La Repubblica delle Idee
THE POWER OF IMAGES/TALKS
Tuesday, May 30, 6.30 PM
MEETING WITH THE SELECTORS AND THE ARTISTS
Within the framework of GD4PhotoArt competition, four curators and four young artists coming from all over the world discuss the future of photography in light of the transformations in production, society and the environment, exploring the relationships between local developments and global trends.
THE STATE OF PHOTOGRAPHY TODAY
Dialogue of the selectors with Urs Stahel
Marta Dahò (independent curator, Spain), Lesley Martin (Aperture Foundation, New York, USA), Michiko Kasahara (Tokyo Photographic Art Museum, Japan), Rodrigo Gómez Rovira (Festival Internacional Fotografía Valparaíso, Chile).
FOUR PHOTOGRAPHERS, FOUR WORLDS
Dialogue of the finalists with François Hébel
Mari Bastashevski (Denmark-Russia), Sara Cwynar (Canada), Sohei Nishino (Japan), Cristóbal Olivares (Chile), finalists of GD4PhotoArt competition.
Wednesday, June 14, 6.00 PM
THE MACHINE OF CONTEMPORARY CAPITALISM: FINANCE, WORK, TECHNOLOGY AND POWER
Sociologist and philosopher Maurizio Lazzarato lives and works in Paris. His research is focused on the transformations in labour and the new forms of social movements. He is the author of several essays: The Making of the Indebted Man (2012), Governing by Debt (2013), Signs and Machines: Capitalism and the Production of Subjectivity (2014), among others.
Introduction by Urs Stahel
Wednesday, June 21, 6.30 PM
WORDS ARE WEAPONS: UNDERSTANDING AND COUNTERACTING TERRORIST PROPAGANDA
Philippe-Joseph Salazar is a French rhetorician and philosopher who studied with Jacques Derrida and Roland Barthes. Director of the Collège international de philosophie from 1998 to 2004, he is professor emeritus of Rhetoric at the Cape Town University, South Africa, and lecturer in institutions all over the world. In 2015 he received the Prix Bristol des Lumières for his essay Words are Weapons.
Introduction by Urs Stahel
Saturday, June 24
VICTOR I. STOICHITA
ON THE VISUAL DEVICES OF MODERNITY.
FROM LEON BATTISTA ALBERTI TO ALFRED HITCHCOCK
Session of the conference “Literary Modernity and the possibilities of the visual”, in collaboration with the University of Bologna and the Italian Society for the Study of literary Modernity.
Victor Stoichita is Professor for Art history at the University of Fribourg. He also teaches History of forms within the Master in Italian language, literature and civilisation of Lugano University. He was visiting professor at the Ecole des Hautes Etudes en Sciences Sociales in Paris, at the Scuola di Studi Umanistici in Bologna and at Harvard University. He was a researcher in many international institutions among which the Institute for Advanced Study di Princeton, the Getty Research Institute in Los Angeles, the Wissenschaftskolleg in Berlin, the Bibliotheca Hertziana (Max-Planck-Institut) in Rome.
After the talk, round table moderated by Giuseppe Lupo
LIQUID WRITINGS, WEB WRITINGS
Alberto Bertoni, Marco Ferrario, Giulio Mozzi, Anna da Re
Salute e sanità universali: un obiettivo davvero irraggiungibile?
Introduce e coordina: Armando Massarenti
Un sistema sanitario universalistico è spesso ritenuto un obiettivo ideale, un sogno utopistico e sostanzialmente irrealizzabile. Le esperienze di alcuni paesi come Rwanda, Thailandia e Bangladesh suggeriscono tuttavia una prospettiva possibile e un orizzonte meno fatalista.
Invece di procedere verso una privatizzazione indiscriminata dei servizi sanitari a livello di base, la presa in carico di questi ultimi, in una fase iniziale, da parte dell’intervento pubblico può favorire processi che conducono a sistemi più maturi e integrati, riuscendo a sostenere anche la crescita economica.
Amartya Sen, di nazionalità indiana, è uno dei massimi esperti al mondo di economia del welfare, nonché una delle voci internazionali più autorevoli nella lotta a povertà, disuguaglianza e deprivazione delle donne. Oltre alla teoria economica e della scelta sociale, Sen ha contribuito allo sviluppo della filosofia politica, morale e legale; allo studio delle cause e delle misure preventive delle carestie e disuguaglianze legate alle classi e al sesso; all’economia dello sviluppo; alla teoria assiomatica della scelta e alla teoria decisionale. I suoi libri sono stati tradotti in tutte le principali lingue del mondo. Amartya Sen è Thomas W. Lamont University Professor, Professore di Economia e Filosofia ad Harvard ed e stato fino al 2004 Master del Trinity College, Cambridge University. Precedentemente è stato Professor di Economia alla Jadavpur University di Calcutta, alla Delhi School of Economics, alla Cambridge University, alla London School of Economics ed è statoDrummond Professor di Economia Politica alla Oxford University.
Nel corso della sua carriera ha ricevuto più di 100 lauree ad honorem ed è stato insignito di prestigiosi premi, tra i quali, nel 1998, il Premio Nobel per l'Economia, per il suo lavoro pionieristico in economia del benessere e teoria della scelta sociale.
La partecipazione è gratuita con prenotazione obbligatoria, fino a esaurimento dei posti.
Al raggiungimento della massima capienza dell’Auditorium, sarà possibile seguire la conferenza in streaming in altri spazi di MAST.
HUMAN RIGHTS NIGHTS 2017
La Fondazione MAST ospita l’inaugurazione della XVII edizione del festival Human Rights Nights, rassegna di cinema, arte, musica e incontri per i diritti umani.
Conflitti e resistenze è il tema di quest’anno.
Venerdì 5 maggio, ore 20.00
Apertura Human Rights Nights 2017
CINA, MODERNIZZAZIONE E SOCIETÀ
KU QIAN (BITTER MONEY) di Wang Bing , Cina 2016, 150’
Il film Ku Qian (Bitter Money) offre uno spaccato del mondo del lavoro a ore nelle grandi città industriali cinesi. Alcuni operai partono da un paesino dell’Est della Cina per trasferirsi in città, ingaggiati da piccole fabbriche tessili. Un nuovo lavoro li attende, un mutamento profondo di abitudini e relazioni, in condizioni più dure di quanto si aspettassero. Perché la città si impone inesorabilmente. I rumori ambientali sovrastano le voci, le abitudini alimentari cambiano drasticamente, i rapporti umani iniziano a subire incrinature, negli stabili stracolmi di persone non c’è più privacy, la terrazza diventa un rifugio per conversazioni private.
Il film è stato presentato alla 73a Mostra Internazionale d’Arte Cinematografica, La Biennale di Venezia, KU QIAN ha ottenuto il Premio Orizzonti per la migliore sceneggiatura e il Premio speciale per il Cinema dei diritti umani Human Rights Nights Award 2016.
Mariella Criscuolo, Fondazione MAST
Alessandra Scagliarini, Università di Bologna
Andrea Morini, Cineteca di Bologna
Giulia Grassilli, Human Rights Nights
Sabato 6 maggio, ore 18.00
CINA, MODERNIZZAZIONE E SOCIETÀ
THE DAY BEFORE CHINESE NEW YEAR di Lam Can-Zhao (Cina 2016, 23')
Il giorno prima del Capodanno Cinese, Mr. Monkey taglia la legna, accende il fuoco, cucina come se niente fosse… infatti non capita mai niente…
THE ROAD di Zanbo Zhang, Cina 2015, 95’
Per tre decadi il mondo è stato testimone del rapido sviluppo economico della Cina. Nel 2008 il governo cinese decide di investire 586 miliardi di dollari in infrastrutture e benessere sociale per minimizzare l’impatto della crisi finanziaria globale. Il regista Zanbo Zhang documenta dal punto di vista della popolazione locale, dell’impresa di costruzioni e dei lavoratori gli abusi perpetrati nel corso della costruzione di una gigantesca autostrada che attraversa un villaggio nella provincia di Hunan. I lavori sono in mano a membri corrotti del partito, gangster locali e impiegati negligenti. Molte case di residenti vengono danneggiate dagli esplosivi e l’impresa non paga i suoi dipendenti. Le strutture inoltre sono di scarsa qualità e completamente illegali.
Mariella Criscuolo, Fondazione MAST
Sabrina Ardizzoni, Università di Bologna
WORK IN MOTION
For the first time since its opening the MAST Foundation presents an exhibition entirely dedicated to the moving image. If the story of industry and labour filtered until now through the photographic medium, in this show videos will provide a visual representation. Through the filmed interpretation of reality, the eye of the video camera gives evidence of the mutability of a world – the world of work and production – that is undergoing rapid transformation, describing changes, evolutions and breaking points in a direct and engaging manner.
The videos in the exhibition deal with the changes in the industrial world, wandering restlessly through and around increasingly empty factory plants, while elsewhere the hammering and hissing continues or production carries on silently, at great speed and with high precision. They also guide us through digitally controlled environments devoid of people, and in desert, abandoned factories that have fallen out of use. These works develop powerful images of different atmospheres in which work or negotiations take place, from the manual activities of an individual person to mass production, from human to robotic, from energy to high-tech production, from product development to contractual negotiations, from legal issues to structural, existential problems in the financial system and its forms of coexistence and cooperation.
We live in times of shifting reality – we perceive it as a series of parallel planes that function alongside each other, consecutively, and overlapping with each other. The exhibition provides a visual representation of this by grouping the various videos in small communities in which each video is shown and simultaneously comments on, contrasts with or simply silently joins or stands apart from the other videos. This show requires a little more time than usual to get to grips with it, to absorb it. Take some time to behold these works: the touching power, the strength, the energy of these moving images convey in a variety of narratives and visual languages the transformation of labour and of our lives.
WORK IN MOTION / SCREENINGS
SATURDAY 25 MARCH 2017
/ 6:30 PM
Short films about work from the Cineteca di Bologna archives, 49’
While art has no precise starting date, the birth of cinema can be pinpointed as La Sortie de l’usine by the Lumière brothers, screened for the first time in Paris on 28 December 1895. The work opened the way to a rich production of short films that put the spotlight on ordinary people, fishermen, workers, firefighters, washerwomen, depicting the toil and dignity of their labours.
The screening will be presented by Gianluca Farinelli, director of the Cineteca di Bologna.
La Sortie de l’usine Lumière (Workers Leaving the Lumière Factory), by Louis Lumière, 1895, 2’30’’
France at Work
A selection of the first short films shot by the Lumière brothers. A journey through late 19th-century France depicted by short films of 50 seconds each.
Ateliers de La Ciotat (Factory at La Ciotat), by Louis Lumière, France, 1899
Chaudière (Boiler), Louis Lumière, France, 1896
Ouvriers réparant un trottoir en bitume (Workers Repairing an Asphalt Pavement), France, 1897
Défournage du Coke (Drawing Out the Coke), France, 1896
Laveuses sur la rivière (Washerwomen on the River), France, 1896
Transport d’une tourelle par un attelage de 60 chevaux (Transport of a Turret by a Team of Sixty Horses), France, 1896
Pêche aux sardines (Sardine Fishing), by Louis Lumière, France, 1896
Les pompiers, I : passage des pompes (Firemen at Lyon: A Fire Run), France, 1896
Attelage d’un camion (The Stonecarver's Team: Hitched to a Truck), France, 1896
The Harvest, Great Britain, 1908, 6’
Exploitation du sel en Sicile (Salt Exploitation in Sicily), Italy/France, 1912, 5’
Industrie des marbres à Carrare (The Marble Industries in Carrara), France, 1914, 6’
L’industria dell’argilla in Sicilia (The Clay Industry in Sicily), by Piero Marelli, Italy, 1910s, 5’
L'industria dei cappelli di paglia (The Hat Industry in Florence), Italy, 1911, 6’
Fiat et son activité multiforme (Fiat and Its Manifold Activities), 1920s, 11’
/ 8:30 PM
THE CAMERAMEN, directed by Buster Keaton and Edward Sedgwick, 1928, 75’
A bumbling cameraman can’t seem to get anything right: he could film important events if only he could remember to load the film in his camera and avoid superimposing one film over another... He’s about to give up his work when a little monkey, who has unwittingly filmed two interesting scenes, brings him success and the love of a beautiful girl.
SUNDAY 2 APRIL
LADRI DI BICICLETTE (BICYCLE THIEVES), directed by Vittorio De Sica, 1948, 92’
After two years of unemployment, Antonio finds work posting advertising bills thanks to the bicycle he owns. On his first day of work, his bicycle is stolen; together with his ten-year-old son, Antonio wanders the city in search of the thief. Thus begins a long pilgrimage through Rome, a metaphor for the postwar society in which poverty intermingles with the desire to preserve one’s dignity. The film, a masterpiece of Neorealism by Vittorio De Sica and Cesare Zavattini, was honoured with numerous international awards, including the 1949 Nastro d'Argento for Best Director, Best Screenplay, Best Story, Best Cinematography, and Best Score, and the BAFTA Film Award, Oscar, and Golden Globe Award for Best Foreign Film in 1950.
IL POSTO, directed by Ermanno Olmi, 1961, 98’
Il Posto is one of the most emblematic films of the Italian economic miracle. Its director observes the progress of industry from an eccentric viewpoint, allowing him to gather its less evident, but perhaps – partly for this reason – more decisive aspects: this perspective is the disorientated gaze, caught between hope and bitterness, of a young man leaving the foggy suburbs in search of a new role in the metropolis and industry of Milan. His story is a reflection of Italy as it changes, not only in its landscape but above all in its consciousness.
TRE FILI FINO A MILANO (THREE LINES TO MILAN), directed by Ermanno Olmi, 1958, 25’
The documentary follows a team of workers busy installing a 220,000-volt electric line in Val Daone for the Milanese company Edisonvolta. The electrical pylons, rising over the rugged mountains and impassable valleys of Trentino, bring precious energy to the big city so as to power the endeavours of Lombardy’s the main manufacturers during the years of the economic boom. However, what rises to the fore is the director’s attention towards the human aspect, towards the workers’ faces marked by fatigue, in a worksite high in the mountains in early winter, towards gestures great and small, and towards their willpower, capable of overcoming any obstacle.
SUNDAY 9 APRIL
I, DANIEL BLAKE, directed by Ken Loach, 2016, 100’
In his latest work, winner of the 2016 Palme d'Or at Cannes, Ken Loach returns to his beloved themes of work, dignity, and violated rights. The everyday struggle for survival is seen through the eyes of Daniel, a carpenter with a heart condition who, forced to leave his work after a heart attack, fights for his unemployment payments, and Katie, a poverty-stricken single mother who leaves London to move into a dilapidated council home in Newcastle. Daniel and Katie meet, two castaways in the ocean of bureaucracy, and they attempt to join forces.
(Original version with Italian subtitles)
TONI ERDMANN, directed by Maren Ade, 2017, 162’
Inès is a professional working in a large German corporation in Bucharest. Her life seems to go smoothly until her father arrives unexpectedly and asks her: “Are you happy?” Her inability to answer marks the beginning of a deep unease. Her intrusive father, always one to play pranks, will do anything to help her find herself again, dreaming up an amusing, eccentric character for himself: Toni Erdmann. The work was awarded the 2016 Lux Prize and nominated for Best Foreign Film at the 2017 Oscars.
Screenings are organised in collaboration with the Cineteca di Bologna.
work in motion/talks
WEDNESDAY, FEBRUARY 22, 6.30 PM
THE IDIOT BRAIN
It may be the most complex thing known to mankind, but the human brain is still far from perfect. In many ways, it's a victim of its own success. Human intelligence has enabled us to create an advanced and complex society, but our brains are still the same as they were hundreds of thousands of years ago, and often don't know how to deal with the modern world. Things like motion sickness, sleep disorders, unreliable memories and a desperate need for approval – these and more all show that our brain can often be an idiot, and this affects us in every aspect of life.
Dean Burnett is a Doctor of Neuroscience. He teaches at the University of Cardiff and he has a science blog on “The Guardian”. In 2016 he published The Idiot Brain. What Your Head is Really Up To, a celebration of blind spots, blackouts, insomnia and all the other downright laughable things our minds do to us.
WEDNESDAY, MARCH 1, 6.30 PM
THE APPEARANCE OF THAT WHICH CANNOT BE SEEN
Armin Linke’s artistic practice is concerned with the interrelations and transformative powers between urban, architectural or spatial functions and the human being’s interacting with these environments. His films and photographs are observations of the human changes to the Earth’s climate, land, oceans and biosphere. "The Appearance of That Which Cannot be Seen" is his recent exhibition in which Armin Linke activates his vast archive by sharing photographs with thinkers from various fields and inviting them to react. Starting from this exhibition he will present different projects and strategies in his film and photography production and distribution and discuss his contents.
Armin Linke is a photographer and filmmaker. He was Research Affiliate at MIT Visual Arts Program, Cambridge, USA, guest professor at the IUAV Arts and Design University in Venice and professor for photography at the University for Arts and Design Karlsruhe (HfG). He lives and works in Berlin. His video Flocking is part of the exhibition “Work in Motion”, currently presented in the MAST PhotoGallery.
WEDNESDAY, MARCH 29, 6.30 PM
CLOSE FUTURE: ROBOTS, WORK AND RESPONSIBILITY
Robots, bots, and androids live amongst us and our relationship with them will become increasingly entangled in our close future. The EU is discussing the need to provide the development of artificial intelligence for civil use with an ethical-legal framework, in order to resolve two essential issues relating to the new forms of robots’ independent agency: work and responsibility. From self-driving cars to drones, from the health system to the fields of industry and academic research, the debate on the impact robotics and AI could have on our lives is crucial to understand the importance of the sector’s development and at the same time confront the risks relating to human safety, privacy, integrity, dignity, autonomy, and data ownership in a world that will be more and more inhabited by machines that can see and hear.
Luciano Floridi is professor of Philosophy and Ethics of Information at the University of Oxford and Chair of the Data Ethics Research Group of The Alan Turing Institute. He is a member of the EU Ethics Advisory Group on General Data Protection Regulation.
WEDNESDAY, APRIL 5, 6.30 PM
THE AUTOBIOGRAPHY OF VIDEO
Within the context of early analog video art, video technology presented itself as a quasi-biological life system endowed with particular capacities for sharing the sensations and perceptions of a nature in crisis. Alongside the burgeoning ecological movement of the 60’s and 70’s, video instigated a distinctly aesthetic mode of political organization that countered traditional deliberative procedures as well as the guerilla tactics of the activist underground. In this lecture Blom will discuss how video, as an eco-political agent, thus came to produce alternative understandings of social memory and collective action.
Ina Blom is a professor of art history at the University of Oslo and visiting professor at the University of Chicago. She recently published The Autobiography of Video. The Life and Times of a Memory Technology.
DAYANITA SINGH. MUSEUM OF MACHINES
The MAST Foundation presents the first solo exhibition in Italy of Dayanita Singh, one of the most relevant figures in contemporary photography.
Born in Delhi in 1961, Dayanita Singh is an acknowledged protagonist of the international art scene and one of the rare Indian photographers who is known all over the world. She is the author of a very peculiar set of works that reflect an extraordinarily personal vision of her country although it explores themes that transcend geographical borders.
The artist has developed a very original form of displaying her photographs. Using a series of interior design components made of wood—folding screens, carts and tables—she assembles what she herself calls “museums.” These are mobile, portable structures that allow her to lend new configurations and new meanings to her works.
The exhibition organised at the MAST Foundation and conceived by its PhotoGallery curator, Urs Stahel, takes its name from the Museum of Machines, a recent acquisition of the MAST Collection. It proposes about 400 photographs organised in series—in addition to Museum of Machines, there are also Museum of Industrial Kitchen, Office Museum, Museum of Printing Press, Museum of Men and File Museum, together with a few other works—that tell stories about labour and production; life, its daily management and its archiving. Enormous machines that smoke and steam, working methods and processes, spaces for the execution and organisation of work are presented in a near labyrinthine fashion thanks to the articulate and original display mode. The photographs not only depict production environments, but also create psychological scenarios in which we recognise experiences, suffering and hope.
At level 0 of the MAST PhotoGallery Dayanita Singh presents the book Museum of Chance, consisting of a body of 88 photographs that are also used as images for 44 different covers. Each cover is illustrated on the front and back with two randomly-paired photographs. The 44 volumes thus become an exhibition piece, a distinct, unique work of art that together with the suitcase and the display structure form the installation Suitcase Museum.
The exhibition also includes with Archives and Factories, two projections of other images by Dayanita Singh, and with the installation of the book Museum of Chance.
[EVENTI IN MOSTRA]
WEDNESDAY 9 NOVEMBER 6.30 PM
MACHINES AND EMOTIONS
ENCOUNTERS IN SOME BODIES OF WORK BY DAYANITA SINGH
Introduced by Urs Stahel, MAST PhotoGallery curator
A writer and critic of art, literature, and music, Aveek Sen is Associate Editor of “The Telegraph”, Kolkata. He has studied English Literature at University College, Oxford, and has lectured in English at St Hilda’s College, Oxford. He is the recipient of a number of awards including the Infinity Award for Writing on Photography from the International Center of Photography, New York (2009). He has written extensively on Dayanita Singh and contributed texts to her books.
FRIDAY 18 NOVEMBER 6.30 PM
HISTORICAL INDIVIDUALS AND POLITICAL AND ECONOMICAL MYTHS IN CONTEMPORARY INDIA
Introduced by Urs Stahel, MAST PhotoGallery curator
Sunil Khilnani is holder of the Avantha Chair and Director of the India Institute at King’s College, London. Born in New Delhi, he grew up in India, Africa, and Europe. His research interests lie at the intersection of various fields: intellectual history and the study of political thought, the history of modern India, the politics of contemporary India, and strategic thought in the definition of India’s place in the world. His most recent book is Incarnations: India in 50 Lives (2016), which accompanies his 50-part podcast and radio series broadcast on BBC Radio4 in 2015-2016.
WEDNESDAY 23 NOVEMBER 6.30 PM
MARCO BAZZOCCHI / FRANCO FARINELLI
INDIA THROUGH THE EYES OF TRAVELERS AND WRITERS
Marco Bazzocchi, Professor of Contemporary Italian Literature at the University of Bologna, is a literary critic and essayist, appointed by the Rector as delegate for cultural initiatives.
Franco Farinelli, Professor at the University of Bologna, is Head of Department of Philosophy and Communication Studies and teaches Geography of Communication and Geography and Cognition of European Territories at the School of Arts, Humanities and Cultural Heritage.
FRIDAY 16 DECEMBER 6.30 PM
GERHARD STEIDL / DAYANITA SINGH
THE BOOK AS OBJECT
In conversation with Urs Stahel, MAST PhotoGallery curator
Gerhard Steidl began working as a designer and printer in 1967. He started out printing posters for art exhibitions, and very soon Joseph Beuys and other artists were among his customers. Over the years he expanded into literature celebrating some of the most distinctive voices in contemporary literature. In 1996, he started his own photo book program. Today, some of the most renowned photographers and artists across the globe are part of the Steidl catalogue, including Robert Frank, Lewis Baltz, Ed Ruscha, Roni Horn, to name but a few. Steidl and Dayanita Singh have been working together for 15 years. With every new book idea, the artist goes to the famous publishing and printing house in Göttingen, Germany, and she asks Gerhard Steidl whether he is ready to go a little further, pushing the idea of a "book" a few steps further. As a rule, he shakes his head and then says yes. From this cooperation many exciting books have emerged, book objects, books as exhibitions, exhibitions as books.
THURSDAY 22 DECEMBER 6.30 PM
THE DECLINE OF RURAL INDIA
Introduced by Urs Stahel, MAST PhotoGallery curator
Palagummi Sainath is an Indian journalist and photo-reporter. Amartya Sen called him “one of the world’s great experts on famine and hunger.” For 35 years he’s been focusing on social and economic inequality, rural affairs and the aftermath of globalization in India. The former Editor of Rural Affairs at “The Hindu”, in 2014 he founded the People’s Archive of Rural India, a digital journalism platform that aims at capturing the “everyday lives of everyday people” in the Indian rural areas – their labour, livelihoods, languages, food, arts, and crafts – and that represents today an important point of reference for economists all over the world.
HOMAGE TO INDIAN CINEMA
IN COLLABORATION WITH CINETECA DI BOLOGNA
SATURDAY 12 NOVEMBER 8.30 PM
THE NAMESAKE, by Mira Nair, 2006, 122’
Director Mira Nair, awarded with the Golden Lion at the Venice Film Festival in 2001 for Monsoon Wedding, depicts the struggles of Ashok and Ashima, who, after their arranged marriage, leave Kolkata and settle in New York City. The couple suddenly enters a new, complicated world. Their lives will dramatically change with the birth of their son, Gogol.
SUNDAY 13 NOVEMBER 5.30 PM
MASAAN, by Neeraj Ghaywan, 2015, 103’
Masaan was included in the Un Certain Regard section at the 2015 Cannes Film Festival, where it was awarded with the Prix de l’avenir for the best debut film. In the same year it won the Golden Frame Award at All Lights India International Film Festival, Kochi. Four stories of love, freedom, independence intersect in Benares, along the Ganges. Young Deepak falls desperately in love with a girl from a higher caste. Devi, a college student, is troubled by the death of her first lover. Pathak is the victim of police corruption. Jhonta is a young boy yearning for a family. Torn between the drive toward modernity and the respect for traditions, they all strive for a better future.
SATURDAY 19 NOVEMBER 5-10 PM
TRILOGY by Satyajit Ray
Satyajit Ray is one of India’s greatest filmmakers. He won the Golden Lion Honorary Award at the 39th Venice Film Festival in 1982 and the Academy Honorary Award at the 64th Academy Award in 1991. His Apu trilogy is widely regarded as his masterpiece. Shot between 1955 and 1959 and restored by the Cineteca di Bologna, it deals with the life of Apu from childhood to maturity in a country, India, that is bitter and fascinating at the same time. Aparajito won the Golden Lion at the Venice Film Festival in 1957.
5 PM PATHER PANCHALI (Song of the Little Road), 1955, 125’
Born in a Brahmin family, little Apu lives in a small Indian village with his family. His father Harihar is often far from home looking for work, his mother Sarbojaya tries to do her best to take care of the poor family, his teenage sister Durga must give up any hope of a good marriage. Lured by the promise of a good job, Harihar leaves the village for a long journey. When he returns home, things have changed for worse.
7.30 PM APARAJITO (The Unvanquished), 1956, 110’
Apu’s family settles in Benares and lives off handouts the believers give to Harihar. When the latter dies, Sarbojaya decides to go back to the village. Apu, now aged 10, is a good student and thanks to his brilliant scores he obtains a scholarship at the university of Kolkata. His passion for learning and the seductions of the big city lead him to underestimate his mother grief for his departure. The consequences will be extremely bad.
10 PM APUR SANSAR (The World of Apu), 1959, 117’
Back in Kolkata, Apu studies at the university but he can’t get his degree. He lives poorly, looking for a job and at the same time trying to publish his writings. He meets Aparna, promised to a man who goes insane short before their marriage. Apu eventually accepts to marry the girl but when she dies in childbirth he loses his mind, leaves the village and starts wandering through India. Five years will pass before he finds new hope for the future.
SUNDAY 20 NOVEMBER 5.30 PM
ANGRY INDIAN GODDESSES, by Pan Nalin, 2015, 115’
Presented in 2015 at the Toronto International Film Festival, where it won the second Audience Award, Pan Nalin’s film is a fresh, realistic portrait of women in India today. Frieda, a fashion photographer, gathers her closest girlfriends in Goa for an important announcement: she’s getting married. Thus begins an impromptu bachelorette celebration that lasts for a full week. Amidst the fun and frenzy, heartbreak and heartache, passion and obsession, secrets tumble out, tensions emerge, bonds are formed and emotions run high.
SATURDAY 3 DECEMBER 8.30 PM
ALIGARH, by Hansal Mehta, 2016, 114’
Based on a true story, Alighar obtained a big success at the Busan International Film Festival, South Korea, where it had its world première in 2015. Professor Siras is an esteemed teacher of Marathi at Aligarh Muslim University. Due to his sexual orientation, he is forced to accept humiliation and persecution and he is eventually sacked from his position by the college authorities.
SUNDAY 4 DECEMBER 5.30 PM
COURT, by Chaitanya Tamhane, 2014, 116’
Chaitanya Tamhane won the Award for best director at 16th Mumbai Film Festival in 2015. Awarded with the first prize at the Singapore International Film Festival in 2014 and at the Buenos Aires Festival Internacional de Cine Independiente in 2015, Court tells the story of Narayan Kamble, an ageing folk singer accused of performing an inflammatory song which might have incited a sewage worker to commit suicide. As the trial unfolds, the personal lives of the lawyers and the judge involved in the case are observed outside the court.
Projections are in original language with subtitles. The schedule can be subject to changes.
Free entry. Reservation is mandatory.
PHOTOGRAPHS OF EMILIA-ROMAGNA AT WORK
MAST Foundation presents the exhibitions dedicated to work and the landscape in Emilia-Romagna, featuring over 200 images and thirty five books on the environments, situations, and contexts found in the Emilia region.
The themes of the exhibitions are enhanced by the documentary Le radici dei sogni – L’Emilia-Romagna tra cinema e paesaggio (The Roots of Dreams – Emilia-Romagna between Cinema and Landscape).
In A Tile, Some Milk, a Machine and Logistics – Photographs of Emilia Romagna at Work, curated by Urs Stahel, works by major photographers reflect on developments in the economy and landscape that have affected the Emilia-Romagna region in recent decades.
The MAST exhibitions develop the theme of Via Emilia which is the main topic of the XI edition of Fotografia Europea 2016 but addressing it to the photographic representation of work, industry and economy, in line with the main mission of MAST Foundation.
The exhibition aims to weave a storyline organised into groups of contrasting photographs. “The task of these images,” explains Urs Stahel, “is to show us how old industries disappear, replaced by new factories and production systems with cutting-edge technology, and how a traditional landscape and an ancient land contrast with the new areas devoted to advanced service industries, to trade, technology, and speed, and how similar phenomena are reflected not only in the machine and ceramics industries, but also in those of food production and small business.”
The photographers' work, along with scenes from the film Il deserto rosso (Red Desert, 1964) by Michelangelo Antonioni, craft a tale that faithfully represents the economic evolution of Emilia Romagna and the ongoing transformation of the manufacturing industry.
We begin with the classic portrait of a worker from Bologna taken by Enrico Pasquali, followed by images of equipment and tools produced by the Officine Minganti in the mid-20th century, and abandoned packaging machines photographed by Gabriele Basilico in a Bologna factory while it was being taken down and reconverted. William Guerrieri shows the abandonment of an industrial dairy in San Faustino, near Rubiera, in his project Dairy; photographs by Paola De Pietri depict the traditional process of ceramic production, while large-format images by Carlo Valsecchi reveal industries at the cutting edge of technology. The change brought on by increased speed on roadways and new railway lines appears in the photographs of Tim Davis, John Gossage, Walter Niedermayr, and Bas Princen showing the construction of the TAV, the high-speed railway line connecting Turin to Naples; these contrast with the idyllic images of the Po delta by Marco Zanta. The landscapes of Guido Guidi, whose small-format colour photographs, dense with meaning, are scattered throughout the exhibition like a leitmotiv, narrate the changes that have taken place in the man-made environment of Emilia Romagna, along with Olivo Barbieri's photographs of Cavriago and the queues at the tills of its shopping centres, visually representing the gradual metamorphosis that the town has undergone. The video La Via Emilia è un aeroporto (Via Emilia is an Airport) by Franco Vaccari presents the major road that cuts across the region as both an important thoroughfare and a workplace for sex workers. Economic development is paired with political debate in the video of Lewis Baltz and in the photographic reporting of Simone Donati, who has documented Italian collective rituals in his work. The exhibition also includes videos by Tim Davis and William Guerrieri.
As a side event, the documentary Le radici dei sogni – L’Emilia-Romagna tra cinema e paesaggio (The Roots of Dreams – Emilia-Romagna between Cinema and Landscape, 73 min.) will be shown in a continuous loop on Level 0. The film, made by Francesca Zerbetto and Dario Zanasi in 2015 and produced by the Cineteca di Bologna and MaxMan Coop with the support of the Emilia-Romagna Regional Authority and the Fondazione del Monte di Bologna e Ravenna, presents a journey through the region's landscape, where some of the most important directors in Italian and international cinema have set their films.
In addition, a display of 35 books on the environments, situations, and contexts of Emilia Romagna, made available by Linea di Confine, completes the exhibition.
Exhibition curator: Urs Stahel
MAST Foundation is partner of Fotografia Europea 2016 – Reggio Emilia.
We thank the Cineteca di Bologna and Linea di Confine, Rubiera for their collaboration.
SCREENINGS AT MAST
IN COLLABORATION WITH THE CINETECA DI BOLOGNA
AFTER A FIRST WEEKEND WITH WORKS FOCUSED ON EMILIA-ROMAGNA, THE FILMS TO BE SHOWN ON SATURDAY AND SUNDAY, SEPTEMBER 24 AND 25, BROADEN ITS SCOPE ON THE WHOLE COUNTRY, NARRATING LIGHTS AND SHADOWS OF INDUSTRIALISATION IN ITALY, FROM THE UNWAVERING FAITH IN A FUTURE RICH IN GROWTH AND PROGRESS DURING THE FIFTIES AND SIXTIES, TO THE PRESENT DAY, MARKED BY THE ECONOMIC CRISIS AND LOSS OF COMPETITIVENESS.
SATURDAY, SEPTEMBER 24
LA ZUPPA DEL DEMONIO (THE DEVIL’S SOUP) BY DAVIDE FERRARIO, 2014, 80 MINUTES
PRESENTED BY THE DIRECTOR
LA ZUPPA DEL DEMONIO, PRESENTED HORS CONCOURS AT THE VENICE FILM FESTIVAL, DESCRIBES ITALIAN INDUSTRIAL AND TECHNOLOGICAL DEVELOPMENT FROM THE BEGINNING OF THE TWENTIETH CENTURY UP TO THE SEVENTIES, BASED ON MATERIAL FROM THE ARCHIVIO NAZIONALE DEL CINEMA D’IMPRESA DI IVREA. THE FILM WITNESSES A COUNTRY FILLED WITH HOPE AND ENTHUSIASM, LOOKING TOWARDS THE FUTURE.
BOLOGNA 900 DIRECTED BY GIORGIO DIRITTI FOR THE NINTH CENTENARY OF THE MUNICIPALITY OF BOLOGNA, 2016, 35 MINUTES
SUNDAY, SEPTEMBER 25
L’ITALIA NON È UN PAESE POVERO BY JORIS IVENS, 1960, 135 MINUTES
PRESENTED BY STEFANO MISSIO AND GIANLUCA FARINELLI, DIRECTOR OF CINETECA DI BOLOGNA
L’ITALIA NON È UN PAESE POVERO WAS COMMISSIONED IN 1960 BY ENRICO MATTEI TO JORIS IVENS, WHO WAS CONSIDERED ONE OF THE BEST DOCUMENTARY MAKERS OF THE 20TH CENTURY. THANKS TO THE CONTRIBUTION OF FAMOUS NAMES SUCH AS PAOLO AND VITTORIO TAVIANI, TINTO BRASS, ALBERTO MORAVIA, AND ENRICO MARIA SALERNO, THE DOCUMENTARY DESCRIBES THE CHANGES IN ITALIAN SOCIETY CAUSED BY INDUSTRIALISATION AND THE INTRODUCTION OF METHANE GAS. DESPITE MATTEI’S APPROVAL, ITALIAN STATE TV CENSORED THE FILM. A YOUNG TINTO BRASS, WHO TOOK IT TO PARIS IN A DIPLOMATIC BAG, SAVED THE ONLY COMPLETE COPY OF THE FILM.
QUANDO L’ITALIA NON ERA UN PAESE POVERO BY STEFANO MISSIO, 1997, 44 MINUTES
BASED ON ORIGINAL IMAGES AND INTERVIEWS WITH THE PROFESSIONALS INVOLVED, QUANDO L’ITALIA NON ERA UN PAESE POVERO RECONSTRUCTS THE CREATION, PRODUCTION AND TORMENTED EVENTS ACCOMPANYING THE RELEASE OF THE ONLY FILM SHOT BY JORIS IVENS IN ITALY.
IL MIO PAESE BY DANIELE VICARI, 2006, 113 MINUTES
DAVID DI DONATELLO AWARD FOR BEST DOCUMENTARY (2007)
THE DIRECTOR OF IL MIO PAESE TRAVELS FROM SICILY TO THE VENETO REGION THROUGH ALL THE AREAS WHERE THE DOCUMENTARY BY JORIS IVENS WAS SHOT. FIFTY YEARS LATER, VICARI’S FILM SHOWS WHAT REMAINS OF THE INDUSTRIAL DREAM OF PROGRESS AND GROWTH AND OPENS A DISCUSSION CONCERNING THE FUTURE FOCUSED ON THE TOPIC OF WORK.
OUR THANKS TO CSC – CINETECA NAZIONALE.
DURING THE SCREENINGS IT IS POSSIBLE TO VISIT THE EXHIBITION PHOTOGRAPHS OF EMILIA-ROMAGNA AT WORK AT THE MAST PHOTOGALLERY.
PARKING WILL BE AVAILABLE BY RESERVATION IN THE MAST PARKING LOT WITH ENTRANCE FROM VIA VITTORIA IN FRONT OF NUMBER 18, SUBJECT TO AVAILABILITY OF PARKING SPOTS.
TO RESERVE CLICK HERE
CONTEMPORARY VIEWS: INDUSTRY AND SOCIETY IN EMILIA-ROMAGNA
THE FUTURE OF SOCIETY AND WORK
HUMAN RIGHTS NIGHTS
MAST Foundation presents two exhibitions dedicated to the Swiss photographer Jakob Tuggener (1904–1988), whose work is being shown in Italy for the first time.
Jakob Tuggener show opens the 2016 exhibitions programme organized by the MAST Foundation, which promotes special photographic shows on the theme of industry and labour, employing both images from its own industrial photography collection and works from private collections or often previously unviewed archives.
“Jakob Tuggener is considered one of the ten most significant industrial photographers in the world,” stresses Urs Stahel, curator of MAST’s PhotoGallery and co-curator of the exhibition. “His book FABRIK is an important milestone in the history of the photographic book, comparable with Brassaïs’s Paris de nuit (Paris by Night) (1933) and Bill Brandt’s The English at Home (1936).” “His signature is, on the one hand,” Stahel continues, “a penetrating, close-up view of people and objects in the world – so close and attentive that it seems as if he wants to startle them – and on the other hand, his skilful play with light and shadow.”
The exhibition FABRIK 1933–1953 presents, in the MAST PhotoGallery, over 150 original prints of Tuggener’s work, drawn both from his photographic book FABRIK – an essay unique in its kind, with a critical approach of great visual and human impact regarding the relationship between humans and machines – and from other photos by the artist dealing with work in his country.
“Jakob Tuggener (1904–1988) was simultaneously a photographer, a film-maker and a painter,” affirms Martin Gasser, co-curator of the show, “but he saw himself above all as an artist. Influenced by the German Expressionist films of the 1920s, he developed a poetic-artistic style that would become an inspiration for young photographers after the Second World War.
FABRIK was also the launch pad for Tuggener’s reputation as an outstanding photographic artist and led to many notable involvements in exhibitions such as Postwar European Photography (1953) and The Family of Man (1955) at the Museum of Modern Art in New York and the Prima mostra internazionale biennale di fotografia (First International Photography Biennale) in Venice (1957).” In FABRIK, Tuggener, besides tracing the history of industrialization, had the not always revealed intention to illustrate the destructive potential of indiscriminate technological progress. The outcome of this, in the author’s view, was the war in progress, for which the Swiss armaments industry was manufacturing goods undisturbed.
The NUITS DE BAL 1934–1950 slide shows on Level 0 present images of balls and other social events. Fascinated by the glittering atmosphere of high-society parties, Tuggener had begun to photograph elegant ladies and their silk gowns in Berlin, but it was in Zurich and St. Moritz that, wearing a dinner jacket and with his Leica, he captured the mysterious facets of the NUITS DE BAL. His lens also took in the “invisible labour” of musicians, waiters, cooks, valets and butlers, as they silently moved through the festive and self-referential world of the heedless guests. The latter opposed the publication of Tuggener’s dance-related material, as they wished to remain anonymous and not to be seen engaged in dancing entertainment.
“Above all, the contrast between the brilliantly lit ballroom and the dark factory hall influenced the perception of his artistic oeuvre,” Gasser explains. “Tuggener also positioned himself between these two extremes when he stated: ‘Silk and machines, that’s Tuggener’. In reality, he loved both: the wasteful luxury and the dirty work, the enchanting women and the sweaty labourers. For him, they were both of equal value and he resisted being categorized as a social critic who pitted one world against the other. On the contrary, these contrasts belonged to his conception of life and he relished experiencing the extremes – and the shades of tones in between – to the most intense degree.”
Besides the 150 factory photographs and the projection of his work on balls, MAST is also exhibiting a collection of book maquettes, which Tuggener himself used to make up by hand.
In addition, in order to represent the eclecticism and exceptional nature of this artist, the show has been enriched with SHORT FILMS distinguished by a dynamic directorial style and an editing technique that owes much to the theories of Eisenstein, with shifts from the long shot to the close-up:
PROJECTIONS – Continual
AERIAL MEETING, 1937, 6’
THE PULSE OF NEW TIMES, 1938, 12’
THE MILL ON THE LAKE, 1944, 5’
THE MACHINE ERA, 1938-70, 30’
Curators: Martin Gasser, Urs Stahel
Promoted by: MAST Foundation
In collaboration with: Jakob Tuggener Foundation, Uster, Swiss Foundation for Photography, Winterthur.
WORK: SNAP-SHOTS OF A CONDITION IN PROGRESS
WORK AND CITIZENSHIP PRACTICES
2 MARCH 2016, 6.30 PM
LUCA DE BIASE
IL SOLE 24 ORE
UNIVERSITY OF LONDON
MAST PHOTOGALLERY CURATOR
WORK AND THE MYTH OF personal fulfilment
30 MARCH 2016, 6.30 PM
UNIVERSITÀ CA' FOSCARI VENEZIA
MACHINE ON A HUMAN SCALE. WORK AFTER THE ASSEMBLY LINE
13 APRIL 2016, 6.30 PM
UNIVERSITÀ DEGLI STUDI DI BERGAMO
UNIVERSITÀ CA' FOSCARI VENEZIA
WITH A VIDEO CONTRIBUTION BY
RADIO 2 – RAI
Free entry until full capacity. Registration is mandatory.
HENRI CARTIER-BRESSON AND JAKOB TUGGENER
On the occasion of the Jakob Tuggener exhibitions the MAST Foundation is glad to invite to the conference
Henri Cartier-Bresson and Jakob Tuggener. Two masters of 20th century photography.
Agnès Sire – Cartier-Bresson’s “decisive moment”, a trap or a revelation?
Martin Gasser – Jakob Tuggener’s Fabrik of 1943: montage and meaning
Conversation with Urs Stahel, MAST PhotoGallery curator
WEDNESDAY 6 APRIL 2016 6.30PM MAST. VIA SPERANZA 42, BOLOGNA
Agnes Sire, director of the Henri Cartier-Bresson Foundation, and Martin Gasser, curator of the Swiss Foundation for Photography, will present the two great photographers of the 20th century who directed their glance at crucial moments of our history. They will converse with Urs Stahel, curator of the MAST PhotoGallery.
Parking will be available by reservation in the MAST parking lot with entrance from Via Vittoria in front of number 18, subject to availability of parking spots.
Participation is free. Registration is mandatory.
ANDREW MOORE: DETROIT DISASSEMBLED REVISITED
The MAST Foundation, in collaboration with the Spazio Damiani, is organizing a conference with ANDREW MOORE. Moore will be presenting photographs of abandoned factories in Detroit taken in 2008-2009, and those same factories recently restored, as well as some works from recent years. The title DETROIT DISASSEMBLED REVISITED comes from the book published by Damiani in 2010, “Detroit Disassembled”.
Andrew Moore is an American photographer and director. The general public knows him best for his large format photographs taken in Detroit, Cuba and Russia. He employs the formal language of architecture and landscape photography to document issues of social change. In the book “Detroit Disassembled”, the American photographer has portrayed the city’s profound state of crisis at the end of the 2000s, and “we can say that Detroit has become the American version of an open city. It was left to the mercy of hooligans, vandals and forces of nature. There are hundreds, if not thousands, of empty buildings, factories, libraries, hospitals, schools, churches, all abandoned and mostly unattended.” Beginning with his famous project on Detroit, Andrew Moore will give the MAST public a solid narrative, through new photographs, of the decline of what was once the American automobile industry capital, and its recent renaissance.
Parking will be available in the MAST parking lot with entrance from Via Vittoria in front of number 18, subject to availability of parking spots.
Participation is free. Registration is mandatory.
After the conference at MAST the evening continues at Spazio Damiani with the opening of the exhibition DIRT MERIDIAN, Andrew Moore’s latest photographic work on the landscapes of the 100th meridian, the longitude that neatly bisects the United States between the fertile green East and dry brown West.
Via dello Scalo, 3/2
From 7.00 PM
JORGE RIBALTA: THE WORKER PHOTOGRAPHY MOVEMENT
On the occasion of the Jakob Tuggener exhibitions the MAST Foundation is glad to invite to the conference
JORGE RIBALTA: THE WORKER PHOTOGRAPHY MOVEMENT
WEDNESDAY 10 FEBRUARY 2016 AT 6.30 PM
MAST VIA SPERANZA, 42 BOLOGNA
Jorge Ribalta (Barcelona, 1963) is known to our visitors thanks to the images taken in the metallurgic factory in Can Ricart which were on show at MAST in 2014 in the exhibition Human Capital in Industry and later published in the volume Masterworks of industrial photography – Exhibitions 2013-2014 MAST Foundation.
The catalan artist, who is also an important curator and critic, will present the worker photography movement.
Along side the seminal exhibition Hard, Merciless Light. The Worker Photography Movement, 1926-1939 which Ribalta curated 2011 at the Reina Sofia in Madrid he will examine the period of the 20th century in which photography joined forces with various worker movements (ranging from trade unions to the creation of “workers' states” like the Soviet one), motivated by growing working-class consciousness and the idea of taking over the means of production and reproduction of images.
At the end of the conference, there will be a guided visit to the Jakob Tuggener exhibitions with the curator Urs Stahel in the MAST.Gallery.
2015 GD4PHOTOART COMPETITION FINALISTS / FROM ALBUMS TO PHOTO BOOKS
2015 GD4PHOTOART COMPETITION FINALISTS
GD4PhotoArt is a biennial selection of young photographers that aims to document and support image research activities related to industry, the transformations it can effect on society and on the environment and the role of human labour in economic and productive development.
Created in 2007, since 2013 the GD4PhotoArt competition has become part of a far greater project which is being developed within the context of MAST (Arts, Experience and Technology), the innovative multifunction complex adjacent to the historic G.D plant and the headquarters of the Coesia Group in Bologna that offers a range of services to company employees and to the local community. The activities promoted by MAST are coordinated by a non-profit institution, the MAST Foundation, which has been organising the competition together with G.D starting from 2013.
Since 2007, the GD4PhotoArt contest has contributed towards creating a photography collection of young contemporary artists which is part of a more complex and historically-based collection of images on industry and labour.
All activities connected with the collection are now headquartered in a space dedicated to this topic within the MAST Gallery, where exhibitions are set up throughout the year. Within this specific and original project, the competition encourages young photographers who wish to explore modern society. In this context, MAST Foundation also promotes Foto/Industria, the first biennial in the world dedicated to industrial photography, under the artistic direction of François Hébel.
In the last two or three decades, industry in Europe has undergone a huge change. It has taken hold of companies, society as a whole and every individual. Production plants are being moved to far away countries, meaning that we run the risk of also losing the expertise and community and decision-making structures that our societies have developed over centuries. The MAST Foundation – with its Photo Gallery, the photo Collection, the GD4PhotoArt contest and the Foto/Industria biennial – wishes, by way of confrontation with photographs of the world of work, to promote the understanding of collective and economic systems, the power of innovation and a sense of individual and social responsibility. The competition procedures require that the photographers, under forty years of age, are proposed by international experts in the field. Candidates are invited to participate by presenting a project and their portfolio. The jury selects four photographers for the shortlist, who receive a grant to carry out the plan they have submitted. Before the opening of the exhibition the jury convenes again to evaluate the works and appoint the winner, who receives a further prize.
The artists shortlisted for the fourth edition of the competition are: Marc Roig Blesa, Raphaël Dallaporta, Madhuban Mitra & Manas Bhattacharya, and Óscar Monzón. The winner of the current edition is Óscar Monzón.
The jury of the 2013-2014 GD4PhotoArt Award consists of: Isabella Seràgnoli (President of G.D and of the MAST Foundation), Quentin Bajac (MoMA – The Museum of Modern Art, New York), Giovanna Calvenzi (Journalist, Periodici San Paolo, Milan), Giuseppe Ciorra (Maxxi Architecture), Daniela Facchinato (Photographer), Laura Gasparini (Panizzi Photographic Library, Reggio Emilia), François Hébel (Artistic Director, Foto/Industria), Michael Hoppen (Gallery Owner, Michael Hoppen Gallery, London), Piero Orlandi (Institute for Cultural Heritage of the Emilia Romagna Region), Urs Stahel (Curator, Mast Foundation Photo Collection), Roberta Valtorta (Contemporary Photography Museum, Cinisello Balsamo, Milan).
FROM ALBUMS TO PHOTOBOOKS
ITALIAN INDUSTRY IN 120 VOLUMES
SAVINA PALMIERI COLLECTION
First came the album, then the booklet and later the book. For over a century, industry has introduced new ways of using printing in its communications: showpiece albums, advertising brochures, anniversary books, and so on. Companies’ 50th, 100th and 150th anniversaries were often celebrated with lavishly printed and bound self-portraits. Words and pictures combined to represent past achievements and the company’s prosperity. The exhibition uses 120 volumes from Italian industry to trace the development of photography in books. It is also a stroll through Italian industrial photography and the history of Italian enterprises. A number of video projections make it possible to follow the page sequence.
All the books come from the Savina Palmieri collection, Milan.
Industry, now. contemporary photographs from the mast collection
With Industry, Now MAST presents images of contemporary industry as captured in the photos of twenty-four modern artists and photographers, offering a reflection on the representation of the industrial landscape.
Conceived by the curator of MAST’s industrial photography collection, Urs Stahel, the show features work by artists who, following the loss of incisiveness associated with the classic industrial photography of the 1960s and 70s, are now interested in production processes and their links with society, exploring the balance of power and the influence of industry on human beings and on nature.
In his seven-metre-long photograph of a Ferrari production hall, for example, Olivo Barbieri illustrates how the halls are now bright white and decorated with large green "house plants", but also how void of human presence they have become. Henrik Spohler and Vincent Fournier lead us through an increasingly invisible world of data and production in which only signs can help us to orientate ourselves. Carlo Valsecchi photographs contemporary production sites as autonomous sculptures of a "science and industrial fiction". Trevor Paglen would appear to have dedicated himself to purely celestial photography, were it not for the many white stripes that indicate satellite orbits and high-tech military surveillance. In his photographic work entitled "Tokamak Asdex Upgrade Interior 2", Thomas Struth describes high-tech research at the Max Planck Institute. Vera Lutter, on the other hand, continues to dedicate herself to the severity and the power of industrial plants in her dark pinhole-camera images, while Miyako Ishiuchi documents the centuries-old production of silk in Japan from a modern perspective.
Even in post-modern, post-industrial, high-tech times, the ownership and use of the means of production and know-how create different social inequalities. Jacqueline Hassink, Allan Sekula and Bruno Serralongue deal with these social and societal issues and differences, while Ad van Denderen and Jim Goldberg counter the empty, white factories with slow, colourful flows of migration. Ed Burtynsky shows where and how large transport ships are recycled, while the photography of Sebastião Salgado reminds us that as well as robot production sites, there are still areas in the world where work is highly labour-intensive.
Exhibition side event: projection of: “...Stromness...” (duration 12’), made in 2005 by Simon Faithfull, which describes the now abandoned whaling station on the northern coast of South Georgia island, reached by the famous explorer Sir Ernest Shackleton in 1917; and of the docufilm The Forgotten Space by Allan Sekula and Noël Burch (duration 112’), about container shipping – an often obsolete system and a source of serious damage to the planet – , which won the Special Orizzonti Jury Award at the Venice Biennale in 2010.
Events on show
Emil Otto Hoppé: Unveiling a Secret
In a world preview, MAST presents 200 photographs taken in industrial contexts from various countries all over the world by E.O. HOPPÉ, one of the most important photographers of the modern era, eclectic artist and famous portraitist to whom the London National Portrait Gallery dedicated a solo exhibition in 2011.
After exhibiting the David Lynch photographs, the FONDAZIONE MAST (Arts, Experience, Technology) is opening a new exhibition in its Gallery, curated by Urs Stahel, and dedicated to EMIL Otto Hoppé (1878-1972), with over 200 works on industry and labour, taken between 1912 and 1937.
Like his contemporaries Alfred Stieglitz, Edward Steichen, Walker Evans, August Sander, and Edward Weston, Hoppé was one of the most important photographers of his era, also famous for his landscape and travel images. In the twenties and thirties, after having consolidated his reputation as a topographic and portrait photographer depicting famous European artists, scientists and politicians like George Bernard Shaw, Ezra Pound, T.S. Eliot, Rudyard Kipling, George V, Vita Sackville-West, Filippo Tommaso Marinetti, and Albert Einstein, E. O. Hoppé set off on his travels to capture the romance and grandeur of industrial sites around the world. During his explorations – in Germany, Great Britain, the United States, India, Australia, New Zealand and other countries – he photographed the futuristic industrial landscape, seeing its gargantuan machinery as both technology and art. Hoppé was acutely aware of how contemporary industrial technology was heralding the world into a new era where the very nature of work and production would profoundly change.
Emil Otto Hoppé: Unveiling a secret presents for the first time his iconic images of the second industrial revolution and brings Hoppé's work to the attention of the public. This work had remained hidden for a long time in the London photographic archives which had purchased fifty years of works from the artist himself at the end of his long and prestigious career.
Alongside Hoppé's industrial photography on show, in the area dedicated to "side events", MAST will exhibit the rich variety of subject matter in the artist's repertoire with a series of digital projections of other themes from celebrity portraits to nudes and from human typologies to landscapes.
The exhibition, curated by Urs Stahel, is organised by the Fondazione MAST, Bologna, in collaboration with the E.O. Hoppé Estate Collection / Curatorial Assistance, California.
[EVENTS ON SHOW]
SATURDAY 11 SUNDAY 12 APRIL
SATURDAY 18 SUNDAY 19 APRIL
Cycle of screenings on the work of important international photographers, with presentations and guided visits, that will be opened by an exceptional guest: Phillip Prodger, Head of Photographs, National Portrait Gallery, London. Free entry until full capacity. Registration is mandatory.
EVENTS ON SHOW
Cycle of screenings on the work of important international photographers, with presentations and guided visits, that will be opened by an exceptional guest: Phillip Prodger, Head of Photographs, National Portrait Gallery, London.
Free entry until full capacity. Registration is mandatory.
Saturday 11 April
- 17:00Presentation of the book E. O. HOPPÉ – THE GERMAN WORK by Phillip Prodger, Head of Photographs, National Portait Gallery, London
- 18:00Projection of the film THE PHOTOGRAPHERS BERND AND HILLA BECHER by Marianne Kapfer
- 20:00Projection of the film FINDING VIVIAN MAIER by John Maloof and Charlie Siskel
Sunday 12 April
- 16:30Guided visit to the exhibition EMIL OTTO HOPPÉ – UNVEILING A SECRET with Phillip Prodger
- 18:00Projection of the film WAR PHOTOGRAPHER by Christian Frei
- 20:00Projection of the film ANNIE LEIBOVITZ: LIFE THROUGH A LENS by Barbara Leibovitz
Saturday 18 April
- 18:00Projection of the film THE PHOTOGRAPHERS BERND AND HILLA BECHER by Marianne Kapfer. Gianluca Farinelli, Director of the Cineteca di Bologna, will introduce the screening.
- 20:00Projection of the film FINDING VIVIAN MAIER by John Maloof and Charlie Siskel. Gianluca Farinelli, Director of the Cineteca di Bologna, will introduce the screening.
Sunday 19 April
- 18:00Projection of the film WAR PHOTOGRAPHER by Christian Frei
- 20:00Projection of the film ANNIE LEIBOVITZ: LIFE THROUGH A LENS by Barbara Leibovitz
DAVID LYNCH: THE FACTORY PHOTOGRAPHS
3 SHORT FILM: INDUSTRIAL SOUNDSCAPE, BUG CRAWLS, INTERVALOMETER: STEPS
AND A SOUND INSTALLATION: THE AIR IS ON FIRE_ I (Station) .
SEPTEMBER 17 – DECEMBER 31, 2014, TUESDAY – SUNDAY 10 AM – 7 PM
MAST presents the Italian debut of the The Factory Photographs by David Lynch.
These black-and-white photographs exude Lynch's fascination with factories, his obsession with smokestacks, chimneys, machinery, darkness and mystery. For more than 30 years now, David Lynch has been photographing derelict monuments of industrialization: brick structures with arches, cornices, domes, and towers, with portals and high windows, resemble cathedrals. These are remnants of a lost world, when factories were proud milestones of progress, today deserted wastelands, scenarios for stories loaded with the emotional aura so characteristic of Lynch.
The photographs were shot between 1980 and 2000, depicting factories in and around Berlin and in Poland, England, New York City, New Jersey and Los Angeles. It is as if the soot, or the vapors and fine dust of the place have deposited themselves onto their surface: they look like charcoal drawings, haptic, the graphic lines in inky black and shades of gray. In a captivating way, the photographs reveal the unmistakeable hand of Lynch: magical, surreal imagery resemble dreamlike sequences in subjects, moods, and nuances of colour. They evoke the labyrinthine, brooding and enigmatic quality of his films.
David Lynch, an icon of American cinema, was born in Missoula, Montana in 1946 and lives in Los Angeles. A director, screenwriter and producer, he is also an accomplished painter, musician, designer and photographer. He initially devoted himself to painting: in 1966 he attended the Pennsylvania Academy of Fine Arts in Philadelphia, where he created his first short film. He later moved to Los Angeles. Lynch's first film, Eraserhead (1977) became a "cult classic". The Elephant Man (1980), Blue Velvet (1986) and Mulholland Drive (2001) each brought him an Oscar nomination for Best Director. Dune (1984), Wild at Heart (1990), Lost Highway (1997), The Straight Story (1999), INLAND EMPIRE (2006) and the television series Twin Peaks (1990 -1991) have been honoured with numerous awards.
Exhibition curated by Petra Giloy-Hirtz, in collaboration with MAST and the Photographers' Gallery.
As part of the exhibition, some of Lynch's short films will be shown in a continuous loop: Industrial Soundscape, Bug Crawls, Intervalometer: Steps.
The big images are archival pigment prints
The small images are archival silver-gelatin prints
Visita al Mast
HUMAN CAPITAL IN INDUSTRY
From the MAST Collection of Photography on Industry and Labour
Industrialisation has fundamentally changed the way we live: it is a transformation that began in Europe in the mid-eighteenth century and spread across the world. These changes were so significant that the term "Industrial Revolution" was coined to describe them. Gradually, over the course of 250 years, industrial modes of production came to complement and replaced agrarian and artisan forms of labour. Today, industrialisation dominates not only the primary and secondary sectors (the exploitation of natural resources and production) but is also a prevalent force in the service, leisure and culture industries as well as in the waste-management industry.
However, to say that the revolutionary influence of industrialisation is limited to the economy ignores the bigger picture. It transformed society as a whole, our knowledge, the way we think, the way we operate – our entire way of life. Before industrialisation, humans lived and worked in accordance with natural processes and life cycles. The rhythm of their days and years was determined by the changing seasons, the rising and setting of the sun. In the industrialised world, production forces dictated, when it was time to get up and go to work, introducing the notion of "factory time". For the first time in human history, industrial production quantified and regulated working hours and leisure hours – through factory whistles, entry controls and time cards.
Industrialisation has also changed the distance between home and work, and thus the relationship between urban and rural areas. Historically, living and working formed a unit because they happened in the same place, or at least within the same area. Industrialisation and the changes it brought to the labour market forced workers to travel further and further, or even migrate, in order to seek employment. The balance of power shifted from rural to urban areas.
On the other hand, industrialisation liberated many people by lifting the yoke of serfdom that farmers laboured under and relaxing the strict and rigid regulations artisan guilds imposed on their members. Concepts such as hygiene and progress might not have entered our vocabulary if not for industrialisation. But all these progressive developments came for some at a heavy price: the wealth of a few was built on the impoverishment of another part of the population.
In short, industrial production has wrought enormous changes in our existence. Conversely, industrial production would not have been possible without the human element, without workers. At least until a very short time ago, until the most recent push of automation, man and machine, industry and human labour formed a significantly tight-knit unit. Even today, the HR manager remains an important authority in any company.
United by this bond, large industries such as engineering industries came to function as communities in themselves, bringing together 200, 250 or even 300 different trades and professions with armies of apprentices. Canteens or staff restaurants fed and continue to feed the multitudes. In the early 1900's, the German institution of the Wohlfahrtshaus began to offer showers and baths as well as entertainment and education. Bayer Leverkusen is just one of many football clubs to be named after a company.
There have always been two types of industry: on the one hand there are those that treat their staff, workers and employees (or human resources, as they are often called today) with a lot of care and respect, and who are willing to go to great lengths to ensure their health and safety; on the other there are those that have little regard for the people they hire, the methods they use to do so, or the timescales and conditions of their employment. Accordingly, the relationship between employers and employees has always been marked by negotiations, demands, disputes and strikes in the fight for humane working conditions, improved safety regulations, higher wages and shorter working hours. Industrial history is also the history of industrial action and organised labour.
The Human Capital in Industries exhibition showcases more than 200 photographic images (commissioned work, socially conscious representations and artistic statements) from the Fondazione MAST collection in an attempt to address the various issues relating to the past and present of industries and labour, industrialists and employees, human resources and human capital.
It shows men at work in mines, in the metal and machine industries, in textile mills, building transport routes – roads, railway lines, ships – and generating energy. 19th century work processes are compared with those of the 20th and 21st centuries. Real-life working conditions in the Western world are pitted against the euphoric vision of work in the Soviet Union. Hierarchies – from blue collar to white collar to engineers, executives, management and company owners – are made visually salient. But the photographs on display also address topics such as the commute from home to work and back again, health and safety issues and the concept of (working) time, which was structured once and for all by the forces of industrialisation. Again and again, social progress only came as the result of hard-won battles. Occasionally workers even had to go on strike.
Some of the photographers are anonymous, we have no idea who they were, while other images were taken by photographers employed by companies or factories. Finally, some photographers who have since become famous also took on this subject, among them, Margarete Bourke-White, Robert Doisneau, David Goldblatt, Brian Griffin, Jacqueline Hassink, Erich Lessing, Jercy Lewczyński, Ugo Mulas, Jorge Ribalta, August Sander, Josef Sudek, Larry Sultan/Mike Mandel, Jakob Tuggener, and many others.
UMBERTO ECO’s LECTIO MAGISTRALIS AT MAST
LECTIO MAGISTRALIS BY UMBERTO ECO AT MAST 10 APRIL 2014
Umberto Eco's Lectio Magistralis "Reflections on Pain" took place at MAST in Bologna on the occasion of the consignment of the Diplomas of the Masters degree in palliative medicine and the advanced course in paediatric palliative care organized by the Academy of Science in Palliative Medicine and the University of Bologna.
Umberto Eco's lecture will be published in ASMEPA (Accademia delle Scienze di Medicina Palliativa) Edizioni's book series "Incontri".
INDUSTRIAL WORLD 014
The MAST Collection of Photography on Industry and Labour is the first of its kind in the world, and is growing continually with new acquisitions, some of which were presented in the first show in 2014. The exhibit is divided into five thematic sections, and is curated, along with the exhibition space, by Urs Stahel:
1. WORK , WORKER: a portrait of the labourer and the image of the industrial landscape are presented as they change over the course of time, from the beginning of the twentieth century to present day.
2. INDUSTRIAL AREA, INDUSTRIAL PLANT: the theatre of industrial production is discussed through pairs of contrasting images: "The past and today."
3. LIGHT AND SHADE: the black, fiery, dark factory of the past, overflowing with workers and the white, sterile, bright and empty pavilions of today.
4. VISIBILITY/INVISIBILITY: the contrast between the early massive heavy machinery, and its visibly comprehensible processes, and the mute, enigmatic, aseptic modern production tools.
5. FLOW OF ENERGY, FLOW OF TRAFFIC, FLOW OF DATA: no industrial production process can do without energy, transport, handling of raw materials, semi-finished and finished goods, and now data and communication flows between man, machine and equipment.
With these five chapters, the MAST Foundation has begun to write a history of industry and labour with images by the major photographers who have documented their inception and evolution until now.
We live in the western world, in what is generally referred to as the post-industrial era. Many factories have been closed and production processes delocalized. Europe is changing face, turning itself into a great service providing continent.
The concept of post-industrial is only effective, however, if we relate it to the fact that, despite having moved many enterprises to Asia and delocalized production processes, we continue to derive profit from the economic results obtained. It is less fitting if we consider that the cardinal points are still those of an industrial type economy: inventiveness, investment, production.
In the past, society has often experienced a certain unease in its relationship with industry. It was clear right from the start, and continues to be so, that industry responds to our needs, brings enormous benefits, creates prosperity and makes our lives easier. But how do we talk about it? It is evident to everyone how pleasure in beautiful things is strongly embedded in our society. We talk about the beauty of the landscape, of works of art, fashion, beautiful people, beautiful cars. In contrast, we speak much less willingly when referring to production processes. It is as if a recurring image, evoked by the heavy industry of the past, still loomed over the entire sector of industrial production. So, if on the one hand we readily discuss extraordinary results and exceptional products, on the other we tend to overlook the difficulties production and producers encounter. And in some circumstances industry is alluded to as society's grey area. This can be seen in the controversial relationship with images of the industrial world.
For decades, photos of factories have been treated with total indifference and it was not uncommon for them to be thrown away when a company moved site. It is only recently that we have started to re-evaluate and retrieve them, thus realising we have eliminated the evidence of almost half of the world, the history, the universe of industrial production: a world that provides a valuable key to under stand our lives, our thought and our activities.
FOCUS ADRIANO OLIVETTI
FOTO/INDUSTRIA 01 (Bologna, 2013)
The first edition of the Biennale FOTO/INDUSTRIA was held 3 to 20 October 2013 (the exhibition at MAST was open until January 1, 2014).
The Biennale is the first initiative of its kind in the world to be devoted to industrial, corporate and work photography, with the aim of representing one of the main dimensions of contemporary life and of stimulating reflection on the working world.
The images, taken by photographers of international standing, offer visitors some glimpses of the development of industrial production from the 20th century through to the present day, and with an eye to the future.
The Biennale has been organised in conjunction with Les Rencontres de la Photographie d'Arles, with the artistic direction of Francois Hébel, who has drawn up a programme with content areas such as: Retrospectives on Industrial and Corporate Work, Exhibition of a Project, The Legends of Corporate Photography, Conceptual Projects, Collections.
The photographs are on display in seventeen exhibitions in 10 venues emblems of culture in Bologna, and at MAST, which, with the opening in October, will also offer the city an area of industrial photography with the exhibition Industrial Worlds, curated by Urs Stahel.