UNIFORM: INTO THE WORK / OUT OF THE WORK is the new exhibition project of Fondazione MAST. Curated by Urs Stahel, it is dedicated to work uniforms and it shows, through over 600 pictures by great international photographers, the many types of clothing worn by workers in different historical, social and professional contexts. Designed to distinguish those who wear them, on the one hand uniforms signal membership of a category, an order or a corps, without distinction of class or background, on the other hand they can also highlight the wearer's separation from the community. The word "uniform" simultaneously reveals inclusion and exclusion.

UNIFORM: INTO THE WORK / OUT OF THE WORK includes a group exhibition on work uniforms in the images of 44 photographers and a solo exhibition by Walead Beshty that brings together hundreds of portraits of art world insiders, whose extremely diverse, unconventional professional clothing seems to comply with a sort of tacit code of the anti-uniform.

 

Artists in the exhibition:

PAOLA AGOSTI, SONJA BRAAS, SERGEY BRATKOV, MANUEL ÁLVAREZ BRAVO, ULRICH BURCHERT, SONG CHAO, CLEGG & GUTTMANN, HANS DANUSER, BARBARA DAVATZ, RINEKE DIJKSTRA, ALFRED EISENSTAEDT, WALKER EVANS, ARNO FISCHER, ROLAND FISCHER, ANDRÉ GELPKE, WERONIKA GESICKA, BRAD HERNDON, LIU HEUNG SHING, GRACIELA ITURBIDE, TOBIAS KASPAR, HERLINDE KOELBL, HIROJI KUBOTA, L.G. ROSE COMMERCIAL PHOTOGRAPHER, ERICH LESSING, DANNY LYON, DOUG MENUEZ, MARIANNE MUELLER, NASA PHOTOGRAPHS, HELGA PARIS, PAOLO PELLEGRIN, IRVING PENN, ANDRI POL, MARION POST WOLCOTT, TIMM RAUTERT, HERBERT RITTS, JUDITH JOY ROSS, SEBASTIÃO SALGADO, AUGUST SANDER, OLIVER SIEBER, HITOSHI TSUKIJI, ALBRECHT TÜBKE, FLORIAN VAN ROEKEL, STEPHEN WADDELL

SATURDAY, FEBRUARY 22
MAST.AUDITORIUM

7 PM

SANGUE BLEU
by Nino Oxilia

ITA/1914, 55’

Piano accompaniment by Daniele Furlati

Silent film

Blue Blood is a conjugal melodrama of betrayal and abandonment, a story of thwarted maternal love, an intrigue of female degradation finally redeemed by the nobility of blood and emotion. It was quite popular in its day, but its charm still remains today thanks to the sophisticated staging entrusted to one of the greatest directors of Italian silent films, Nino Oxilia, who conveyed the delirium of the bourgeois elegance of the 1910s, and the acting of Francesca Bertini, who modulates every nuance of suspicion, pain, love and despair, making her way through a world of silks, furs, flowers and palms – languid traces of an ancient world which Bertini faces with the strength of an imperious, passionate and modern female character.

8 PM

SHANGHAI EXPRESS
by Josef von Sternberg

USA/1932, 80’

o.v. with Italian subtitles

In the luxurious first class section of the train travelling from Beijing to Shanghai in a China torn by civil war, several seemingly respectable travellers take their seats, including two infamous adventurers, the white Shanghai Lily and the Chinese Hui Fei, whose presence raises a scandal. The English officer Donald Harvey sees in Lily – played by Marlene Dietrich – a woman he loved a few years earlier and who he still loves, Magdalen. Along the way, the train is stormed and kidnapped by revolutionaries who demand the immediate release of one of their men in exchange for Harvey, taken hostage. At this point, though, Lily offers herself to the leader of the gang in order to have the man she loves freed. An exotic adventure melodrama, Shanghai Express is Marlene Dietrich's third Hollywood film with Josef von Sternberg at Paramount, after Morocco (1930) and Dishonored (1931).

Free admission, upon reservation 
CLICK HERE to book

SUNDAY, FEBRUARY 23
8 PM
MAST.AUDITORIUM

MY DARLING CLEMENTINE
by John Ford

USA/1946, 97’

o.v. with Italian subtitles

Wyatt Earp and his brothers Morgan and Virgil ride to Tombstone on horseback, leaving brother James to guard the herd. On their return they find James dead and the herd gone. Thirsting for revenge, Wyatt becomes sheriff of the town with his brothers as his deputies. His goal is to find James's killers. One day Wyatt meets the owner of a charm that belonged to his dead brother. The hour of vengeance is near.
A milestone of the cinema of all time. Ford tells a historical episode (taken from many other films), but manages to give it the epic dimension of a legend.

Free admission, upon reservation
CLICK HERE to book

_____________________________________________________________________________________________
PAST EVENTS


SATURDAY, FEBRUARY 15

8 PM

MAST.AUDITORIUM

KID AUTO RACES AT VENICE

by Henry Lehrman
USA/1914, 7’

Cortometraggio muto

In this comedy spectators saw Chaplin's Tramp character for the first time. Kid Auto Races at Venice is invaluable also because it shows the reactions of Chaplin's first audience – the race spectators – to the comic work of the Tramp. Kid Auto Races at Venice was shot at the second Pushmobile Parade, an annual children's car race held on Sunday, 11 January 1914 in Venice, California. The comedy of this improvised film (apparently shot in only 45 minutes) is derived from the Tramp's continuously getting in the way of the film crew intent on filming the event.
At first the spectators don't know what to make of the funny little man. Is he truly a nuisance? As the action continues, their perplexity is transformed into actual fun. Unlike other screen comedians, Chaplin immediately takes his audience's side.
 

THE KID

by Charles Chaplin

USA/1921, 68’

Silent film

A masterpiece written, produced and directed by Charles Chaplin, who for the first time made viewers all over the world laugh and cry, mixing farce and poetry, melodrama and slapstick comedy and recounting the human condition and deep feelings through the Dickensian story of an abandoned child and a reinvented family. 

A young woman, seduced and abandoned, finds herself with a newborn she doesn't know how to raise. She leaves him in a luxury car hoping that the owner will give him a better life than she could offer him. But two thieves steal the car and abandon the child in a rundown neighbourhood. The Tramp finds him and then tries unsuccessfully to get rid of him. He'll end up looking after him as his "assistant" and struggling to get him back when social services try to take him away. This first feature film by Chaplin is autobiographical: the character of the kid represents little Chaplin, who for two years stayed in an orphanage while his mother was locked in a hospital. The loft in the film is identical to the one at Pownall Terrace where Chaplin experienced the same misery as the kid.



 

SUNDAY, FEBRUARY 16

8 PM 

MAST.AUDITORIUM

FOOLISH WIVES

by Erich von Stroheim

USA/1921, 80'

Silent film - Silent film - Piano accompaniment by Daniele Furlati

Monte Carlo, 1920: this is the home of the exiled Russian aristocrat Wladislaw Sergius Karamzin, his two cousins and the maid. The latter is in love with Wladislaw, but he exploits her devotion by promising to marry her. With the arrival of an American diplomat, the nobleman tries to seduce his wife, to extort a large sum of money from her, while also having an affair with a forger's disabled daughter.

Foolish Wives is "the first million-dollar film" (as advertised by the production company, Universal).

Erich von Stroheim demanded that parts of the city be faithfully rebuilt in Hollywood. The casino cost more than $200,000 to replicate. Hence Stroheim's realism, i.e. precise scenery and a maniacal attention to detail: the buttons of the uniforms, the workmanship of the dress (since clothes make the man).

The moral decay of a world that had just gotten out of war and an aristocratic society that has lost its codes of reference is beautifully embodied by the ambiguous Karamzin, the absolute focus of the film, a fascinating and dangerous seducer. His officer's mask, his obsessions, his turbid and beastly instincts became the trademark of a cinema that was not prone to compromise and, for this reason, destined to be destroyed. As with almost all of Stroheim's works, Foolish Wives was the subject of significant censoring in post-production yet achieved an unusual and resounding public success.

EDUCATING FOR CREATIVITY

For the centennial of Gianni Rodari's birth, the MAST Foundation is promoting two events that revisit the life and works of the most important children's writer of the 20th century. In the spring of 1970, precisely in Bologna, he was awarded the Hans Christian Andersen Award, the international prize for children's fiction, while the award for best illustrator went to the American Maurice Sendak. The words and drawings in the children's stories of these two authors have become a collective heritage. Rodari is one of the most translated contemporary authors in the world, just as Sendak's illustrated books appear on the shelves of the planet's bookstores.

Remembering Gianni Rodari and reflecting on his works means promoting reading as an indispensable tool for growth, for the development of critical thinking and creativity. The images of the many artists who have illustrated his works also represent a primer for aesthetic education. Educate through literature and art; plant seeds and take care of them to help develop one's sixth sense, the sense for culture: this is what Gianni Rodari, journalist, poet, narrator and pedagogue invites us to do.

In partnership with
Accademia Drosselmeier
Comitato Nazionale Centenario Gianni Rodari

SATURDAY 22 FEBRUARY 2020
11 AM
MAST.AUDITORIUM

ECOLOGY OF CREATIVITY 
STARTING WITH GIANNI RODARI

Marco Antonio Bazzocchi
Università di Bologna

Creativity as the centre of many topics and a long tradition of thought that leads to Rodari, bringing together play, irony, childhood and language.

Free admission upon reservation
CLICK HERE to register 

SATURDAY 21 MARCH 2020
11 AM
MAST.AUDITORIUM
 

THE GRAMMAR OF FANTASY
REREADING GIANNI RODARI'S REVOLUTIONARY ESSAY

Grazia Gotti
Chairwoman, Gianni Rodari Centennial National Committee

RODARI FULL COLORS
FROM MUNARI TO CONTEMPORARY ILLUSTRATORS

Silvana Sola
Higher Institute for Artistic Industries of Urbino

Free admission upon reservation
CLICK HERE to register 

THURSDAY, 27 FEBRUARY
9 PM
MAST.AUDITORIUM

CONCERT

BASSEKOU KOUYATÉ & NGONI BA
MIRI

lead ngoni Bassekou Kouyaté
lead vocalist  Amy Sacko
ngoni bass Mamadou Kouyaté
percussion (yabara, tama) Mahamadou Tounkara
calebasse, hi-hat, cymbals Moctar Kouyaté
ngoni medium  Abou Sissoko
duration 1 hour and 15 minutes

MAST VIE is back, the festival of theatre, dance, music and performance organised by the Emilia Romagna Theatre Foundation, this year in its 15th edition, with the concert Miri featuring Bassekou Kouyaté & Ngoni Ba. Kouyaté is certainly one of the greatest masters of the ngoni, an ancient four-stringed West African instrument made with a squash and goatskin, which takes its name from the Ngoni, a population where the oral tradition of the griot, the singers of West Africa, is very strong. Kouyaté was born in a small village along the banks of the Niger and has been a musician since the 1980s. He is a virtuoso, an innovator and a spokesman for tradition. A world music icon and winner of the BBC Music Award, Kouyaté has played with some of the greatest artists of different genres over the years. He accompanied Mali superstar Ali Farka Touré on his last tour in 2005 (the same year Kouyaté founded Ngoni Ba). But he has also shared stages with the likes of Damon Albarn (Blur), John Paul Jones (Led Zeppelin), Bono and Sir Paul McCartney.

Bassekou Kouyaté is capable of bewitching the world with the impure resonances of his ngoni, an instrument he has produced in different sizes and tunings, and which he has electrified by revolutionizing the way it is played, standing upright, going against centuries of tradition. Ngoni Ba, the group of musicians and singers who accompany him on stage – including the splendid voice of Amy Sacko, Bassekou's wife – weaves and embroiders sounds, expanding and renewing the expressive spectrum of the instrument along the lines of a tradition that has always been both eclectic and mestizo. The band's latest album, Miri, which is also the title of this concert, is a tribute to love, family and friendship. The instrumental song of the title flows like a river: rhythmic, calm, but also thorny and inexorable. For this record Kouyaté returned to his hometown, and the instrumental Miri recounts the feelings that accompanied this return: Bassekou Kouyaté sits on the bank of the Niger, away from all the noise, traffic and political turbulence of Bamako and ponders life.

In collaboration with 

Free admission, upon reservation
CLICK HERE to register

VENERDÌ 28 FEBBRAIO 2020
MAST.AUDITORIUM

ORE 18.30
UNIFORM. INCONTRI CON GLI ARTISTI
 

OLIVER SIEBER
MY IMAGINARY CLUB
con Katjia Stuke

Oliver Sieber (Düsseldorf, Germania, 1966) e Katja Stuke (Telgte, Germania, 1968) sono fotografi, curatori e organizzatori di mostre, designer ed editor di libri d’arte. 
L’artista tedesco presenterà la sua attività a partire dalle due serie di scatti "SkinsModsTeds" e "J_Subs" che fanno parte della mostra UNIFORM INTO THE WORK/OUT OF THE WORK al MAST. 
Con Katja Stuke, con cui da tempo collabora, esaminerà il tema della moda e dell'identità, l'idea di un'identità universale basata sulla musica, la sottocultura e lo stile, e parlerà delle relazioni tra ritratto e contesto sociale. 
I due fotografi presenteranno inoltre le serie "Character Thieves" e "Imaginary Club" e le opere "For Sale" e "Album" recentemente pubblicate da Sieber e il loro progetto "Japanese Lesson" (Museum für Kunst und Gewerbe, Hamburg). Tre le loro mostre più recenti: "Sequence as a Dialog" (Kunsthalle di Brema), "You and Me" (Krakow Photomonth Festival), "Photobook Phenomenon" (CCCB di Barcelona).
Le opere di Oliver Sieber sono state esposte al CCCB di Barcellona, alla Photographers' Gallery di Londra, al Die Photographische Sammlung di Colonia, al Fotomuseum di Winterthur, al Bundeskunsthalle di Bonn, al Festival della Moda e della Fotografia di Hyères. 

Ingresso gratuito con prenotazione obbligatoria
Per registrarsi CLICCARE QUI

ORE 21
PROIEZIONE

MACHINES
di Rahul Jain
(India, Germania, Finlandia/2016, 75’)

In collaborazione con Human Rights Nights

Uno sguardo intimo che osserva i ritmi di vita e di lavoro in una gigantesca fabbrica tessile nella regione del Gujarat, in India. Muoversi attraverso i corridoi e le viscere dell'enorme struttura disorienta, coinvolgendo lo spettatore in un viaggio disumanizzante e di disagio intenso, per provocare una riflessione profonda sulle condizioni di lavoro pre-industriali persistenti nei paesi in via di sviluppo. Dal 1960 l'area di Sachin, in India occidentale, ha subito un'industrializzazione non regolamentata senza precedenti, esemplificata dalle numerose fabbriche tessili. Con un forte linguaggio visivo, le immagini memorabili e le interviste accuratamente selezionate, raccontano una storia di disuguaglianza e di oppressione, di esseri umani trattati come macchine.

Ingresso gratuito con prenotazione obbligatoria
Per registrarsi CLICCARE QUI
 

Foto
- Oliver Sieber, Fukatsu, dalla serie "J_Subs Osaka" 2006
- Oliver Sieber, Kunito, dalla serie "J_Subs Osaka" 2006

In recent times, the growing interest in ecological issues has been focusing attention on topics such as the management of environmental resources and the impact of climate change, leading to a rethinking of lifestyles, production and consumption adopted by contemporary societies. In addition to the development of legal and political regulations in the short term, however, what seems crucial in the medium and long term is the definition of new educational models that make all citizens, from early childhood, aware of the need to have a non-instrumental relationship with nature. This does not imply to renounce new technologies which, on the contrary, must serve the cause of environmental sustainability.
The result of a collaboration between Fondazione MAST and Fondazione Collegio San Carlo of Modena, these four lectures will address some aspects of the relationship between education and the environment – in terms of landscape and ecosystem – trying to find an answer to a basic question: can nature still be conceived as a space of learning and knowledge, as a place where children, teenagers and adults can experience themselves and their relationships with others?

Free admission to all the lectures, upon reservation

TUESDAY 3 MARCH 2020
6 PM
MAST.AUDITORIUM

Educazione alla natura e alla socialità. Il Parco Arte Vivente di Torino
Orietta Brombin
Curatrice attività educative e formative – Parco Arte Vivente, Torino

To register CLICK HERE

TUESDAY 24 MARCH 2020
6 PM
MAST.AUDITORIUM

Dal visto al vissuto. Il paesaggio come spazio dell’educazione
Gianluca Cepollaro
Direttore – Scuola per il Governo del Territorio e del Paesaggio, Trento

To register CLICK HERE

TUESDAY 21 APRIL 2020
6 PM
MAST.AUDITORIUM

Biorobotica. La robotica bioispirata e i suoi impieghi sociali
Barbara Mazzolai
Direttrice – Centro di Micro-BioRobotica, Istituto Italiano di Tecnologia, Pontedera

To register CLICK HERE

___________________________________________________________________________________________
PAST EVENTS

SATURDAY 7 MARCH 2020
4 PM

Azur et Asmar
by Michel Ocelot
France, Belgium, Spain, Italy, 2006, 95'

Azur has blue eyes, Asmar's are black as night. The former is the son of an icy nobleman, the latter of a loving nurse who raises the children as brothers, telling them both every night as they fall asleep the legend of the Djinn fairy who awaits in a hidden prison for a young man who will free her. But one day Azur's father sends him away from home to study and drives his nurse and little Asmar away from his home. Only once he becomes an adult will Azur embark on a journey to the East to find his loved ones and free the Djinn fairy. Premièred at the Cannes Film Festival, the film goes against the trend of the historical use of three-dimensionality, preferring expressive purity and simplicity to spectacular effects. A film about the search for identity and diversity that captivates young and old alike.

Free admission, upon reservation

SATURDAY 28 MARCH 2020
4 PM

Il Ragazzo Invisibile
by Gabriele Salvatores
Italy, 2014, 100’

Michele, a teenager like many others who lives in a quiet town by the sea, doesn't have an easy life at school and doesn't excel in sports. One day, however, he makes an extraordinary discovery: he looks in the mirror and discovers that he's invisible! The initial shock is replaced by euphoria, until the many events and dangers convince him that magic has nothing to do with it and that the sudden super-power, which Michele soon learns to control, concerns a series of mysterious kidnappings and perhaps even the origins of his family and his father. The most incredible adventure of his life is about to begin. The invisible boy is a science fiction film that incorporates a great reflection on the dreams, desires and fears of a young boy who still believes in fairy tales and legends. The film is the first of two chapters featuring the character of the invisible boy. Winner of two Silver Ribbons and a David di Donatello for visual effects, the film also won the prestigious European Film Award in 2015: Young Audience Award.

Free admission, upon reservation


_____________________________________________________________________________________________
PAST EVENTS
 

SATURDAY 1 FEBRUARY 2020
4 PM

Khumba
by Anthony Silversone
South Africa, 2013, 85’

A half-striped zebra is born into an insular, isolated herd obsessed with stripes. Rumors that the strange foal is cursed spread and, before long, he is blamed for the drought that sets into the Great Karoo. When even his father, the leader of the herd, blames him for the lack of rain and the subsequent death of his mother, the outcast zebra leaves the confines of his home knowing that he cannot survive in the herd without all his stripes. Khumba ventures beyond the fence - vulnerable to the ferocious Leopard, Phango, who controls the waterholes and terrorizes the animals in the Great Karoo. Khumba is rescued from an opportunistic wild dog by a quirky duo: a wildebeest and an ostrich. Mama V is a self-confessed free spirit who does not want to be the average stay-at-home mom, like other wildebeest. Ironically, she mothers Bradley, a flamboyant but insecure ostrich who overcompensates for his scraggily feathers. When a mystical mantis appears to the foal, drawing a map to what could be...

SATURDAY 15 FEBRUARY 2020
4 PM

Spider-Man – Into the Spider-Verse
by Bob Persichetti, Peter Ramsey and Rodney Rothman
USA, 2018, 117’

Miles Morales is a graffiti-loving teenager who lives in New York City and admires Spider-Man, unlike his father, a cop who frowns on the superhero and his acting outside the law. One day Miles is bitten by a radioactive spider and the next morning he realises he has developed Spider-Man-like abilities, including increased agility, height and the ability to stick to walls. Miles thus becomes an Afro-Hispanic Spider-Man and will have to save New York together with other Spider-Men from different space-time universes. Spider-Man - Into the Spider-Verse is the first animated film starring Spider-Man, based on the Spider-Verse comic book and the TV series The Amazing Spider-Man. The film won the Oscar for Best Animated Film in 2019 for the originality of its story and graphics.