L'articolo Hannah Levy | Blue Blooded – Sangue blu proviene da Museo Nivola.

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

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

Museo Nivola, May 17 – September 14 2025
Opening May 17, h. 12.00 PM

Museo Nivola is proud to present Volare Guardare Costruire (to fly, to look, to build), a site-specific project by Nathalie Du Pasquier, a French artist and designer based in Milan.

Conceived especially for the museum’s spaces, the exhibition takes the form of a retrospective dedicated to the artist’s painting production from her beginnings to the present day. At the same time, it is an environmental installation that merges painting, architecture, and design. The exhibition unfolds through a series of structures designed by the artist, transforming the museum into a space to walk through, explore, and inhabit.

The exhibition thus initiates a dialogue between the artist’s ephemeral architectures and the historical structure of the building – the former washhouse of Orani, now the beating heart of Museo Nivola.

Inside these “rooms” and on the walls of the museum are works created from the 1980s to today, which tell the story of the evolution of Du Pasquier’s visual language: a lexicon made of figuration and abstraction, in which human figures and the narrative dimension gradually give way to the theme of still lifes, made of simple and everyday objects, which delicately evoke the human presence, and then again to geometric shapes and abstract constructions. The whole is bathed in a midday light that gives the paintings a metaphysical air, almost as if we were in front of modern versions of Morandi’s canvases or, in other ways, of the purist ones of Le Corbusier and Ozenfant.

The title, Volare Guardare Costruire, refers to three phases of Du Pasquier’s pictorial production. Volare (to fly) evokes the moment of detachment from the design of design objects towards the freer practice of painting. And it is perhaps no coincidence that many of the works of this phase present scenes seen from above, with a bird’s eye view, a symbol of the power of the imagination, of its ability to soar high and expand freely.

Guardare (to look) refers to a second phase, to the need to abandon purely imaginative scenes to dedicate oneself to a quiet and precise observation of reality, even of the most everyday and apparently insignificant objects, which instead reveal to an interested gaze, extraordinary forms, precious details and the ability to understand within oneself the complexity of existence. They are visions that the artist defines as “very silent and very still”, which invite one to rediscover the pleasure of the sensitive world through silent and attentive observation.

Dissatisfied, at times, with the sensible appearance of reality, Du Pasquier finally dedicates herself to Costruire (to build), creating original structures, small three-dimensional abstract constructions that are then portrayed with the brush, brought back to the two-dimensional plane of her canvases. Thus, she triggers a complex dynamic between reality and representation, which is a wonderful metaphor for painting.

With this exhibition, the Nivola Museum confirms its commitment to promoting the dialogue between art, design and architecture, offering an immersion in the visionary world of an artist who continues to reinvent the rules of seeing and building.

Nathalie Du Pasquier (Bordeaux, 1957) moved to Milan in 1979. Co-founder of the Memphis collective, since the mid-1980s she has devoted herself mainly to painting, developing an unmistakable visual universe where formal research combines with a profound reflection on space and perception. Her works have been exhibited at Villa Noailles Hyères (Toulon, France), Kunsthal Aarhus (Aarhus, Denmark), GFZT Museum of Contemporary Art (Leipzig, Germany), Camden Arts Center (London), Kunsthalle Wien (Vienna) and MACRO in Rome.

Image: Nathalie Du Pasquier, Untitled, oil on paper mounted on canvas, 1998-99

Nathalie Du Pasquier. Volare Guardare Costruire
Curated by Giuliana Altea, Antonella Camarda, Luca Cheri

Institutional Sponsors
Regione Autonoma della Sardegna, Comune di Orani

Main Sponsor
Fondazione di Sardegna

Special thanks to
APALAZZOGALLERY, Brescia
Pace Gallery, New York, Londra

Thanks to the winery “Autori del vino” by Piera Deledda and Pietro Fele

Catalogue
Allemandi

Exhibition Mounting
Artigianato e Design di Pietro Fois

Prints
Bioazione di Fabio Milia

Museo Nivola
Via Gonare 2 08026 Orani (NU)

Opening
May 17, at 12.00 PM
Dates
17 May – 14 September, 2025 

Opening Hours
Monday – Sunday, 10.30 AM / 19.30 PM
Closed on Wednesday 

Tickets
full 7 €, reduced 5 €
accessibility and free admission information: https://museonivola.it/visita/

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

L'articolo Nathalie Du Pasquier. Volare Guardare Costruire proviene da Museo Nivola.

In 2025, the Nivola Foundation celebrates its 35th anniversary and the 30 yaars of the Nivola Museum with a series of important activities and events. Starting from May 2025 until 2026, a new cycle of exhibitions curated by Giuliana Altea, Antonella Camarda, and Luca Cheri will develop the discussion on great contemporary sculpture – a theme already highlighted in 2024 with Nairy Baghramian’s “Pratza ‘e Domo” project – bringing to the museum solo exhibition by three extraordinary international artists, different in background and expressive methods: Nathalie Du Pasquier, Mona Hatoum, and Hannah Levy. In the renovated spaces of the Pavilion in the museum’s park, the new artistic residency program will begin with the stay of the duo TARWUK, who is carrying out a research that combines sculpture, painting, and installation. The projects selected by the Direzione Generale Creatività Contemporanea of the Ministry of Culture are getting accomplished:

• The ten years work of Armin Linke on the archive of photographer Corrado Calvo,   presented in various venues over the years, including at the MMK-Museum für Moderne  Kunst in Frankfurt in 2012, at the Centre Pompidou in Metz in 2014, and at the Nivola  Museum in 2017, will be presented in a volume published by Spektor Books, created with the support of the Italian Council 2024.

• Luca Spano, Fabio Barile, and Ezio D’Agostino will bring to the museum the photographic installation-project On the Edge of the Eyelid, winner of the Strategia Fotografia 2024 program.

• The performative and interactive installation Arrogalla – Suite. Trame sonore, sviluppi intermediali by Francesco Medda and Carol Rollo will arrive at the museum as part of the PAC 2024 program.

Finally, the return of Here I Stay, the international festival for alternative and independent music, now in its 15th edition, becoming a must-attend event of the Sardinian summer music scene, and of Tutto d’un tratto. Piccolo Festival di Illustrazione, a festival which is offering an exploration of the lively illustration scene in Sardinia.

Nathalie Du Pasquier, Mona Hatoum, and Hannah Levy Preeminent figures of International Sculpture

Nathalie Du Pasquier (Bordeaux, 1954) The only woman in the legendary Memphis group, Nathalie Du Pasquier has reinvented her artistic path in recent decades, shifting her focus from design to visual art. Her works sit at the intersection of painting, sculpture, and architecture, proposing geometric shapes and bold colors that create playful, three-dimensional worlds rich in conceptual implications. At the Nivola Museum, the French artist will set up a thematic journey spanning over 30 years of painting, set within metaphysical architectural installations.

Mona Hatoum (Beirut, 1952) A central figure in the international contemporary art scene since the 1990s, Lebanese-Palestinian artist Mona Hatoum explores themes such as identity, the body, and power dynamics. Hatoum will present at the Nivola Museum a site-specific installation, developed during a residency in Orani, with works that combine local materials and Sardinian artisan techniques, fusing the political and the personal, the global and the local, and transforming everyday objects into powerful metaphors.

Hannah Levy (New York, 1991) The young American artist, Hannah Levy has gained international recognition for the originality of her sculptural language. Her works, often made of steel, silicone, and glass, create contrasts between the cold and the soft, the natural and the artificial. After catching attention at the 2022 Venice Biennale, Levy will present a series of works at the Nivola Museum that explore themes related to the body, sensuality, and industrial design.

Nivola Museum The Nivola Museum in Orani is managed by the Costantino Nivola Foundation, a non-profit cultural institution dedicated to promoting the artistic and human legacy of Costantino Nivola, supporting contemporary art in all its forms, and fostering cultural and social development in the heart of Sardinia. The museum, a complex of pavilions set within the green space of an urban park, houses the most important European collection of works by Costantino Nivola (Orani, 1911 – East Hampton, 1988), graphic designer, art director, and sculptor active in the integration of visual arts and architecture. Nivola was a pivotal figure in the cultural exchange between Italy and the United States in the 20th century. The museum organizes exhibitions dedicated to contemporary art, with a particular focus on design, sculpture, the relationship between the arts, and the connection between humans and the environment.  It also hosts public events, educational activities, and research programs, acting as a cultural force oriented toward innovation and social promotion in the heart of the Mediterranean.

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

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

Captions – 2025 Cultural Program at Museo Nivola

1.   Portrait of Nathalie du Pasquier. Photo: Ilvio Gallo.

2.   Nathalie Du Pasquier, The strange order of things 2, Installation view at Pace Gallery, Geneve, 2020. Photo: Annik Wetter.

3. Nathalie Du Pasquier, Campo di Marte, Exhibition view at MACRO – Museo di Arte Contemporanea di Roma, 2021. Photo: Delfino Sisto Legnani.

4. Portrait of Mona Hatoum, Berlin 2022. Courtesy of Neuer Berliner Kunstverein (n.b.k.). Photo: Jens Ziehe.

5. Mona Hatoum Cage-à-Deu, 2002,  Mild steel and painted MDF, 201.5 x 315 x 199.5 cm (79 1/5 x 124 x 78 1/2 in.), © Mona Hatoum. Courtesy White Cube. Photo: Hugo Glendinning.

6. Mona Hatoum, Cube (9 x 9 x 9), 2008, Black finished steel, 181 x 182 x 182 cm (71 1/4 x 71 3/4 x 71 3/4 in.), Installation view at Kunst-Werke Institute for Contemporary Art, Berlin © Mona Hatoum Courtesy Kunst-Werke Institute for Contemporary Art, Berlin. Photo: Uwe Walter, Berlin.

7.   Hannah Levy, Documentation of HEEL, originally performed at the Institute of Contemporary Art, Philadelphia, September 30, 2023. HEEL was choreographed by Sigrid Lauren and performed by Sigrid Lauren and Aliza Russell. Photo: Curtis Wallen.

8. Hannah Levy, Untitled, 2024, Stainless steel and glass, 67.5 x 59 x 23″ / 171.4 x 149.9 x 58.4 cm. Courtesy Massimo De Carlo. Photo:  Robert Glowacki.

9. Hannah Levy, Untitled, 2021, Nickel-plated steel, silicone, 68 x 74 x 74″ / 172.72 x 187.96 x 187.96 cm. Photo: Michael Tropea.

10. TARWUK, Portrait.

11. TARWUK,  Installation view at White Cube Mason’s Yard, London, 2023.

12. TARWUK, Installation view at Halle für Steiermark, Graz, 2023.

13. TARWUK,  Installation view at White Cube, Paris, 2023.

14. Here I Stay Festival, 2024. Photo: Francesca Ardau.

15. Here I Stay Festival, 2024. Photo: Francesca Ardau.

16. Tutto d’un tratto, Festival dell’illustrazione. Photo: Paolo Sanna Animamundi.

17. Tutto d’un tratto, Festival dell’illustrazione. Photo: Paolo Sanna Animamundi.

18. Armin Linke e Corrado Calvo, Paparazzi, 2014 – 2025.

19. Arrogalla_foto di Dietrich Steinmetz

20. Luca Spano, Far Away Structures, 2022. Courtesy Luca Spano and Red Lab Gallery.

L'articolo The Nivola Museum turns 30 | Exhibitions, Residencies, Publications, Projects, Festivals proviene da Museo Nivola.

curated by Giuliana Altea, Antonella Camarda, Luca Cheri, Anna Depalmas, Carl Stein

Museo Civico Giovanni Marongiu – Sala Polifunzionale, Cabras
Museo Nivola, Orani
November 30, 2024 – April 22, 2025

The Mont’e Prama Foundation and the Nivola Foundation are excited to announce the first exhibition dedicated to exploring the connection between Costantino Nivola’s art and the Prehistory of Sardinia. This engaging exhibition showcases a comparison between masterpieces of Neolithic and Nuragic sculpture and architecture, alongside significant works by Nivola. For the first time, it reconstructs the relationship between Nivola and Prehistory, presenting the artist’s sculptures alongside the sources that inspired him, made possible through a series of important loans from both public and private collections, Italian and international.

Anthony Muroni, president of the Mont’e Prama Foundation, states: “This project opens a new path for what concerns the relationships of collaboration and synergy between museum institutions, putting history and the contemporary into dialogue, favouring an integrated reading that is fresh, plural and evocative. We have included this program among the fundamental ones for the current three-year period, willingly dedicating the entire on-site exhibition’s efforts to this collaboration so intense and full of meaning which, by placing Cabras and Orani in close connection during the period in which both exhibitions will remain open, ideally connects all of Sardinia and its visitors.”

“The relationship between Prehistory and contemporary art is one of the key themes of twentieth-century culture – says Giuliana Altea, president of the Nivola Foundation -, and Nivola’s work is an important testimony to this, never studied in this aspect until now. The exhibition On the Shoulders of Giants, born from the collaboration between Fondazione Mont’e Prama and Fondazione Nivola, confirms how the synergy between institutions active in different cultural fields can bring results of great importance.”

The title of the exhibition alludes, in addition to the monumental statues found in Mont’e Prama, to the medieval aphorism according to which we are, compared to the ancients, like dwarves on the shoulders of giants: we can see further than them, but only because we can rise thanks to their greatness. And the sculpture by Costantino Nivola (Orani 1911 – Long Island 1988) has been inspired from the beginning by the anonymous masters of Sardinian prehistory.

Trained as a graphic designer and installation designer in Monza and Milan, Nivola – an anti-fascist exile in the United States since 1939 – began to make sculptures in 1950. In an international cultural climate that, after the destruction of the war, looked to Prehistory as a source of a possible renewal of civilisation, Nivola rediscovered Sardinia and its extraordinary archaeological heritage, placing it as the basis of his art. After the Second World War, in the wake of the opening to the public of the Lascaux caves in France (1948), the call of the distant past attracted artists from all over the world. In the aftermath of a terrifying conflict, with the devastation of entire regions, the launching of two atomic bombs and the looming threat of nuclear disaster, the end of human civilisation seemed a not-so-remote possibility. It brought to mind the moment of man’s appearance on earth.

Thus, with its mysteries, prehistory became a mirror of modern man’s anguish but evoked a positive idea of ​​spirituality and community bonds in contrast with modern materialism, individualism, and dehumanised science. For Nivola, who felt a deep connection with the “primordial” dimension of Sardinia, it was, above all, this positive interpretation of Prehistory that prevailed.

Nivola returned to Sardinia for the first time in 1947. Once again in New York, in contact with Jackson Pollock and the artists of the New York School, at that time equally fascinated by totemism and the origins of humanity, and following the crucial meeting with Le Corbusier, the artist discovered sculpture. In 1950, his first sandcasts were born (plaster or cement sculptures made with sand moulds), which blend elements of Surrealism (Nivola looks to artists such as Ernst and Giacometti) with elements of Sardinian folklore, but above all with the memory of female figurines from the Neolithic era such as the so-called Venus of Senorbì and the Mother Goddess of Porto Ferro.

After 1952, following another six-month stay on the island as a correspondent for the American magazine Fortune, his interest in prehistory peaked. Struck by the Nuragic civilisation, he travelled the length and breadth of the island, taking hundreds of photos, visiting the excavations of the Nuraghe of Barumini, and coming into contact with its discoverer, the archaeologist Giovanni Lilliu.

From this moment on, Nivola will feel like the spiritual heir of the ancient lineage of nuraghi builders and bronze sculptors, delivering to the press and critics an image of himself strongly linked to the reference to Sardinia’s ancestral past. In 1953, his great relief for the Olivetti Showroom in New York transformed the luxurious store on Fifth Avenue into a sort of cave populated by mythical figures no less mysterious than those of Lascaux, full of specific references to the pre-Nuragic and Nuragic civilisations of Sardinia. In the following years and until the end of his life, Prehistory would have remained a constant reference and a perennial stimulus for his research, from the references to Nuragic architecture present in his monumental projects through the development of an original fresco graffito technique up to the solemn and evocative Mothers created starting from the Seventies.

The exhibition
The exhibition, set up simultaneously in two locations, the Museo Nivola (Orani) and the Museo Civico G. Marongiu (Cabras), compares Nivola’s works with the testimonies of Sardinian prehistory that influenced him, presented through original finds, photographs, and multimedia installations curated by the Visual Computing Group of CRS4.

Born from the scientific collaboration between the art historians Giuliana Altea and Antonella Camarda, the prehistoric archaeologists Luca Cheri and Anna Depalmas, and Carl Stein, architect and former collaborator of Nivola, the exhibition presents a unique opportunity to explore the link between Nivola and Sardinia, thanks also to a group of key works by the artist from private American and Italian collections.

“The path – explains Giuliana Altea – follows the development of Prehistory in Sardinia, from the appearance of Humans to the apogee of the Nuragic Civilization. Every moment of the island’s remote past is accompanied by fundamental works by Costantino Nivola, in an ideal dialogue that surprises with the punctuality of the references and fascinates with the beauty of the works on display.”

From the first section, in which Nivola tells his myth of origin through a series of works – including a newly discovered bronze triptych from the 1960s – that refer to Gea and Uranus, the original divine couple, we move on to the age of the first graffiti, which we can still admire today in the domus de janas. “These graffiti,” says Antonella Camarda, “are a constant source of inspiration for Nivola: not only does the artist disseminate his sculptures with engraved motifs reminiscent of petroglyphs, but, from the mid-1950s, graffiti on fresh plaster became one of his favourite techniques for large public decorations, such as the church of Sa Itria in Orani or the playground of the Wise Towers in Manhattan (1964).”

The comparison between some ceramics from the 5th-4th millennium B.C. and the plates that Nivola created with the ceramist Luigi Nioi in 1980 show the continuing fascination for these early signs.

“In Sardinia – continues Anna Depalmas – the presence of menhirs – large ogival monoliths from the pre-Nuragic era to which the exhibition’s second section is dedicated –  is ubiquitous. These enigmatic artefacts must have deeply affected Nivola, who cites them in the first sandcasts of the 1950s, and even more directly in the project for Piazza Satta in Nuoro, from 1967.”

At the heart of the exhibition at the Nivola Museum is the Great Mother, the protagonist of the Eneolithic statuary and a central theme in Nivola’s imagination. From the Totems of the 1950s to the Mothers of his late maturity, the artist’s female figures retain the ambivalent charm of their prehistoric ancestors.

The exhibition continues with the parallel, never proposed before, between the sacred wells, Nuragic monuments linked to the cult of water, and the art of Nivola, which takes up some of their structural and detailed elements. “The theme of water,” says Carl Stein, “has always been dear to Nivola: fountains play an important role in the decoration of the Morse and Stiles colleges at Yale University, designed by Eero Saarinen (1960-1962, one of his most ambitious projects), and in that of the Wise Towers in New York (1964). Nivola loved to contrast the abundance and waste of water in the United States with the scarcity of water in Sardinia, which made it precious and fueled the desire for it.”

The section dedicated to the Builder, an almost mythical figure with whom Nivola identified, both as the son of a bricklayer and as the heir of the distant creators of the nuraghi, closes the exhibition at the Nivola Museum and opens that of the Giovanni Marongiu Museum in Cabras. “Nivola,” says Luca Cheri, “sees the very essence of art in the idea of ​​construction. Based on his fascination with Nuragic walls, the Building Blocks series was born in the early 1950s. Numerous sculptures and monuments conceived as spaces to be inhabited also refer to the Nuragic wall, a constant sign of the coexistence, in Nivola – of the memory of Nuragic architecture and the modernist need for an art for the community.”

At the Cabras Museum, which houses the Giants of Mont’e Prama, the exhibition compares the Nuragic sculptures in stone and bronze to those of Nivola. The Nuragic bronzes, whose slender and dry structure would seem to distance them from the solid and compact forms of most of Nivola’s sculptures, actually constitute a recurring model for male figures, with almost literal references – as in the terracottas of the 1970s – or more indirect but still profound.

For Nivola, shepherds, warriors and prehistoric artisans are mythical figures from the time of the Nuraghi who continue to wander the earth, giving energy and inspiration to the artist.

The Mont’e Prama Foundation
The Mont’e Prama Foundation was established in July 2021 by the Ministry of Culture, the Autonomous Region of Sardinia, and the Municipality of Cabras. Its primary responsibilities include managing and developing the Civic Museum and the resources of the Sinis Natural Archaeological Park. The foundation collaborates with the Ministry’s regional offices on protection, research, and conservation efforts. Additionally, it promotes and supports dialogue with various institutions in Sardinian culture to foster cultural, social, and economic growth in Sinis and throughout Sardinia.
It manages the Civic Museum of Cabras, where it recently inaugurated a new exhibition on the Giants of Mont’e Prama, the archaeological areas of Tharros and Mont’e Prama, the hypogeum and the church of San Salvatore, the Spanish tower and the church of San Giovanni di Sinis.
In 2023, it organised the temporary display of one of the Giants of Mont’e Prama at the Metropolitan Museum of Arts in New York. In 2024, the same statue was transferred to the National Archaeological Museum of Madrid, where it will remain on view until January 12, 2025.

The Nivola Foundation
The Costantino Nivola Foundation is a non-profit cultural institution dedicated to promoting Costantino Nivola’s artistic and human legacy, supporting contemporary art in all its forms, and contributing to Sardinia’s cultural and social development.
It manages the Nivola Museum, a complex of pavilions immersed in the greenery of an urban park. It owns the most important European collection of works by Costantino Nivola (Orani, 1911—East Hampton, 1988), a graphic designer, art director, and sculptor active in the integration of visual arts and architecture and a crucial figure in the context of cultural exchanges between Italy and the United States in the twentieth century.
The Nivola Foundation organises exhibitions dedicated to contemporary art, with a particular focus on design, sculpture, the relationship between the arts and the relationship between humans and the environment.
It also carries out a program of public events, educational activities and research, acting as a cultural force oriented towards innovation and social promotion in the centre of the Mediterranean.
_______

On the Shoulders of Giants.
The Modern Prehistory of Costantino Nivola

Institutional partners
Ministry of Culture, Autonomous Region of Sardinia, Fondazione di Sardegna, Municipality of Cabras, Municipality of Orani, Regional Directorate of Museums of Sardinia, National Archaeological Museum “Giovanni Antonio Sanna” of Sassari, National Archaeological Museum “Giorgio Asproni” of Nuoro, National Archaeological Museum of Cagliari, Menhir Museum of Laconi, CRS4, Soprintendenza Archeologia, belle arti e paesaggio per la Città metropolitana di Cagliari e le province di Oristano e sud Sardegna, Soprintendenza Archeologia Belle Arti e Paesaggio per le province di Sassari e Nuoro

Assistant curators
Antonio Cattari
Luca Poddighe

Exhibition design
Alessandro Floris

Exhibition mounting
Artigianato e Design by Pietro Fois

Graphic Design
Heart Studio

Multimedia Design
Visual and Data-intensive Computing – CRS4

Prints
Biography of Fabio Milia

Shipping
Apice
Tiemme Srl

Insurance
Reale Mutua

Catalogue
Allemandi

Thanks to

Information

Mont’e Prama Foundation – Marongiu Civic Museum, Cabras
Via Tharros s.n.c.
09072 Cabras (Or)
0783/290636 | fondazione@monteprama.it – https://www.monteprama.it

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

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

L'articolo ON THE SHOULDERS OF GIANTS. The Modern Prehistory of Costantino Nivola proviene da Museo Nivola.

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

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

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.

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 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.