10 – September 13, 2015, promoted from Friuli DOC

As Gianni Maran speaks, his hands move in harmony, and as one watches the movement of his fingers, one catches glimpses of something blue ingrained beneath his finger nails. That blue is the very same blue that filled the large canvasses exhibited at Palazzo Morpurgo in Udine on the occasion of the Friuli Doc Wine Festival weekend.

Dedicated to eight great artists of the twentieth century, these eight, convex canvasses are united not only by their rich palette of blues, whose hues range from indigo to sky blue, but above all, by a common theme, namely, the image of the fish - hence the exhibition title Pesca Miracolosa (Miraculous Fishing). For Gianni Maran ‘is’ a painter of fish; ever since deciding to change his life and give up his old job for good, he has espoused the cause of this aquatic creature, his life-long companion.

16 June-July 31, 2015, promoted by the Department for Regional Planning

The Department for Regional Planning reopened the doors of CasaCittà, the urban center established on the occasion of the adoption of the Council’s new General Urban Development Plan, to present Amendment 5 of the Plan, which specifically concerns the protection of 20th century architecture. The cataloguing of 20th century buildings and architectural environments was initiated in the period between 2004-2006, in accordance with Amendment 147 of the pre-existing General Urban Development Plan.

casa citta invito

In 2011 the new plan proposed an update of the list of buildings and protected areas (over 300 in total) for the purpose of reviewing both the content of the relevant fact sheets and regulations governing building work, particularly more impactful interventions (renovation, extensions, and new construction projects).

July 2, 2014 – January 6, 2015

Within the scope of Udine 1914- 2018 STORIE IN CORSO (Stories in Progress), a project initiated by the City Council to mark the the centenary of the First World World War, the Musei Civici of Udine, organized an exhibition on the final years of the Belle Époque, entitled Gli Ultimi Sogni. Udine 1900 - 1914 (The Last Dreams: Udine 1900 - 1914), which was held at the Gallerie del Progetto from 3 July 2014 to 6 January 2015.

Curated by Silvia Bianco with the collaboration of Loris Milocco, Elvira Pucci and Monica Sbrugnera, the exhibition brought together materials from various collections within the City’s Museums, namely the Fototeca (photo library) Gallerie del Progetto, Casa Cavazzini and the Galleria dei Disegni e delle Stampe (drawings and prints), as well as resources on loan from the city’s public library, Biblioteca Civica "V. Joppi", and from the Archivio dell’Edilizia Privata (archive of privately owned buildings) lent by private collectors.


The photographs realized by the Malignani, Pignat, and Brisighelli studios captured the faces, vibrant atmosphere, and bright lights of the Belle Epoque; the drawings produced by D'Aronco, Berlam, and Gilberti exemplified the Liberty and Secessionist architecture that characterized the city during the time; the works realized by Antonio Gasparini, Mario Ceconi di Montececon, Giacomo Antonio Bornancin and Pici revealed the artistic tastes of the day, while the furniture produced by Calligaris, Sello and Brusconi bore witness to the skill and craftsmanship of the city’s artisans.

The introduction of electricity, the construction of new public buildings, of middleclass residences and workmen’s houses; the art shows and exhibitions, cinema and fashion - all testify to the positive atmosphere and joie de vivre that prevailed in Udine during the years of the Belle Époque, to the hopes and dreams of the population, a people who aspired to better, more successful lives and who dreamed of Udine becoming a ‘great’ city. When the new century dawned, Udine was a growing city, a city on the rise, industrious and confident in the future and the new opportunities sweeping through the area.

The building project that most defined the era was the new municipal building, an undertaking that was to occupy its architect, Raimondo D'Aronco, and his client, the City Council, for over thirty years.

The most symbolic event to take place in the city during the early twentieth century was the l’Esposizione Regionale (Regional Exhibition) held from August to September 1903, which was visited, among other important figures, by King Vittorio Emanuele III and Queen Elena. It presented an opportunity to celebrate progress and modernity by showcasing the work of artists, architects, artisans and industries from across the region Many professional figures contributed, among them D'Aronco, who presented an innovative design for the pavilions. It was a truly important event and virtually the entire city was involved.

1 October-January 17, 2016

150 years after his birth, the exhibition Arturo Malignani: The Man with The Future in His Eyes, curated by Elena Commessatti and Federico Malignani, paid homage to Malignani, the man, and his inventions. The admission free exhibition offered a number of surprises, such as previously unpublished photographic materials, including 130 stereoscopic plates belonging to Malignani’s heirs, as well as a virtual 3D tour enabled through stereoscopic viewers, and an app for tablets and smartphones.

malignani locandina

There was a wealth of material on display: photos of family and personal trips to European capitals such as Paris and Berlin; shots of beautiful Alpine landscapes; snaps of excursions with family and friends, as well as a series of photographs shots taken in the decade preceding the First World War (1904-1914), all digitized for the occasion at the behest of Federico Malignani.

Moving through the exhibition, one was able to follow the visionary gaze of Malignani, the “photojournalist” of modernity, Whatever the subject, be it nature, cities or technology, Malignani impressed his own personal and visionary gaze on the image. Where the average tourist photographing a city would seek a “postcard effect”, Malignani, the “man with the future in his eyes” had other objectives, focusing instead on immortalizing power stations and railways.

May 4-May 31, 2015, promoted by Sport and exercise Service

This photographic exhibition, one of a series of initiatives planned for BICIMAGGIO, the annual cycling event held in Udine each May, was created in recognition and in support of the work of Tavolo a Pedali, which was set upin 2014 to encourage cycle use in the city.

The exhibition was divided into three distinct sections, the first of which was dedicated to the cycling champion Bartali. The materials on display were also published in a book by Giacinto Bevilacqua entitled Gino Bartali 100 anni di leggenda, which was launched on May 15 at the Libreria Friuli. Bookshop. The exhibition consisted of 40 panels with photos, newspaper cuttings, posters and postcards from the time, original T-shirts worn by the “champion”, a cycling helmet, vintage goggles, and two bicycles, one sporting the Bartali brand logo, the other a model used by the cyclist. The entire collection belongs to Bulfon Renato of Mortegliano who, with the involvement of the association G.S.K2, generously lent the items to Udine City Council for the occasion.

The second section consisted of 30 panels with snapshots of cycling competitions held in Friuli Venezia Giulia taken by photographer and cyclist, Gabriele Menis. A photojournalist and photographer by profession, Menis is a nature lover and travel enthusiast and these photographs of competitive cyclists against the backdrop of the Friulian countryside succeed in bringing both his sporting and human characteristics to the fore.

The last section featured around twenty previously unpublished photographs taken by Constantine Procaccioli - otherwise known as Tino from Udine - between 1955 and 1959. These captured various national and regional cycling events, with Udine at centre stage. In addition to his inimitable photos capturing scenes of city life, photos brimming with humanity and charm, there was also series of photographs depicting road safety courses delivered by local "traffic police" in the area that now forms Parco Moretti.

Completing the section was a series of photos taken by Aldo Segale, president of the Ciclo Assi Friuli cycling association and a close friend of Tino who, before his death, gave him the negatives used in the exhibition displays.

30 January-March 8, 2015, Holocaust remembrance day 2015

The exhibition, which featured photographs taken by Norman H. Gershman, was one of a series of events organized within the ambit of Holocaust Remembrance Day. Curated by Istoreco, the historical research institute in Reggio Emilia, the exhibition was realized by Yad Vashem in Jerusalem, the World Holocaust Remembrance Centre which, among its many tasks, names and pays tribute to the Righteous among the Nations - men and women of non-Jewish origin who saved Jews during the war. Among those named thus far there are 69 Albanians, and it is their story that provides the focus of the exhibition.

This fascinating yet little-known story recounts the role of Albanian Muslims during the Second World War in saving the lives of people of Jewish descent – both refugees and Albanian residents - who were pursued by the Nazis. At root, their actions stemmed from a strong sense of moral obligation, a code of honor which is still considered the highest code of ethics in Albania. Besa literally means "to keep a promise": one who acts according to the code of Besa is someone who keeps his word, someone to whom one can trust one's life and the lives of one’s nearest and dearest. Albania, a European country with a Muslim majority, succeeded where others European nations failed. All the Jews living in Albania during the German occupation, whether born locally or emanating from abroad, were, with the exception of one family, saved. Indeed, there were more Jews living in the country at the end of the war than when it started.

Istoreco brought the Besa exhibition to Italy to foster dialogue and pay tribute to these extraordinary examples of personal risk and solidarity. The first national showing of the exhibition in Italy was in early 2013 in Reggio Emilia where, with great symbolic import, it was held first in the the old town synagogue and subsequently within a mosque in Reggio Emilia, thus involving both communities significantly.