sardinia Archivi - Museo Nivola

Nivola, Colombo e lo spazio intorno

admin_museo — Thu, 23 Jul 2026 10:30:00 +0000

Within the framework of the new Nivola vis-à-vis programme, conceived to bring Costantino Nivola (1911-1988) into dialogue with key figures in the art world of his time, Museo Nivola presents Nivola, Colombo and the Space Around, on view from 24 July to 25 October 2026.

Curated by Chiara Gatti and Anna Pirisi, in collaboration with the Gianni Colombo Archive in Milan, the exhibition is the core of ROOMS, the first chapter in a three-act narrative conceived by Chiara Gatti, Artistic Director of Museo Nivola, for the Museum’s summer-autumn 2026 exhibition programme.

Developed across three rooms, three environments, three places to traverse and experience, the exhibition explores the theme of space and the experimental language of the environment as a site of relationships between our bodies and the inhabitable dimension that receives us: its perspectives, volumes, voids and light.

Here, then, are Nivola’s Room of Dreams, Gianni Colombo’s Elastic Space, and the Room of Memory, created to activate collective remembrance. This narrative unfolds in three phases, in tripartite rooms, like the rhythmic units of ancient songs. Beginning with shared memory, it develops into a broader reflection on the ways in which we inhabit and perceive space. The audience’s sensory experience comes into contact with the artists’ research and, at the same time, with the space that houses it.

The project’s scholarly rationale stems from a significant coincidence of dates. Costantino Nivola’s first environmental study dates from 1968: Model for the Monument to Antonio Gramsci, made in the same year that Gianni Colombo exhibited his Elastic Space at the Venice Biennale.

Thinking of space in terms of traversal was precisely what Nivola did in the 1960s with his horizontal monuments, such as the project for Piazza Satta. Here affinities between the two masters emerge in the construction and trajectories of light that gives form to space. “A light entering through the window / to dissolve the persistent darkness / of my temple and prison of intimacy / and my waking dreams,” as Nivola put it. In Nivola’s aesthetic investigation, the room becomes a primary measure of space: not merely an architectural setting, but a place built around our presence. Inhabited space thus becomes the essential core of his exploration, a volume designed to welcome, define and place humankind in relation to its surroundings. This idea runs throughout his work, in which architecture, sculpture and everyday life merge in a deeply human vision of space, later materialising in the “little theatres,” based on modular forms and mathematical and proportional relations. Beneath this lies a subtle evocative tension, capable of calling forth an enigmatic, contemplative sphere. The “dream boxes,” the little theatres, explore our descent into an interior – into the perspective that swallows us up – as silent actors in a scriptless performance, suspended in a time in which becoming reveals itself through the shifting of light.

Colombo’s thinking likewise opens onto the theme of experience. “I thought I would work more on the conditions of balance, sensation and the spectator’s relationship to space,” he said, “rather than giving form to a complex visual spectacle with a scenographic character […]. I was seeking the possibility of incorporating this type of sensation into a work to be experienced as an emotional factor and an expressive fact.” (Gianni Colombo, typescript, 1964/65). The full-scale reconstruction of the Room of Dreams, in dialogue with Colombo’s Elastic Space, creates a succession of perceptual experiences – between disorientation, shifting coordinates and illusory vanishing points.

With respect to these works, the third room is designed to welcome collective memory through an act of active citizenship, transforming space from a neutral container into a place for thinking, a device for gathering memories through different languages, voices, gazes, writing and images: a minimal but crucial gesture in the formation of an archive that will, in every sense, be preserved by the museum. The Lavatoio becomes a place of encounter and exchange, where memory, art and community come together in a new shared experience.

Side event
Tribute to Grazia Deledda
Museum, 24 July – 20 September

A century after the Nobel Prize was awarded to Grazia Deledda, Museo Nivola will display, in the permanent collection galleries, the bronze sculpture made by Costantino Nivola in the mid-1970s in tribute to the great writer from Nuoro. On loan from Banco di Sardegna, the work will be shown alongside the summer exhibition in the new skylight space.

Nivola vis-à-vis
Curated by Chiara Gatti

Chapter One: ROOMS
Nivola, Colombo and the Space Around
Lavatoio, 24 July – 25 October 2026
Curated by Chiara Gatti and Anna Pirisi, in collaboration with the Gianni Colombo Archive in Milan

Side event
Tribute to Grazia Deledda
Museum, 24 July – 20 September 2026

Institutional Sponsors
Autonomous Region of Sardinia, Municipality of Orani, Province of Nuoro

Principal Supporter
Fondazione di Sardegna

Special Thanks
Gianni Colombo Archive
Vittoria Soddu
Sardegna Film Commission
Proloco Orani
Angelino Mereu
Cantine Autori del vino

Exhibition Installation
Artigianato & Design di Pietro Fois

Graphic design
Leonardo Sonnoli

Painting
Bioazione di Fabio Milia

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

FB Museo Nivola
IG museo_nivola

Press Office, Museo Nivola

Anna Defrancesco comunicazione
annadefrancesco.com
press@annadefrancesco.com| M +39 352 0080279

Anna Defrancesco ad@annadefrancesco.com | M +39 349 6107625
Chiara Tavasci chiara@annadefrancesco.com | M +39 375 9154942

Graphic project Leonardo Sonnoli Studio
Foto: Gianni Colombo, foto di Oliviero Toscani © Archivio Gianni Colombo, Milano

L'articolo Nivola, Colombo e lo spazio intorno proviene da Museo Nivola.

NIVOLA vis-à-vis

admin_museo — Tue, 30 Jun 2026 10:30:00 +0000

After the significant cycle of exhibitions focused on three leading figures in international sculpture – Nathalie Du Pasquier, Mona Hatoum and Hannah Levy – the museum in Orani, dedicated to the life and work of one of the masters of twentieth-century Italian art, Costantino Nivola (1911-1988), returns to explore still-unexamined aspects of his practice, linking it to the era he lived through, the trends he embraced, and the other artists whose paths crossed his, in reality or in spirit.

Curated by artistic director Chiara Gatti, with the support of the Scientific Committee, the 2026 summer and autumn programme will place Nivola in dialogue with key figures from the artistic landscape of his time, in a play of gazes suggested by the overall project title, vis-à-vis: intense visual encounters shaped by actual relationships or elective affinities. Here, Nivola’s gaze meets the face of the other; that face reflects personal stories and, at the same time, the person who looks at it, within a logic of reflections that the French philosopher Emmanuel Lévinas called the “epiphany of the face.” The face is the place where the other reveals themself and where, through reciprocal looking, an authentic relationship begins.

“A conversation with Claire Nivola, the artist’s daughter and spokesperson for the family,” says artistic director Chiara Gatti, “gave rise to the idea of working on the elective affinities between Nivola and his contemporaries. It will be essential to orchestrate the new programme around him, given the coincidence with the retrospective devoted to Nivola at Milan’s Triennale this autumn – a meaningful opportunity to propose a harmonious cycle of projects in Orani.”

Nivola is thus placed vis-à-vis with artists who shared his tensions and visions. Against the backdrop of an intuition-rich post-war period, the radical renewal of media – technically but above all expressively – spread among a cohort of “young adventurers,” as Guido Ballo would have called them. Following Fontana, Burri and Tàpies, they manipulated matter through a demiurgic gesture, opening its possibilities towards space and towards a new dimension of space populated by equally new sculptural forms. Abstract art, nuclear art, Spatialism and Concrete Art drew constellations of programmes all marked by an experimental vocation, by the updating of expressive means, and by the spontaneous collaboration of fertile minds active on different fronts, driven to converse with one another in creating – to quote Fontana – the very “luminous and malleable substance” that art is.

Chapter One: ROOMS
Nivola, Colombo and the Space Around Us
Juyly 23 – October 25, 2026

Three rooms, three environments, three places to inhabit with the body. Nivola’s Dream Room, Gianni Colombo’s Elastic Space, and the Room of Memory as a site for activating collective remembrance. Curated by Chiara Gatti and Anna Pirisi, in collaboration with the Gianni Colombo Archive in Milan, the exhibition unfolds in three moments, in tripartite rooms, like the rhythmic units of ancient songs. Starting from shared memory, it develops into a broader reflection on how we inhabit and perceive space. The audience’s sensory experience engages with the artists’ research and, at the same time, with the very space that hosts it.

Scientific rationale: Costantino Nivola’s first environmental study dates to 1968: it is the Model for the Monument to Antonio Gramsci, made in the same year that Gianni Colombo exhibited his Elastic Space at the Venice Biennale.

Thinking about space in terms of passage is what Nivola did in the 1960s through his horizontal monuments, such as the project for Piazza Satta. Connections thus emerge between these masters in the construction and trajectories of light that give space its character. “A light that enters through the window,” Nivola wrote, “to dissolve the persistent darkness / from my temple and prison of intimacy / and my waking dreams.” In Nivola’s aesthetic research, the room takes on the value of a primary measure of space: not a mere architectural environment, but a place built around our presence. Inhabited space becomes an essential core of his thought, a volume conceived to welcome, define and connect human beings with what surrounds them. This idea runs throughout his work, in which architecture, sculpture and everyday life merge into a profoundly human vision of space, later embodied in the “little theatres,” based on modular forms and mathematical and proportional relationships. Beneath the surface, a subtle evocative tension also emerges, capable of calling up an enigmatic and contemplative dimension. The “dream boxes,” the little theatres, therefore explore our descent into an interior, into a perspective that engulfs us, as silent actors in a performance without a script, suspended in a time that betrays its becoming through changing light.

The life-size reconstruction of the Dream Room, in dialogue with Colombo’s Elastic Space, creates a sequence of perceptual experiences between disorientation, shifting coordinates and illusionistic perspectives. In relation to these, the third room has been designed to welcome collective memory through an act of active citizenship, transforming space from a neutral container into a place for thought and a device for gathering memories through different languages, voices, gazes and writing. This is a minimal yet crucial gesture towards forming an archive that will, in every sense, be preserved by the museum. The Lavatoio becomes a place of encounter and exchange, where memory, art and community intertwine in a new shared experience.

Collateral Event
Homage to Grazia Deledda
July 23 – September 20

One hundred years after Grazia Deledda was awarded with the Nobel Prize, the Museum will display, in the rooms of its permanent collection, the bronze sculpture created by Costantino Nivola in the mid-1970s as a tribute to the great writer from Nuoro. The work, on loan from Banco di Sardegna, will be shown alongside the summer exhibitions in the new skylight space.

Chapter Two: FRUITFUL RELATIONSHIPS
Ruth Guggenheim. Light Sculptures
13 November 2026 – 21 March 2027

Coinciding with the major retrospective dedicated to Costantino Nivola by Milan’s Triennale, the museum in Orani will host a project made possible by works that are partly previously unseen and belong to the family, allowing an in-depth exploration of Ruth Guggenheim (born 1917), Costantino Nivola’s wife. Like him, Ruth – trained at the ISIA in Monza – was a visionary experimenter, author of jewel-sculptures born from the craft precision of actual adornments and then projected into the formal dimension of sculpture. The play of references to archaic or vernacular traditions conceals a union of inheritances, between Native American ornaments and Sardinian ritual jewellery, sublimated in abstract composition and in the aesthetics of the little theatre or mobile, informed by pioneering figures such as Louise Nevelson, Marcelle Cahn and Claire Falkenstein. This is an important tribute to a woman of abstraction, linked to Nivola yet independent in her artistic thought. The exhibition will also include a series of portraits of Ruth, in oils and drawings, made by her husband and never before exhibited.

Nivola with Munari and Regina

The Museo Nivola presents a meaningful dialogue, a close encounter between artists who shared an intense experience against the backdrop of one of the most fertile and experimental seasons of post-war Italian art.

Without seeking to provide an exhaustive survey of their careers, the exhibition focuses on a selected group of works and documents that make it possible to revisit the dialogue between the two artists through several current concerns: the dissolution of disciplinary boundaries, the relationship between art and pedagogy, the environmental dimension of the artwork, the dialogue between art and industry, and the creation of new forms of spatial experience. Many of the ideas developed by Munari and Regina between the late 1940s and early 1960s anticipate themes and sensibilities that run through contemporary artistic practices today: the artwork as an open device, lightness as a design strategy, modularity, the mobility of forms, the cross-pollination of languages, and art’s social function. In this respect, the exhibition, curated by Lorenzo Giusti and Chiara Gatti, fits naturally within the context of the Museo Nivola. Not only because of the biographical and cultural convergences that connect the two artists to Costantino Nivola, but because their practices share a vision of art as an experience able to transform the spaces we inhabit and contribute to the construction of a collective sensibility.

Nivola, Munari and Regina took part in the 2nd National Quadriennale of Art in Rome in 1935, a key moment of transition for Italian abstract research. A year later, all three participated with different projects in the International Exhibition of Stage Design at the 6th Milan Triennale of 1936. At the time, Nivola collaborated with Giuseppe Pagano and other masters, producing tempera paintings and murals for the backdrop walls of the exhibition rooms, while Regina exhibited constructions in metal sheets and three-dimensional stage models. The decomposition of form explored by Munari and Regina distinguishes Nivola’s contemporary reliefs, which share with those of his colleagues the practice of building and the discipline of design. Nivola, who founded Harvard University’s Design Workshop in 1954, introducing a teaching approach based on the Bauhaus legacy and free experimentation, had an in-depth understanding of the concept of total space, of aesthetic experience within the places we inhabit, and of the sculptural emotion generated by the “synthesis of the arts.” In 1967, Munari inherited his chair at Harvard, where he was invited to teach for a semester on the same themes.

Despite its intimate scale, the project aims to form part of a reflection on the contemporary meaning of the post-war avant-gardes. Alongside the historical-critical contribution of Nicoletta Boschiero, a member of the museum’s Scientific Committee, voices, thoughts and perspectives will be gathered from curators, museum directors, scholars and artists from different geographical contexts, invited to consider which aspects of these practices remain open, necessary and productive today.

Chapter Three: CORRESPONDENCES
Lacci / Orani 6×6
13 November 2026 – 21 March 2027

In autumn, the Museo Nivola will rethink and present to the public a new installation of its permanent collection which will be partially moved for the major exhibition in tribute to Costantino Nivola scheduled for November at Milan’s Triennale (curated by Cecilia Alemani). It will need to be recalibrated in its layout and content based on the works remaining on site: this will be a valuable opportunity to investigate the holdings kept in storage, highlight works not currently on display, welcome further donations from heirs, and create new connections and narratives among the known works, with unexpected new perspectives. Nearly fifteen years after the collection’s last permanent installation, the museum needs an updated study of its sections. Undertaken by the staff, with the consultancy of architect Alessandro Floris and designer Leonardo Sonnoli, it will offer visitors a different perspective and new opportunities for deeper exploration, examining the subtle transitions between the techniques and languages experimented with by Nivola, including photography. Photography will be at the centre of a collateral section – an exhibition within the exhibition – which, thanks to the collaboration of the Ilisso Archive, will show the public for the first time a rich series of photographs taken by Nivola in the streets of Orani: at the heart of the town, among its people and hidden corners, on the hillside and amid the austere monumentality of the talc quarry.

Collateral Event
Giammarco Cugusi – Portrait of a Community: Orani
Residency and workshop, October-November

The project unfolds in a participatory form. The artist moves through the town, listens to stories, gathers words and opens spaces for discussion. Those who wish to take part are asked to donate a glass from their home: an everyday object imbued with presence, memory and affection.

A word chosen by the person donating the object is engraved on each glass, arising from the meeting and exchange activated through dialogue with the artist. It may be a fragment of the self, a trace that conveys the person’s uniqueness within the community, or a word able to express what the community represents for them. The collected glasses are then arranged on a large communal table. The installation takes shape as a constellation of voices: a silent yet tangible geography in which each element holds a story. The engravings appear as grooves, as traces – almost like a collective vinyl record able to retain and return memory. On the final day, the table is activated through a toast open to everyone. After taking part, each person takes away the glass they used (not their own). In this simple and poetic gesture, the exchange is completed: each person takes care of a fragment of someone else, even without knowing where it came from.

Graphics by Leonardo Sonnoli

L'articolo NIVOLA vis-à-vis proviene da 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.

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

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.

Nathalie Du Pasquier. Volare Guardare Costruire

admin_museo — Sat, 17 May 2025 11:00:00 +0000

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

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.

The Nivola Museum turns 30 | Exhibitions, Residencies, Publications, Projects, Festivals

admin_museo — Sat, 17 May 2025 11:00:00 +0000

The Nivola Museum turns 30
Exhibitions, Residencies, Publications, Projects, Festivals
The 2025 program focuses on large international sculptures and connections between Sardinia and the world: Nathalie Du Pasquier, Mona Hatoum, Hannah Levy

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.

ON THE SHOULDERS OF GIANTS. The Modern Prehistory of Costantino Nivola

admin_museo — Sat, 30 Nov 2024 11:00:00 +0000

ON THE SHOULDERS OF GIANTS.
The Modern Prehistory of Costantino 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

Alessandra Carrieri, Noemi Cappai, Silvia Caracciolo, Antonio Cosseddu, Sebastiano Congiu, Federica Doria, Maria Paola Dettori, Michele de Laurentiis, Isabella Fera, Antonio Floris, Elisabetta Grassi, Giuseppina Ianiri, Maura Mereu, Giorgio Franco Murru, Francesco Muscolino, Maria Passeroni, Gianna Saba, Gianfranca Salis, Monica Stochino, Licia Serra, Stefania Soddu, Georgia Toreno, Valentina Uras, Maura Vargiu, Loretta Ziranu
—————————————————————————————————–

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.

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.