events Archivi - Museo Nivola

Hannah Levy | Blue Blooded – Sangue blu

admin_museo — Sat, 28 Mar 2026 23:30:00 +0000

Hannah Levy
Blue Blooded – Sangue blu
Curated by Giuliana Altea, Antonella Camarda, Luca Cheri

Museo Nivola, Orani (NU)
March 28 – July 12, 2026
Opening March 28, h. 11:30 am

Museo Nivola presents Blue Blooded – Sangue blu, the first solo exhibition in Italy by Hannah Levy, opening Saturday, March 28, 2026 at 11:30 a.m. Curated by Giuliana Altea, Antonella Camarda, and Luca Cheri, the exhibition brings together a group of new sculptures inspired by the horseshoe crab, or limulus: an uncanny-looking marine arthropod that has survived for hundreds of millions of years and whose blue blood is now widely used to ensure the safety of vaccines and medical devices.

Levy’s sculptures combine polished metal with translucent silicone and glass, generating sinuous forms that – echoing a Surrealist-inflected imagery – recall animals, insects, and organic morphologies while subtly alluding to the elegance of Art Nouveau and Modernist design. Positioning herself within a lineage that includes artists such as Meret Oppenheim, Louise Bourgeois, and Robert Gober, Levy merges industrial aesthetics and natural imagery to evoke presences that are both seductive and unsettling.

The central work of the exhibition is a large tentacular structure in stainless steel and silicone. It resembles a light canopy supported by long, slender legs. Its proportions echo those of the museum space and its silhouette suggests at once a beach shelter and a fossilized skeleton on display in a natural history museum. The stretched spiny shell-like covering and legs inspired by the morphology of the horseshoe crab create an architectural organism that inhabits the nave like a presence suspended between refuge and relic.

Alongside this installation, are a series of glass sculptures supported by sharp metallic claws. These creature-like forms appear as bodies in tension, caught midway between fluid and solid states. A glass shell-like form stretches across delicate supports, like an animal acclimatising while finding refuge in a new dwelling. The glass in these works exists as a record of past action, the moment of its molten transformation under the pressure of stainless steel, frozen in time.

Another work consists of aluminium shells cast from the spiny exterior of the horseshoe crab, with long exaggerated and imposing sculptural tails. Atop these alien creatures, one shell sits overturned and filled with cast blue glass revealing the anatomy of the crab’s underbelly. Crafted through a traditional lost wax process, these objects combine various ancient artisanal practices with a vaguely prehistoric imagination. On the walls, stainless steel elements resembling pincers are installed like organically shaped sconces: each set of claws grips a misshapen orb of blown blue glass, imbuing the ensemble with an ambiguous, faintly disquieting sensuality.

In the exhibition, the horseshoe crab functions as an ideal fulcrum: a presence that orients every work, even when not immediately recognizable.

At once archaic and strikingly contemporary, the horseshoe crab is as compelling visually as it is symbolically. Often described as a “living fossil,” it has remained almost unchanged since the Triassic era and bears within its body an imprint of Prehistory. Its vividly blue blood contains Limulus Amebocyte Lysate (LAL), a substance essential for detecting bacterial contamination in pharmaceutical products. Each year thousands of specimens are captured, bled, and returned to the sea in a process that has raised growing ethical and environmental concerns. While still vital to medicine in the US (in the European Union a synthetic substitute was approved in 2020), this practice prompts urgent questions about the moral limits of exploiting natural resources and about human responsibility toward species on which our own survival depends.

The project developed in direct dialogue with the museum’s exhibition space – the former washhouse of Orani – and with the figure of Costantino Nivola. The long, narrow nave, the gabled roof with exposed beams resembling ribs, and the building’s strong architectural identity became the exhibition’s point of departure. While researching for the exhibition, Levy unearthed an extraordinary connection with Nivola: she became aware that it was while playing with his children on the beach at Springs, Long Island, that the sculptor first experimented with his signature sandcasting technique. It was along that very same coastline that Levy collected the many horseshoe crab specimens that form the conceptual matrix of the show.

Like Nivola, Levy explores the boundary between art and architecture and conceives sculpture as a spatial and public experience. The rectangular volume and structural clarity of the space offer a counterpoint to the sculptures’ curved, pulsating lines. Within this essential environment, the works are arranged like living presences that place rigidity and softness, the natural and the artificial, into tension, transforming the architecture into a resonant chamber for the ethical questions and sensory impressions generated by the exhibition.

Blue Blooded – Sangue blu reveals Hannah Levy’s ability to construct sculptural universes in which technology and nature intertwine. The exhibition proposes a reflection on the fragility of the systems that sustain contemporary life, and on the need to rethink our relationship with the living world.

Biography
Hannah Levy (born 1991 in New York, where she lives and works) creates sculptures and installations that investigate relationships between the body, desire, and materiality. Her work combines industrial materials – particularly polished metal – with elements such as silicone and glass to create forms that evoke animal and vegetal anatomies as well as design objects. She participated in the 59th International Art Exhibition of La Biennale di Venezia, The Milk of Dreams (2022), and has exhibited at major international institutions and galleries. Her works are held in public and private collections and have been presented in numerous solo and group exhibitions.

Blue Blooded – Sangue blu is her first solo institutional exhibition in Italy.

Institutional Sponsors: Autonomous Region of Sardinia, Municipality of Orani
Principal Supporter: Fondazione di Sardegna
Thanks to: MASSIMODECARLO
Catalogue: Allemandi
Exhibition Set-Up: Artigianato e Design di Pietro Fois
Graphic Design: Heart Studio
Printing: Bioazione di Fabio Milia

Press Office: Sara Zolla | +39 346 8457982 | press@sarazolla.com

Photo: Hannah Levy, Untitled, 2025, Stainless steel, glass, 31×37×16 inches. Courtesy of the artist and MASSIMODECARLO. Photography Adam Reich.

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Mona Hatoum. Behind the Seen

admin_museo — Sat, 04 Oct 2025 18:00:00 +0000

Mona Hatoum. Behind the Seen
curated by Giuliana Altea, Antonella Camarda, Luca Cheri

Museo Nivola
October 4th, 2025 – March 2nd, 2026
Opening October 4th, at 6 PM

The Foundation and Museo Nivola is pleased to present Behind the Seen, a solo exhibition by artist Mona Hatoum, the result of a residency in Orani during which Hatoum explored Sardinia, deepening her encounter with the island’s local culture and artisanal practices.

Curated by Giuliana Altea, Antonella Camarda and Luca Cheri, the exhibition includes both existing works and several new productions, some created in collaboration with local artisans. Behind the Seen reflects on the relationship between body, matter and land, between what is visible and what remains hidden.

Through a language that combines formal minimalism with political tension, Hatoum questions how space is regulated, surveilled and colonised. Her work does not offer solutions, but rather builds environments of experience and suspension, in which viewers are continuously called upon to reposition themselves, to negotiate their perspective and to “see” what remains behind the scenes. In this sense, her works act as critical zones of perception, where the artistic gesture becomes a tool of excavation, deconstruction and unveiling.

The exhibition’s title plays on the double meaning of “seen” and “scene,” suggesting a gaze beyond appearances, toward the hidden spaces of human experience: memory, trauma and the desire for resistance.

Through works that merge formal research with profound political reflection, Behind the Seen challenges the power structures that shape how we see and inhabit the world, revealing what is often concealed behind appearances.

Hatoum’s work revolves around a set of fundamental tensions: inside and outside, visible and invisible, attraction and repulsion, control and vulnerability. From the very beginning, her practice has functioned as a critical device capable of disrupting the supposed neutrality of spaces, objects and forms, showing how every surface can conceal a threshold of ambiguity or a zone of conflict.

The dimension of the body—not only as a physical organism but also as a political and affective entity—is central to her work. Her early performances in the 1980s directly explored the relationship between the female body, urban space and surveillance devices. Later, the body disappears from the stage, replaced by traces, imprints, or symbolic objects of confinement: cages, beds and hospital screens become spatial metaphors of its absence-presence, evoking a vulnerable subjectivity exposed to control.

The theme of control runs through Hatoum’s research by means of minimal structures that incorporate allusive, threatening materials: barbed wire, iron, glass and steel. Domestic objects—beds, chairs, utensils—are destabilised, transformed into instruments of containment or aggression. This unsettled domesticity suggests that dynamics of power, coercion and discipline can permeate even spaces of intimacy.

Her personal experience—born in Beirut to a Palestinian family, unable to return home because of war—informs a poetics of displacement that manifests itself not so much in narrative terms, but in spatial and perceptual ones. Territory is often evoked through fragmented forms, impossible cartographies, or obstructed paths. Twelve Windows (2012–2013) is an emblematic example: created in collaboration with the craftswomen of the Lebanese association Inaash, it presents twelve panels of traditional Palestinian embroidery suspended in space on red washing lines. The installation creates an environment crossed by visual and physical obstacles, evoking the themes of diaspora and exile.

This topography of instability also appears in works such as Divide (2025), a hospital screen turned into a dangerous barrier using barbed wire, or Mirror (2025), a grid-like structure devoid of any reflective function, which returns to the viewer not their own image, but the opacity of limitations.

Untitled (red velvet) (1996) presents a fragment of red velvet inscribed with a drawing reminiscent of intestines or lobes of the brain: a recurring motif in the artist’s work, exploring the body’s vulnerability and the fine line between attraction and repulsion.

The large Untitled (bed springs) I (2018) is a lithograph created by placing industrial bed springs directly onto lithographic stone. The result is a negative image, reminiscent of an X-ray, in which the regular grid geometry deforms into a biomorphic composition, suggesting a tension between structure and collapse.

Joining this core of works are new pieces produced for the exhibition during Hatoum’s residency at the Museo Nivola. Among these is the series of ceramic bird cages created with the artisanal workshop Terrapintada, in which one of Hatoum’s recurring structural motifs returns: the grid as a form of containment, confinement and control. Here, the use of ceramic—a fragile material tied to decorative tradition—introduces a visual and symbolic tension.

Also in ceramic are the forms of Gathering, resembling compressed blocks of earth that recall desolate landscapes, into which the artist has embedded old, rusted nails, like small human figures clustered into fragmentary communities. The elongated shapes and rough surfaces of the nails evoke the postwar sculptures of Giacometti, an artist with whom Hatoum has established a long-distance dialogue in a current exhibition at the Barbican in London.

Shooting Star I and II, with their spiky shapes suspended from the ceiling, appear like exploded geometry. Metallic rays converge in a dense and traumatic core, evoking both a celestial body and a detonating device. Created in collaboration with blacksmith Emanuele Ziranu, the work combines technical precision with visual brutality. The structures radiate force but also instability and their presence in space—hanging, floating, threatening—acts as a point of perceptual tension.

Using traditional technique unique to Sardinia, weaver Mariantonia Urru has crafted a carpet entitled Eye Spy. The apparently random pattern is a translation of a pixelated image from a digital drone recording — an aerial view of a crowd— into a soft, tactile surface.

Wool, a warm and familiar material, paradoxically becomes the vehicle of a cold, detached vision typical of military or urban control technologies. The result is a carpet that does not comfort but disturbs: a visual device disguised as a domestic object, questioning our relationship with privacy, vulnerability and the gaze of power.

Many of the themes that characterise Hatoum’s work converge in the installation that gives the exhibition its title, Behind the Seen, an assemblage of everyday objects arranged in space with apparent casualness but charged with layers of meaning. A bed, a colander bristling with spikes like a nail bomb, a tangle of metal wires, a rickety chair, a stuffed toy overturned under a table and a skinned soccer ball: each element evokes a scene, an interrupted experience. The very title suggests a double register: what is shown and what remains hidden, suppressed, invisible. It is a topography of the domestic unconscious, a fragmented interior that interrogates our relationship with inhabited space, trauma and memory.

⸻

Artist’s Biography

Mona Hatoum’s poetic and political oeuvre is realised in a diverse and often unconventional range of media, including performance, video, photography, sculpture, installation and works on paper. Her work deals with issues of displacement, marginalisation, exclusion and systems of social and political control. Born into a Palestinian family in Beirut, Lebanon, Hatoum has lived in London since 1975, after the outbreak of the Lebanese Civil War prevented her from returning home. She studied at the Byam Shaw School of Art, London (1975-1979) and the Slade School of Fine Art, London (1979-1981).

Hatoum has participated in numerous international exhibitions, such as the Venice Biennale (1995 and 2005), Istanbul Biennial (1995 and 2011), Documenta, Kassel (2002 and 2017), Biennale of Sydney (2006), Sharjah Biennial (2007 and 2023) and Moscow Biennale of Contemporary Art (2013).

Recent solo exhibitions include a major survey organised by Centre Pompidou, Paris (2015) that

toured to Tate Modern, London and KIASMA, Helsinki (2016) and a large US survey initiated by

the Menil Collection, Houston (2017) that travelled to the Pulitzer Arts Foundation, St Louis (2018).

In September 2022, three solo exhibitions took place simultaneously in three different institutions in Berlin: Neuer Berliner Kunstverein (n.b.k.), Georg Kolbe Museum and KINDL – Centre for Contemporary Art. Her most recent extensive solo show was held at KAdE, Amersfoort from January to March 2025. Hatoum’s work was paired with that of Giacometti’s in Encounters: Giacometti x Mona Hatoum, at Barbican, London (2025).

Hatoum was awarded the Joan Miró Prize (2011), the 10th Hiroshima Art Prize (2017) and the prestigious Praemium Imperiale (2019) given by the Japan Art Association for her lifetime achievements in the field of sculpture. She was also the recipient of the 2020 Julio González Prize, Institut Valencià d’Art Modern – IVAM, Valencia, Spain.

Mona Hatoum

Behind the Seen

Curated by Giuliana Altea, Antonella Camarda, Luca Cheri

Museo Nivola, Orani (NU)

October 4 2025 – March 2 2026

Institutional Sponsors

Autonomous Region of Sardinia, Municipality of Orani

Main Supporter

Fondazione di Sardegna

Special thanks to

White Cube Gallery, London

Catalogue

Allemandi

Local coordination and production assistance

Marco Loi

Artisan workshops

Terrapintada, Bitti

Mariantonia Urru, Samugheo

Emanuele Ziranu, Orani

Exhibition setup

Artigianato e Design by Pietro Fois

Printing

Bioazione by Fabio Milia

Venue

Museo Nivola

Via Gonare 2, 08026 Orani (NU), Italy

Dates

October 4 2025 – March 2 2026

Opening hours

Monday – Sunday, 10:30 AM – 7:30 PM

Closed on Wednesdays

Guided tours

Morning: 11:30 AM

Afternoon: 4:00 PM

By reservation for groups of 10 or more

Tour cost: €2 in addition to the entrance ticket

Tickets

Full price: €7, Reduced: €5

Accessibility and free entry info: https://museonivola.it/visita/

Information

Museo Nivola

Via Gonare 2

08026 Orani (NU), Italy

+39 0784 730063 | info@museonivola.it

Press Office

Sara Zolla | +39 346 8457982 | press@sarazolla.com

L'articolo Mona Hatoum. Behind the Seen proviene da Museo Nivola.

On the Edge of the Eyelid

admin_museo — Sat, 20 Sep 2025 11:00:00 +0000

On the Edge of the Eyelid
Works by Fabio Barile, Ezio D’Agostino, Luca Spano
Curated by Giangavino Pazzola

20 September – 16 November 2025
Opening: Saturday, 20 September, 11:00 am

The Fondazione Costantino Nivola – Orani / Museo Nivola is delighted to present the exhibition On the Edge of the Eyelid, featuring a group of photographic installations that explore the borders between artistic research and scientific investigation, with special
reference to the study of dark matter and dark energy.
The project, supported by Strategia Fotografia 2024, promoted by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture, presents three new projects by Fabio Barile (Barletta, 1980), Ezio D’Agostino (Vibo Valentia, 1979) and Luca Spano (Cagliari, 1982).

The artists participated in a research residency that put them in contact with scientists and researchers from leading institutes, including the Gran Sasso Science Institute (L’Aquila), the Physics Department at the University of Cagliari, the INFN – Istituto Nazionale di Fisica Nucleare and the association IDeAS (Cagliari), as well as the Sos Enattos sites (Lula), selected for the future construction of the Einstein Telescope, and the Sardinia Radio Telescope (San Basilio, CA).

The Projects
– In his photographic installation, Fabio Barile presents three different attempts to represent the invisible, mediated by direct experiences that alter and transform the process of vision, rendering it inevitably flawed. Observing the work tools used in
physics and photography (and, more generally, knowledge production), he was inspired to record the results of an ironic intellectual challenge to deconstruct knowledge, disassembling and reassembling his large-format camera to generate a
potentially infinite series of precarious and useless tools. A second series of photographs reflects on the act of looking ‘through’ something, distorting physical space and amplifying perception. The installation is completed by a sequence of
images of hands indicating something always outside the frame, destined to remain unknown.
– Ezio D’Agostino reflects on the gap between the visual language of photography and that of scientific research, both driven by the desire to give visible shape to phenomena and, at the same time, exposed to the unpredictable role of chance.
After painstaking research on modes of representation in scientific literature, the artist experimented in the darkroom, choosing, however, unusual conditions that are difficult to control: working in diffuse light, inserting crystals into the body of the camera and stimulating the photosensitive material with unexpected energy reactions. The results, which evoke Italian experimental photography in the 1930s and Surrealism, put photographic material to the test in an attempt to sidestep or betray the expectations of research.
– Luca Spano presents two series of works that assemble different materials – photo paper, laser-engraved glass and metal – and document the trace of invisible phenomena. Taking inspiration from the CYGNO experiment, a project led by GSSI
to develop a high-precision time projection chamber (TPC) to record rare events, the artist constructs a visual imaginary that is new even to the scientific field. His installations question the inadequacy of all forms of knowledge, advancing enigmatic theories about representing reality and linking image and text as complementary research tools.

Artists Bio
Fabio Barile (Barletta, 1980) lives and works in Rome. He graduated in Photography from the Fondazione Studio Marangoni, Florence and, that same year, exhibited at MAXXI, Rome as a finalist for the Directorate-General for Contemporary Art and Architecture’s
Atlante Italiano 007 award (2007). He published Among in the Documentary Platform series ‘Visions and Documents’, a project about coastal erosion that investigates the landscape’s natural processes, still explored in his work, exhibiting his works in group
shows at the Centre d’art Nei Liicht (LUX) and the Athens Photo Festival (GR) (2009).
He exhibited An Investigation of the Laws Observable in the Composition, Dissolution and Restoration of Land, a project that puts photography in dialogue with archival material, at Galleria Matèria and at the ICCD, Rome (2017). With Domingo Milella, he participated in
the exhibition Le Forme del Tempo at the Fondazione Pescheria, Pesaro (2019) and at the Baths of Diocletian, Rome (2022). He showed his work in the exhibition On Earth at Les Rencontres d’Arles (FR, 2019). FOAM Magazine published a portfolio of images from his
volume Works for a Cosmic Feeling, a finalist for the MACK First Book Award (2021) and published by Witty Books.
Ezio D’Agostino (Vibo Valentia, 1979) lives and works in the south of France. He studied Archaeology at the University of Florence and Photography at the Scuola Romana. His work has been exhibited at European museums, galleries and festivals, including the
Athens Photo Festival (GR, 2016), the Centre National de l’Audiovisuel, Dudelange (LUX, 2019), the Noorderlicht Festival (the Netherlands, 2019), Getxo Photo (SP, 2019), the Institut pour la Photographie, Lille (FR, 2021). He presented the project True Faith, about
the anthropological and visual phenomenon of religious apparitions in Italy, at Rencontres d’Arles (FR, 2022). He is a recipient of various research grants and international awards, including the Bourse à la Création et à la Recherche of the Institut pour la Photographie,
Lille (FR, 2020), the Soutien à la Photographie Documentaire of the Centre National des Arts Plastiqus (FR, 2022), Strategia Fotografia (IT, 2024). His works are found in private collections and in the permanent collections of the Centre National de l’Audiovisuel (LUX),
the Fonds Régional pour l'Art Contemporain (FR) and the Fotomuseum Winterthur (CH).
Luca Spano (Cagliari, 1982) lives and works in Cagliari. He studied Communication Sciences at Sapienza University of Rome, Photography at the London College of Communication (UK) and Visual Arts at Cornell University (US). His work has been exhibited at museums, galleries and festivals including MACRO, Rome (2013), Breda Photo (NL, 2012), Savvy Contemporary, Berlin (DE, 2013), the Italian Cultural Institute, Paris (FR, 2019), Museo MAN, Nuoro (2023). He was artist in residence at Fundacion
Botin (ES, 2012), KHI, Florence, Arts Letters and Numbers (US, 2019), Deutsches Optisches Museum (DE, 2022), DIST Politecnico di Torino, GSSI (IT, 2024), McGill University (CA, 2025) and others. He is a recipient of various prizes, including the MEAD
Fellowship (UK, 2013), Einaudi Research Grant (US, 2015), John Hartell Award (US, 2015), Graziadei Prize (IT, 2013), the New Work Grant by Prospect Art (US), Strategia Fotografia (2022 and 2024) and Promozione della Fotografia all’Estero (2024). He is full
professor at the Accademia di Belle Arti, Sassari (IT) and at the IED (IT). His works are found in public and private collections.

Curator Bio
Giangavino Pazzola (Sassari, 1981). With a Ph.D. in Urban and Cultural Studies from the Politecnico di Torino, since 2018 he has been curator at CAMERA – Centro Italiano per la Fotografia di Torino, where he is in charge of research projects on contemporary art,
including the European programme for emerging artists, FUTURES Photography. He was curator of the Photography and Moving Images section of ArteFiera, Bologna (2023–2025) and artistic and executive manager of EXPOSED – Torino Foto Festival (2023, 2024). He works with national and international organisations and institutions, for which he has conceived and curated projects and exhibitions including Museomontagna, Turin (2020), Palazzo Ducale, Genoa (2023), Copenhagen Photo (2024), Fotofestiwal Lodz (2024),
Museo Nivola, Orani (2020, 2024) and Museo MAN, Nuoro (2025). Visiting researcher at University of Birmingham, he has published articles on contemporary art and independent cultural production centres in international and national academic journals. He regularly
publishes monographs and catalogues on artists and exhibitions of contemporary photography. He teaches Aesthetics and History of Contemporary Photography at IED, Turin.

The project is supported by Strategia Fotografia 2024, promoted by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture

Presentation
The exhibition will be presented to the public with the artists and the curator, by Roberto Concas, president of Fondazione Costantino Nivola, with Luca Cheri, director of Museo Nivola, at the museum on 20 September 2025 at 11:00 am.

Side Activities
The exhibition will be accompanied by a publication published by the French publishing house Empire and by a documentary by Alessandra Tocco about the research process.
Between 7 and 9 November 2025, there will be a masterclass and a public talk with the artists and curator at the Museo Nivola, Orani.

Fondazione and Museo Nivola – Orani (NU)
The mission of the Fondazione Costantino Nivola is to valorise and promote the artistic and personal legacy of Costantino Nivola (Orani, 1911–East Hampton, 1988), an artist, sculptor, graphic designer and art director of international renown. His work stands out for
the integration of visual arts and architecture, developed in the context of intense exchange between Italy and the United States in the twentieth century.
The Fondazione also supports and promotes contemporary art, recognising it as a critical tool for the cultural and social development of central Sardinia.
The Museo Nivola, Orani, surrounded by a city park, is home to the most important European collection of Nivola’s work and organises exhibitions of contemporary art, with special attention to the dialogue between the visual arts, design, architecture and the
environment.

L'articolo On the Edge of the Eyelid proviene da Museo Nivola.

Proposta formativa anno scolastico 2024/2025

admin_museo — Wed, 25 Sep 2024 10:30:00 +0000

Ritornano i Laboratori Didattici al Museo Nivola!

Siamo entusiasti di annunciare il nuovo programma di laboratori didattici del Museo Nivola, un’occasione unica per immergersi nel mondo dell’arte attraverso esperienze pratiche e coinvolgenti. Il Museo Nivola propone una serie di attività educative pensate per stimolare creatività, apprendimento e ispirazione attraverso il contatto diretto con le opere d’arte.

La didattica museale è un pilastro della missione del Museo Nivola perché rende l’arte e la cultura accessibili a persone di tutte le età e provenienze. Attraverso questi laboratori, gli studenti potranno sperimentare l’arte in prima persona: toccando, osservando, ascoltando e creando, favorendo una comprensione più profonda, stimolando la creatività, intrecciando passato e presente, ed incoraggiando una riflessione critica.

I Nuovi Laboratori del Museo Nivola

Anche quest’anno, il Museo Nivola rinnova la sua offerta di laboratori con proposte classiche e nuove attività per tutte le età, flessibili e adattabili a ogni esigenza. Le attività abbracciano una vasta gamma di temi artistici: dall’acquerello alla scultura, dalla riflessione sulla comunità attraverso l’arte, offrendo a tutti i partecipanti occasioni per apprendere, creare e lasciarsi ispirare. Il nostro obiettivo è quello di garantire un ambiente accogliente e inclusivo, dove ciascuno possa esplorare liberamente l’arte, sviluppare abilità personali e godere dell’apprendimento creativo. Ogni laboratorio, della durata di circa due ore, sarà arricchito da strategie didattiche pensate per coinvolgere e appassionare, prendendo sempre le mosse dalle opere di Nivola e dalla loro interpretazione.

I laboratori didattici si svolgeranno su prenotazione e saranno condotti da personale qualificato, per garantire un’esperienza formativa di alta qualità.

Vi aspettiamo per un nuovo anno di creatività e scoperta al Museo Nivola!
Per informazioni: info@museonivola.it – anna.pirisi@museonivola.it. – 0784/ 730063

SCUOLE DELL’INFANZIA

MONOTIPI – Alla scoperta di una tecnica che ci permetterà di creare la nostra opera d’arte unica e irripetibile, partendo dal racconto della vita altrettanto unica di Costantino Nivola
Costo: euro 3

CALAMITICI – Dopo la lettura di un breve racconto verrà chiesto alle/ai bambin3 di disegnare un personaggio o un momento della storia che è stato di particolare ispirazione all’interno di un cerchio prestampato. Quando avranno terminato assisteranno alla realizzazione di una calamita avente come supporto il loro stesso disegno, potranno poi portarla con se a casa. Il laboratorio ha diverse varianti, il disegno in questione può per esempio prendere ispirazione dal tema del Natale, delle stagioni, delle passioni e dei sogni
Costo: euro 3

MI NARO – Le/i Bambin3 saranno chiamati a realizzare un piccolo libro in cui stamperanno con la tecnica del timbro le lettere del proprio nome e le abbelliranno con simboli e figure di frutti, fiori, animali aventi la stessa iniziale divertendosi con l’uso del colore di incisione con stuzzicadenti
Costo: euro 3

STUZZIC’ARTE – Ad ogni bambin3 verrà fornito un piccolo blocco di plastilina o argilla morbida e uno stuzzicadenti per inciderne la superficie, creando disegni o motivi. Le/ i bambin3 possono poi applicare vernice tempera diluita o inchiostro per timbri sulla superficie incisa e premere su un foglio di carta per creare la loro stampa. Questo laboratorio incoraggia la creatività e offre una modalità tattile ed esplorativa per esprimersi attraverso l’arte dell’incisione
Costo: euro 3

FROTTAGE A SORPRESA – La tecnica del frottage consiste nel posizionare un oggetto sotto il foglio e sfregare con matite o pastelli per rivelare la texture dell’oggetto. Sono necessari fogli di carta, matite colorate o pastelli a cera, foglie, monete, stoffe…Qualsiasi oggetto con una superficie interessante. Le/i bambin3 troveranno l’oggetto segreto nascosto sotto il foglio e sfregando delicatamente con matite o pastelli a cera sulla carta lo sveleranno. Una volta liberato l’oggetto, si possono combinare più frottage per creare composizioni uniche, condividendo gli oggetti
Costo: euro 3

Mascheri-AMACI – Creazione di maschere emozionali: utilizzando materiali come cartoncino, piume, brillantini, tessuti, verranno realizzate maschere che rappresentano le diverse emozioni o quella che le/ i bambin3 si sentono di rappresentare in quel momento. Questo laboratorio aiuterà a esprimere e comprendere le sfumature delle emozioni attraverso l’arte della maschera
Costo: euro 3

RITAGLI – Ritagli di tessuti: le/i bambin3 saranno invitat3 a utilizzare diversi scampoli di tessuti che verranno loro forniti per “vestire” le sagome che verranno loro proposte, incollando, ritagliando e mischiando colori e texture differenti
Costo: euro 3

IL MUSEO DELLE OMBRE – Prendendo spunto dalle figure moderniste di Nivola, si realizzeranno delle sagome in cartoncino alle quali verrà data vita in un affascinante gioco di luci e ombre
Costo: euro 3

NONTISCORDARDIME – Dopo una passeggiata nel parco del Museo alla ricerca di fiori, foglie e piccole piante che le stagioni ciclicamente ci regalano, realizzeremo degli amuleti con l’aiuto del Das per conservare la bellezza della natura tutto l’anno!
Costo: euro 3

SEGUI LA TRACCIA SEGRETA – Lasceremo correre la fantasia, come il pennello sul foglio. Seguirà una magia per scoprire, giocando, quali immagini si nascondono nella mente di chi ci sta accanto
Costo: euro 3

SCUOLE PRIMARIE E SECONDARIE DI PRIMO GRADO

A RIGHE! – Laboratorio di stampa a timbro su tessuto, per personalizzare, colorare, decorare e raccontare storie di stoffa
Quando: Anno scolastico 2024/ 2025
Durata: 2 ore
Costo: 5 euro

FORME e COLORI – Dall’accostamento e dalla sovrapposizione di forme, textures e tonalitá diverse, nascono composizioni che sembrano uscire dalla piattezza del foglio. Grazie a spugne e cartoncini indagheremo gli strati della rappresentazione artistica
Quando: Anno scolastico 2024/ 2025
Durata: 2 ore
Costo: 5 euro

MAGIA TRA LE DITA – Partendo dalla visita guidata alla permanente di Nivola e soffermandoci in particolare sulla serie dei lettini, delle spiagge e delle piscine, inviteremo le/ i partecipanti a scoprire la malleabilità del materiale argilloso e a creare un manufatto che potranno poi portare con se una volta asciugato
Quando: Anno scolastico 2024/2025
Durata: 2 ore
Costo: 7 euro

RITRATTI DI FAMIGLIA – Confrontandosi con i colori a tempera le/i partecipanti saranno chiamati a realizzare ognuno il proprio ritratto di famiglia su tela
Quando: Anno scolastico 2024/ 2025
Durata: 2 ore
Costo: 5 euro

LA CITTA’ INCREDIBILE – Con l’utilizzo di colori ad acrilico su piccole tele ogni partecipante al laboratorio sarà chiamato a realizzare un dipinto rappresentante il proprio ideale di habitat urbano, sia esso una città, un paese, una metropoli
Quando: Anno scolastico 2024/2025
Durata: 2 ore
Costo: 5 euro

LINEA, SEGNO E COLORE – Trasportato dalle suggestioni moderniste dei lavori di Nivola successivi all’incontro con Le Corbusier, il laboratorio sarà incentrato sulla rivisitazione della forma e l’uso del colore in particolare con l’uso della tecnica ad acquerello
Quando: Anno scolastico 2024/2025
Durata: 2 ore
Costo: 5 euro

SCUOLE SECONDARIE DI SECONDO GRADO

FRIZZARTE – Un’ opportunità di esplorare l’arte della litografia in un modo innovativo e accessibile, utilizzando materiali semplici come la Coca Cola, la carta, e le matite dalle texture grasse
Quando: Anno scolastico 2024/2025
Durata: 2 ore
Costo: 7 euro

ECO STAMPE – Incisioni Creative su Tetrapack. Un laboratorio che invita le/gli student3 a scoprire il potenziale artistico nascosto nei materiali di uso quotidiano, trasformando i comuni contenitori di tetrapack in matrici per la stampa; le/i partecipanti esploreranno le tecniche di stampa sostenibile, sperimentando linee, texture e composizioni originali
Quando: Anno scolastico 2024/2025
Durata: 2 ore
Costo: 5 euro

UNO, NESSUNO, CENTOMILA – Nel 1963 Nivola realizza Piazza Satta a Nuoro, cuore pulsante della città nel quale vengono presentate piccole sculture bronzee rappresentanti i mille volti e le mille sfaccettature del poeta. Le/i partecipanti al laboratorio saranno chiamati3 a realizzare attraverso l’utilizzo di materiale argilloso, uno o più manufatti rappresentanti se stessi e le proprie velleità
Quando: Anno scolastico 2024/ 2025
Durata: 2 ore
Costo: 7 euro

LINEA, SEGNO E COLORE – Facendosi trasportare dalle suggestioni moderniste dei lavori di Nivola successivi all’incontro con Le Corbusier il laboratorio sarà incentrato sulla rivisitazione della forma e l’uso del colore in particolare con la tecnica ad acquerello
Quando: Anno scolastico 2024/ 2025
Durata: 2 ore
Costo: 5 euro

MY MESSAGE – Un breve ma significativo viaggio all’interno della produzione grafica Nivoliana e la possibilità di realizzare poi un manifesto espressivo e comunicativo del proprio io tramite l’uso della linoleografia o del collage
Quando: Anno scolastico 2024/ 2025
Durata: 2 ore
Costo: 7 euro

EVENTI SPECIALI POP BUNDU

Realizzazione di stampe multicolor dedicate all’universo carnevalesco barbaricino con la tecnica del timbro realizzato dai partecipanti stessi i quali potranno creare la loro composizione lasciandosi ispirare da colori e maschere
Quando: Carnevale 2025
Durata: 2 ore
Destinatari: Bambin3 e ragazz3 a partire dai 6 anni di età
Costo: 5 euro

PAPER BAG MASKS – Tra il 1959 e il 1963, Saul Steinberg produsse maschere con sacchetti dicarta sui cui disegnò una serie di facce stilizzate che divennero famose attraverso le fotografie
scattate da Inge Morath che ritraevano lo stesso Steinberg e i suoi amici con le maschere a nascondere il viso. L’idea del travestimento è fondamentale per l’arte di Steinberg. “La maschera”, scrisse, “è una protezione contro la rivelazione”. I partecipanti decoreranno il loro sacchetto, seguirà sessione di foto di gruppo
Quando: Carnevale 2025 – Anno scolastico 2024/2025
Durata: 2 ore
Destinatari: Ragazz3 a partire dai 12 anni di età
Costo: 5 euro

SAS ANIMEDDAS – Laboratorio di intaglio delle zucche utilizzate dalle/dai bambin3 durante la questua de “Su Mortu Mortu“. Trasformeremo insieme la tua zucca in una spaventosa animedda
Quando: Ultima settimana di Ottobre
Durata: 2 ore
Destinatari: Bambin3 e ragazz3 a partire dai 6 anni di età
Costo: 5 euro

LA MAGIA DEL NATALE – Grandi e piccini saranno chiamati a realizzare le loro personali cartoline di auguri utilizzando la tecnica dell’acquerello e lasciandosi ispirare da motivi e colori festosi
Quando: Inverno 2024
Durata: 2 ore
Destinatari: Aperto al pubblico
Costo: 5 euro

SA DIE DE SA SARDIGNA – KENTU FIZOS
Ogni partecipante al laboratorio è invitato a portare con se un oggetto rappre- sentativo di se stesso e del proprio legame con il territorio, può essere un qual- cosa di trovato, un oggetto prestato, un libro, una fotografia, una manciata di terra, un odore particolare…Impareremo a raccontarlo e a valorizzarlo usando tecniche artistiche differenti
Quando: Primavera 2025
Durata: 2 ore
Destinatari: Bambin3 e ragazz3 a partire dai 6 anni di età
Costo: 5 euro

Grafica a cura di Heart Studio

Scarica qui il catalogo in formato pdf > Programma didattica

L'articolo Proposta formativa anno scolastico 2024/2025 proviene da Museo Nivola.

TUTTO D’UN TRATTO | Piccolo Festival di Illustrazione | seconda edizione

admin_museo — Sat, 14 Sep 2024 10:00:00 +0000

TUTTO D’UN TRATTO | Piccolo Festival di Illustrazione
Museo Nivola – Orani – 14 settembre 2024

Ora mi diverto a mettere la penna in un punto qualsiasi del foglio di carta. Seguo la traccia nera e sottile… e vedo nascere le forme degli oggetti, animali domestici, cataste di legna e anche persone di altri tempi.
Costantino Nivola

Il Museo Nivola è lieto di presentare la seconda edizione del Piccolo Festival di illustrazione “Tutto d’un tratto”.

Tutto d’un tratto | Piccolo Festival di Illustrazione è un progetto ideato e promosso dal Museo Nivola e propone una ricognizione del vivace panorama dell’illustrazione in Sardegna, con l’obiettivo di sostenere le/gli artist* attiv* in questo ambito dando loro l’opportunità di presentare il proprio lavoro e di entrare in contatto con le/gli artist* coinvolt* e con un pubblico di appassionati e addetti ai lavori, il tutto nella splendida cornice del Museo Nivola.

Sfondo della seconda edizione del festival sarà la mostra Pratza ‘e Domo | Una casa semiotica mai costruita, dedicata all’artista Nairy Baghramian, scultrice e vincitrice del premio Nivola per la scultura 2023.
In linea con il pensiero della stessa artista, secondo cui “la mia arte è un appello alla libertà di essere”, il tema della seconda edizione del festival è la Libertà.

Le/Gli illustrator* coinvolt* saranno chiamat* ad esporre lavori legati al tema e incoraggiati a svolgere attività di live painting, live stamping e qualsiasi pratica estemporanea volta a coinvolgere il pubblico presente.

Oltre agli stand il programma del Festival prevede workshop, talks e laboratori didattici rivolti a varie fasce d’età

Programma:

Ore 10 > Apertura degli stand.

Ore 11.30 > Introduzione alla legatoria, a cura di Rita Deidda. Pieghiamo, tagliamo e cuciamo la carta per creare libri, futuri sketchbook, taccuini, fanzine. Con materiali e strumenti semplici possiamo costruire i contenitori delle nostre storie. Workshop gratuito per adultə. Max 8 partecipanti.

Ore 15.30 > MascherandoMi, a cura di Francesco Pavignano e Bardunfula Fe’. Cosa è una maschera? Una maschera è una possibilità, anzi molteplici possibilità di essere qualcosa d’altro. Nel mondo delle maschere ogni storia è possibile, ogni racconto può diventare il nostro racconto. Costruiremo la nostra storia attraverso le maschere, per scoprirci diversi eppure sempre noi. Lab gratuito per bambinə dai 7 ai 10 anni. Max 12 partecipanti.

Ore 15.30 > Talk! Intervengono: Oreri – Iniziativa Editoriale e Collettivo ITTE. Coordina Paolo Carta, Cattedra di Graphic Design all’Accademia Mario Sironi di Sassari.

Ore 17.00 > MI SPECCHIO NELL’ALTRO(VE): L’altro come uno specchio, a cura di La Fille Bertha. Una fusione sperimentale tra autodescrizione e ritratto in un mondo sempre più spettatore di barriere, divisioni e distanze. Osservare se stessi e specchiarsi nell’altro è un “esercizio” utile a stimolare l’empatia. Lab gratuito per bambinə. Max 20 partecipanti.

Ore 17.30 > L’illustrazione, un mezzo per parlare di libertà. Daniele Salis (Bardunfula Fe’ – Sassari) dialoga con l’illustratore Francesco Pavignano. Cercheremo di rintracciare il rapporto tra arte e illustrazione, soprattutto rispetto al panorama dell’editoria contemporanea, e di sottolineare come l’illustrazione possa essere un mezzo espressivo per indagare, raccontare e costruire spazi di libertà.

Ore 18:30 > DjSET a cura di Arrogalla

Ore 20 > Chiusura degli stand

Durante tutta la giornata si terranno delle sessioni di live painting a cura degli illustratori.

Illustratori e ospiti
Collettivo ITTE (Riccardo Atzeni, Barbara Pirisi, Chiara Lamieri, Alessandra Manca), Monica Casu, Riccardo Cusimano, Rita Deidda, Toni Demuro, Carlo Giambarresi, La Fille Bertha, Maria Francesca Melis, Maria Giovanna Mura, Oreri, Barbara Pala, Sebastiano Pirisi, Annalisa Salis, Gianfranco Setzu, Elisabetta Sorba.

Con la collaborazione di Bardunfula Fè | Festival delle Culture e delle letterature di bambinə e ragazzə, il supporto artistico di Heart Studio, la partecipazione del Liceo Artistico ‘F. Ciusa’ di Nuoro e di Matteo Costa, Alessia Piras, Irene Raga e Andrea Rosati dell’Accademia delle Belle Arti ‘Mario Sironi’ di Sassari.

Grafica a cura di Heart Studio

L'articolo TUTTO D’UN TRATTO | Piccolo Festival di Illustrazione | seconda edizione proviene da Museo Nivola.

Nicola Lo Calzo. Brigantinas

admin_museo — Fri, 13 Sep 2024 12:00:00 +0000

Nicola Lo Calzo. Brigantinas
A cura di Elisa Medde e Giangavino Pazzola

Museo Nivola, 14 settembre 2024 – 18 novembre 2024
Inaugurazione sabato 14 settembre ore 12

Il Museo Nivola è lieto di presentare la mostra dell’artista e fotografo Nicola Lo Calzo (1979), Brigantinas, progetto vincitore del bando Strategia Fotografia 2023 promosso dalla Direzione Generale Creatività Contemporanea del Ministero della Cultura.

Con oltre trenta opere inedite realizzate sul territorio, il progetto curato da Elisa Medde e Giangavino Pazzola indaga la tematica della subalternità all’intersezione tra genere, classe e posizionamento coloniale delle lotte per la terra in Sardegna, interrogandosi sui modi in cui alcuni eventi e dinamiche abbiano influenzato la formazione delle soggettività e dell’identità sarda contemporanea.

A partire dallo studio di episodi inerenti la resistenza locale ai fenomeni coloniali e di sottomissione territoriale, e delle figure femminili che tali eventi hanno animato, Brigantinas evidenzia la persistenza di tensioni create da relazioni di potere imposte alle comunità interne che conservano uno stretto legame con le questioni territoriali e paesaggistiche dei giorni nostri.

Attraverso immagini inedite e materiali d’archivio provenienti da varie fonti (tra cui l’Archivio di Stato di Nuoro e il Museo del Banditismo di Aggius), la mostra offre un terreno di discussione per la ricerca di nuovi paradigmi visivi per la comprensione della subalternità nel mondo contemporaneo. A questi si aggiunge un video con l’interpretazione – da parte dell’attrice e autrice Vittoria Marras – di Paska Zau, protagonista della rivolta popolare di “Su Connottu” contro le leggi che abolivano l’uso comunitario delle terre (1868).

Diversi autori, tra cui Bachisio Bandinu, sostengono che “la lingua sia la testimonianza di un percorso trasformativo della vita e della cultura di un popolo, dentro l’esperienza sociale della condizione storico-politica, economica e culturale”.

In questa prospettiva si colloca il progetto Brigantinas.
Attraverso una grande installazione a parete, la mostra sviluppa un ragionamento simbolico sui registri della rappresentazione collettiva, dell’immagine come linguaggio per la costruzione del sé, affiancando fotografie di donne “delinquenti” frutto delle schedature antropologiche di metà Novecento a ritratti fotografici di donne contemporanee. L’alternanza tra identità dichiarate di attiviste e altre di giovani vestite in abiti tradizionali assume il senso di un gesto simbolico che sottolinea le tensioni tra potere e resistenza.

Costruendo una contro-narrativa che inquadra il confine tra attività illegale agli occhi del potere e lotta politica, tra devianza e resistenza, le immagini di processioni religiose e civili, di rituali e quotidianità delle comunità si offrono come terreno di discussione per analizzare la coesistenza e lo scontro tra dominanza e subalternità nei processi di costruzione identitaria.

Alla mostra seguirà la pubblicazione di un volume in collaborazione con L’Artiere Edizioni, mentre a completamento del progetto verrà organizzata una giornata di studi sul tema della rappresentazione delle identità e delle sue implicazioni politiche e sociali tra sguardo interno e sguardo esterno.

Nicola Lo Calzo
Nicola Lo Calzo è fotografo, docente e ricercatore presso L’École nationale supérieure d’arts de Paris-Cergy e la CY Cergy Paris Université. Il suo lavoro si colloca a metà strada fra le arti visive e la fotografia documentaria, ed esplora gli usi del mezzo fotografico nel recupero della memoria delle minoranze (etniche, di genere, sessuali, ecc.). A partire dalla sua esperienza queer, Lo Calzo muove una riflessione sulle identità e sui corpi «non conformi».
Dal 2010 l’artista è impegnato in un progetto dal titolo KAM, una ricerca sulle memorie della resistenza allo schiavismo e al colonialismo in età post-coloniale incarnate nelle pratiche performative rituali di comunità storicamente marginalizzate. Si tratta di un progetto in continua evoluzione che si sviluppa in maniera rizomatica comprendendo diversi territori dell’Africa occidentale, dell’Europa e delle Americhe.
Lo Calzo ha esposto il suo lavoro in musei, centri d’arte e festival quali l’Institut des Cultures d’Islam (Parigi), CAMERA (Torino), Fotografia Europea (Reggio Emilia), la Casa de la Imagen (Mexico City), il Musée d’Art Contemporain Africain Al Maaden (Marrakesh), Musée de l’Hospice Comtesse (Lille), il Tropenmuseum (Amsterdam), il Museo nazionale Alinari della Fotografia (Firenze). Ha vinto il premio Cnap del Ministero della Cultura Francese (2018) ed è stato finalista del Prix Elysée (2018-2020) e del Prix Niépce (2020). Collabora regolarmente con diverse testate giornalistiche, tra cui Le Monde (quotidiano e rivista), Internazionale, The New Yorker e El Pais.

Museo Nivola
Il Museo Nivola di Orani è gestito dalla Fondazione Costantino Nivola, istituzione culturale non profit dedicata alla promozione dell’eredità artistica e umana di Costantino Nivola, al supporto dell’arte contemporanea in tutte le sue forme, e allo sviluppo culturale e sociale del centro della Sardegna.
Il museo, un complesso di padiglioni immersi nel verde di un parco urbano, possiede la più importante collezione europea di opere di Costantino Nivola (Orani, 1911 – East Hampton, 1988), grafico, art director e scultore attivo nel campo dell’integrazione tra arti visive e architettura, e personaggio cruciale nel quadro degli scambi culturali tra Italia e Stati Uniti nel Novecento.
Il museo organizza mostre dedicate all’arte contemporanea, con attenzione particolare per il design, la scultura, la relazione tra le arti e il rapporto fra esseri umani e ambiente. Porta inoltre avanti un programma di eventi pubblici, attività educative e ricerca, agendo come forza culturale orientata all’innovazione e alla promozione sociale al centro del Mediterraneo.

Progetto sostenuto dall’avviso pubblico “Strategia Fotografia 2023” promosso dalla Direzione Generale Creatività Contemporanea del Ministero della Cultura

L'articolo Nicola Lo Calzo. Brigantinas proviene da Museo Nivola.

The Nuragic Wave. Art, Design and Crafts through the Test of Prehistory

admin_museo — Sat, 02 Mar 2024 18:00:00 +0000

From 2 March to 30 September 2024, the exhibition The Nuragic Wave. Art, Design and Crafts through the Test of Prehistory opens at the Padiglione Tavolara in Sassari. Curated by Giuliana Altea, Antonella Camarda and Luca Cheri, the exhibition is organised by the Nivola Foundation and promoted by the Municipality of Sassari in collaboration with the National Archaeological Museum “Giovanni Antonio Sanna” – Direzionale Regionale Musei della Sardegna and the University of Sassari, and supported by Fondazione di Sardegna, Bibanca and ARS / Arte Condivisa in Sardegna.

The Nuragic Wave explores the influence of the Nuragic and pre-Nuragic civilisations on twentieth-century and contemporary art and culture in Sardinia, examining the reflections of the “Nuragic discourse” in various areas of visual production: from painting and sculpture to architecture, to design and craftsmanship, from audiovisual to social media and mass culture.

In 1949 and 1950, two exhibitions of Nuragic bronzes, held at the Opera Bevilacqua La Masa in Venice and the Galleria Nazionale di Arte Moderna in Rome, brought Sardinian prehistory to the attention of international culture, marking the culmination of a rediscovery initiated in the nineteenth century by scholars and travellers, and then stimulated by the excavation campaigns conducted in the first half of the new century. The 1949-50 exhibitions, curated by Giovanni Lilliu and Gennaro Pesce, brought about a turning point in archaeological discoveries and their use for an ideological function. The Nuragic bronzes attracted the public’s and the press’s attention for their historical importance and aesthetic excellence. Furthermore, the discovery in 1951 of the imposing Nuragic palace of Barumini, in the south of the island, further contributed to electing the ancient inhabitants of Sardinia as a model for the present generations.

Sardinian artists and intellectuals of the 1950s found in the Nuragic civilisation a strong ideological reference, functional to the construction of a new regional identity.

A specific iconographic trend arose from this, lasting until the 1960s and reinventing itself in the postmodern and contemporary era. The evolution of the theme was influenced by the impact of tourism, the spread of new age cultures, the no-global and neo-global movements, the emergence, nationally and internationally, of renewed scholarly attention and the rise of the phenomenon of pseudoarchaeology.

A Civilisation Rediscovered

The exhibition opens with the first phase of the modern rediscovery of the pre-Nuragic and Nuragic culture, from the late nineteenth-century and early twentieth-century excavations of the archaeologist Antonio Taramelli to those of Giovanni Lilliu, one of the most influential scholars of ancient Sardinia. The story unfolds through documents, photos and manuscripts, from the Ethnographic Exhibition in Rome in 1911 for the fiftieth anniversary of the Unification of Italy to the two exhibitions in Venice and Rome in 1949-50, to the post-war unearthing of the Barumini Nuragic site.

Nuragic Modernity

In the wake of Lilliu’s theories, who affirmed the existence of an artistic continuity between the Nuragic past and the contemporary age, many artists of the fifties and sixties drew on forms, themes and iconographies of Sardinian prehistory: Mauro Manca, Ausonio Tanda, Giovanni Nonnis, Franco d’Aspro, Maria Lai.

From his transatlantic position, a trailblazer is Costantino Nivola, through whom the Nuragic suggestion also touches protagonists of twentieth-century architecture, such as Le Corbusier and Franco Albini.

Ceramics is a privileged field for the application of Nuragic themes by artists and artisans such as Federico Melis, Melkiorre Melis, Giuseppe Silecchia, Gavino Tilocca, Aldo Contini.

The Nuragic suggestion also touches the jewellery field, represented in the exhibition by focusing on the goldsmith Salvatore Puggioni.

With the rising fortunes of the Costa Smeralda and the transformation of Sardinia into a privileged holiday destination, starting from the mid-1960s, the Nuragic and pre-Nuragic repertoire became a reference for a vast production of tourist objects, which tirelessly revisits typical forms and motifs such as the Mediterranean Mother, the Warrior, the Archer, etc., ranging from more or less faithful reproduction to free reinterpretation, sometimes touching the notes of the humorous and the grotesque.

From the Fantastic Nuragic to the Nuragic Fantasy

The 1980s saw a rekindling of interest in the Nuragic world, freed from any philological pretence and in line with the maximalist aesthetics of the decade. Aldo Rossi’s extraordinary series of Nuragic carpets, from the Bibanca Collection, made in collaboration with ARP studio by Mariangela Cubadda and Le Tessitrici di Zeddiani, is a spectacular example, with its aggressively distorted and deformed warrior figures and expressionist deconstruction of architecture. In ceramics, the fantastic impulse generates colourful primordial monsters in the work of masters such as Pulli, Sciannella, Scassellati, De Gonare, and Demurtas.

The new century sees, on the one hand, a tendency towards formal simplification and a return to the historical sources of the Nuragic and pre-Nuragic, both in the creation of faithful reproductions (Carmine Piras, Cooperativa Villa Abbas) and in the invention of contemporary designs inspired by to the remote past of the island (Francesca Addari, Monica Casu, Domenico Cubeddu, Giampaolo Mameli, Fernando Mussone, Maria Paola Piras, Pretziada, Monica Scassellati).

The journey ends with the evocation of an archaic and seductive Sardinia in the video De Innui Ses, shot in Barumini for fashion designer Antonio Marras’ Autumn-Winter 2021 fashion show.

The exhibition will be complemented by a rich program of public events and workshops, organised in collaboration with the University of Sassari, as part of the “Tourism and Cultural Heritage” Spoke funded by the National Recovery and Resilience Plan (PNNR).

The Nuragic and pre-Nuragic civilisations are today at the centre of cultural debate in Sardinia, in scientific and artistic research and mass culture fueled by social media. More or less imaginative reconstructions of the island’s prehistory, omnipresent in different cultural productions, from novels to videogames, advertising to street art, demonstrate that the Nuragic people are still among us.

The Nuragic Wave
Art, Design and Crafts through the Test of Prehistory

curated by Giuliana Altea, Antonella Camarda, Luca Cheri

Assistant curators: Antonio Ottavio Cattari, Luca Poddighe

Venue
Padiglione Tavolara
Via Eugenio Tavolara, 07100 Sassari

Dates
2 March- 8 July 2024

On show:

Francesca Addari, ARP Studio, Monica Casu, Ceramiche Villa Abbas, Aldo Contini, CP Basalti, Mariangela Cubadda – Tessitrici di Zeddiani, Domenico Cubeddu, Franco D’Aspro, De Gonare (Salvatore Sechi), Dolores Demurtas,La Fucina, Maria Lai, Paolo Loddo, Giampaolo Mameli, Mauro Manca, Caterina Mele, Federico Melis, Melkiorre Melis, Fernando Mussone, Costantino Nivola, Giovanni Nonnis, P.A.M. (Perks and Mini), Giuseppe Pipia, Carmine Piras, Maria Paola Piras, Pretziada (Kyre Chenven e Ivano Atzori), Salvatore Puggioni, Claudio Pulli, Aldo Rossi, Franco Scassellati, Monica Scassellati, Angelo Sciannella, Scuola del Corallo, Giuseppe Silecchia, Roberto Sironi, Antonia Spanu Mwina, Studiopepe, Ausonio Tanda, Gavino Tilocca, Mariantonia Urru.

Exhibition promoted by Comune di Sassari and organised by Fondazione Nivola

Main sponsor: Fondazione di Sardegna

Sponsors: Bibanca, ARS / Arte condivisa in Sardegna

Partners: Museo Archeologico Nazionale “Giovanni Antonio Sanna”, Direzionale Regionale Musei della Sardegna, Università degli Studi di Sassari

Installation design: Alessandro Floris

Realizzazione allestimento: Artigianato e Design di Pietro Fois

Graphic design: Heart Studio

Print: Character

Transports: Arteria, Tiemme

Insurance: Reale Mutua

Catalog: Allemandi

Thanks to

Archivio Storico Istituto Luce, Assessorato agli Enti Locali della Regione Sardegna, Banca Intesa, Banco di Sardegna, Biblioteca Comunale di Sassari, Camera di Commercio, Industria, Artigianato e Agricoltura di Sassari, Civico Museo Archeologico “Villa Abbas”, Comune di Sassari, Consiglio Regionale della Sardegna, Dinamo Sassari, Fondazione Franco Albini, Fondazione Alghero, Fondazione Aldo Rossi, Fondazione Mont’e Prama, Ilisso, Liceo Artistico “Filippo Figàri”, Liceo Artistico “F. Costantino”, Museo Casa Deriu, Museo Civico di Urbania, Provincia di Sassari.

And

Bagella Abbigliamento Sardo, Carlo Delfino, Candida Lendini, Giuseppe Manca, Luigi Manca, Marie Manca, Nanni Manca, Alberto Moravetti, Giacomo Paglietti, Nannina Pellegrini, Orietta Puggioni, Giovanni Pulli, Caterina e Sandro Ruju.

Info
Padiglione Tavolara
Via Eugenio Tavolara 07100 Sassari
+39 329 194 2242 / padiglionetavolara@gmail.com

L’Onda Nuragica

ig: @padiglionetavolara
fb: @padiglionetavolara

Tuesday-Sunday 10 – 20
Closed on Monday

Accessibility
Access to the exhibition is via the ramp to the left. The ramp has a slope of approximately 14%. Easier access to the exhibition is via the lift at the end of the Salone delle Botteghe on the right. The exhibition floor is barrier-free.

Ufficio Stampa mostra
Sara Zolla
+39 346 8457982 | press@sarazolla.com

L'articolo The Nuragic Wave. Art, Design and Crafts through the Test of Prehistory proviene da Museo Nivola.

Pratza ’e Domo. A Semiotic House That Was Never Built

admin_museo — Sat, 29 Jun 2024 18:00:00 +0000

Pratza ’e Domo. A Semiotic House That Was Never Built

Nairy Baghramian, Phyllida Barlow, Nicolas Hsiung, Janette Laverrière, Rosemary Mayer,Win McCarthy, Julie Mehretu, Oscar Murillo, Paulina Olowska, Monika Sosnowska, Mariantonia Urru

Concept Nairy Baghramian

Curated by Giuliana Altea, Antonella Camarda, Luca Cheri

Museo Nivola, June 29 – November 3, 2024 Opening June 29 – 6 pm

The project is created by Nairy Baghramian for the museum following the awarding of the 2023 Nivola Prize for sculpture.

The exhibition features works by the artists and designers Nairy Baghramian, Phyllida Barlow, Nicolas Hsiung, Janette Laverrière, Rosemary Mayer, Win McCarthy, Julie Mehretu, Oscar Murillo, Paulina Olowska, Monika Sosnowska, Mariantonia Urru.

Baghramian’s title “Pratza ’e Domo” (literally “home square”) takes up the expression that in Sardinia designates the space in front of a house, often equipped with a bench or chair on which it is possible to rest: a transition area not clearly delimited, at the same time private and public, individual and collective. This space, both physical and conceptual, is linked to the idea of “A Semiotic House That Was Never Built”, a project created by Baghramian in 2008 at the NAK – Neuer Aachener Kunstverein together with Janette Laverrière and Henrik Olesen (Affairs. A Semiotic House That Was Never Built).

The artist conceives the house as a utopian space that has never been built and may not be, but the mere fact of imagining it evokes the possibility of its existence, making it credible. It is a provisional environment to develop or set aside ideas and projects in continuous elaboration and re-assembly of fragments. Each fragment is an independent creation and, at the same time, contributes “with a backward movement” – as Baghramian says – to the definition of a context.

The project for the Nivola Museum combines a series of aspects that have always been present in Nairy Baghramian’s practice. One of these is the interest in the boundaries between public and private space, external and internal, which she explored as potentially permeable and, therefore, full of tension. If, in the artist’s previous works, the tension is generally delineated between the institutional space of the museum or gallery and the social space, in this case, the institutional space is ideally identified with the domestic one, also thanks to the form of the exhibition environment, a former washhouse with a gable roof, which resembles a house. From the house, the museum space takes on the characteristics of welcome and protection, and it becomes an enclosure in which different artistic discourses can coexist and resonate together. The merging of public and private spaces characterises both Baghramian’s new sculpture, To Let, mounted on the facade of the building and engaging in dialogue with those by Phyllida Barlow, and the depiction of the work January ’17 calendar (Der Fuß des Künstlers, 2017) by artist Win McCarthy – which appears as an ephemeral gesture on the exhibition poster – where local and temporal axes converge in a hybrid between a floor plan and a calendar.

Another border area that attracts Baghramian’s attention is that between art and design, between the aesthetic and the ornamental dimension, investigated in the exhibition through deliberately hybrid works such as the chair-sculpture Chaise L’Afghane (1987) by Janette Laverrière, the stools by Nicolas Hsiung, the painted fatigue dress Arepas y Tamales (2022) by Oscar Murillo or, by Baghramian herself, the monumental carpet woven in Samugheo by Mariantonia Urru (whose minimalist design alludes to the idea, dear to the artist, of negative space, recalled by the visit to the Prehistoric sacred well of Santa Cristina in Sardinia) and the handle-sculpture applied to a door in the museum courtyard.

The unfinished, the left behind and the unrealized are also recurring themes in the work of Nairy Baghramian, whose sculptures, often apparently fragile or seemingly incomplete, hint at a discomfort, a difficulty of adaptation that forces them to stand on crutches or lean on architecture, as in the Scratching the Back series created for the Facade Commission of the Metropolitan Museum of New York in 2023. Precarity, incompleteness, and ephemerality return in the house under construction on a tree painted by Paulina Olowska (Tree House, 2016), in the aerial structures of cellophane, ribbons, wood, and other materials by Rosemary Mayer (Midwinter Ghost, 1980-81 / 2024), in the raw and provisional-looking works by Phyllida Barlow (Untitled, 2010), in Monika Sosnowska’s fragments of fences (Gate, 2019) as well as in the swirling rhythms of Julie Mehretu’s abstract compositions.

Baghramian is not new to collaborative ideas and developed early on the practice to shift invitations to solo projects into collective experiences with artists such as Janette Laverrière mentioned above, Jan Timme, the choreographer Maria Hassabi, and more recently Julie Mehretu, with whom she has had a dialogue that has lasted for years, culminating in the collaborative work of the sculptural frames Baghramian conceived for Mehretu’s Transpaintings which also became part of the Mehretu Ensemble exhibition at Palazzo Grassi in 2024. As in the exhibitions Off Broadway at The Wattis Institute in San Francisco (2014) and Open Dress at Museum Abteiberg in Germany (2015), again at the Nivola Museum, collaboration and participation come decidedly to the fore in her work, with projects that bring together a group of artists linked to Baghramian’s by various affinities, reflecting on the utopian and subversive potential of collaborative work, in a field – that of contemporary art – so ideologically linked to personal expressiveness, if not to the idea of the solitary and tormented artist-hero.

Finally, the exhibition concept echoes the exile condition of Costantino Nivola and his wife Ruth Guggenheim, who fled fascist Italy in 1938, to settle in New York, returning occasionally to Europe and Sardinia only after the end of the war.

Photo: Win McCarthy, January ’17 calendar (Der Fuß des Künstlers), 2017 Foam core, c-prints, tape, metal, rock

Nairy Baghramian. Pratza ’e Domo. A Semiotic House That Was Never Built

Nairy Baghramian, Phyllida Barlow, Nicolas Hsiung, Janette Laverrière, Rosemary Mayer, Win McCarthy, Julie Mehretu, Oscar Murillo, Paulina Olowska, Monika Sosnowska, Mariantonia Urru

Concept Nairy Baghramian

Curated by Giuliana Altea, Antonella Camarda, Luca Cheri

Venue Museo Nivola Via Gonare 2 08026 Orani (NU)

Dates June 29 – Novembre 3, 2024

Hours Monday – Sunday, 10.30 AM / 7.30 PM Closed on Wednesday

Tickets 7 €, reduced 5 €

Information Museo Nivola Via Gonare 2, 08026 Orani (Nu) + 39 0784 730063 | info@museonivola.it http://museonivola.it

Press Agent Sara Zolla | +39 346 8457982 | press@sarazolla.com

L'articolo Pratza ’e Domo. A Semiotic House That Was Never Built proviene da Museo Nivola.

HERE I STAY FESTIVAL | 5-6-7 luglio 2024 | Museo Nivola

admin_museo — Fri, 05 Jul 2024 10:30:00 +0000

HERE I STAY FESTIVAL è un festival internazionale di musica alternativa e indipendente che si svolgerà il 5-6-7 luglio 2024 nel parco e nella terrazza panoramica del Museo Nivola (Orani, NU), nel cuore della Barbagia. A questa location si aggiungono altri luoghi suggestivi del paese che ospiteranno gli eventi collaterali dell’EXTRA FEST.

Giunto alla sua 14ª edizione, HERE I STAY FESTIVAL è diventato uno degli eventi più attesi e amati dell’estate musicale in Sardegna: è un boutique festival fatto con passione, una grande festa dove ascoltare buona musica, fare nuovi incontri, scoprire angoli di Sardegna non convenzionale, rilassarsi o ballare senza sosta in una location accogliente circondata da arte e natura.

Una full immersion di musica live con band sarde, nazionali e internazionali, dj set ed esposizioni d’arte. Chi ama la musica, chi non si accontenta del “solito”, chi è aperto a nuove scoperte musicali trova nel Festival un’esperienza unica.

Quest’anno tra le band in lineup ci saranno gli americani Black Lips, gli inglesi Porridge Radio, la canadese Camilla Sparkss, gli spagnoli Dame Area, gli americani Crocodiles, gli italiani Leatherette, Angus Bit, Gentilesky ed altre band ancora da annunciare. Tra le offerte del festival anche Laboratori per bambin*, installazioni audio-video, stand di vinili, degustazioni di vini naturali e molto altro.

Tutte le informazioni sul festival e sui ticket li trovate su hereistay.com

L'articolo HERE I STAY FESTIVAL | 5-6-7 luglio 2024 | Museo Nivola proviene da Museo Nivola.

Siro Cugusi. Chimere

admin_museo — Sat, 30 Mar 2024 00:00:00 +0000

The Museo Nivola is delighted to present the first solo exhibition of Siro Cugusi (1980) in an Italian institution. Siro Cugusi’s paintings on canvas and paper are striking for their refined technique and richly evocative imagery. Balanced between representation and abstraction, his artistic language is a personal reinterpretation of the Surrealist concept of the uncanny, the liminal and metaphysical space where nothing is what it seems.

Cugusi’s art cites and deconstructs the themes and genres of classical painting, opening up windows onto parallel worlds where sacred and profane symbols merge, all logical principles are subverted and apparently unrelated objects are linked by mysterious bonds.

Curated by Luca Cheri and Camilla Mattola, the exhibition explores the artist’s most recent work: large canvases that revisit the traditional genres of landscape, still life, the nude and portraiture, combining recognisable iconographic elements, abstract forms and gestural brushwork in an unexpected way.

The natural landscape is a recurring theme, evoked by large green colour fields that reference trees and plants. While the formal simplification of the subjects and the stylised details in the landscape evoke early Renaissance art, from Masaccio to Piero della Francesca, the symbolism of the image of the garden as a secret, spiritual dimension conjures the Flemish artist Hieronymus Bosch’s late fifteenth-century triptych The Garden of Delights.

The perspectival construction, which alternates Renaissance one-point perspective and the bird’s eye view with the twentieth-century distortions typical of Metaphysical and Surrealist art, is necessary for unifying a series of incongruous elements that are sometimes difficult to distinguish. The depth is, however, often contradicted by flat, decorative backgrounds that are repeated and overlapped on different planes.

Figurative fragments emerge in this irrational space, struggling against a recurring impulse towards abstraction that translates into thick, expressive brushstrokes. We glimpse body parts, gears and pieces of machines, instruments and objects that are familiar but difficult to identify. Pink fields evoke human flesh, conjuring the gelatinous, grotesque bodies in paintings by Francis Bacon, but cheered by a rich, luminous palette. In some figures, it seems impossible to differentiate the biological material from the mechanical, almost as if the two dimensions have merged.

The large format lends Cugusi’s paintings an experiential quality, creating an environmental, immersive effect. Before them, it seems as if we have been catapulted into impossible scenes, halfway between the unconscious and reality. Through these landscapes dominated by illusions and imagination, the artist tries to create a parallel, utopian world, a personal aesthetic and poetic dimension, in works that inevitably clash with the prose of reality and reveal themselves to be chimeras.

Siro Cugusi’s solo show, accompanied by a catalogue with critical essays by the curators, follows that of the Surrealist painter Bona de Mandiargues, symbolically linking the two different generations of artists in the continuously transforming space of the Museo Nivola.

With this exhibition, the museum is confirming its commitment to supporting and promoting new generations of artists working in Sardinia and beyond.

Siro Cugusi was born in Sardinia in 1980. He graduated in painting from the Accademia di Belle Arti in Sassari in 2004 and then moved to Paris. He has shown his work in numerous exhibitions in Italy and abroad since 2003. His solo shows include Voyage and Return (Cooke Latham Gallery, London, 2022); Forest (Steve Turner Gallery, Los Angeles, 2020; A Saucerful of Secrets (Galeria ATC, St. Cruz de Tenerife, 2019); Aleph (Annarumma Gallery, Naples, 2018). He currently lives and works in Sardinia.

Siro Cugusi. Chimeras
Curated by Luca Cheri and Camilla Mattola

Location: Museo Nivola, Via Gonare 2 08026 Orani (NU)

Dates: 30 March – 3 June 2024

Institutional Sponsors: Autonomous Region of Sardinia, City of Orani

Main Sponsor: Fondazione di Sardegna

With support from: Biennale Barbagia

Exhibition Design: Alessandro Floris

Exhibition Installation: Artigianato e Design di Pietro Fois

Printing: Bioazione di Fabio Milia

Graphic Design: Heart Studio

Catalogue: Allemandi

Information: Museo Nivola
Via Gonare 2
08026 Orani (Nu)
+ 39 0784 730063 | info@museonivola.it
http://museonivola.it

Opening Hours
Monday – Sunday, 10.30 AM to 7.30 PM
Closed Wednesdays

Guided Tours: Morning 11.30 AM – Afternoon 4.00 PM
Booking required for groups of 10 or more
Price of tour: €2.00 + cost of admission ticket

Tickets:
Full €7.00, reduced €5.00
Information about accessibility and free admission: https://museonivola.it/visita/

Press Office: Sara Zolla
+39 346 8457982 | press@sarazolla.com

L'articolo Siro Cugusi. Chimere proviene da Museo Nivola.