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Plan Your VisitChildbirth 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_IntroGino Valle. Profession as Continuous Experimentation

19 May - 15 September 2024
Castle: Salone del Parlamento (Hall of the Parliament of Friuli) and Gallery of Ancient Art (rooms 11-13)
 
 
 
 
Exhibition promoted by the City of Udine, realised by MAXXI - National Museum of XXI Century Arts in collaboration with Contrasto and the Civic Museums of Udine
curated by Margherita Guccione and Alessandra Mauro
 
 
 
 
A master of black and white, Gianni Berengo Gardin (Santa Margherita Ligure 1930-) has always been an advocate and defender of an authentic photographic print, of an image that captures and freezes everyday life, moments, emotions that anticipate gestures, but also and above all the author of reportage photography and social investigation. In a career spanning almost seventy years, he has recounted Italy from the post-war period to the present day with his shots. That recounted by Gardin is an Italy experiencing a sudden change, the actress of a profound economic, cultural and social development that has shaped the cities of Italy and the Italians.
The exhibition arrives in Udine, as the only stop in Northern Italy after the first leg at the Museo Nazionale delle Arti del XXI secolo (MAXXI) in Rome in May 2022 and the one at Villa Pignatelli in Naples last year.
In the magnificent setting of the Hall of the Parliament of Friuli and rooms 11-13 of the Gallery of Ancient Art of the Castle of Udine, 192 shots by Berengo Gardin are on display. They constitute a complete collection of original vintage prints from the photographer's private archive and the MAXXI's collection. An artisanal photography, which adds great prestige from a material point of view to its intellectual and visual value.
 
 
Berengo Gardin's Documentary Photography
Berengo Gardin's photography is ‘real’ photography, a practice that wants to move away from analogue or digital manipulation, and play the part of the historical document, a participant and never neutral of reality that evolves, thanks to natural compositions, with man always at the centre of a lived social space.
With his photographs, Berengo Gardin has built up a unique visual heritage in the history of Italian and international photography, always with an approach that he himself has always liked to describe as ‘artisanal’. Over the decades, this approach has become an exclusive trademark of the photographer, who has always liked to define himself as ‘a photographer-photographer’, and therefore a craftsman of art photography rather than a photographer-artist.
 
 
A journey through time through Italy
The exhibition is imagined as a kind of journey, a chronological, topological and thematic path through Berengo Gardin's way of seeing and photographing Italy.
The starting point of this visual tour is Venice, the city where Berengo Gardin first approached photography. Although he was not born there, he feels Venetian and has said in the past: ‘My grandparents were Venetian, my great-grandparents Venetian, my father Venetian’. Venice is where he trained as a photographer, thanks to encounters with photographic circles such as La Gondola, and it is the place of a continuous return, from his first images from the 1950s showing an intimate and placid city to his most recent project, from 2013, dedicated to the Great Ships. From the Venetian lagoon we move on to the Milan of industry, of workers' struggles, of intellectuals (portraits of Ettore Sotsass, Gio Ponti, Ugo Mulas and Dario Fo, among others, are on display), and we pass through almost all Italian regions and cities, from Sicily to the Piedmontese rice fields, observed in their social, cultural and landscape transformations from the post-World War II period to the present day. And Friuli Venezia Giulia also plays its part in this scenario.
They include workplaces shot for Alfa Romeo, Fiat, Pirelli and, above all, Olivetti (with which he worked for 15 years), which led Berengo Gardin, throughout his professional life, to experience the evolution of the working world and its needs. The shots also include the Monfalcone shipyards. And finally, the prints tell the story of psychiatric hospitals, photographed and published in 1968 in the volume Dying of Class, produced together with Carla Cerati. These are images of denunciation and respect, extraordinary and terrible, in the background of which we can also see the Psychiatric Hospital in Gorizia, documenting for the first time the conditions inside various institutions throughout Italy, 10 years before the Basaglia law that closed them down.

Friulian Museum of Photography

Castle of Udine (piazzale Patria del Friuli 1, Udine)

11. July – 22. September 2024

Tuesdays - Sundays 10 a.m. – 6 p. m.

Tickets

 

 

Exhibition promoted by the Triennale Europea dell'Incisione, curated by Giuseppe Bergamini and Isabella Reale.

 

The Triennale Europea dell'Incisione, founded in 1981 by Giuseppe Zigaina with the aim of valorising the language of engraving, is currently carrying out a project aimed at enhancing the graphic collections of regional museums, which preserve a very rich heritage that is only partially exhibited or known.

The centre of this systematic study campaign, accompanied by new files and special publications, is the Cabinet of Drawings and Prints of the Museums of Udine, from which the works selected for the exhibition come, illustrating the richness of the lithographic technique, which allowed a larger print run and lower costs than intaglio printing. During the 19th century, lithography reached a remarkable level of quality in Friuli, and young Friulian Romantic artists such as Politi, Grigoletti, Darif and Giuseppini tried their hand at this technique.

One of the first landscape painters to use this technique was Ascanio Savorgnan di Brazzà from Udine, followed by Antonio Pontini, to whom we owe the systematic exploration of the Friulian territory. It was the bookseller Luigi Berletti who was the first to introduce the lithographic technique in Udine and Friuli in 1840, thus facilitating the distribution of illustrated books and newspapers. The Album pittorico del Friuli (1841-1843), one of the most beautiful lithographic collections of the time, is due to his initiative. The glorious period of lithography in Udine was continued from 1871 by Enrico Passero, for whom important illustrators worked and created a series of illustrated volumes, posters and even sheet music, a production that was resumed from 1911 by Giuseppe Chiesa, whose lithographic activity in advertising made an important contribution to the history of Italian posters.

Casa Cavazzini – Museum of Modern and Contemporary Art

 

20 July - 17 November 2024

opening hours and tickets

exhibition curated by Francesca Agostinelli and Vania Gransinigh

The third edition of the Contrappunto exhibition is enriched by the relevant artistic contribution of Liliana Moro, who accepted the invitation and extended the dialogue to a national level. Working with her were Matteo Attruia, Roberto Cantarutti, Elisa Vladilo and Debora Vrizzi. The "contrappunto" (counterpoint) of the five artists of today takes place respectively with Carl Andre, Arturo Martini, Luciano Fabro, Antonio Corpora and Antonio Piatti.
 
The project, curated by Francesca Agostinelli and Vania Gransinigh - head of the Casa Cavazzini Museum, reaches its eagerly awaited third edition in the idea of a continuous renewal of spaces, of artists, of exchange with the different languages of the contemporary that through a plurality of events will participate in an overall workshop on the present.
 
The musical derivation of the title Contrappunto wants to convey the will of several voices to be together, simultaneously, and these voices are the contemporary creativity of the artists who confront the historical authors present in the collections of the Casa Cavazzini Museum of Modern and Contemporary Art.
 
The exhibition, in fact, created a confrontation between today's artists and the Museum's heritage, in particular the deposits: an investigation of the museum 'body', which includes the wealth of works temporarily hidden from the public gaze. The artists were thus able to investigate, get to know and create a link with the museum's works.
 
After the interaction through a workshop presenting the project together with Liliana Moro, the exhibition now on display in the rooms of Casa Cavazzini was realised. It illustrates an overview of the relationship of present-day artists with the heritage kept in the civic collections, which as a whole represents the cultural unconscious on which much of what we are today is based.
 
The project is scientifically supported by the catalogue that documents the different stages of the Contrappunto 03 journey, thanks to Ulderica da Pozzo's photographic gaze, capable of restoring unrepeatable shots: from the visit to the deposits to the workshop with the presentation of the projects by Liliana Moro and the artists, from the setting up phase to the exhibition realised in the Museum spaces.
 
 
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Ethnographic Museum of Friuli

via Grazzano, 1 - 3100 Udine

14 June - 13 October 2024

Fridays - Sundays 10 1.m. - 6 p.m.

opening times and tickets

The exhibition '900 in corriera. Storia del trasporto pubblico in Friuli ('900 by Coach. History of Public Transport in Friuli) is a participatory, historical and ethnographic project, which brings together the intentions of many enthusiasts of the history of Friuli's brands who, over the years, have collected testimonies and content on this theme.

Thanks to the work of these experts, the Ethnographic Museum of Friuli has taken up a challenge whose primary objective is to reconstruct the history of the private carriers that changed the society of Friuli in the 20th century, the geography of the region and the city of Udine.

'900 in corriera counts on the contribution of many witnesses and all those who, for work, study or emigration reasons, 'took the bus' in the last century.

The project is curated by the staff of the Ethnographic Museum of Friuli (Civic Museums of Udine). It was realised thanks to the support of the Autonomous Region Friuli Venezia Giulia’s Regional Law no. 16/2014 art. 27 quater. Public notice for the realisation of events and manifestations aimed at favouring the in-depth study and knowledge of the history of the 20th century. Year 2023.

Other entities wished to support this adventure that will tell the story of 100 years of mobility in Friuli.

They are formally project partners

the Municipality of Cividale del Friuli

the Municipality of Spilimbergo

the Mountain Community of Carnia, Tolmezzo

the Mountain Community of Canal del Ferro and Val Canale

They share an interest in the topic:

inBUSclub APS (Muggia), which preserves and valorises vintage buses circulating in the region

ARRIVA Udine spa, an important player in public transport in North-Eastern Italy.

The exhibition layout offers room texts and infographics detailing the history of Friuli's private carriers as well as objects, documents, photographs, tickets, memorabilia and parts of uniforms. All items dear to the hearts of those who frequented the couriers in the years when so many private companies (Ferrari, Collavini, Olivo, Pupin, Tavoschi, SGEA, Ribi, SAITA, Molaro, Picco and Comelli, Stefanutti, ...) shared routes across the region.

The exhibition brings together interesting video testimonies collected from people who were particularly connected to this world: users, family members of entrepreneurs, former employees, emigrants.

The project '900 in corriera will get everyone back on the coach!

Over the next few months, guided tours and outings in vintage buses are planned to discover the historic routes that saw thousands of Friulians travelling during the 20th century.


Info:

Ethnographic Museum of Friuli

via Grazzano, 1 - 3100 Udine

phone +39 04321272920

e-mail museoetnografico[at]comune.udine.it

 

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