sea to the hills\, from ancient gestures to contemporary technologies\, draws new horizons for the Mediterranean—not only as a geographical space but as a dynamic metaphor for exchange\, mobility\, and transformation. \nCoordination:MAN Museum\, Rita Moro\, Alessandro MoniMarco Magnani Association\, Rita DeloguEcomuseum of the Sea and Water of SassariTraditional Latin Sailing Association (AVeLa)\, Piero Ajello \nAcademy of Fine Arts “Mario Sironi” of Sassari:Professors: Alessandra Brancati\, Davide Manca\, Nicolas Martino\, Cristina Orsatti\, Marco Antonio Pani\, Alessandro Ponzeletti\, Giovanni Sanna\, Oscar Solinas\, Federico SoroStudents: Adele Abozzi\, Matteo Alba\, Antonio Cau\, Carla Cannas\, Claudia Carta\, Francesco Cherveddu\, Giommaria Chessa\, Luciana Yasmina Congiu\, Lina Dau\, Lino Deligia\, Enrico Delrio\, Christopher Filippo Dickey\, Andrea Doneddu\, Alessandra Fiori\, Taras Halaburda\, Lucia Loria\, Antonello Marchesi\, Silvia Marcias\, Margherita Masia\, Gabriel Meli\, Giovanni Moretti\, Michael Ogana\, Alice Patteri\, Simona Pes\, Rebecca Pilloni\, Oscar Piras\, Emma Porcu\, Federico Satta\, Francesco Tetti. \nBilingual ITA/EN Catalogue-Photographic AlbumPublished by Interlinea\, curated by Leonardo Boscani and Chiara Gatti\,photographs by Daniele Brotzu\,critical text by Nicolas Martino.
URL:https://www.museoman.it/en/event/iscra-cultural-fleet-of-the-mediterranean/
CATEGORIES:MAN
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250627
DTEND;VALUE=DATE:20251117
DTSTAMP:20251205T110836Z
CREATED:20250528T085418Z
LAST-MODIFIED:20251205T110836Z
UID:9108-1750982400-1763337599@www.museoman.it
SUMMARY:ISLANDS AND IDOLS
DESCRIPTION:curated by Chiara Gatti and Stefano Giuliani\, with the contribution of Matteo Meschiari \nproject developed thanks to the participation of Fundació Pilar i Joan Miró\, Majorca\, Musée du Louvre and Fondation Giacometti\, Paris \n  \nWhat deep bond connects an island to its simulacra?  \nAnd how did the twentieth-century masters travelling between the  \nMediterranean and South Seas absorb and interpret them? \n\nThe exhibition Islands and Idols\, which opens the summer season at the Museo MAN in Nuoro\, was conceived to explore these very questions. It seeks to understand how the symbolic and mythical power of archaic figures – preserved within the boundaries of island life – was regenerated\, centuries later\, in modern artistic forms. \nPoised between the Neolithic age and the dawn of the twentieth century\, between archaeology and the avant-garde\, between Cycladic idols and the wooden sculptures carved by Gauguin during his years in Tahiti\, the exhibition traces a journey that flows between past and present. It seeks out echoes\, shared sensibilities\, ancestral legacies and expressive impulses – forces that resurface in cyclical waves\, like geological rhythms – guiding the hands of artists as they endeavour to shape kindred forms. It is not\, then\, the familiar notion of the traveller who explores\, discovers\, absorbs and replicates. Rather\, it is the more vital idea that the ancient and the modern meet beyond the confines of time and space\, both sustained by the same fundamental impulse: to give form to the elsewhere through statues\, steles and monoliths that embody the invisible on earth. \nChiara Gatti writes in her text: “No postcolonial revisionism is required to affirm that there is nothing primitive\, exotic or unsettling in their hieratic presence. It is abstraction in its purest form. They are mother goddesses – merciful and majestic in equal measure – reminiscent of Egyptian mourners\, Etruscan offerers or handmaids lifted from the surfaces of Greek vases. Their gazes\, fixed on the void\, absorbed in a Casorati-like stillness\, evoke the disarmed immobility of Dürer’s Melencolia – an allegory of the human intellect in silent meditation on the fate of the cosmos.” \nTaking a critical stance as a reflection on the everyday notions of otherness and primitivism\, and their repercussions in the heart of the postcolonial debate that extends well beyond art history\, the exhibition explores the anthropological reasons behind the presence of totemic figures within the circumscribed space of the island. It examines how masters of the stature of Gauguin\, Pechstein\, Miró\, Arp and Matisse\, during their journeys\, reimagined this coexistence by projecting their own sculptural icons into the realm of the sacred. \nBeginning with Gauguin’s first “escape” to Brittany in 1886\, rooted in the idea of the island as an ideal place\, untouched by the excesses of civilization\, the exhibition retraces the journeys of artists such as Jean Arp\, who collected Cycladic statuettes\, drawn to their concentrated magnetism\, and Max Pechstein\, who in 1914 reached the Palau archipelago. There\, on the island of Angaur\, he lived among the local communities and depicted male faces with the solemnity of deities. “I saw carved idols in which a trembling mercy and reverent fear of nature’s inscrutable power had etched hope\, dread and awe onto faces confronting their inescapable fate.” Joan Miró\, in his daily notes\, invoked the Moai statues of Easter Island as a potent source of inspiration for new sculptural forms\, recognizing in them the embodiment of an ancestral spirit. And then there was Alberto Giacometti\, who discovered his own island among the erratic boulders of Maloja\, transforming each of his portraits into an idol\, a temple guardian\, kneeling before the immaterial. \nIn his text in the catalogue\, Matteo Meschiari writes: “The aim here is not so much to examine the sociology\, philosophy and geopolitics of being and living on an island\, but rather to understand how the geomorphology of Earth and Sea holds fossils of mythical thinking\, how the encounter between rock and water serves as a morphogenetic field\, one capable of generating myth. The conceptual stereotypes associated with islands act as a dark filter: exclusion\, separation\, loneliness\, shipwreck\, entrenchment\, prison\, exile\, confinement – just to name the most prevalent. Yet\, as soon as we turn to ocean-centred cultures\, such as those of the Vikings or Polynesians\, we recognize that the West is entrenched in a geocentric colonial paradigm that consistently privileges land. This continental perspective sustains a hegemonic geographical model where the sea is regarded as empty space. For those who live at sea\, however\, water is the centre of the world. Their maps depict submerged landscapes and currents\, while islands – especially oceanic ones – are small interruptions\, areas of suspension within the vast\, salty immensity. The archipelago\, in this view\, becomes a hyper-object\, pierced and bound together by the dynamism of the waters\, by the very fullness of the sea.” \nThe selection of more than seventy works includes archaeological finds from Sardinia’s major archaeological museums\, the Menhir Museum in Laconi and museums in Brittany\, as well as an exceptional loan from the Department of Greek\, Etruscan and Roman Antiquities at the Musée du Louvre in Paris. Alongside these\, works by modern masters come from important European collections\, including the National Gallery Prague (for Gauguin’s wooden sculptures)\, the Galleria d’arte moderna in Milan\, the Musée départemental Maurice Denis\, the Museo della città di Locarno\, the Fondation Giacometti and the Archives Henri Matisse\, as well as the Florence Henri Archive and Italian private collections such as Diffusione Italia International Group srl and Enrico Sesana’s print collection. \nLastly\, a section dedicated to prehistoric Sardinia offers an in-depth look at the world of idols in Sardinia\, centred around four main themes: the bull (a male symbol associated with the cult of power and fertility)\, the Mother Goddess (a female figure linked to birth and the continuity of life)\, the “upside down figure” (representing the afterlife and ritual reversal)\, and anthropomorphic menhir statues\, true idols carved in stone and destined to dominate the landscape as eternal presences. \nThe exhibition design\, curated by architect Giovanni Maria Filindeu\, arranges the works in a spatial composition that evokes an archipelago of small thematic islands. The placement of elements on both walls and floor is shaped by a deliberate and thoughtful use of colour and materials. Display bases are crafted from Celenit\, a composite of wood fibre and cement\, paired with washed sand\, a natural\, evocative binder whose cool tones harmonize with the summer palette of textures\, sketching out metaphysical maps across the space. \n  \nISLANDS AND IDOLS \nMuseo MAN\, Nuoro – 27 June – 16 November 2025 \ncurated by Chiara Gatti and Stefano Giuliani\, with the contribution of Matteo Meschiari \n\ncoordination by Rita Moro and Myrtille Montaud \nset-up by Giovanni Maria Filindeu \nwith Giampaolo Scifo\, Anna Usai and Bartolomeo Filindeu \ngraphic image Gianfranco Setzu \ncatalogue edizioni Interlinea (Italian | English) \n  \n\nPress Office  \nSTUDIO ESSECI – Sergio Campagnolo \nVia San Mattia 16\, 35121 Padova \nTel. +39.049.663499 \ncontact person Simone Raddi\, simone@studioesseci.net \nwww.studioesseci.net
URL:https://www.museoman.it/en/event/islands-and-idols/
CATEGORIES:MAN
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250627
DTEND;VALUE=DATE:20251117
DTSTAMP:20251205T110827Z
CREATED:20250530T071123Z
LAST-MODIFIED:20251205T110827Z
UID:9201-1750982400-1763337599@www.museoman.it
SUMMARY:Minor Islands. Photographic Notes from 1990 to Today
DESCRIPTION:Curated by Walter Guadagnini and Giangavino Pazzola \nCoordinated by Elisabetta Masala \n\nThe MAN Museo d’Arte della Provincia di Nuoro and the Galleria Comunale d’Arte di Cagliari are pleased to present Minor Islands. Photographic Notes from 1990 to Today\, a major photographic exhibition bringing together sixteen projects by international artists on the theme of representing the island from the beginning of the new century to the present day. \nScheduled to open on 26 June in Cagliari and 27 June in Nuoro\, the exhibition project focuses not only on the geographical dimension\, but also on the cultural and social aspects of the concept of insularity. It is curated by Walter Guadagnini and Giangavino Pazzola\, featuring photographic works by Jacopo Benassi\, Paola De Pietri\, Charles Freger\, Ralph Gibson\, Mimmo Jodice\, Salvatore Ligios\, Bernard Plossu\, Marinella Senatore\, Giovanna Silva\, Massimo Vitali\, Lorenzo Vitturi\, Vanessa Winship and George Georgeou (in Nuoro); Arianna Arcara\, Francois Xavier Gbré\, Luca Spano and Karla Hiraldo Voleau (in Cagliari). \nPhotographed in the past by renowned figures such as August Sander\, Henri Cartier-Bresson\, Lisetta Carmi and many others\, Sardinia has largely been interpreted and depicted through a reportage-style lens\, with a focus on its landscapes and the communities of its interior regions. These visual accounts have contributed to a social imagery marked by a polarization between the central state and the periphery\, shaping representations\, myths and ideologies that have\, over time\, influenced both how islanders perceive themselves and how Sardinia is viewed by outsiders. The stereotypical perception oscillated between an image of Sardinia as a place suspended in time – a kind of Eden – and a contrasting vision tainted by the equally exoticized presence of bandits from crime reports\, remote hinterlands and other references associated with underdevelopment. \nThe exhibition highlights how this representation has evolved over the past twenty-five years\, marked by an expanded visual exploration that embraces new ways of engaging with both the territory and its communities. The emerging symbolic and ideological portrayals of the island’s space provide an insight into a range of themes\, from cultural histories to the transformation of contemporary society\, while also revealing glimpses of persistent subordination. By turning their gaze to the coastline and the sea\, as well as to the interiors of the island’s larger urban centres\, artists have developed a visual vocabulary of Sardinia that situates it culturally within the broader Mediterranean context\, prior even to its placement within the Italian one. \nThe exhibition opens with a prologue-tribute to four distinguished photographers who\, over the years\, have devoted significant works to Sardinia\, both as part of their own artistic journeys and through their reinterpretations of the island’s landscape. Mimmo Jodice’s marine metaphysics\, rooted in Mediterranean culture and captured at Punta Pedrosa (1998) and Molara (1999); Bernard Plossu’s poetic wanderings between Carloforte and La Maddalena (2002); Ralph Gibson’s ironic reimagining of the nude (1986); and Massimo Vitali’s striking documentation of the tourist presence on beaches such as Poetto (1995) collectively introduce the viewer to the exhibition and to a new century. \nDivided into monographic rooms\, the exhibition at the MAN in Nuoro presents photographers who interpret contemporary life through a range of thematic lenses. These include the enduring role of masks in ancient traditions and rituals\, revisited by Salvatore Ligios (2007) to explore questions of identity and the erosion of local culture\, and by Charles Fréger (2010–2011); the eternal – and often futile – anticipation of social\, cultural and economic renewal\, exemplified by the inauguration of architectural structures for the aborted G8 summit in La Maddalena (Giovanna Silva\, 2009); and the dialogue between past and present in the Monument to Garibaldi and the granite fortifications on Caprera island (Paola De Pietri\, 2022). Practices of interaction and participation between art and community emerge in the exploration of diverse notions of citizenship\, as seen in the works of Marinella Senatore (2013)\, Vanessa Winship and George Georgiou (2014). Meanwhile\, Jacopo Benassi (2021) and Lorenzo Vitturi (2022) address the concept of isolation through their respective projects in Donori and Valle della Luna. \nAt the Cagliari venue\, four photographers united by a shared interest in the interplay between photography and literature offer further interpretations and formal articulations of themes such as interpersonal relationships. Their work engages with the narratives of Sergio Atzeni; the previously unpublished project by Arianna Arcara (2025); and Karla Hiraldo Voleau’s exploration of Generation Z\, reimagined through the lens of Pasolini’s legacy of Comizi d’amore (2023). Meanwhile\, Luca Spano’s world-building (2020–2021)\, positioned between imagination and documentation\, draws inspiration from the literary journey of D. H. Lawrence. The theme of travel and a renewed interpretation of the territory is explored in the work of François-Xavier Gbré\, whose images reveal the evolving social and economic landscape shaped by migration and its far-reaching consequences. \nThe exhibition presents works of extraordinary visual quality and offers new perspectives on familiar places\, opening up a range of reflections on the many themes raised by the works on display. It is accompanied by a bilingual catalogue published by Interlinea\, containing a dialogue between the two curators\, reproductions of the works on display and biographical and critical notes on the artists included in the exhibition project. \n  \nGalleria comunale d’arte di Cagliari \nLargo Giuseppe Dessì | Viale San Vincenzo 2 – 09123 \nTel. +39.070.6776454 \nOpening times: 10:00 – 20:00 \n(closed on Mondays) \nmuseicivici@comune.cagliari.it \n\nMAN_Museo d’arte provincia di Nuoro \nVia Sebastiano Satta 27 – 08100 Nuoro \nTel. +39.0784.252110 \nOpening times: 10:00 – 20:00 \n(closed on Mondays) \ninfo@museoman.it \n\nPress Office \nSTUDIO ESSECI – Sergio Campagnolo \nVia San Mattia 16\, 35121 Padova \nTel. +39.049.663499 \ncontact person Simone Raddi\, simone@studioesseci.net \nwww.studioesseci.net
URL:https://www.museoman.it/en/event/minor-islands-photographic-notes-from-1990-to-today/
CATEGORIES:MAN
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