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Childbirth and Childbearing among the Friulian Peasantry Museums without BordersTraces. Ancient landscape in FriuliMonuments and Public ArchitectureSacred architectureThe architect’s housesThe Udine Regional Exhibition of 1903D’Aronco in TurkeyBiography of Raimondo D'AroncoRaimondo D'Aronco_Intro
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22 April - 27 August 2017
Casa Cavazzini

10 May - 9 June 2017
University of Udine, Polytechnic Department of Engineering and Architecture

China will be the protagonist of the 2017 edition of Paradoxa, a three-year project which started a year ago with the aim of investigating the current forms of contemporary Far Eastern art, produced by the City of Udine - Civic Museums, organised by ERPaC, Regional Agency for Cultural Heritage, sponsored by the University of Udine and edited by Denis Viva. Three Chinese artists, Cheng Ran, Chen Wei and Xie Nanxing, already established on an international level, will exhibit in Udine from April 22 to August 27, 2017 at Casa Cavazzini, Museum of Modern and Contemporary Art, their painting, photography and video art works with darkness as their leading theme.

Read more: Paradoxa

Lorenzo Mattotti's strips

From 25 February to 4 June 2017

Casa Cavazzini

There is always a story to be told - even about a small Italian province such as ours. And this was precisely what the young artist Lorenzo Mattotti set out to do during the early years of his artistic training here in Udine. Now, MATTOTTI: Primi lavori, a new exhibition showcasing his early works, will in turn recount the story of this initial phase in the artist’s development. The retrospective, which follows in the wake of the hugely popular Mattotti: Sconfini exhibition currently on show at Villa Manin until 19 March, will run from 25 February to 4 June 2017 at Casa Cavazzini – Museo di Arte Moderna e Contemporanea, Udine. Initiated and curated by Giovanni Duri and co-curated by Vania Gransinigh, Conservator of Casa Cavazzini, the exhibition aims to provide an essential introduction to Lorenzo Mattotti’s work and offers fundamental insights into the works currently on display at Villa Manin.

Read more: MATTOTTI. Primi lavori

November 13, 2016 - January 8, 2017


An artist of great technical ability, Riccarda de Eccher has succeeded in transforming her personal passion for the mountains and nature into the creative inspiration for a series of large-scale watercolours offering new perspectives on landscape painting. In de Eccher’s works, the Carnic Alps become the arch protagonists of the scene. By virtue of the technique employed, watercolour, we are more used to admiring such scenes in far smaller dimensions but here they expand across the surface of the paintings, totally enveloping the viewer in their visual space.


Hours: Tuesday to Sunday, 10.30 -17:00. Closed on Mondays

Museum entrance ticket required

Napoleone Pellis Self-portrait 1920

November 3, 2016 - April 2, 2017

From the beginning of November, a newly arranged collection showcasing the Museum's Realist paintings will be on show in the Gallery's ground floor rooms. This new exhibition will trace the course of the development of Realism both locally and nationally over the nineteenth and twentieth centuries. Over the course of the nineteenth century, in response to the challenges posed by the ever more rigorous comparisons made between painting and the photographic image, artists began to turn their attention to reality, in all its manifestations, in search of new fonts of inspiration. The most favoured subjects became landscapes, scenes from daily life, and portraits; it was in these areas  that new modes of direct representation of reality developed in an effort to make the image ever more immediate and 'instantaneous'. Leading this process of artistic renewal was En Plein Air painting, while other techniques for representing reality developed in the wake of scientific discoveries made during the late nineteenth century. Divisionism and symbolism made their own contribution to this new trajectory, carrying the principles of realism far beyond the threshold of the twentieth century.


Millo Bortoluzzi Monte Cerva 1896 olio su tela Light

Project "Urban Visions"

May 25, 2015 – March 6, 2016

The exhibition Visioni Urbane: Udine per un nuovo modello di arte pubblica (Urban Visions: A New Model for Public Art in Udine) was jointly curated by the Bravi Ragazzi and Macross cultural associationsunder the artistic direction of Vania Gransinigh. Located on the first floor of Casa Cavazzini, the exhibition retraced key stages in the VISIONI URBANE project, using a diverse range of materials, including photographs and videos.

visioni urbane

On May 25, the Visioni Urbane project was launched with an artistic residence at Casa Cavazzini. Initiated by Udine City Council and funded by the Friuli Venezia Giulia Regional Authority, this ongoing project aims to enhance urban creativity and bring public art to the city centre and surrounding areas. It envisions a city that is open to renewal, one that has the courage to open up to new forms and modes of artistic expression, particularly those emanating from the younger generation, namely street writing and street art. To this end, the project set out to raise awareness of urban creativity and the evolution of the street writing (graffiti) movement towards forms of artistic expression that seek and foster dialogue with institutions and citizens alike, in turn encouraging the realization of large-scale, site-specific works that are authorized and shared publicly.

Indeed, from its outset, Visioni Urbane sought to promote a participatory approach by directly involving urban artists and local citizens. Taking inspiration from the contexts in which they operated, these young artists set about engaging with the local public and soliciting their ideas through surveys and interviews, the final aim being to produce collaborative street art that incorporated the ideas of the artists with those put forward by local citizens.

October 18, 2015 – February 28, 2016

This retrospective, jointly curated by Enzo Collotti, Mari Domini, Paolo Ferrari, and Claudio Natoli, presented the most extensive collection of Tina Modotti’s photographs to date and in addition to prints made from her original negatives, the exhibition was enriched with very recent acquisitions relating not only to her photographic art, but also to her family history and her social and political engagement. These included new documents and previously unpublished photographs bequeathed by her sister Jolanda Modotti. The latter, original photographs by Tina and members of her family, document her time in Udine, her sojourn in the United States, her circle of friends there, and the period she spent in Mexico in the 1920s, while the documents include correspondence with Jolanda, Vittorio Vidali and Sylvia Thompson.

Also on display, for the first time both in Italy and Europe, were photographs pertaining to the Mexican Agricultural Free Schools, which were recently acquired by the National Institute of Anthropology and History in Mexico City thanks to the bequest of Savitri Sawhney, daughter of the Indian exile Pandurang Khankhoje. This documentation contains a series of 18 photographs taken by Tina Modotti, the existence of which remained largely unknown until very recently.

The exhibition was organized by the Udine City Council Department for Culture (Public Museums section) in partnership with the Tina Modotti Commission, and in collaboration with prestigious national and international institutions and panels. In addition to receiving the support of the Friuli Venezia Giulia Regional Authority, the project also enjoyed the collaboration of the University of Udine and the cultural association ETRARTE.

25 September – December 6, 2015

The underlying theme of the exhibition is one that frequently recurs in the work of Carlo Vidoni: the contrast between nature and artefact. However, in this exhibition held in the apartment that was once Dante Cavazzini’s home, Vidoni adds a further dimension that brings together and unites the ten works exhibited, namely artefact as a mark of human existence, a sign of man’s passage in the world, a man-made product that nature eventually reclaims.

vidoni invito

The exhibition, which was curated by Stefano Chiarandini and Vania Gransinigh, was part of a project represented at regional, national and international level and consisted of six events, each distinguished by its own specific artistic and creative features.

For a joyful entropy

3 July-20 September 2015

Over the summer months, the Museum’s Project Room hosted a group exhibition, curated by Giorgia Gastaldon, which presented a wholly contemporary dialogue on the theme of "lightness" explored by Italo Calvino in his book American Lectures: Six Memos for the Next Millennium, through the works of two Italian artists - Alessandra Lazzaris and Maria Elisabetta Novello.

Gioiosa Entropia invito

As Giorgia Gastaldon writes: “the concept of gaining knowledge of the world through a process that pulverizes reality and restitutes its lightness through the subtraction of weight and matter, seems to be the common thread linking the artists in this" “little exhibition”. The first, Alessandra Lazzaris, works with oxidation: corroding sheet metal with acid, she transforms the metal into rust; while the second, Maria Elisabetta Novello, masters the combustion process to turn matter into ashes, her material of choice. Both, in fact, start with real, physical materials, and yet, after undergoing a “pulverization” process, these materials become "something else", something new, something to explore and enjoy in entirely new and novel ways. The two techniques chosen by the artists to execute their work - oxidation and combustion – are both by nature irreversible, and in this way it is they who create the time line, both aware of the irreversibility of their actions on its course”.

Neo-realism, Abstraction and beyond

3 July – September 20, 2015

Curated by Fabio Belloni and Vania Gransinigh, the exhibition brought together a rich collection of works belonging to the city’s museums with the aim of exploring the changes and developments that had occurred in Italian painting from the post-war era up until the end of the 20th century. Among the works which over the years have come to form a part of Casa Cavazzini’s collections, there are also those of local Friulian artists such as the recently deceased Giuseppe Zigaina, who was among those who most aptly fitted the epithet ‘neorealist’. Indeed, his painting Assemblea di braccianti sul Cormor, exhibited at the Venice Biennale in 1952, is undoubtedly the work that best exemplifies the neorealist aesthetic and it was to him, the undisputed protagonist of this particular artistic epoch, to whom the core of the exhibition was dedicated – a timely and fitting tribute to one of our most important artists, certainly the most effective in interpreting the changes and developments that were impacting Italian art in the second half of the 20th century.

neorealismo invito

In tandem with Neorealism, other movements developed, Abstract-Concrete, being one example. Taking their cue from the abstract art of the thirties, these artists moved further in the direction of a painting not only liberated from all forms of naturalistic reference, but also freed from the necessity of representation. Painting thus became a matter of shapes, forms, lines, and colours, realized and juxtaposed in accordance with the artist’s own personal creativity and vision and thus entirely independent from natural reality. And from within this artistic landscape other movements emerged and developed, namely Spatialism, founded by Lucio Fontana, which sought to overcome the two-dimensional space of painting, as it is traditionally understood; Nuclearism, and, above all, Informale, a broad movement characterized by a common approach to materiality and highly gestural techniques. The exhibited works of Emilio Scanavino, Emilio Vedova, Giuseppe Santomaso and Afro Basaldella bear witness only to some of the most characteristic manifestations of the movement, which was highly influential among artists working locally. The final section of the exhibition, which occupied an entire room, was dedicated to the artist Nilo Cabai (Udine, 1931) who generously and with remarkable civic spirit, donated some of his works to Casa Cavazzini to enrich its collections, thus allowing the museum to document and plot the path of his artistic development over the course of over half a century, from the 1950s to the present day.

5 October – January 25, 2015

This exhibition hosted by Casa Cavazzini and curated by Vania Gransinigh paid homage to the work of Riccardo De Marchi. Consisting of twenty works, including a number of installations created especially for the occasion, the chosen pieces represented key moments in De Marchi’s artistic career, a career spanning almost thirty years. Following the course of the exhibition, which juxtaposed past experimental works with more recent examples of the artist’s production, a visual narrative unfolded bearing testimony to a clear and coherent research path aimed at exploring the impossibility of developing a communicative language founded upon solely individual impressions, feelings, and interpretations of being in the world.

invito De Marchi

Through his actions on the materials used in his art, De Marchi endeavours to create a universal language capable of unlocking the codified meanings of his seemingly endless narratives. Employing materials such as sheet metal, Plexiglass, plastic blocks, particleboard, and old record covers, De Marchi perforates the surface with the tip of a drill, creating a series of evenly spaced holes representing presence/absence. These traces left by the individual actions of the artist provide a code, an ‘alphabet’ for de-coding meanings that are implicitly universal rather than individual.

Contemporary art from Japan, with an installation premiering in Italy.

April 17, 2016 - August 28, 2016

On April 17 the exhibition Paradoxa: Arte giapponese oggi (Paradoxa: Japanese Art Today) was inaugurated, finally bringing together five of the most representative exponents of contemporary Japanese art to Italy.

Organized by the City Museums of Udine and curated by Denis Viva, the exhibition was planned to coincide with the 18th edition of the Far East Film Festival, the largest Asian film festival in Europe, which was launched a few days later. One of the many events planned across Italy in celebration of the 150th anniversary of Italian-Japanese relations, the exhibition will run until August 28 at two locations consecutively: Piazza Libertà (which will host a special art installation project) and the city’s modern and contemporary art gallery, Casa Cavazzini.

Paradoxa Invito

An idea of painting. Analytic abstraction in Italy 1972-1976

March 1 – June 3, 2015

This exhibition, curated by Vania Gransinigh and Fabio Belloni, set out to explore the development of abstract painting in Italy during the early to mid-seventies and, more specifically, the artistic tendency that contemporary critics alternately dubbed: "painting painting", "fundamental painting", "cold painting", "pure painting" and "new painting” before finally opting for the term “analytical abstraction”.

idea di pittura invito

The Italian experience of analytical abstraction took inspiration from the avant-garde, which was eager to explore the possibilities of painting – a somewhat traditional medium – in an era that was still dominated by intense technical experimentation. The exhibits were drawn from a number of the city’s public collections, and of the hundred or so works belonging to the Friam Collection on show at Casa Cavazzini, several names stand out: Carl Andre, Frank Stella, Robert Mangold, and Sol LeWitt being just a few of the international figures with whom Italian painters of the seventies sought direct contact