So last month I covered Lucio Fontana at Fondazione Magnani Rocca near Parma but staying with the venue I wanted to focus on the wider enterprise and its rather extraordinary collection of art and its curatorial history the Foundation itself was founded in 1977 at the Villa dei Capolavori (Villa of Masterpieces) in the frazione of Mamiano di Traversetolo The Villa houses works by a diverse range of notables including Gentile da Fabriano Van Dyck and later modernist figures such as Monet The collection boasts over fifty works by the Bolognese still life guru Giorgio Morandi along with stunning sculptures by Canova and Bartolini big name temporary shows in its varied and airy spaces all of which have a decidedly more contemporary feel The foundation was based on the villa and collection of its founder and benefactor Luigi Magnani (1906-84) The collection and the discerning eye of the collector are evident throughout there are some choice works in the exquisitely decorated palazzo As if one couldn’t be impressed by the extraordinary near blinding detail of Durer’s engravings I was left reeling by the glut of Morandi’s and legendary vision of De Chirico and Cezanne The single drawback of this fabulous collection is the complete absence of diversity in the present and the past I say this mindful that most of the interns and staff of the venue appeared to be female which only served to accentuate the fact that this collection seems frozen in a more patriarchal and 'whiter' he was a benefactor and social philanthropist with impeccable intentions and an equally informed eye but perhaps there is a need to raise questions about the status and profile of the temporary exhibitions programme and more divergent dialogues with the permanent collection over the past 20 years the temporary exhibitions programme has featured: Sutherland (2012) Not a female or black artist or designer in sight Now I appreciate the mission of the foundation and the fact that it is an absolutely incredible cultural oasis of huge historical importance and value within the region It has absolutely my full support as a punter but wouldn’t it be amazing to interrogate the collection through the lens not only of female curators (which they do have) but also to enable a reflection on the time of the collection and its evolving relationship to history and the contemporary This is surely a way to keep the collection alive relevant and vital as the potential audiences for art history continue to diminish globally I also find it hard to believe that it is not within the financial or curatorial orbit of the museum to problematise the narratives around its own collection I mean look at the life(style) and work of Morandi which was only sustained by the sacrifice and care of his sisters how about the relationship between more contemporary forms of the surreal in terms of conceptual games design What if a diverse range artists/students from Milan or Parma or La Sapienza (Rome) or L’Aquila were invited to create works to intervene in the well-rehearsed narratives of the collection It’s all curatorially up for grabs really and what’s to lose but of course such ventures are not without risk; reputational and insurance notwithstanding the peacocks and the unique sense of history and legacy (plus a great restaurant) but I fear that the survival and future attendance revenues may wither on the vine without the elixir of change found that an exhibition of games design and interactivity blew the roof off the gallery attendance numbers and reached out to entirely new audiences for the arts What if Magnani Rocca allowed more interactive content The absence of diversity won’t stop me coming back and even as such I might feel fearful or disappointed superb curatorial/art historical scholarship I would love to see a POC/LGBTQ+ take on the whole gig CONTEMPORARY ART MAGAZINE SINCE 1980 More... There are many international initiatives organized in 2024 to celebrate the centenary of Surrealism starting with the big traveling retrospective that will be in Brussels the state of avant-garde studies has been investigated by numerous specialist events and conferences but only the Magnani-Rocca Foundation hosted a dense retrospective exhibition with a historical view opening some long-debated critical aspects to the general public exhibition view at Fondazione Magnani-Rocca Il Surrealismo e l’Italia [Surrealism and Italy] collects more than 150 works mostly coming from public museums and private foundations based in Italy trying to convey the complexity of the relationship between our country and one of the most long-lived movements from the twentieth century chronologically covering from the 1920s to the end of the 1960s An approach that not only exalts the artists who have rethought the Surrealist lesson but points out aspects often considered secondary such as collecting and editorial productions which on the contrary provide a clear image of the penetration Aspects implemented and thoroughly explored also by the catalog that accompanies the exhibition which constitutes a very up-to-date report on the configuration and specificity of the avant-garde in its Italian variation proceeds through the presentation of the many international artists who participated in Surrealism (from Magritte to Dalí with attention to represent the great catalog of possibilities of expression and media connected to the avant-garde such as painting (figurative and abstract) it is clarified that in the context of the international diffusion of the movement given the ostracism of Fascism which hindered its reception while dispelling the opinion that there was a poor knowledge of surrealist art and literature the following rooms host some examples from the most important Italian collections to the one of the gallerist and critic Arturo Schwarz; from Lucien Bilinelli’s collection characterized by many works of the Belgian current of the movement; to the one of the entrepreneur/collector Enrico Lucci (subsequently donated to the Museum of the Biella Territory) from which comes one of the most valuable pieces on display In this section it stands out for its themes and complexity the room dedicated to the collections of Enrico Baj and Antonio Passarè not only the author of a personal reworking of Surrealism was also an important collector capable of once again placing Dadaism and the Bretonnian avant-garde in dialogue; while the collection of the Milanese doctor proposed a short circuit between ethnographic objects and works by E.L.T The last room outlines the contours of an Italian reception of the movement identifying two declinations: on the one hand the “Italian Surrealists” as defined by the first 1946 issue of the magazine “View” fantastic and neo-romantic trend; on the other tracing the vital presence of Surrealism in the poetics of the Informal and neo-avant-garde that characterize the reconstruction moment of the post-war Italian artistic identity between lacerating ideological conflicts and audacious explorations perhaps too small to collect all the different declinations of the avant-garde influence the insights dedicated to the artists Leonor Fini and Bona Tibertelli De Pisis De Mandiargues certainly stand out thanks to works populated with metamorphic and fairy-tale figures exploring a vision of the feminine as intriguing and current as ever Serena Trinchero is a scholar and professor of contemporary art history at IPH – International Programme in Humanities of the Pisa University educational and residency projects between performing and visual art collaborating with various institutions at a national level Δdocument.getElementById( "ak_js_1" ).setAttribute( "value" ASSOCIAZIONE JULIET – via Battisti 19/a – 34015 Muggia (TS) Juliet art magazine è pubblicata a cura dell’Associazione Juliet - direttore responsabile Alessio Curto autorizzazione del Tribunale di Trieste registro informatico C.F./P.IVA 00699740320 | c/c postale 12103347 | SWIFT UNCRIT M10MC | IBAN IT75C0200802242000005111867 | UNICREDIT Banca Trieste forging the minds of the De Chirico brothers in their formative and early years will result in one of the most original and highest moments of twentieth-century Italian figurative culture.Despite their common intellectual path De Chirico and Savinio demonstrated different characters and approaches to artistic practice from a young age and only came to painting at the age of thirty-five with a more decisive and granitic personality identified his path in painting from his adolescence While the works of both are characterized by themes of common interest such as travel the interpretations that the two brothers provide are not the same often arriving at results that are stylistically and iconographically distant will not renounce representations still imbued with enigmas which will characterize his landscapes that recall the myths of antiquity horses among the ruins of Greek civilization are the hinges around which Alberto Savinio’s aesthetics revolve Savinio demonstrates an innate ability to inject into the profound metaphysical silences the skillful lightness of irony which unfolds through a fantastical visionariness inanimate objects and animate beings come together in a single colorful and lively representation in which human and animal forms are confused and decontextualized placed within impossible perspectives and an atmosphere as improbable as it is playful.The contributions in the catalog focus on the brothers’ approach to their sources (Nicol Mocchi) as well as their respective paths in the various artistic disciplines in which they have engaged: painting (Alice Ensabella) but also the artist’s book and theater (Mauro Carrera) As the inspirational motifs of the construction of the aforementioned modern mythology are at the heart of this project two contributions in the catalog focus on more specific aspects of Savinian (Gerd Roos) and dechirican (Daniela Ferrari) iconography.The exhibition opens daily Hours: Tuesday through Friday continuous 10am-6pm (box office closes at 5pm) Sunday and holidays continuous 10am-7pm (box office closes at 6pm) Admission: € 12.00 also valid for permanent collections - € 10.00 for groups of at least twenty people - € 5.00 for schools 0521 848327 / 848148 info@magnanirocca.it www.magnanirocca.it On Saturdays at 4:30 p.m tour of the exhibition with a specialized guide; reservations can be made by e-mail to segreteria@magnanirocca.it or show up at the museum entrance while places last; cost € 17.00 (admission and guide).Image: Alberto Savinio Tombeau d’un roi maure (1929; oil on canvas) In the midst of the glorious countryside of Emilia-Romagna stands a well-signposted but rather enigmatic compendium of buildings that comprises the physical accommodation for the Magnani Rocca Foundation The Foundation has accommodated some serious temporary exhibitions in the past I had always been seduced away by the stellar art attractions of the Venice Biennale I have been kind of driving past Magnani Rocca for the past 5 years with a sense of The prospect of 50 works on show at the foundation by Luciano Fontana finally proved to be the magnet strong enough to draw me in my expectations were exceeded on every count Once one gets past the rather grim car park I was serenaded into the villa itself by a number of shrieking pavoni (peacocks) which was both sweet and unnerving on the ears At the risk of teaching nonna to suck eggs the Italian-Argentinian artist Fontana was one of the founding fathers of Spatialism (Spazialismo) whose post-war manifestoes (1947-53) professed that: colour and sound in motion are the phenomena whose simultaneous development makes up the new art Fontana had a life and history far too long and eventful to narrate here suffice to say that he was involved with the physical and artistic rehabilitation of post-war Italy He worked with art schools in Italy (Brera La Sapienza) and Argentina (The Altamira Academy) and was one of the moving parts of a generation of artists that were desperately seeking to create new versions of themselves out of the legacy of rubble created by both the allies and the fascists it is spectacular and I felt I came away with a genuine insight into the time I feel like I am writing this rather backwards but the reason is that the words do not invite one to attach language or narrative in ways to which we have become accustomed If one takes the output as a starting point rather than the intent the works are sumptuous in their materiality exquisite in form and precise in execution But it doesn’t end there - one cannot divorce the works from the image of the artist in the process of creation; works are stabbed rent asunder and pierced with what must have been a heady combination of visceral violence and select punctuation each work records and implicates the artists actions for posterity in ways that are perhaps unique to Fontana I have simply never felt like this about any other work I have seen I think I have come to expect that the art will deliver a vision and version of reality that one can narrate or decipher with a more-or-less post-modern or deductive diagnostic his works tell you loudly at the point of contact exactly what has happened they are direct testimony to the presence of the artist and what he has done and because of this I found myself completely occupied by the vision of the interaction of Fontana and the material in front of him one finds oneself vicariously re-enacting and re-imagining the cause and effect required to create the work I know that lots of brilliant art historians have accounted for Fontana’s ‘eggs’ and the idea that destruction can be an act of creativity1 but standing with the work is a truly (meta)physical as well as intellectual process; a process in which one gets transported back in time through the portal of the work to the moment in the artist’s studio and the point in the artist’s process that literally marked time Seeing the works in this show re-awakened in me a sense of optimism for making that I thought I had lost Fontana at Magnani Rocca is a timely reminder that art is not only an end but also a means that can invite intrigue and engage in ways that pure spectacle cannot but Fontana’s work allows us to testify as well as spectate The works were kindly lent by the Lucio Fontana Foundation and the curatorial team at Magnani Rocca has done a splendid job or selecting If your travels take you near Milan or Parma or Venice 1 Fontana also attended the "Destruction Art Destroy to Create" demonstration at the Finch College Museum of New York (1968) changing the perception of the world forever “Imagination is nothing but the revelation of what we are freedom,” wrote André Breton in his Manifeste du Surréalisme officially marking the start of this revolutionary movement.Thus the Magnani-Rocca Foundation in Mamiano di Traversetolo will celebrate this decisive and long-lived avant-garde of the 20th century with the major exhibition Surrealism and Italy The exhibition will take place in the evocative Villa dei Capolavori just a few steps from the rooms that house works by masters such as Renoir the exhibition will feature more than 150 works by icons of Surrealism such as Salvador Dalí Giorgio de Chirico and his brother Alberto Savinio and other protagonists of this imaginative current The exhibition will witness the vastness of Surrealism’s media and languages exploring its impact and evolution in Italy The exhibition is divided into two major chapters The first chapter presents international Surrealism and its arrival in Italy initially mediated by the work of de Chirico and Savinio and later represented through the works of the masters of the historical movement These works highlight a profound aesthetic and formal heterogeneity The second chapter identifies the protagonists of the Italian Surrealist scene examining their connections with the French group and highlighting their independence and originality Two main trends in Italy are outlined: the emergence of a group inspired by new artistic practices represented by artists such as Sergio Dangelo and Enrico Baj characterized by visionary works by artists such as Leonor Fini who were deeply influenced by de Chirico and Savinio The exhibition devotes special attention to the spread of Surrealism in Italy highlighting the gallerists and collectors who were its main originators and collectors such as Peggy Guggenheim and Passaré played a crucial role in promoting and supporting the movement The Magnani-Rocca Foundation invites the public to embark on this fascinating journey to discover how the Surrealist movement liberated the unconscious and transformed the perception of reality Exhibition hours: Tuesday through Friday continuous 10am-6pm (box office closes at 5pm) - Saturday Admission: € 15 also valid for Permanent Collections, Renoir focus exhibition and Romantic Park - € 13 for groups of at least fifteen - € 5 for schools and under fourteen. The ticket also includes a free visit to the Villa’s Secret Cabinets. For less than fifteen people, reservations are not necessary; tickets are purchased upon arrival at the Foundation. For information: www.magnanirocca.it Exhibition and catalog edited by Alice Ensabella of Université Grenoble Alpes Alessandro Nigro of University of Florence Stefano Roffi scientific director of the Magnani-Rocca Foundation Catalog (Dario Cimorelli Editore) with essays by the curators and by Silvana Annicchiarico by /// September 6 The term “contemporary art” refers to the set of artistic trends that arose in the period after the Second World War through an enormous freedom of expression and use of different means If you are passionate about contemporary art The Study Center and Communication Archive (CSAC) is a research center of the University of Parma, located in the Abbey of Valserena (known as the Charterhouse of Parma of Stendhal) The center is aimed at creating a collection of fine art fashion and graphics from the 1900s and beyond The CSAC hosts temporary exhibitions and a large archive The Magnani-Rocca Foundation is located in the Villa dei Capolavori of Mamiano di Traversetolo Here is hosted the collection created by the musicologist and art critic Luigi Magnani European and American artists among the most representatives of the twentieth century (Monet as well as a large number of paintings by Giorgio Morandi Alongside the permanent collection exhibitions and retrospectives dedicated to 20th century art are frequently organized The Maramotti Collection offers a real journey into the contemporary Italian and International art thanks to the works collected over the years by Achille Maramotti father of the famous fashion house Max Mara and great art lover The museum is located just outside the historic center of Reggio Emilia in the former Max Mara factory converted into exhibition space The ground floor hosts the temporary exhibitions while on the two upper floors there’s the permanent collection which has about 200 of more than 500 works owned by the Maramotti family Fondazione Fotografia Modena is an exhibition and training center entirely dedicated to contemporary photography and images Its primary objective is to deep the fundamental role that images assume within the current culture Launched in 2007 as a cultural project of the Fondazione Cassa di Risparmio di Modena from September 2017 its exhibition activity is hosted in the premises of MATA raised in the former Manifattura Tabacchi of Modena Active since 1959, the Civic Gallery of Modena is one of the most authoritative centers on the national contemporary art scene In its prestigious venues it organizes temporary exhibitions dedicated to photography and contemporary art as well as conserving and enhancing some important permanent collections The Collection of contemporary design consists of over 4000 works belonging to the most famous Italian artists of the 20th Century (among which we can cite De Pisis Morandi and Fontana) and the Collection of photography initially constituted thanks to the fund donated by Franco Fontana and which today consists of more than 3800 photographs of the greatest contemporary international photographers the Civic Gallery has also obtained from the Archiepiscopal Curia of Modena the Don Bettelli Collection which focuses mainly on the international graphics of the second half of the 20th century The Bertozzi & Casoni Museum is the first permanent exhibition of contemporary art dedicated to ceramics, housed in the hall on the ground floor of the Cavallerizza Ducale di Sassuolo a recently recovered space located a few steps from the majestic Ducal Palace On display the works created by two internationally renowned artists Giampaolo Bertozzi and Stefano Dal Monte Casoni who see ceramics as a possibility for a painted sculpture and between compositional surrealism and formal hyperrealism investigate the waste of contemporary society The MAMbo – Museum of Modern Art of Bologna traces the history of Italian art from the Second World War until today and is located in the heart of the Manifattura delle Arti The history of the Museum is inextricably linked to the Gallery of Modern Art of Bologna institution to which MAMbo owes its origins and on which its continuous cultural research is based on In addition to the remarkable permanent collection, which currently consists of nine thematic areas, the Museum proposes temporary exhibitions of unmissable importance The MAST (also acronym of Manifattura di Arti Sperimentazione e Tecnologia) is an exhibition space built on an abandoned industrial area right next to the historic Bologna’s factory GD The aim of this spectacular cultural center is to highlight the evolutionary processes that affected the world of work and the concept of entrepreneurship with the coming of the new technologies through a path full of devices and multimedia tools The space consists of an interactive area of experimentation and play, and an area that hosts periodic exhibitions of industrial photography, including the Biennial of Photography on Industry and Work FotoIndustria The Carlo Zauli Museum in Faenza is a cultural center that since 2002 has explored and spread contemporary art in all its languages The museum is located in the historic center of this little city of Romagna, inside the spaces owned by the master Carlo Zauli one of the most representative sculptors of the 20th Century In its spaces it houses two permanent collections: one is dedicated to Carlo Zauli the other one is composed of the works of contemporary artists The Carlo Zauli Archive If you know other contemporary museums in Emilia-Romagna Social Media Manager for @inEmiliaRomagna and full-time mom by /// June 7 by /// June 20 by /// October 30 an email (in Italian) with selected contents and upcoming events For information, contact us: inemiliaromagna@aptservizi.com A dramatic accident involving a scooter and a car A serious road accident shook the community of Traversetolo a scooter and a car collided in a violent impact The young woman who was traveling on the moped leaving a deep sorrow among family and friends reaching the scene of the accident in a few minutes there was nothing that could be done for the young woman The news of her death hit the local community hard which is rallying around the family in this moment of great pain The causes of the accident are currently being investigated by the competent authorities The Carabinieri and Local Police are conducting an in-depth investigation to clarify the dynamics that led to this tragic event and it is not the first time that accidents have occurred in that area and this episode reignites the debate on the need for interventions to improve traffic and prevent similar tragedies in the future Notizie.it is a newspaper registered with the Court of Milan n.68 on 01/03/2018 Impara come descrivere lo scopo dell'immagine (si apre in una nuova scheda) Lascia vuoto se l'immagine è puramente decorativa a 22-year-old woman from Vignale di Traversetolo has been accused of killing her two newborn children within a year of each other the Carabinieri have taken precautionary measures against her Following the accusation leveled against Chiara the 22-year-old woman presumed responsible for the killing of her two newborn children which occurred within a year of each other in her home in Vignale di Traversetolo the Carabinieri have adopted a precautionary measure against her