Calendar

Apr
28
Sat
SUPERUTOPIAS – Toyscapes by Anna la Touche Riciputo and (H)eart(H)quake by Coletivo Barragem – Exhibition and videoperformance @ Casa dell’Architettura Spoleto – Palazzo Collicola Arti Visive Spoleto
Apr 28 – Jul 15 all-day
<!--:it-->LE SUPERUTOPIE toyscapes di Anna la Touche Riciputo e (H)eart(H)quake di Coletivo Barragem - Mostra e videoperformance <!--:--><!--:en-->SUPERUTOPIAS - Toyscapes by Anna la Touche Riciputo and (H)eart(H)quake by Coletivo Barragem - Exhibition and videoperformance <!--:--> @ Casa dell’Architettura Spoleto – Palazzo Collicola Arti Visive Spoleto | Spoleto | Umbria | Italia

Spoleto House of Architecture– Palazzo Collicola Visual Arts 
28 April 2018, h 17 – 15 July 2018
Fridays-Saturdays-Sundays 10.30-13.00 / 15.30-19.00
Opening: 28 April at 17.00

The Spoleto House of Architecture presents the exhibition LE SUPERUTOPIE toyscapes at Palazzo Collicola Visual Arts, featuring works by Anna Riciputo and the video performance (H)EART((H)QUAKE by Coletivo Barragem (Nivaldo Godoy and Panais Bouki).

Le Superutopie by Anna la Touche Riciputo are a synthesis of a way of looking at the built space through the Toyscapes, toy-landscapes that take shape of landscapes-borders of the utopian subconscious composed by fragments of architecture, art and costumes.

Astounding pop scenarios that are the result of a precise, formal analysis: the architect gathers the richness of the urban landscape, selects the city’s icons, pivots of history, and recomposes them in a contemporary stratigraphy.
The stratigrapy thus assumes the double meaning of a replacement of the work in a new landscape, and of direct, momentous fusion where parts of contemporary architecture blend with fragments of historical architectures.
The video performance (H)EART((H)quake by Coletivo Barragem (Nivaldo Godoy and Panais Bouki), picks up Anna Riciputo’s pop heritage and mixes the authors’ point of view on Spoleto in video sequences, recomposing the historical signs of the city mixed with Festival-Of-Two-World’s icons, all-the -while letting the post-earthquake temporary facilities surface.

The exhibition will be introduced with the catalogue published by ADD-art Edizioni, featuring collaborations bycoordinator of Casa dell’Architettura, architect Fabio Fabiani, director of Palazzo Collicola Arti Visive Spoleto, Gianluca Marziani, Addart curator Alessia Vergari, journalist Andrea Tomasini and the very illustrious architect Adolfo Natalini.

Information:
fb OFARCH Officina d’Architettura

May
12
Sat
(Italiano) Canapa nera. Guardavo le macerie e immaginavo il futuro @ Rocca Albornoz -Museo Nazionale del Ducato
May 12 – Jul 15 all-day
<!--:it-->Canapa nera. Guardavo le macerie e immaginavo il futuro<!--:--> @ Rocca Albornoz -Museo Nazionale del Ducato | Spoleto | Umbria | Italia

Sorry, this entry is only available in Italiano.

May
31
Thu
(Italiano) Io e Don Chisciotte – Mostra di Maurizio Orsolini @ Centro Culturale Poli d'Arte
May 31 – Jun 17 all-day

Sorry, this entry is only available in Italiano.

Jun
1
Fri
(Italiano) 3SOME – Metallo Pietra Colore @ Via Saffi 18
Jun 1 – Jun 10 all-day

Sorry, this entry is only available in Italiano.

(Italiano) Visite guidate tematiche e Trekking tour – Giugno 2018
Jun 1 – Jun 29 all-day
Jun
8
Fri
(Italiano) Corto Maltese e il fascino dell’avventura @ Cinéma Sala Pegasus
Jun 8 @ 18:00
<!--:it-->Corto Maltese e il fascino dell'avventura<!--:--> @ Cinéma Sala Pegasus | Spoleto | Umbria | Italia

Sorry, this entry is only available in Italiano.

Mezz’ora dopo la chiusura – Church of SS. John and Paul @ Chiesa dei SS Giovanni e Paolo
Jun 8 @ 19:30
<!--:it-->Mezz'ora dopo la chiusura - CHIESA DEI SS. GIOVANNI E PAOLO<!--:--><!--:en-->Mezz'ora dopo la chiusura - Church of SS. John and Paul<!--:--> @ Chiesa dei SS Giovanni e Paolo | Spoleto | Umbria | Italia

Mezz’ora dopo la chiusura, the event by Sistema Museo, dedicates the meeting of Friday 8 June 2018 to one of Spoleto’s most interesting art chests, the Church of SS John and Paul.
You will find some among the most interesting evidences of local painting inside, including a very rare representation of Thomas Becket’s martyrdom.

The appointment is at 19.30 by the small church in piazzetta San Giovanni e Paolo.

The event will be followed by an aperitive, thanks to Con Spoleto – the Spoleto hotel managers’ association.

Participation fee
Guided visit – Full € 7,00
Guided visit – Reduction € 5,00 for Spoleto Card holders
Aperitive – € 5,00

Please reserve within Friday at 13.00:
news.spoletomusei@sistemamuseo.it
0743.46434

Jun
9
Sat
(Italiano) Concerto dei cantanti del Teatro Lirico Sperimentale @ Sala Monterosso di Villa Redenta
Jun 9 @ 18:00

Sorry, this entry is only available in Italiano.

Jun
10
Sun
Feast of the Military Navy
Jun 10 @ 10:30 – 12:30

Feast of the Military Navy
On the occasion of the 100th anniversary of the extraordinary deeds of Premuda during WWI, Spoleto honours the Feast of the Military Navy. 80 members will be accompanied by Maria Giuseppina Rizzo, granddaughter of hero Luigi Rizzo.

Schedule:
– 10,30 Mass in the church of Santa Rita;
– 11,30 Laurel wreath deposition at the Monumento ai Marinai (via Martiri delle Fosse Ardeatine)
– 12,30 meeting at the restaurant “Sale in zucca”.

By Gruppo ANMI Spoleto

Jun
13
Wed
Discovering Nature. Workshops for children from five to ten years old @ Asilo Nido "Il Carillon"
Jun 13 @ 16:30 – 18:30
<!--:it-->Alla scoperta della Natura. Laboratori per bambini dai 5 ai 10 anni<!--:--><!--:en-->Discovering Nature. Workshops for children from five to ten years old<!--:--> @ Asilo Nido "Il Carillon" | Spoleto | Umbria | Italia

La Tana del Ludo centre for children and families organizes workshops addressed to children from five to ten years old.

The workshops, entitled Discovering Nature are held every Wednesday until 27 June, from 16.30 to 18.30, at Il Carillon nursery school, in Viale Martiri della Resistenza.

It is a path of discovery of the environment that includes excursions in the little “didactic wood”, the garden surrounding the school, for the collection of aromatic herbs and wild herbs. These experiences will then be graphically re-elaborated and become the common thread of narratives and stories. The workshop is free of charge and open to all children from 5 to 10 years old.

Information: ph. 0743 218732 or 331 1812016

Jun
15
Fri
54th Race of the Vaporetti @ Spoleto
Jun 15 – Jun 17 all-day
<!--:it-->Corsa dei Vaporetti - 54° edizione<!--:--><!--:en-->54th Race of the Vaporetti<!--:--> @ Spoleto | Spoleto | Umbria | Italia

The 54th Race of the Vaporetti, a race at breakneck speed through upper Spoleto, will take place from June 15th to June 17th 2018.

Vaporetti are small carts on iron wheels, with a team of two, a pusher and a driver. The name comes from a steam-engine coach, the ‘vaporiera’, that from 1902 to 1909 used to serve the Spoleto-Norcia route, the first in Italy.

The race, which takes place along the streets that cross the historic city centre, has established itself as a successful local tradition, attracting every year an increasing number of spoletini and visitors.

Programme:

9 June – Piazza Garibaldi (presentation of participating crews and selection of Miss Vaporetto contestants)
15 June – city circuit (tests at night)
16 June – city circuit (tests and race in the afternoon and evening)
17 June – city circuit (race)

Organization: Associazione Corsa dei Vaporetti di Spoleto ASD, in collaboration with AVIS Spoleto.

Info: www.vaporettispoleto.it

(Italiano) Hot Anthology – Anna Leonardi legge ‘La Paura del Sonno’ di Pirandello
Jun 15 @ 18:00 – 19:30
<!--:it-->Hot Anthology – Anna Leonardi legge ‘La Paura del Sonno’ di Pirandello<!--:-->

Sorry, this entry is only available in Italiano.

Mezz’ora dopo la chiusura – The Gallery at the Piano Nobile @ Palazzo Collicola
Jun 15 @ 19:30
<!--:it-->Mezz'ora dopo la chiusura - LA GALLERIA DEL PIANO NOBILE<!--:--><!--:en-->Mezz'ora dopo la chiusura - The Gallery at the Piano Nobile<!--:--> @ Palazzo Collicola | Spoleto | Umbria | Italia

Mezz’ora dopo la chiusura, the event by Sistema Museo, waits for you on Friday 15 June 2018 at 19.30 at Palazzo Collicola Arti Visive with an appointment dedicated to the Gallery at the Piano Nobile, one of Palazzo Collicola’s most charming spaces.
The 18th-century-old temperas that decorate the walls will be under the lens, to try and interpret the complex iconographic programme that inspired its realization.

The visit will be followed by an aperitive, thanks to the collaboration with Con Spoleto – the Spoleto hotel managers’ association.

Participation fee
Guided visit – Full € 7,00
Guided visit – Discounts € 5,00 for Spoleto Card holders
Aperitive – € 5,00

Please reserve within Friday at 13.00:
news.spoletomusei@sistemamuseo.it
0743.46434

Jun
16
Sat
(Italiano) Il tempo buono
Jun 16 all-day
(Italiano) L’incommensurabile valore dei ricordi di Andrea Pinchi
Jun 16 @ 12:00 – 13:00
<!--:it-->L'incommensurabile valore dei ricordi di Andrea Pinchi<!--:-->

Sorry, this entry is only available in Italiano.

(Italiano) CANDIDO – Il migliore dei mondi possibili @ Chiesa di San Gregorio Maggiore - Sala Antonelli
Jun 16 @ 19:00

Sorry, this entry is only available in Italiano.

Jun
17
Sun
(Italiano) Raduno Ducati 2018. Domenica 17 giugno
Jun 17 all-day
<!--:it-->Raduno Ducati 2018. Domenica 17 giugno<!--:-->

Sorry, this entry is only available in Italiano.

Jun
20
Wed
Discovering Nature. Workshops for children from five to ten years old @ Asilo Nido "Il Carillon"
Jun 20 @ 16:30 – 18:30
<!--:it-->Alla scoperta della Natura. Laboratori per bambini dai 5 ai 10 anni<!--:--><!--:en-->Discovering Nature. Workshops for children from five to ten years old<!--:--> @ Asilo Nido "Il Carillon" | Spoleto | Umbria | Italia

La Tana del Ludo centre for children and families organizes workshops addressed to children from five to ten years old.

The workshops, entitled Discovering Nature are held every Wednesday until 27 June, from 16.30 to 18.30, at Il Carillon nursery school, in Viale Martiri della Resistenza.

It is a path of discovery of the environment that includes excursions in the little “didactic wood”, the garden surrounding the school, for the collection of aromatic herbs and wild herbs. These experiences will then be graphically re-elaborated and become the common thread of narratives and stories. The workshop is free of charge and open to all children from 5 to 10 years old.

Information: ph. 0743 218732 or 331 1812016

Jun
21
Thu
(Italiano) Festa della Musica 2018 – IN COMPAGNIA DEL LIUTAIO @ Rocca Albornoziana - Museo Nazionale del Ducato
Jun 21 @ 18:00

Sorry, this entry is only available in Italiano.

Jun
22
Fri
32nd Sagra of Gnocchi, Pork and Trebbiano spoletino wine @ Località San Brizio
Jun 22 – Jul 1 all-day

San Brizio, June 22 – July 1, 2018
32nd Sagra of Gnocchi, Pork and Trebbiano spoletino wine

In Italy, a sagra is a local festival, very often dedicated to some specific local food.
Usually, the festival’s tavern opens for dinner and events such as folk music shows are scheduled in the evening.

Mezz’ora dopo la chiusura – GIOVANNI CARANDENTE’S BOOK COLLECTION @ Palazzo Collicola
Jun 22 @ 19:30
<!--:it-->Mezz'ora dopo la chiusura - LA BIBLIOTECA GIOVANNI CARANDENTE<!--:--><!--:en-->Mezz'ora dopo la chiusura - GIOVANNI CARANDENTE'S BOOK COLLECTION<!--:--> @ Palazzo Collicola | Spoleto | Umbria | Italia

Mezz’ora dopo la chiusura, the event by Sistema Museo, waits for you on Friday 15 June 2018 at 19.30 at Palazzo Collicola Arti Visive with an appointment dedicated to the extraordinary book patrimony kept inside the Giovanni Carandente’s book collection. A unique opportunity to admire precious catalogues bearing the signatures of some of the greatest artists of the twentieth century including Henry Moore, Andy Wharol, Alexander Calder and many others.

The visit will be followed by an aperitive, thanks to the collaboration with Con Spoleto – the Spoleto hotel managers’ association.

Participation fee
Guided visit – Full € 7,00
Guided visit – Discounts € 5,00 for Spoleto Card holders
Aperitive – € 5,00

Please reserve within Friday at 13.00:
news.spoletomusei@sistemamuseo.it
0743.46434

Jun
23
Sat
(Italiano) Inaugurazione mostra CAPOLAVORI DEL TRECENTO @ Museo Diocesano - Basilica di Sant'Eufemia
Jun 23 @ 17:30

Sorry, this entry is only available in Italiano.

(Italiano) Inaugurazione mostra CAPOLAVORI DEL TRECENTO @ Rocca Albornoziana - Museo Nazionale del Ducato
Jun 23 @ 19:30

Sorry, this entry is only available in Italiano.

(Italiano) Visioni d’autore – Incontro con il regista Andrea Tagliaferri @ Cinéma Sala Pegasus
Jun 23 @ 21:30

Sorry, this entry is only available in Italiano.

Jun
24
Sun
MASTERPIECES OF THE 14th CENTURY. The worksite of Giotto, Spoleto and the Apennines @ Museo Diocesano - Basilica di Sant’Eufemia - Museo Nazionale del Ducato
Jun 24 – Nov 4 all-day
<!--:it-->CAPOLAVORI DEL TRECENTO. Il cantiere di Giotto, Spoleto e l’Appennino<!--:--><!--:en-->MASTERPIECES OF THE 14th CENTURY. The worksite of Giotto, Spoleto and the Apennines<!--:--> @ Museo Diocesano - Basilica di Sant’Eufemia - Museo Nazionale del Ducato | Spoleto | Umbria | Italia

A great century for a great exhibition in Umbria.

Masterpieces of the 14th century. The worksite of Giotto, Spoleto and the Apennines, curated by Vittoria Garibaldi and Alessandro Delpriori, will be held from 24 June to 4 November 2018 in the towns of Trevi, Montefalco, Spoleto and Scheggino.

The exhibition boasts an exhibition of about 70 gold-bottomed paintings on wood, polychrome wooden sculptures and miniatures, which tell the environmental wonder of the central Apennines and the historical, artistic, civil and socio-religious civilization in Italy in the early fourteenth century.

There are four exhibition venues: in Trevi the Museum of St. Francis; in Spoleto the Diocesan Museum – Basilica of St. Euphemia and the National Museum of the Duchy; in Montefalco the Museum Complex of St. Francis. At the Spazio Arte Valcasana in Scheggino it will be possible to experience a choral, exciting overview of the churches, hermitages and abbeys in Umbria, Marche, Abruzzo and Lazio where the artists influenced by Giotto worked between the end of the thirteenth century and the beginning of the fourteenth century, connected through organized itineraries that will allow you to discover enchanting places and works of art.

The exhibition, organized by Civita Mostre and Sistema Museo, is promoted by the municipalities of Trevi, Montefalco, Spoleto and Scheggino, the Polo Museale Umbria, the Superintendence of Archaeology, Fine Arts and Landscape of Umbria, Umbria Region, The Archdiocese of Spoleto-Norcia and the Associazione Rocca Albornoziana of Spoleto, with the contribution of Gal Valle Umbra and Sibillini, ATI 3 Umbria, VUS COM Spa, Fondazione Cassa di Risparmio di Foligno, Fondazione Cassa di Risparmio di Spoleto.

The success, in the green heart of Italy, of Giotto’s revolutionary lesson and of the amazing virtuosity of the Sienese leaders Pietro Lorenzetti and Simone Martini, will be told in the exhibition through a constellation of artists, often anonymous, who became interpreters of the deepest and truest soul of the Apennines, interpreting emotions of faith and sweetness, painted with an intense pictorial language, and a surprising technical teaching. It will be possible to see wonderful masterpieces preserved in museums and collections of great prestige, such as the Cini Foundation in Venice, the Poldi Pezzoli Museum in Milan, the Alana Collection in Newark (USA).

Visitors to these exhibitions will experience the privilege of admiring works made visible for the first time to the general public. We remember the two amazing raredos exhibited in the representative apartment of His Holiness the Pope, both coming from Montefalco, restored for the occasion by the masterful laboratories of the Vatican Museums; or the extraordinary reunion of the Triptych with the Coronation of the Virgin by the Master of Cesi and the Crucifix with Christus triumphans, both created for the monastery of Santa Maria della Stella in Spoleto, now preserved in the Musée Marmottan Monet in Paris and the Museum of the Duchy of Spoleto. For the first time, since the beginning of the nineteenth century, they will come back together.

Visiting the exhibition sites, and the places in the territory, it will be possible to enter a medieval artist’s workshop, to understand the virtuous and feverish commitment in realizing gold funds, sculptures, miniatures, goldsmiths, frescoes, in a kaleidoscope of refined and original personalities who lived their point of reference in one of the artistic capitals of medieval Italy, the ducal city of Spoleto: the Master of Le Palazze the Master of St. Alò, the Master of San Felice di Giano, the Master of Cesi, the Master of San Ponziano, the Master of the Cross of Trevi, the Master of the Cross of Visso, the Master of Fossa.

An exhibition to get to know and be amazed.

The scientific committee of the exhibition is composed of: Lucia Arbace, Guido Cornini, Andrea De Marchi, Giovanni Luca Delogu, Marica Mercalli, Stefania Nardicchi, Antonio Paolucci, Marco Pierini, Mario Scalini, Lisa Zanni.

THE EXHIBITION VENUES IN SPOLETO

Diocesan Museum and Basilica of St. Euphemia

The Diocesan Museum of Spoleto preserves many works that testify the art of painting and wood carving in this area from the half of the thirteenth century until the fifties of the following century. The exhibition section, which features masterpieces by the Master of Cesi and the Master of San Felice di Giano, is the completion of the exhibition in the church of San Francesco in Trevi. Of particular importance are the Triptych with the Coronation of the Virgin by the Master of Cesi from the Marmottan Monet Museum in Paris and the Antependium by the Master of San Felice di Giano from the National Gallery of Umbria. It will be possible to investigate in detail the relationship between wood carving and polychromy, so important for the 13th century Spoleto, in order to relate sculptors and painters who could be in the same workshop, if not match even in the same person.

Exhibition official website: www.capolavorideltrecento.it

Jun
27
Wed
Discovering Nature. Workshops for children from five to ten years old @ Asilo Nido "Il Carillon"
Jun 27 @ 16:30 – 18:30
<!--:it-->Alla scoperta della Natura. Laboratori per bambini dai 5 ai 10 anni<!--:--><!--:en-->Discovering Nature. Workshops for children from five to ten years old<!--:--> @ Asilo Nido "Il Carillon" | Spoleto | Umbria | Italia

La Tana del Ludo centre for children and families organizes workshops addressed to children from five to ten years old.

The workshops, entitled Discovering Nature are held every Wednesday until 27 June, from 16.30 to 18.30, at Il Carillon nursery school, in Viale Martiri della Resistenza.

It is a path of discovery of the environment that includes excursions in the little “didactic wood”, the garden surrounding the school, for the collection of aromatic herbs and wild herbs. These experiences will then be graphically re-elaborated and become the common thread of narratives and stories. The workshop is free of charge and open to all children from 5 to 10 years old.

Information: ph. 0743 218732 or 331 1812016

Jun
28
Thu
CARATTERI DI TESTA installation by Giacomo Ramaccini @ Rocca Albornoziana - Museo Nazionale del Ducato
Jun 28 – Sep 2 all-day
<!--:it-->CARATTERI DI TESTA installazione di Giacomo Ramaccini<!--:--><!--:en-->CARATTERI DI TESTA installation by Giacomo Ramaccini<!--:--> @ Rocca Albornoziana - Museo Nazionale del Ducato | Spoleto | Umbria | Italia

Thursday 28 June at 12 at the Museo nazionale del Ducato di Spoleto – Rocca Albornoz, the Caratteri di testa installation by Giacomo Ramaccini will be inaugurated.

The works aims at investigating the circularity of the route from the symbol of reality to the reality of the symbol.

Ramaccini (Spoleto 1989) graduated in Scenography at the Accademia di Belle Arti “Pietro Vannucci” in Perugia. Caratteri di testa was first presented at Palazzo Collicola Arti Visive in Spoleto, in the frame of Aeroporto di Spoleto. Nuove rotte artistiche con libere destinazioni.

Director Paola Mercurelli Salari will introduce the installation at the presence of the artist.

Spoleto 1959. The Second Festival of Two Worlds – Exhibition @ Archivio di Stato - Sez. Spoleto
Jun 28 – Sep 20 all-day

As part of the sixty-first edition of the Festival dei Due Mondi, Thursday, June 28, 2018, from 9:30 am, the headquarters of the local Section of the State Archives (Largo Ermini) will host the opening of an exhibition, the presentation of a book and a conference on the theme: Spoleto 1959. The Second Festival of Two Worlds. The initiative takes place in collaboration with Umbria’s Order of Journalists and under the patronage of the Municipality of Spoleto, the Festival dei Due Mondi Foundation, the Polo Museale dell’Umbria, Rocca Albornoz – Museum of the Duchy of Spoleto and Amici di Spoleto association. Institutional greetings will be given by Luigi Rambotti, Director of the State Archives of Perugia, Umberto De Augustinis, Mayor of Spoleto and President of the Festival dei Due Mondi Foundation, and Giorgio Ferrara, Artistic Director of the Festival of Two Words. Roberto Conticelli, President of Umbria’s Order of Journalists, Paola Mercurelli Salari, Director of Rocca Albornoz-Museo del Ducato di Spoleto (Polo Museale dell’Umbria) and Rosaria Mencarelli, Collegio dei garanti Fondazione Polo del ‘900 (Turin) and Director of the Abruzzo ABAP Superintendence will also give a speech.

The exhibition Spoleto 1959, the second Festival of Two Worlds, organized by the Spoleto Section of the State Archives, features original photographs, archival documents, articles released on the other side of the Atlantic, in Italy and in other European countries. The exhibition will be open until September 20, 2018.

Through a conference, a book and an exhibition, extraordinary moments in the history of the city will be retraced in order to reread the origins of the event, understand today’s heritage and trace future scenarios.

Spoleto 1959. The Second Festival of Two Worlds @ Archivio di Stato - Sez. Spoleto
Jun 28 @ 09:30

As part of the sixty-first edition of the Festival dei Due Mondi, Thursday, June 28, 2018, from 9:30 am, the headquarters of the local Section of the State Archives (Largo Ermini) will host the opening of an exhibition, the presentation of a book and a conference on the theme: Spoleto 1959. The Second Festival of Two Worlds. The initiative takes place in collaboration with Umbria’s Order of Journalists and under the patronage of the Municipality of Spoleto, the Festival dei Due Mondi Foundation, the Polo Museale dell’Umbria, Rocca Albornoz – Museum of the Duchy of Spoleto and Amici di Spoleto association. Institutional greetings will be given by Luigi Rambotti, Director of the State Archives of Perugia, Umberto De Augustinis, Mayor of Spoleto and President of the Festival dei Due Mondi Foundation, and Giorgio Ferrara, Artistic Director of the Festival of Two Words. Roberto Conticelli, President of Umbria’s Order of Journalists, Paola Mercurelli Salari, Director of Rocca Albornoz-Museo del Ducato di Spoleto (Polo Museale dell’Umbria) and Rosaria Mencarelli, Collegio dei garanti Fondazione Polo del ‘900 (Turin) and Director of the Abruzzo ABAP Superintendence will also give a speech.

In continuity with the publication of the volume Spoleto 1958. Alle radici della storia, il primo Festival dei Due Mondi, published in 2017 on the occasion of the sixtieth edition of the Festival of Two Worlds and with the exhibition dedicated to the first year of the Festival, the Spoleto Section of the State Archives has continued the research on the origins of the event that has marked Spoleto’s history and Italian cultural life.

Through a conference, a book and an exhibition, extraordinary moments in the history of the city will be retraced in order to reread the origins of the event, understand today’s heritage and trace future scenarios.

Jun
29
Fri
61st FESTIVAL OF TWO WORLDS @ Spoleto
Jun 29 – Jul 15 all-day

This year marks the 61st edition of the festival founded by M° Gian Carlo Menotti and directed by Giorgio Ferrara.

From June 29th to July 15th, 2018 Spoleto will turn into a great stage, featuring opera, music, theatre and dance, exhibitions, cinema and meetings with internationally-known artists.

Here’s the Festival’s promo video:

THE FESTIVAL’S PROGRAM IS NOW AVAILABLE ON THE OFFICIAL WEBSITE: www.festivaldispoleto.com


BUY TICKETS

Call Center Festival
+ 39 0743 77 64 44
+39 0743 22 28 89

biglietteria@festivaldispoleto.com

Spoleto Ticket Offices 
– Via Filitteria, 1
– Piazza della Vittoria, 25

TICKETITALIA SALES POINTS

For further information, please visit www.festivaldispoleto.com

The CONI (Italian National Olympic Committee) for the Festival @ Palazzo Comunale
Jun 29 – Jul 15 all-day

On the occasion of the 61st Festival of the 2 Worlds, the Town Hall houses the exhibition Olympic Torches | Inlays of Sport and History of Cycling and Boxing.

THE CONI FOR THE FESTIVAL.
Scheduled events:

June 29 – July 15
Palazzo Comunale (Town Hall) | Chapel of San Ponziano, Sala Spagna and Sala dei Duchi
Exhibition Olympic Torches. Inlays of Sport and History of Cycling and Boxing
Literary lounge
Exhibition opening hours: from Monday to Friday from 4.00 p.m. to 9.00 p.m.
on Saturdays and Sundays from 10.00 a.m. to 1.00 p.m. and from 4.00 p.m. to midnight

July 7
Palazzo Comunale (Town Hall) | Sala dei Duchi
19.30 Sports literary lounge
Celebration of the 50th anniversary of the Olympic Games in Mexico City
Conversations with national and international sports personalities: Italian Olympic medals in Mexico City

July 14
Palazzo Comunale | Sala dei Duchi
19.30 Sports literary lounge
Cycling and the history of Gino Bartali
Conversations with national and international sports personalities.

(Italiano) Il femminismo femminile: mostra di collage vintage di Maria Grazia Preda @ Galleria d’arte Germanico
Jun 29 – Jul 15 all-day
<!--:it-->Il femminismo femminile: mostra di collage vintage di Maria Grazia Preda<!--:--> @ Galleria d’arte Germanico | Spoleto | Umbria | Italia

Sorry, this entry is only available in Italiano.

Mezz’ora dopo la chiusura – SPOLETO, STAGE OF EMOTIONS City Trekking @ Casa Romana
Jun 29 @ 19:30
<!--:it-->Mezz'ora dopo la chiusura - SPOLETO, PALCOSCENICO DI EMOZIONI Trekking in città<!--:--><!--:en-->Mezz'ora dopo la chiusura - SPOLETO, STAGE OF EMOTIONS City Trekking<!--:--> @ Casa Romana | Spoleto | Umbria | Italia

SPOLETO, STAGE OF EMOTIONS
City Trekking

Mezz’ora dopo la chiusura # 247 Roman House _ Via Visiale

Mezz’ora dopo la chiusura, the event by Sistema Museo, waits for you on Friday 29 June 2018 at 19.30 at the Roman Housewith an city trekking entitled Spoleto, Stage of emotions.

An expert guide will accompany you on a walk through the historic center of the city to discover the fascinating locations that are the backdrop to the Festival of Two Worlds. An alternative way to discover the beauties of the city and to breathe the sparkling climate that you breathe during the event.

The visit will be followed by an aperitive, thanks to the collaboration with Con Spoleto – the Spoleto hotel managers’ association.

Meet at 19.30 at the Roman House.

Participation fee
Guided visit – Full € 7,00
Guided visit – Discounts € 5,00 for Spoleto Card holders
Aperitive – € 5,00

Please reserve within Friday at 13.00:
news.spoletomusei@sistemamuseo.it
0743.46434

(Italiano) Tra le mura del Rock – Storie e racconti di arte e cultura @ Laboratorio di Disegno e Pittura di Cosimo Brunetti
Jun 29 @ 21:30

Sorry, this entry is only available in Italiano.

Jun
30
Sat
ANDREA PACANOWSKI All’infuori di me – Exhibition @ Palazzo Collicola Arti Visive
Jun 30 – Oct 7 all-day
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The opening of Andrea Pacanowski’s exhibition, will take place on SATURDAY 30 JUNE at 12.00 at Palazzo Collicola Visual Arts. The exhibition is curated by Gianluca Marziani and included in the Festival Of Two Worlds’ official programme.

The Press Conference will be at 11.00 at the Piano Nobile’s gallery.

Who has not tried, at least once, a puzzle of hundreds of pieces? You will remember the images that usually make up the mosaic: long field landscapes and panoramic visions are generally the winners, with a higher share for unspoiled natures, cultural spots and human crowds. The puzzle inadvertently encloses the sense of today’s image: the disintegration of an order to be reassembled looks like the transitions between analog and digital, the transfers between device and print, the links between high and low definition… the analogical nature of the puzzle touches the close-up and depths of field, the tonal stirrups between areas of color, up to integrating the glitch (the error of position of the dowel) as a further exploratory possibility.

Andrea Pacanowski brings to Spoleto fifteen photographic works. All’infuori di me (Outside Of Me) gathers human masses, bodies in military order, people in uniform, ritual groups. They are collective patterns that come, in particular, from the religious assembly outside, from the places of aggregation of the most widespread monotheistic cults. The photos enclose pieces of humanity in a geographical frame that plays with pictorial abstraction and iconography of the web, creating an aesthetic short circuit of high workmanship, maintaining the purity of analog as a camouflage potential (simulating digital techniques through analog talent is a key step in contemporary photography). Those bodies concern the anxieties of our time, the boundaries of freedom, the need for spiritual guidance, the search for sharing, themes by the historical importance and political significance which are central in such a narcissistic era, narrated by Pacanowski with aesthetic ability and conceptual intelligence.

A photograph with a pictorial result, modulated by rhythms and grids, where colour becomes plastic structure, where rhythm compresses the internal dynamism of the image. Through the optical ambiguity of the puzzle, Pacanowski challenges the audience to the mobile vision back and forth, to define the focus, to dissolve the retinal ambiguities that the images contain. The works are photographic puzzles that break a number of certainties on the uses and abuses of digital. According to the author, each shot is a unique journey by the analogical sense, a slow immersion that requires technical knowledge, invention, the overturning of apparently immobile rules. The final image is the result of shots, combinations, stage lights and other tricks that Pacanowsky has refined in the context of Fashion, his original profession, a space of technical growth but also of robotic, emotionless perfectionism. Pacanowski felt the limit of the set and post-production, of digital as a glossy dictatorship: here he challanges the electronic staging, preferring the slow codes of an interior habitus, where the photographed skin turns into a complex geography where colours and tonalities define the invisible, where scratches and signs amplify the iconographic energy. His actions are sound trails that map out sinuous harmonies, localize details, expand emotional signals behind a body. Photography here takes the slow rhythm of the brush, revealing a metaphysical quality that leads us into a mysterious, ascetic, fatally spiritual ritual.
The Spoleto exhibition thus enters into the heart of the monotheistic cults: Christianity, Judaism, Islam. A photographic journey that tells the spontaneous methods of the great gatherings, according to an approach that captures the gravitational balances, the chromatic scales, the syncretic rhythms, the collective harmonies. An analysis to show the ethical value of each religion, the possible coexistence of diversity, the importance of dialogue as a cornerstone of a universal refounding. Pacanowski’s photography reaffirms all this, and does so with an aesthetic energy that breaks the judgment, cancelling the terms of superiority and inferiority, the dangerous personalisms, the extremist obsessions. Here we speak of harmony and freedom, of men and women who walk on the same planet, breathing the same oxygen, pursuing the same dreams, in search of that indestructible thing that everywhere is called Love.

It is photography that takes up its analogic essence, but with the best that printing and media can offer. It is not a return to the origins but the origin of a possible continuity, it is the resistance of the human factor that orchestrates fragments of universal beauty. A beauty that speaks to us of religions and syncretism, that enters the warm heart of the planet through a door of liberation of contents. Andrea Pacanowski invites us inside his rhythmic weavings, inside the multiplications of every single diversity, inside the chromatic noise of a vision that involves each of us. Because, as the title says, outside of me there are always all the others.

www.andreapacanowski.it

The exhibition ends on Sunday 7 October 2018
Info: www.palazzocollicola.it https://www.facebook.com/PALAZZOCOLLICOLA
Palazzo Collicola: info@palazzocollicola.it
Sistema Museo: ufficiostampa@sistemamuseo.it

EUGENE LEMAY Ghost Witness Shadow – Exhibition @ Palazzo Collicola Arti Visive
Jun 30 – Oct 7 all-day
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EUGENE LEMAY – GHOST WITNESS SHADOW
curated by Gianluca Marziani

The opening of EUGENE LEMAY exhibition, is scheduled for SATURDAY 30 JUNE at 12:00 in Palazzo Collicola Visual Arts, Spoleto. The exhibition is curated by Gianluca Marziani and included in the Festival of Two Worlds’ official programme.

The Press Conference is scheduled for 11:00 at the Piano Nobile.

The Piano Nobile at Palazzo Collicola Arti Visive opens its 18th-century wings to host a new artist’s project, designed in a “sartorial” way on the domestic model of the rooms. The approach with Eugene Lemay follows the usual rules of a soft, inclusive insertion, re-created with camouflage ways that blend into the ancient without substantial changes.

Integration is the right word to capture the embrace between the nature of a noble apartment and the electrical energy of a contemporary artist. On the one hand the opulent splendour of the place, on the other the metaphorical power of Lemay, his social criticism, the monolithic harshness of the works. The apparent contrast is thus transformed into a fluid integration: now the never-aggressive fullness of the place, now the expressive essence of an art that attacks the eye, loading the rooms with an invisible, yet dense magnetism.

American Eugene Lemay (1960, Grand Rapids, MI) returns to Italy after his personal exhibition in Rome at the MACRO Mattatoio (curated by Micol Di Veroli, February – April 2015). Dimensions of Dialogue was the title of that exhibition, a phrase that well encapsulates Lemay’s ethical conscience, the political and militant nature of his work. The works at Palazzo Collicola are the stations of a journey in the pain of war, in the hypocrisy of politics, in the phobia and terror that blinds, in the wounds of the flesh and those of the heart. The American artist knows the noise of bombs, the screech of lethal weapons, the smell of pouring blood. At age 13 he moved from Michigan to Israel, passing his adolescence in a kibbutz, then becoming a voluntary soldier who took up arms and fought for Israel. A very hard experience that marked his life as an American Jew, shaping his talent as if it were a storm that shapes a mountain. There are normal lives that sometimes create extraordinary tales. And then there are extraordinary lives, without safe harbors, that are sublimated in universal works, destined for the Esperanto of the eye, to the collective dimension of natural values. Eugene Lemay enters the extraordinary of a nomadic existence, culturally fertile, impressive for its events and consequences. A life inside life, so involving that it becomes an artistic thrust, so as to produce consequences in the form of works and visual messages.

Gianluca Marziani: “I am struck by the double soul of some of the works, the ability they have to mould themselves on the individual habitats. When I saw the installations in the gigantic studio in New Jersey, I thought they breathed in silence, in a neutral environment that accepted them without conflict. Once set up in Spoleto, something completely changed in them, now they began a phase of faster breathing, as if they felt an anomalous place and tried to adapt to a habitat full of memories …”.

Phantoms, witnesses, shadows… it is them who guide us ideally along the stations of the Piano Nobile, we feel them inside the paintings, beyond the frames, among the false bombs of an installation, inside the pictorial impasto, in the monochrome backgrounds of the surfaces… Lemay crosses the evil of humanity with the metaphorical pace of art, avoiding the blackmail of realism, preferring the suspended pace of allegorical rites, of archetypal figures, of the dissolving black, of the clouding grey. Through digital elaboration and manual execution, bodies and faces are recreated that seem to have been born from plasticine, wool, steam, snow, cream… they are shadows of flesh, solid ghosts, silent witnesses of the evil suffered… Arctic and nebulous bodies, similar to white bears that embrace, bend, suffer, fall, stand up… Bodies of soldiers that could become everything we would have liked them to be… Bodies that are philosophical archetypes between Plato and Nietzsche, sometimes black like shadows in the darkness of the cave, like soldiers under a starless sky… Bodies that embody pain and the desire for rebirth, divided between a necessary evil and an even more necessary good… bodies that are ghosts on their way through the world, slow but elephantine in the heavy pace that tramples on wounded lands… bodies that seem solid shadows, eyewitnesses of collective pain… bodies that seek the light of the night, the stars of the day, the distant horizon of the events.

Gianluca Marziani: “Godot arrived among us together with the silent witnesses of Lemay. Samuel Beckett’s mysterious figure arrives among the living, blurs into the crowd of ghosts and mute shadows. He doesn’t introduce himself to anyone but we understand that he is Godot, archetype among the archetypes, witness and judge who guides humans to the edge of the abyss, stopping just before the fall. In front of the emptiness he sums up the evil in an instant, caressing the suffering Earth, asking ourselves which side we want to go to… Because evil has reached its peak and beyond that peak the black hole begins, the antimatter of existence, the end of the last Endgame. Godot accompanies us on the abyss and lets us look at the infinite emptiness but also at the light behind our backs, at the possibility of a new journey, of a plausible rebirth. The choice between the black hole and the light, between a long farewell and a long love is up to all of us…”

The exhibition ends on Sunday 7 October 2018
Info: www.palazzocollicola.it https://www.facebook.com/PALAZZOCOLLICOLA
Palazzo Collicola: info@palazzocollicola.it
Sistema Museo: ufficiostampa@sistemamuseo.it

GIORGIO ORTONA – F.I.C.O. Feticci Individui Case Oggetti – Exhibition @ Palazzo Collicola Arti Visive
Jun 30 – Oct 7 all-day
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The opening of Giorgio Ortona’s exhibition, will take place on SATURDAY 30 JUNE at 12.00 at Palazzo Collicola Visual Arts. The exhibition is curated by Gianluca Marziani and included in the Festival Of Two Worlds’ official programme.

The Press Conference will be at 11.00 at the Piano Nobile’s gallery.

The exhibition is organized in collaboration with Settantasette Gallery (Milan).

Rome. Pigneto. Via Braccio da Montone: a low building is in front of us, whose first floor is Giorgio Ortona’s studio, in a district that stigmatizes the merits and faults of a complex city, fabulous in evidences but decadent in attitude; a metropolis that here at the Pigneto weaves mixed building with creativity, a multi-ethnic knot with a nightlife, proletariat and technological tertiary of the new generation. From here, between Casilina and Prenestina, an author’s gaze with a drone’s philosophy scans open-field heights offering a concentric and lenticular vision of a building speculative, commercial, dissonant, populous modern Rome…

Giorgio Ortona paints not only what he sees but what his eyes smell, what his ears taste, what his mouth hears… an apparent contradiction of the senses, a true mirror of a brush that resolves the semantic contrast inside itself: a dirty yet surgical painting, swarming but dry, realistic and mental at the same time. It is a painting of healed contrasts, where the same frame of raw wood, while imitating the building site pallet, is turned into a spacer with perfect calibration. A contradiction that is also resolved in the depths: you can glimpse lines, numbers and notches that reveal the architectural nature of the table, as if the background were the cellulose on which the author designs the visions. Here the soul of an architect comes out, his past at university and his mental disposition; the angle of view that emerges certifies an imprinting but also its short-circuit, thanks to a language, painting, that redefines the deep feeling of architecture.

Painting is the habitable architecture of interior spaces

Giorgio Ortona’s Rome becomes a matrix and a genetic code, a figurative genome that crosses multiple places of the 20th century. Don’t think, however, of the usual unmade suburban capital; here, on the contrary, the beautiful social housing of the 1960s is told, some Umbertine façades between Esquiline and Colle Oppio, some residential masterpieces in Prati and San Giovanni, many monolithic buildings that fit well into the urban context, often among snake-like bypasses, elevated roads, connections and strips of asphalt. Ortona maps the Capitoline city between roofs and antennas, balconies and public greenery, creates geographies of reinforced concrete, enhances the building site with the equipment of scaffolding and cranes soaring … one could say: for some time Rome was not so “Roman” in a picture; it should be added: a Rome so meticulous as to become universal, archetype of any place grown up for crossbreeds, cultural exchanges, collective energy, political power and economic investment.

Ortona’s Rome is also the city of beloved faces, of similar bodies, of sensitive objects that capture his emotional trust. It is a world of living affections and sensations, a watchful bond with the prose of everyday life: the city outside, people and objects in apartments, on terraces, in front of a door, inside a shop, standing on the street, wherever the body, a food or an object are biological integrations of the pulsating city. The self-portrait itself, now exhibited with some variations, involves t-shirts or vests that the author, having died out in the white paint, wore at the time of the photo, thus offering us a portrait by absences, by urban evocations, by background noises.

Ortona’s urban imaginary is born from above, through Google Earth’s panoramic images. Hence the creation of a pictorial grid in which realism joins the erasures of colour, the evoked absences, the sudden fades. Areas that did not deserve a celebration, that clashed in context, that polluted the architectural eye of Ortona, they just disappeared. Merely apparent absences that turn into bands of color, recalling Nicolas De Staël and Alberto Burri, electrifying the painting with abstract volumes, so plastic as to merge with the real city.

The paintings will be accompanied by Storie di Pittura (Stories of Painting), a video that tells the artist’s life and work. An appendix that summarizes the narrative of a unique journey in the city that does not sleep, in the neighborhoods with high human temperatures, in the private worlds of an artist who architect, day by day, his inner rooms. The video was realized by Sintesi Visiva.

A passer-by through the Pigneto would say: “how cool this picture by Ortona…”

F.I.C.O. ovvero, Feticci Individui Case Oggetti
www.giorgioortona.com

The exhibition ends on Sunday 7 October 2018
Info: www.palazzocollicola.it https://www.facebook.com/PALAZZOCOLLICOLA
Palazzo Collicola: info@palazzocollicola.it
Sistema Museo: ufficiostampa@sistemamuseo.it

GIUSEPPE PULVIRENTI Trademark SP – Exhibition @ Palazzo Collicola Arti Visive
Jun 30 – Jul 29 all-day
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Saturday 30th June, at 12:00, sees the opening of Trademark SP, an exhibition by Giuseppe Pulvirenti, curated by Gianluca Marziani, at Palazzo Collicola Arti Visive in Spoleto.

The exhibition is part of the official programme of the Spoleto Festival dei Due Mondi.

Achille Bonito Oliva: “If sculpture is a genre that seeks forgiveness, Giuseppe Pulvirenti achieves the aim: he avoids encumbrance and exalts his ingress into the realm of Form. Cleansed of any celebratory intent or any purely descriptive representations of a functional reality, the work of art is, instead, elevated to the role of dematerialized Space and entrusted to the temporal dimension of contemplation and reflection.

As Gianluca Marziani, the exhibition’s curator, writes, “Giuseppe Pulvirenti compresses the deep mystery of sculpture into his concise and wordless volumes. He eliminates all ornament in order to focus his intervention on the inner bones of the sculptural world and on the alchemic limbo that lies between Piero della Francesca’s egg and Kubrick’s monolith. These are sculptures as activators of meaning, sculptures that become inaccessible little strong boxes, vertebrae-like pieces of compacted material on the surface of which no openings appear.

Pulvirenti guides the viewer towards a form of pure reflection, underlining the degree to which all shapes – even the most mysterious – are innate in the human mind. The artist’s task is to drag them from the depths and make of them iconic facts, lingering to consider the ambiguity of volumes, the allusive potential of the object/sculpture – to which his choice of almost always enigmatic titles contributes. This is an art that assumes metaphysical functions in order to explore the mystery of archetypical and universal forms.

At Palazzo Collicola Arti Visive, Pulvirenti will be exhibiting two works in bronze and one in plaster. The two bronze sculptures, “Cruna Quadra” [square crest] and “Cruna Tonda” [round crest], both from 2018, will each stand on and against the floor and the wall, creating a physical sensation of transience. Both sculptures are signed, very evidently, with the artist’s initials – GP – and the year in which they were made, as was also the case with the works in his previous Trademark series, shown in March 2018 at the Galleria Valentina Bonomo in Rome. Here, too, Pulvirenti plays with the idea of objects produced in series, imprint the bronze with letters and numbers that distract from the their purely aesthetic appeal.

The exhibition is being presented in the room dedicated to Alexander Calder, the sculptor who, here in Spoleto, created “Teodelapio”, the 18-metre-high oneiric masterpiece that has stood in front of the station since 1962. Echoing Calder’s sculpture, Pulvirenti’s work in plaster, “Senza titolo” [untitled], again from 2018, will stand on the floor, just like the American artist’s famed Stabiles. A silent dialogue that offers a radiant homage to Calder’s surreal vertiginousness, his geometrical dilemmas, his short-circuiting of space and the notion of a reconstructed beauty.

What was previously Trademark, here becomes TRADEMARK SP, the two additional letters referring to the city of Spoleto and to the artist’s initials, GP: the “logo” for his mysterious alchemies in sculptural form.

BIOGRAPHY
Giuseppe Pulvirenti was born in Syracuse, Sicily (1956). He lives and works between Rome and Syracuse. From 1970 to 1975 he studied at the Istituto Statale d’Arte in Syracuse and the Accademia di Belle Arti in Rome where, since 1986, he has lectured in “Modellistica” [model making]. His work has featured in numerous international exhibitions, including: XI Quadriennale di Roma (1986), XLIV Biennale di Venezia (1990), Triennale di Milano (1994), Palais des Arts de Toulouse (1994), the Winchester Gallery at the Winchester School of Art, UK (1997), Rha The Gallagher in Dublin (1997) Pici Gallery in Seoul (2004), Tokyo Design Center in Gotanda (2004), 
Kuchu Teien Tenbodai Sky Gallery in Osaka (2004). Important recognition and prizes have included the Venice Biennale Purchase Award (1990). His major solo exhibitions have included: Framart studio in Milan (1992), Galleria Nuova Icona in Venice (1996), Fondazione Mudima in Milan (2000), and various exhibitions at the Galleria Ugo Ferranti in Roma (2004, 2006, 2009, 2012). In 2018 he had a solo exhibition at the Galleria Valentina Bonomo in Rome.

The exhibition ends on Sunday 29 July 2018
Info: www.palazzocollicola.it https://www.facebook.com/PALAZZOCOLLICOLA
Palazzo Collicola: info@palazzocollicola.it
Sistema Museo: ufficiostampa@sistemamuseo.it

(Italiano) LA MAMA SPOLETO OPEN @ Spoleto
Jun 30 – Jul 15 all-day
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Sorry, this entry is only available in Italiano.

61st Festival of Two Worlds’ Exhibitions @ Spoleto
Jun 30 – Jul 15 all-day
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Spoleto, Trevi, Montefalco and Scheggino, 24 June – 4 November 2018
MASTERPIECES OF THE 14th CENTURY. Giotto’s Workshop, Spoleto and the Appennines

Curated by Vittoria Garibaldi and Alessandro Delpriori

A great century for a great exhibition in Umbria. 70 works on display, among golden backgrounds and statues coming from prestigious collections in Italy and abroad, to present the extraordinary artistic heritage on the background of the political, religious, social and artistic climate of the period. The four exhibiting spaces include the Museum of St. Francis in Trevi, the Diocesan Museum and the Museum of the Duchy in Spoleto, the St. Francis Museum Complex in Montefalco. The Valcasana Spazio Arte in Scheggino is instead the start of itineraries to delve into the world of the exhibited artists in their original contexts.

On the turn of the 13th-14th centuries, Umbria is the stage of the Middle Ages’ most important artistic revolution. Anonymous artists such as Maestro delle Palazze, Maestro di Sant’Alò, Maestro di Cesi, Maestro della Croce di Trevi, Maestro della Croce di Visso, Maestro di Fossa, often painters and sculptors at the same time, represent a pictorial school by the high cultural interest, though little known, and testify to the artistic vitality of the Appennines area.

www.capolavorideltrecento.it

information:
22 June – 4 November
opening:
Friday 22 June at 17.30, Montefalco, Complesso museale San Francesco
Friday 22 June at 19.30, Trevi, Raccolta d’arte di San Francesco
Saturday 23 June at 17.30 Spoleto, Museo Nazionale del Ducato, Rocca Albornoziana
Saturday 23 June at 19.30 Spoleto, Museo diocesano, Basilica di Sant’Eufemia

opening times, Museo Nazionale del Ducato, Rocca Albornoziana:
Tuesday through Sunday 9.30-19.30
Mondays 9.30-13.30

opening times, Museo Diocesano e Basilica di Sant’Eufemia
Monday through Thursday 11.00-13.30
Friday through Sunday 11.00-13.30 / 14.30-17.00

Palazzo Collicola Arti Visive and Casa Romana, from 30 June
PALAZZO COLLICOLA ARTI VISIVE EXHIBITIONS
in the frame of the 61st FESTIVAL OF TWO WORLDS

A polyphonic symphony of glances on the world that boils over. Palazzo Collicola Arti Visive proposes nations, languages and themes by the strong ethical hold. American EUGENE LEMAY’s installations and paintings mix current themes with the artist’s personal fortunes. ANDREA PACANOWSKI proposes a series of crowds associated with their monotheistic faiths, global realities that turn into geometric rhythm, chromatic harmony, figurative balance. GIORGIO ORTONA leads us to his gaunt, analytical painting, a figurative reflection on the deep structures that rule man, the city, buildings and objects. Israeli YIGAL OZERI authors baffling female portraits by the enticing pictorial hyperrealism. GIUSEPPE PULVIRENTI’s mysterious sculptures are small objects by the cerebral rigour and metaphysical heart. GIORGIO FACCHINI’s artistic jewels efficiently dialogue with the works of the permanent collection, while ROBERTA PIZZORNO displays her Indian ink drawings and oneiric watercolours. The Casa Romana is where the TTOZOI duo lands after the success at the Reggia di Caserta and Pompei: their exhibition, featuring natural mould, fits in the place with sideral perfection. Japanese TORU HAMADA’s next autumn exhibition is anticipated by a marble sculpture in front of the Teatro Nuovo, well integrated with the city’s collection of open-air works of art. DAVID POMPILI’s installation at the entrance of Palazzo Collicola is a tribute to Spoleto’s most famous characters, a cloud between memory and future.

information:
opening – Palazzo Collicola Arti Visive
Saturday 30 June at 12.00
opening – Ttozoi duo at the Casa Romana
Saturday 30 June at 18.00
opening – Giorgio Facchini at the Museo Carandente
Saturday 7 July at 12.00

PALAZZO COLLICOLA ARTI VISIVE
Museo Carandente, Piano Nobile and Temprary Exhibitions Floor
opening times
Wednesday through Monday 10.30-13.00/15.30-19.00
Closed on Tuesdays

full ticket €9,00
reduction (15 – 25 yo) €5,00
free < 14 yo

CASA ROMANA
opening times
every day 10.30-13.30/14.00-19.00

full ticket€3,00
reduction (15 – 25 yo) €2,00
free < 14 yo, Spoletan residents and students

Chiesa dei Santi Giovanni e Paolo, from 30 June
JULIE BORN SCHWARTZ:
EX-VOTO

a project by Mahler & LeWitt Studios
supported by The Goldstone Family Foundation

Danish film-maker Julie Born Schwartz presents Ex-voto, a video-installation on three screens exploring expressions of faith and spirituality. The film is partly set in the sanctuary of Santa Rita da Cascia in Umbria, where pilgrims plead for intercession to the saint of “lost causes”.
Born Schwartz was the first film-maker who was allowed access to the secluded areas of the convent in Cascia, where she interviewed and recorded the monastery’s nuns.
XXth-century French conceptual artist Yves Klein was devout to Santa Rita and offered her a number of ex-votoes. An ex-voto is a religious offer in support of a prayer. Klein’s ex-votoes appear here and there along with Born Schwartz’ meetings with Santa Rita’s contemporary devotees. The film also includes other spiritually-connoted places around Spoleto, including the oneiric complex of Tomaso Buzzi in Montegabbione, “La Scarzuola”, and an underwater church used by Russian film director Andrei Tarkovsky in his Nostalghia.

information:
Chiesa dei Santi Giovanni e Paolo, Spoleto
Via S. Giovanni e Paolo, 5
opening: Saturday 30 June, 12.00 to 20.00
curator’s presentation
Friday 6 July and Friday 13 July
18.00 to 20.00
opening times:
Wednesday through Monday
11.00-13.00 / 15.30-19.00

ticket €2,00

visits on 30 June and the curator’s presentations are free of charge

Palazzo Racani Arroni, from 30 June
FABRIZIO FERRI
PERSONAL EXHIBITION

Fabrizio Ferri is the author of the 61th Festival Of Two Worlds’ image and participates in the festival with a personal exhibition, a series of shots taken from 1973 to the present days, images by the extraordinary charm that portray famous artists, icons of the show business in the last decades.

information:
opening: Saturday 30 June at 16.00
opening times:
Monday through Thursday 15.30- 18.30
Friday through Sunday 10.00 – 18.30

full ticket €10,00
reduction €5,00

Istituto Amedeo Modigliani, 30 June – 4 August
MODIGLIANI’s FRIENDS
MIMMO NOBILE’s SOCIAL AMBUSH

The Istituto Amedeo Modigliani proposes two high-profile artistic events. A first exhibition is dedicated to Modigliani’s friends, famous painters who had relations with the Italian artist sharing their passion for painting and life experiences, that include Picasso, Utrillo, Braque, Chagall and others.
Parallely, Casa Modigliani hosts Italian contemporary painter Mimmo Nobile’s “Social Ambush”; Nobile is considered a “social” painter in that his works interpret the tensions and sufferances of a people torn apart by inequalities, conflicts, lonesomeness, despair and neglect.

information:
30 June – 4 August
Istituto Amedeo Modigliani
Palazzo Montani
Piazza Fontana, 3
opening Saturday 30 June
ticket box opens at 16.00
opening times: Thursday through Sunday 10.00 to 23.00
full ticket €10,00
reduction (over65) €7,00
free until the age of 10 and for accompanied, disabled people

MAG – Palazzo Bufalini (Piazza Duomo), 30 June – 15 July
DUCA
LUCE RITROVATA (LIGHT RETRACED)

curated by Gianluca Marziani

The deep eye of painting in a suspended time. The space of an intimate reflection on the shared themes of Still-Life. The slow rite of the brush between thorough perception and physical discipline, silent details and metaphorical keys. The universe on the table, to disclose our own uniqueness through the interior sharing of universal objects.

information:
30 June – 15 July
MAG – Palazzo Bufalini
opening times:
Monday through Thursday 10.00-13.00 / 15.00-20.00
Friday through Sunday 10.00-23.00
Free admission

Rocca Albornoz Museo del Ducato, 12 May – 15 July
CANAPA NERA – BLACK HEMP
Guardavo le macerie e immaginavo il futuro – I watched the debris and envisioned the future

“Canapa Nera” is a project to give value to the Umbrian areas, in particular the Valnerina: the installation is created by fragments recovered from the 2016 earthquake and was lately exhibited in the frame of Fuorisalone – Interni House in Motion  at the Università degli Studi di Milano.

Visit to the installation is included in the Rocca’s ticket.
Info: Sistema Museo – Tel: 0743-224952 – Mail: spoleto@sistemamuseo.it

information:
Rocca Albornoz – Museo Nazionale del Ducato di Spoleto
12 May – 15 July 2018
opening times
Tuesday through Sunday 9.30 – 19.30
Mondays 9.30 – 13.30
Admission is allowed till 45 minutes before closing time.
Closed on Monday afternoon

tickets Museo Nazionale del Ducato e Rocca Albornoziana
full €7,50
reduction €3,75 (18 – 25)
free till the age of 17

Sezione Archivio di Stato di Spoleto (Largo Ermini), 28 June – 20 September 2018
SPOLETO 1959 – THE SECOND FESTIVAL OF TWO WORLDS

curated by Paolo Bianchi and Antonella Manni

“1959 is an important year, the Festival is announced with a progressive number, the 2nd Festival of Two Worlds. It’s a sign, uncertain as it may be, of the will to move forward on the wings of the success of the previous year”. This is what Sandro Morichelli and Gianni Toscano wrote in 1987. The latter was the communist mayor who in 1958 had opened the festival by welcoming the “Americans” around Gian Carlo Menotti with open arms. The second Festival of Spoleto is prepared in the background of a city that feels the need and the first signs of a profound change both in economic and infrastructural terms. Together with the experimentation of new show formulas, such as Album Leaves directed by Steven Vinaver and Fogli d’Album directed by Franco Zeffirelli, there is an urge for new spaces to be used for the theatre, for exhibitions as well as for the stagecraft workshops and for the offices in charge of the organization. Just as we begin to talk about converting the Rocca Albornoziana for cultural purposes. “1959 is also the year of the invention of the Concert in Piazza del Duomo – writes Maurizio Modugno – We don’t know to whom it is due: maybe Schippers himself can have borrowed the idea from Tanglewood, from Ravinia, from the evenings at the Lewisohn Stadium or Aix-en-Provence. What is sure is that it immediately becomes an event of resounding musical and personal appeal for Tommy and Spoleto”.
On the occasion of the sixty-first edition of the Festival of Two Worlds, continuing a project started for the sixtieth edition, through a conference, a book, an exhibition, you retrace extraordinary moments in the history of the city to re-read the origins of the event, understand the heritage in the present, trace future scenarios.

information:
opening times
Mondays, Thuesdays 8.00-14.00 / 14.30-17.20
Tuesdays, Wednesdays and Fridays 8.00-14.00

Free admission

ROBERTA PIZZORNO Full of Emptiness – Exhibition @ Palazzo Collicola Arti Visive
Jun 30 – Oct 7 all-day
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The opening of Roberta Pizzorno’s exhibition, on SATURDAY 30 JUNE at 12.00 at Palazzo Collicola Visual Arts.

The exhibition is curated by Gianluca Marziani and included in the Festival Of Two Worlds’ official programme. The Press Conference will be at 11.00 at the Piano Nobile’s gallery.

Roberta Pizzorno brings to Spoleto the figurative results of a long work with Indian ink and watercolours. Two years ago the artist settled in Spoleto and started a fruitful collaboration with Palazzo Collicola Arti Visive, which originated a number of projects integrating given drawing techniques in Sistema Museo’s workshops. This exhibition is a report in progress, a synthesis that finds an ideal exhibiting workshop at the Sten & Lex hall.

The point: the start of everything, the primordial factor, the beginning of the cognitive journey. Point as prologue and first chapter of the existing, a suspended moment in which every shape is possible, every freedom is ready for the free ones, every beauty potentially available.

…cellular microworld, cosmic gigantism, plant life, animal world…

Point, line and curve define Pizzorno’s interior filiations, her inner cosmogony, her space of aesthetic awareness. The gesture, disciplined and daily, acts by lines and curves, creating flying bio-forms, gaseous volumes, solids without apparent weight. Indian ink and watercolour share the executive process and recreate two parallel but dialoguing worlds, united by a gesture that acts as a bridge between the formal souls.

The point, similarly to a cell, begins to hear the noises of the Planet, records clear sounds and subliminal trails, looks for the next point to define the narrative chain of the line, of the sliding forward, of the dialogue that does not stop but recreates the phrases of our conscious dream.

Dealing with the line, that is, the path of the form, the development of an idea in its necessary skeleton.
The line as an ambition for knowledge, a search for the open margin, an adventure into the pulsating mystery of the future. A line that always travels forward, following the movement of the hand and the eye of the feelings. The line as a watchful conscience of the progress.

…directions of the essential black&white, harmonic rhythms, directions of the colour beyond the essence…

That soft line confirms the clarity of a pacified gaze, free from worldly chains and social ties. Pizzorno comes out of the appearances of reality to build visual subjects that fly in the gravitational radius of fantasy. They are complex embryos where human, animal and plant belong to the same biological consciousness. The pulsing metamorphosis becomes the genetic reason of his lovable bodies, the harmony of the dialogue guides the rituality of the continuous gesture. They are forms that produce wonder…

Our artist practices harmony and balance as if it were a respiratory rite. Her projects have no knots or protrusions, on the contrary they appear fluid and musical, pure entropy in a huddled form. The work turns into a continuous self-portraying through emotional fragments, a diary that stretches along the ritual curves of life. Point, line and curve make the gesture a kind of continuous and conscious breathing, so similar to the contracting and expanding of the universe.

Addressing the curve, that is, the form in its complexity, towards the sense that defines a project.
Curve as a plan of intuition, a cosmic and inner seismograph that draws the short-circuit, the cohabitations, the final harmony. A curve that speaks of evolution, synaesthesias, beauty. Soft corners that walk the slope and then hover in the air through the watercolour,

…drawing to understand, until the eye begins to see again…

I like to think that the artist’s flying bodies are cosmic eyes that enclose the secret formulas of emotions, feelings, clear beauty, cognitive clarity. Bodies of bright ink, dark, to engrave like sensitive grooves, majestic in their ethereal fullness. Bodies made of Indian ink, bodies of a very Italian and geolocalized Made in China. Bodies also made of liquid watercolor, gestalt membranes of a private and exciting Made in Herself.

The exhibition ends on Sunday 7 October 2018
Info: www.palazzocollicola.it https://www.facebook.com/PALAZZOCOLLICOLA
Palazzo Collicola: info@palazzocollicola.it
Sistema Museo: ufficiostampa@sistemamuseo.it

(Italiano) SPOLETO ARTE – mostra a cura di Vittorio Sgarbi @ Palazz Leti Sansi
Jun 30 – Jul 25 all-day
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TTOZOI – GENIUS LOCI (REWORKS) – Exhibition @ Casa Romana
Jun 30 – Oct 7 all-day
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The opening of the TTOZOI duo’s exhibition, on SATURDAY 30 JUNE at 16.00 at the Casa Romana in Spoleto.

The exhibition is curated by Gianluca Marziani and included in the Festival Of Two Worlds’ official programme. The Press Conference will be at 11.00 at the Piano Nobile’s gallery.

GENIUS LOCI, conceived by Stefano Forgione and Giuseppe Rossi, curated by Gianluca Marziani, originates from the idea of creating works of art directly in the chosen historical places, through the original technique of natural proliferation of mould on jute, with further painting additions.

Gianluca Marziani: Mould becomes a pure linguistic code, a biological application that leads painting to the limit of its possible mutations. TTOZOI’s grammar regenerates the archetypal models of Calzolari and Penone, bringing the iconographic orbit back into the evolutionary perimeters of the painting. The natural action is not dispersed but takes place on circumscribed surfaces, under the control of the space of action. An event between randomness and control that radicalizes the link between Art and Nature, making biology a collaborative and elaborative phenomenon. A lively dialectic that brings the creative factor into the beating heart of the natural cycle…

The “naturally informal conceptualism” or “the naturally absolute informal” that is at the base of TTOZOI’s work, evolves its natural creative process, coming into contact with three UNESCO sites, universal symbols of Italian architectural and archaeological culture: the REGGIA DI CASERTA (November 2017) with its Sanniti necropolis dating back to the 4th century BC, brought to light in 1990 in the area below the second courtyard; the AMPHITHEATRE OF THE POMPEI ARCHEOLOGICAL COMPLEX (December 2017) where the duo used the ambulacra, buried by the eruption of Vesuvius in 79 and then brought to light; finally the COLOSSEUM (soon), the largest amphitheatre in the world, global symbol of Rome and icon of Italy. Within this process that becomes molecular and conceptual fusion, the exhibition arrives at the CASA ROMANA in Spoleto, a sort of exhibition spin-off that inserts a private residence between the three monumental stages.

Gianluca Marziani: The three chosen areas represent the apotheosis of the Italic genius, the archaeological peak of ancient lustres of human genius. Inside this monumental cycle a passage of recollection was needed, an intimate dimension of the natural process. A domestic adaptation that would bring the works back into the space of the domestic cycle, where historical memory is linked to the design of modern habitats….

The Roman House in Spoleto, dating to the beginning of the first century A.D., is a stately home discovered by Spoletan archaeologist Giuseppe Sordini in 1885-1886 and dug several times until 1914. It is located partly under the Town Hall Square and partly under the Town Hall of which it occupies the foundations. Today it is the most visited site by tourists in Spoleto.
In Spoleto there will be a rigorous selection of the works from the first two stages, as well as a project of site-specific proliferation, designed for the impluvium of the Roman House. Fifteen works will be inserted with camouflage and respect for the environment, almost to blend the living nature of stones with the controlled nature of natural mould.

Gianluca Marziani: The integration with the places occurs through branched proliferation. No longer something purely formal but a process that integrates visible and invisible, memory and present, history and news, individuals and communities…

In the first two stages the artists created the works in situ, installing some sealed showcases in which the canvases remained for about 40 days: Time and Nature did the rest. During the gestation it is the canvas that captures the humus, the soul of every place, going beyond the visible, allowing the memory of the cultural “container” to be transferred to it through two factors: the “emotional conditioning” and the “environmental conditioning”, able to evoke the history and the suggestions of the chosen places in the observer’s mind.

The informal process, carried out by four hands, involves the use of organic materials (various flours), water and natural pigments on jute canvases, then placed in special cases that encourage the natural proliferation of moulds, with always different manifestations; feeding themselves on the organic part only, the spores interact with the work according to an unpredictable, apparently chaotic scheme. TTOZOI actually monitors the progression of the process, until it decides to interrupt it, according to a declination of “saving from aesthetics in pureness”. Only at this point will the canvases be pictorially finished and completed, leaving the traces of the passage of nature visible.

Gianluca Marziani: Informal painting finds its most significant evolution, an aesthetic landing place that distorts the interpretative factor of the works. All abstract appearances are transformed into a process with a high figurative value, where what we see leads us far beyond the pure form, into the pictorial stratification of memories, experiences, dynamic processes, external contributions…

Thursday 19 July, 2018 a personal exhibition is scheduled at the Reggia di Caserta. A closing exhibition will be held, finally, in a prestigious Capitoline museum, so as to expose all the works made in the three monumental complexes. In Caserta the complete cycle that was realized in the months of proliferation inside the Sanniti necropolis will be exhibited.

TTOZOI_Biography
Stefano Forgione (Avellino, 1969) and Giuseppe Rossi (Naples, 1972) are the two artists who operate under the pseudonym of TTOZOI since 2010, when their personal exhibition was held at Castel Dell’Ovo (curated by Luca Beatrice). Stefano (Degree in Architecture) and Giuseppe (Degree in Economics) are both self-taught. Since their adolescence they have been experimenting with various artistic techniques (charcoal, Indian ink, watercolour, acrylic, oil, spray, collage…) and approached the History of Art to deepen their knowledge of Informal culture, following their aesthetic and conceptual vocation. In December 2006 the common passion for informal themes will bring the two together again, after years spent in various Italian cities. At the centre of their confrontation there is the awareness that “Art has always been Contemporary” and that “the Artist cannot operate without the past”: hence the elaboration of a project – based on “concept” and “form”, “time” and “matter” – that is becoming the spokesperson of a small revolution in the experimental field of painting. TTOZOI is the creator of the so-called “intervention void”, a real expectation, following the simultaneous four-hand action on the canvas.

The exhibition ends on Sunday 7 October 2018
Info: www.palazzocollicola.it https://www.facebook.com/PALAZZOCOLLICOLA
Palazzo Collicola: info@palazzocollicola.it
Sistema Museo: ufficiostampa@sistemamuseo.it

YIGAL OZERI Where are we going? – Exhibition @ Palazzo Collicola Arti Visive
Jun 30 – Oct 7 all-day
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The opening of YIGAL OZERI exhibition, is scheduled for SATURDAY 30 JUNE at 12:00 in Palazzo Collicola Visual Arts, Spoleto.

The exhibition is curated by Gianluca Marziani and included in the Festival of Two Worlds’ official programme. The Press Conference is scheduled for 11:00 at the Piano Nobile.

Painting is defining new relationships with technological media, confirming itself as the most attractive, absorbing and intense visual code of the new millennium. Centuries pass, progress flows but the idea that painting embodies a solid permanence, a densely biological language, detonator of resistant metaphysics and symbols that can be handed down does not change. Painting has many dialogues with the photographic world: a virtuous combination to encode a transmedia aesthetic, a metaphorical mirror of a present with a high visual consumption. In a historical period of linguistic revision, it was natural for the photorealist code to regain its operational and conceptual centrality. Also because today, far from the beginnings of Chuck Close and Richard Estes, the hyperrealist language absorbs digital cells and modifies painting into a hybrid, calibrated on 3D and 4D projections, on smartphone operating systems, on shooting and editing photographic software. Hyperrealist painting has thus been transformed into post-digital painting, a sort of pictorial GMO that has metabolized analogical photography, sedimenting various traces of future memory in its mixture.

Yigal Ozeri’s post-digital painting focuses on WOMEN…

Eva continues to fuel the ecstasy of two-dimensional art. She, the First Woman of desire, the milestone of the narrative, the erotic archetype of humanity still radiates the artistic ambition of the trace, the outline, the sign, the color… The creation generally pursues resisting icons, seeks out the whims that are the Stonehenge of emotional education. Woman has always been swimming at the center of artistic thought, guiding the historical document but also the revolutionary action, the change, the militant struggle. Telling the story of a woman in a painting means acting from the beginning to frame complexity; it means loving and sharing, using the language of the body and the gaze, chemistry and alchemy; it means hiding ethical messages in the folds of a dress, in the reflection inside the eye, in the posture of the face, in the objects worn…

Woman as symbolic detonator for a social, political, cultural rebirth…

Yigal Ozeri (1958) is an Israeli author who lives and works in New York, in the city that best stimulates his imagination, in a perpetual physical rhythm that sticks to his thematic intentions. From the streets, from the faces, from the bodies on the way, the artist gets sensations that he transfers in his shoot with the models in pose, when he defines the portfolio from which he will obtain the images to paint. Let’s not think, however, of the old codes of hyperrealist painting, today there are no catalogues of streets, machines, shop windows or other fetishes of the American model. The lucid coldness of his predecessors turns into a warm, emotionally involved eye, in search of fluid eroticism, of a Raphaelite but also digital youth, and of a barrier-free sensuality. Ozeri’s women are revolutionary detonators that act on the eye. They don’t scream, they don’t embrace weapons, they don’t distill hatred, they look ahead and forward, towards the upset world, the psychotic drifts, the cultures of terror. They do so from their silent places, from the quiet contexts in which they live their pictorial eternity. They look at each of us, striking our eyes, our civic conscience, acting with slow and prolonged release, as it happens with Literature and Poetry.

That feminine look, so calm and suspended, has something revolutionary about it…

Ozeri’s universe is reconnected to a Western tradition, especially Italian, of female portraiture, from the virginal faces of 16th-century Florence to the neoclassical white of Antonio Canova, through the 19th century by Giovanni Boldini, the 20th century by Amedeo Modigliani… Ozeri crosses the matrices of the feminine and leads them to an urban, multiracial, heterogeneous epic. His creatures are the Madonnas of our times, the Saints of a chaotic present, the great ladies of a virtual but not always virtuous today. They are the amazons of the visible city, the sherpas of our inner journey, the young mothers of humanity who see the future. They are the answer to the culture of violence, a soft counterattack of beauty blows and poetic actions. You can be sure: the future of humanity will have to pass through the trajectories of the sublime, of ecstasy, of desire, of beauty…

Ozeri’s women come straight from the present, yet they seem out of time, beyond the space of creation, floating like stars across the centuries. Their looks, their postures, their bodies are fragments of a long sentimental discourse, born with life and destined to last beyond ourselves, beyond the contingency of everyday life. Ozeri’s women symbolize a resisting iconography, proof of a perennial regeneration that only painting (and sculpture in part) can make possible. Because these girls of radiant sensuality, shining in their glances, magical in their way of looking, tell the story of the indissoluble resistance of the painting, the ability to infect the future with the memory of an eternal present. They are no longer simple models but a model of beauty that can be handed down, a semantics of the indissoluble, a trace of the infinite imagined and dreamed of.

Those women seem to tell us, “Where are we going? What are we doing? How can we improve things?” There are no answers in the paintings, of course, because art only deals with questions. At the same time, their eyes guide us across the threshold, into the ocean of doubt, evoking the possibility of an island, of a safe harbor for our conscience. A place to clarify the gaze, trying to provide an answer.
The only male figure in the exhibition is the artist himself, a black-and-white foreground who observes like a demiurge in front of the students. The expressive face and the hair have the meticulous impact of the portraits by Bronzino and Rembrandt, that surgical way of managing the climax with admirable dramaturgy. Yigal Ozeri embodies the eyes of our possible answers, resembling a guide who observes us as Beauty reveals the coordinates of the island.

www.yigalozeriartist.com

The exhibition ends on Sunday 7 October 2018
Info: www.palazzocollicola.it https://www.facebook.com/PALAZZOCOLLICOLA
Palazzo Collicola: info@palazzocollicola.it
Sistema Museo: ufficiostampa@sistemamuseo.it

The Wonderbox @ Galleria Arte Tribale
Jun 30 @ 17:00

On the occasion of the Festival Of Two Worlds’ 61st edition from 29 June to 15 July 2018, Carmen Moreno is pleased to present The Wonderbox in her new exhibiting space in via Palazzo dei Duchi 22, Saturday 30 June at 17.00.

ATLAS – ALESSANDRA BALDONI @ Galleria ADD-art
Jun 30 @ 18:30

ATLAS – ALESSANDRA BALDONI
TEXTS BY ANDREA TOMASINI

Saturday 30 June at 18:30 | Spoleto, ADD-art Gallery

For the first time, the ADD-art gallery presents artist and photographer Alessandra Baldoni’s ATLAS in full, with texts by Andrea Tomasini.
The work springs out from the meeting of the artist with Aby Warburg’s Atlas Mnemosyne, in which Warburg explores the surfacing of the images of ancient deities and symbols in modern European culture. Hence the idea of looking for the visual place where the world “rhymes”, a sort of chorus between things – animal faces, nature, statues – to find a sense, a cataloging by shape, colour, meaning. Sequences in search of an assonance, images that call each other while sharing the same secret. Alessandra Baldoni’s Atlas tells a story of ties and ropes, of meanings that hide and disclose. A rule, a math of beauty.

30 June –  7 September 2018
ADD-art gallery, via del Palazzo dei Duchi 6, Spoleto

(Italiano) Tra le mura del Rock – Storie e racconti di arte e cultura @ Laboratorio di Disegno e Pittura di Cosimo Brunetti
Jun 30 @ 21:30

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Jul
1
Sun
SPOLETO CARD Thematic Guided Tours – July 2018 @ Spoleto
Jul 1 – Jul 29 all-day

Information and reservation: Soc. Coop. Sistema Museo – Piazza Collicola – Tel. 0743 46434 – 0743 224952 – e-mail: info@spoletocard.it

Information: IAT di Spoleto – Tel. 0743 218620 info@iat.spoleto.pg.it

Further info on www.spoletocard.it

(Italiano) Tra le mura del Rock – Storie e racconti di arte e cultura @ Laboratorio di Disegno e Pittura di Cosimo Brunetti
Jul 1 @ 21:30

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Jul
2
Mon
(Italiano) Tra le mura del Rock – Storie e racconti di arte e cultura @ Laboratorio di Disegno e Pittura di Cosimo Brunetti
Jul 2 @ 21:30

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Jul
3
Tue
(Italiano) Tra le mura del Rock – Storie e racconti di arte e cultura @ Laboratorio di Disegno e Pittura di Cosimo Brunetti
Jul 3 @ 21:30

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Jul
4
Wed
BIBLIOBUS The Travelling Library at San Martino in Trignano @ Sala Auditorium (parrocchia)
Jul 4 @ 16:00 – 18:00
(Italiano) Tra le mura del Rock – Storie e racconti di arte e cultura @ Laboratorio di Disegno e Pittura di Cosimo Brunetti
Jul 4 @ 21:30

Sorry, this entry is only available in Italiano.

Jul
5
Thu
(Italiano) Tra le mura del Rock – Storie e racconti di arte e cultura @ Laboratorio di Disegno e Pittura di Cosimo Brunetti
Jul 5 @ 21:30

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Jul
6
Fri
Sagra of the Bruschetta with Truffle @ Strettura
Jul 6 – Jul 15 all-day

Strettura, 6-15 July 2018
Sagra of the Bruschetta with Truffle

In Italy, a sagra is a local festival, very often dedicated to some specific local food.
Usually, the festival’s tavern opens for dinner and events such as folk music shows are scheduled in the evening.

TWO WITH STYLE – Reading and tasting among wine, love, slang, laughs @ Palazzo Mauri - Caffè Letterario
Jul 6 @ 19:00
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TWO WITH STYLE

Reading and tasting among wine, love, slang, laughs

Friday 6 July at 19.00 – Caffè Letterario

Ancilla Oggioni and Beatrice Beltrani will unchain hilarity while playing with the Italian language, shattering syntax and having fun in the labyrinth of slangs.

The two actresses propose an irreverent excursion through the human nature’s basest instincts and highest yearnings: love, sex, food, wine.

Texts by Totò, Dario Fo, Trilussa, Molière, Dante, Camaiti, Stefano Benni, Karl Valentine, Isabelle Allende, Eduardo De Filippo, Vittorio Renuzzi.

Aperitive and event: 15 €

Mezz’ora dopo la chiusura – SPOLETO, SCULPTURES IN THE CITY AND BEVERLY PEPPER @ Palazzo Collicola Arti Visive
Jul 6 @ 19:30
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SPOLETO, SCULPTURES IN THE CITY AND BEVERLY PEPPER

Mezz’ora dopo la chiusura_Palazzo Collicola Arti Visive

Mezz’ora dopo la chiusura, the event by Sistema Museo, waits for you on Friday 6 July 2018 at 19.30 at Palazzo Collicola Arti Visive.

The theme of the meeting will be that unrepeatable experiment that was, in 1962, the exhibition Sculptures in the City. That event, which made Spoleto a protagonist in the world of contemporary art, will be narrated in particular through the many works recently donated to the Museum Carandente by Beverly Pepper, the American artist among the few women who participated in the exhibition.

The visit will be followed by an aperitive, thanks to the collaboration with Con Spoleto – the Spoleto hotel managers’ association.

Participation fee
Guided visit – Full € 7,00
Guided visit – Discounts € 5,00 for Spoleto Card holders
Aperitive – € 5,00

Please reserve within Friday at 13.00:
news.spoletomusei@sistemamuseo.it
0743.46434

(Italiano) Tra le mura del Rock – Storie e racconti di arte e cultura @ Laboratorio di Disegno e Pittura di Cosimo Brunetti
Jul 6 @ 21:30

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Jul
7
Sat
(Italiano) FIGURAZIONI MUSICALI – anteprima Biennale di Fiber Art Spoleto @ Galleria Officina d’Arte&Tessuti
Jul 7 – Jul 31 all-day
<!--:it-->FIGURAZIONI MUSICALI - anteprima Biennale di Fiber Art Spoleto<!--:--> @ Galleria Officina d’Arte&Tessuti | Civitavecchia | Lazio | Italia

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JEWELS AS SCULPTURES / SCULPTURES AS JEWELS @ Palazzo Collicola Arti Visive
Jul 7 – Jul 29 all-day
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GIORGIO FACCHINI talks with the works of the Collezione Carandente… accompanied on the precious journey by jewels by Arman, Bury, Calder, Fontana, Lichtenstein, Picasso, A. Pomodoro, G. Pomodoro…

curated by Gianluca Marziani

The opening of the ARTIST’S JEWELS exhibition, will take place on SATURDAY 7 JULY at 12.00 at Palazzo Collicola Visual Arts. The exhibition is curated by Gianluca Marziani and included in the Festival Of Two Worlds’ official programme.

Giorgio Facchini, from Marche, contemporary jewel sculptor, returns to Spoleto with an exhibition inside the Collezione Carandente at Palazzo Collicola Arti Visive. It is a selection of unique pieces, and an outside sculpture, all done following a chronological thread and miltiple figurative keys. The performing quality, the visionary theme and the expressive strength provide the contents for his dialectics between gold and XXth-century art, in an iconographic process that touches Informal Art, Surrealism, Spatialism, Cinetic Art and Constructivism. Facchini’s works converse with the works included in the Collezione Carandente, interesting duets in which his creations, placed inside display cases, enter in vituous tune with the chosen work. A unique project, conceived with an artistic approach, to give the jewel the universal character of a small-sized, pure sculpture.

Gianluca Marziani: “A man-sized sculpture, dark monolith by the complex plot, challenges the intimate vision and creates a short-circuit between the full scale and the huddled dimension of the small scale. The work offers an iconic bridge between sculptural jewel and thorough sculpting, where the relief’s reasons confirm the hybrid approach of an author by the slipping, contaminated nature. If the jewels yearns for the body as if it was an exhibiting space, likewise the melting sculpture contracts its soul in a gigantism of precious thing by the modelistic heart.”

Tommaso Trini: “Sculpture innervates each of Facchini’s artifacts, as shown by the circularity of portrayed features.
Symbolic signs and allegorical figures always conjure a plastic concert, a chromatic choir by the peculiar, circular eloquence, though knotted down to a plane. Facchini creates refined sculptures, open toward the outside, without inflating them in rowdy monuments. He prefers hermetic meetings. His internationally-known jewels’ geometrical construct is also circular. They don’t just embrace life-pulsing wrists, they shroud ears and chests like convex constructs, a convexity already held dearest in De Chirico’s paintings. Facchini’s creations are a curved flow of precious stones and metals on shields of light. The strength of the essence makes them even more a model, the more essential they are.

Carlo Bo: “Facchini starts as a goldsmith and then becomes a sculptor. Following his family’s tradition, he is an inventor, a creator. You could also say that by dint of perfecting his first reasons, he could later pick up some backlashes of truth and penetration…”

Vittorio Rubiu: “The start of his style is relating to some sort of primordial or symbolic form, detaching from geometry to then reactivate it, following a more intimate, hidden willfulness, always with a very selected taste of matter, an invention, an experimentation that have little to do with traditional goldsmithing. Hence his constant interest for sculpture and his capacity to apply the spatial theme of sculpture to the jewel with an intensity, clarity and firmness that challenge the meticulousness of the performance, no matter how rich and admirable…”
Giancarlo Menotti: “As everybody knows, gold is evil, but in Facchini’s hands it can become fragile and delicate like a melodic sentence.”

Gianluca Marziani: “Thinking wearable sculpture as a journey from micro to macro, where balance, spatial harmony anc compressed tension count more than dimension. Facchini’s jewels originate from a projecting that looks like a sculptor’s modular passages magnifying drawings sprouting out displacing visions; here the process is reversed, the drawing is shaped to fit the volume to be worn.”

The artists chosen for the dialogue are Alexander Calder, Sol LeWitt, Leoncillo, Beverly Pepper, Carla Accardi, Franco Angeli, Fausto Melotti, Giuseppe Capogrossi, Mario Schifano, Toti Scialoja, Luigi Ontani, Mario Ceroli, Henry Moore, Giuseppe Uncini, Alberto Garutti, Gianni Dessì, Shay Frisch, Giovanni Albanese…

A special section of the exhibition features some jewels created by great XXth-century artists. A hall will feature works selected by Facchini and Marziani among the best proposal on the international market. Masterpieces by Arman, Pol Bury, Alexander Calder, Lucio Fontana, Roy Lichtenstein, Niki de Saint Phalle, Pablo Picasso, Arnaldo Pomodoro, Giò Pomodoro…

COLLEZIONE CARANDENTE The project of the Carandente Collection grows on solid foundations, along never-static roots that speak of Italian art in the second half of the twentieth century, of now legendary sculptors, international names but also local artists who have fueled the cultural consciousness of Spoleto and its extensive surroundings. The foundations of this museum concern the historical core of its collection, a heritage that Giovanni Carandente built with dedication and passion, documenting the artistic events of Spoleto, design dreams (Sculptures in the city), fixed events (Spoleto Prize, Festival dei Due Mondi), the Group of Spoleto, the research of Italian and foreign masters, up to the special relationship with Leoncillo Leonardi, the most important of the “local” artists, inventor of the Spoleto Prize, among the main architects of the city’s cultural maturation. Starting from here was necessary: the philological qualities of the heritage, its iconographic peculiarities, the private connections that have become the historical conscience of the project and of its necessary evolutions. On this basis, convinced that a collection must follow the spirit of the times, it was necessary to shape a new exhibition layout, creating more rigorous and connective settings, using white as a living counterpoint, inviting the public to a reborn empathy, to an emotional and sensory journey, to an assonant narrative between memory and future.

BIOGRAPHY Giorgio Facchini was born in Fano in 1947. When he was very young, while devoting himself to drawing, he attended the studio of a goldsmith, an uncle of his. He later met sculptor Edgardo Mannucci, fundamental for his formation, while continuing his studies in Venice. He made his debut with some jewels, first informal and then spatial, made with the “osso di seppia” technique (Italian for cuttlefish bone). The first exhibition takes place at the Fanesi Gallery in Ancona. In 1967 he won first prize at the Bevilacqua La Masa in Venice. In 1969 he began to create kinetic jewels. In the same year, Pierre Cardin invited him to Paris to present his jewellery together with his autumn/winter fashion collections. In 1970 he took part in an exhibition at Fumanti, a Roman jewellery company specialising in artists’ pieces. Also in the 1970s, exhibitions at the Galleria Levi in Milan, La Nuova Pesa in Rome, La Triennale in Milan. In 1971 he won the First Prize at the VI Gubbio Metal Art Biennial. In 1972 he exhibited at the Drummonds jewelry store in Melbourne. In these years he developed his ties with the Festival dei Due Mondi, until in 1974 he minted the gold medal commissioned by the Festival. In the same year he exhibited in the United States at the Wichita Museum. In 1981 a new solo show at Drummonds, then a large exhibition at the Pinacoteca di Macerata. In 1992 he participated in Oro d’Autore. In 1997 he held a solo exhibition at the Archaeological Museum of Milan. In 2001 he was featured in important exhibitions at Palazzo Pitti in Florence and Mole Vanvitelliana in Ancona. In 2006 he received a tribute within the International Review G.B. Salvi in Sassoferrato. In 2009 he participated in the exhibition “Italian sculpture in the jewel of an artist from the second half of the 20th century” at the Attilio and Cleofe Gaffoglio Museum in Rapallo. In 2010 he exhibited at the Sturni Antiquities Gallery in Rome. Besides jewelry, Facchini is dedicated to sculpture and medallistics. He has taught plastic disciplines at the Academy of Fine Arts in Macerata and at the Brera Academy in Milan.

The exhibition ends on Sunday 29 July 2018
Info: www.palazzocollicola.it https://www.facebook.com/PALAZZOCOLLICOLA
Palazzo Collicola: info@palazzocollicola.it
Sistema Museo: ufficiostampa@sistemamuseo.it

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