{"id":16669,"date":"2022-04-12T18:02:15","date_gmt":"2022-04-12T16:02:15","guid":{"rendered":"https:\/\/italics.art\/?page_id=16669"},"modified":"2024-06-12T21:11:27","modified_gmt":"2024-06-12T19:11:27","slug":"panorama-monopoli","status":"publish","type":"page","link":"https:\/\/italics.art\/en\/panorama\/panorama-monopoli\/","title":{"rendered":"Panorama Monopoli"},"content":{"rendered":"\n
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The city-wide exhibition curated by Vincenzo de Bellis brought ancient, modern and contemporary art to the town of Monopoli.<\/h1>\n<\/div>\n\n\n\n
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“Panorama Monopoli”. Photo: Piero Percoco<\/figcaption><\/figure>\n\n\n\n
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12,000 visitors over four days admired the works of 60 artists spread throughout the city in 16 different exhibition venues. The second edition of the widespread exhibition “Panorama” was held in Monopoli (Bari)<\/a> from Thursday, Sept. 1 to Sunday, Sept. 4, 2022, curated by Vincenzo de Bellis, Curator and Associate Director of Programs, Visual Arts at the Walker Art Center in Minneapolis, recently appointed as Director, Fairs and Exhibition Platforms of Art Basel.<\/p>\n\n\n\n

\u201cPanorama\u201d, the special story that ITALICS dedicates periodically to some of the most extraordinary places in the Italian landscape, launched its first edition <\/a>in 2021 on the wonderful island of Procida<\/a>, offered a new itinerary of ancient and contemporary art and architecture, accompanied by a schedule of informative side events, performances and special projects open to the public.<\/p>\n<\/div>\n<\/div><\/div>\n\n\n

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S. Angelo in Borgo, Monopoli. Photo: Piero Percoco<\/figcaption><\/figure>\n<\/div>\n\n\n
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\u201cPanorama Monopoli\u201d was conceived as a vast choral event inspired by the Greek concept of xenia<\/em>. Each of the selected works made a contribution by offering multiple interpretations of universal themes that have been drivers of creativity for artists from different eras, and have engaged human minds for about seven centuries. For the Greeks, the term xenia<\/em> summed up the meaning of hospitality and the relationship with the foreigner, governed by basic rules of behavior, such as the custom of paying homage to the guest with a \u201cfarewell gift\u201d to testify that he had enjoyed his visit. In a sense, xenia<\/em> is a form of ritualized friendship based on reciprocity.<\/p>\n<\/div>\n<\/div><\/div>\n\n\n

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Porto Antico, Monopoli. Photo: Piero Percoco<\/figcaption><\/figure>\n<\/div>\n\n\n
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The itinerary of \u201cPanorama Monopoli\u201d was planned to harmoniously work with the architecture and natural landscape, inviting viewers to lose themselves in the formal solutions and different themes. The stagings encouraged multiple dialogues between artists of different generations or eras, alternating with monographic presentations dedicated to contemporary artists.<\/p>\n\n\n\n

The exhibition itinerary encompassed the ancient historic center of the Adriatic town and entails twenty exhibition venues<\/strong>, including the main churches of the village, such as the Church and former monastery of Santi Giuseppe e Anna<\/strong>, with its wonderful majolica floor; the nerve centers in the urban fabric, such as Piazza Palmieri,<\/strong> hosted a performance; Piazzetta Santa Maria<\/strong> and Largo Castello<\/strong>, and the more intimate spaces of the Cloisters, alleys, gates and votive aedicules<\/strong> in the lanes of the historic center housed site-specific installations.<\/p>\n\n\n\n

DOWNLOAD THE AGENDA AND THE EXHIBITION MAP<\/a><\/h5>\n<\/div>\n<\/div><\/div>\n\n\n
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Castello Carlo V, Monopoli. Photo: Piero Percoco<\/figcaption><\/figure>\n<\/div>\n\n\n
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Among palaces, churches, squares, votive aedicules hidden in alleys and chiassi, the exhibition presented 70 works from the 15th century to the present, created by 60 international artists from different eras, generations and nationalities: Mario Air\u00f2 <\/strong>(Pavia, Italy, 1961), Francesco Arena <\/strong>(Torre Santa Susanna, Brindisi, Italy, 1978), Stefano Arienti <\/strong>(Asola, Mantua, Italy, 1961), Gianfranco Baruchello <\/strong>(Livorno, Italy, 1924), Luca Bertolo <\/strong>(Milan, Italy, 1968), Paolo Bini <\/strong>(Battipaglia, Salerno, Italy, 1984), Alighiero Boetti <\/strong>(Turin, Italy, 1940 \u2013 Rome, Italy, 1994), Pier Paolo Calzolari <\/strong>(Bologna, Italy, 1943), Duilio Cambellotti<\/strong> (Rome, Italy, 1876 \u2013 1960), Mariana Castillo Deball <\/strong>(Mexico City, Mexico, 1975), Adelaide Cioni <\/strong>(Bologna, Italy, 1976), Pietro Consagra <\/strong>(Mazara del Vallo, Trapani, 1920 \u2013 Milan, Italy, 2005), Maria Adele Del Vecchio <\/strong>(Caserta, Italy, 1976), Gaia Di Lorenzo <\/strong>(Rome, Italy, 1991), Nathalie Djurberg & Hans Berg <\/strong>(Lysekil, Sweden, 1978 \/ R\u00e4ttvik, Sweden, 1978), Mimosa Echard<\/strong> (Al\u00e8s, France, 1986), Sam Falls<\/strong> (San Diego, CA, United States, 1984), Matteo Fato <\/strong>(Pescara, Italy, 1979), Cesare Fracanzano <\/strong>(Bisceglie, Barletta-Andria-Trani, Italy, 1605 \u2013 Barletta, Barletta-Andria-Trani, Italia, 1651), Massimo Grimaldi<\/strong> (Taranto, Italy, 1974), Edi Hila <\/strong>(Shkodra, Albania, 1944), Judith Hopf <\/strong>(Karlsruhe, Germany, 1969), Adelita Husni-Bey <\/strong>(Milan, Italy, 1985), Alfredo Jaar <\/strong>(Santiago del Chile, Chile, 1956), Ann Veronica Janssens <\/strong>(Folkestone, United Kingdom, 1956), Runo Lagomarsino <\/strong>(Lund, Sweden, 1977), Giovanni Lanfranco <\/strong>(Parma, Italy, 1582 \u2013 Rome, Italy, 1647), Francesco Laurana and Nicola Samor\u00ec <\/strong>(Vrana, Croatia, 1430 \u2013 Avignon, France, 1502 \/ Forl\u00ec, Italy, 1977), Jieun Lim <\/strong>(Seoul, South Korea, 1983), Lorenzo Lippi <\/strong>(Florence, Italy, 1606 \u2013 1665), Carlo Manieri <\/strong>(Taranto, Italy, 1633 \u2013 Rome, Italy, 1702), Franca Maran\u00f2 <\/strong>(Bari, Italy, 1920 \u2013 Bari, Italy, 2015), Richard Marquis & Johanna Nitzke Marquis <\/strong>(Bumble Bee, AZ, United States, 1945 \/  Northern Wisconsin, WI, United States, 1947), Mario Merz <\/strong>(Milan, Italy, 1925 \u2013 2003), Marisa Merz <\/strong>(Turin, Italy, 1926 \u2013 2019), Luzie Meyer <\/strong>(T\u00fcbingen, Germany, 1990), Diego Miguel Mirabella <\/strong>(Enna, Italy, 1988), Fran\u00e7ois Morellet <\/strong>(Cholet, France, 1926 \u2013 2016), Valerio Nicolai <\/strong>(Gorizia, Italy, 1988), Alessandro Piangiamore <\/strong>(Enna, Italy, 1976), Michelangelo Pistoletto <\/strong>(Biella, Italy, 1933), Gianni Politi <\/strong>(Rome, Italy,1986), Nathlie Provosty <\/strong>(Cincinnati, OH, United States, 1981), Giangiacomo Rossetti <\/strong>(Milan, Italy, 1989), Medardo Rosso <\/strong>(Turin, Italy, 1858 \u2013 Milan, Italy, 1928), Mimmo Rotella <\/strong>(Catanzaro, Italy, 1918 \u2013 Milan, Italy, 2006), Antonio Sanfilippo <\/strong>(Partanna, Trapani, Italy, 1923 \u2013 Rome, Italy, 1980), Alberto Savinio<\/strong> (Athens, Greece, 1891 \u2013 Rome, Italy, 1952), Aviva Silverman<\/strong> (New York, NY, United States, 1986), Carl-August-Wilhelm Sommer <\/strong>(Coburg, Germany, 1839 \u2013 1921), Eugenio Tibaldi<\/strong> (Alba, Cuneo, Italy, 1977), Patrick Tuttofuoco <\/strong>(Milan, Italy, 1974), Massimo Vitali <\/strong>(Como, Italy, 1944), Luca Vitone <\/strong>(Genoa, Italy, 1964), Stanley Whitney <\/strong>(Philadelphia, PA, United States, 1946), Antonio Zanchi <\/strong>(Padua, Italy, 1631 \u2013 Venice, Italy, 1722).<\/p>\n\n\n\n

DOWNLOAD THE EXHIBITION GUIDE<\/a><\/h5>\n<\/div>\n<\/div><\/div>\n\n\n\n
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Michelangelo Pistoletto, “Prost”, 2008. Courtesy the artist and GALLERIA CONTINUA<\/figcaption><\/figure>\n\n\n\n
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Alessandro Piangiamore, Il Cacciatore di Polvere<\/em>, 2018-22. Courtesy the artist and Galleria Magazzino<\/figcaption><\/figure>\n\n\n\n
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Luzie Meyer, A Trap, A Miracle<\/em>, 2022. Courtesy the artist and Fanta-MLN<\/figcaption><\/figure>\n\n\n\n
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Mariana Castillo Deball, Calendar Fall Away 94<\/em>, Calendar Fall Away 102<\/em>, 2022. Courtesy the artist and Pinksummer<\/figcaption><\/figure>\n\n\n\n
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Pier Paolo Calzolari, Il pianto<\/em>, 1972. Courtesy Fondazione Calzolari, F. Balducci and Galleria Giorgio Persano<\/figcaption><\/figure>\n\n\n\n
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Nathlie Provosty, Sard IV (21-29)<\/em>, 2021, Untitled (20-27)<\/em>, 2020. Courtesy the artist and APALAZZOGALLERY<\/figcaption><\/figure>\n\n\n\n
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Massimo Vitali, Masso delle Fanciulle Swimmer<\/em>, 2017. Courtesy the artist and Galleria Mazzoleni \/ Patrick Tuttofuoco, No Space<\/em>, No Time<\/em>, 2019. Courtesy the artist and Schiavo Zoppelli Gallery<\/figcaption><\/figure>\n\n\n\n
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Gaia Di Lorenzo, Temmatemenet\u00e8<\/em>, 2021. Courtesy the artist and ADA<\/figcaption><\/figure>\n\n\n\n
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Cesare Fracanzano, La famiglia del satiro<\/em>, 1645-50. Courtesy Giacometti Old Master Paintings<\/figcaption><\/figure>\n\n\n\n
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Paolo Bini, Orizzonte<\/em>, 2022. Courtesy the artist and Galleria Peola Simondi \/ Judith Hopf, Phone User, 1 e 3<\/em>, 2021. Courtesy the artist and kaufmann repetto \/ Edi Hila, People of the Future<\/em>, 1997. Courtesy the artist and Galleria Raffaella Cortese<\/figcaption><\/figure>\n\n\n\n
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Luca Vitone, Stanze<\/em>, 2022. Courtesy the artist and Galerie Rolando Anselmi<\/figcaption><\/figure>\n\n\n\n
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Lorenzo Lippi, Madonna con il Bambino e San Giovannino<\/em>, 1606-65. Courtesy Moretti Fine Art<\/figcaption><\/figure>\n\n\n\n
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Francesco Arena, Altalena<\/em>, 2022. Courtesy the artist and Studio Trisorio \/ Marisa Merz, Untitled<\/em>. Courtesy Monica De Cardenas<\/figcaption><\/figure>\n\n\n\n
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Judith Hopf, Phone User, 2<\/em>, 2022. Courtesy the artist and kaufmann repetto<\/figcaption><\/figure>\n\n\n\n
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Richard Marquis & Johanna Nitzke Marquis, Tubers On Wheels<\/em>, 2007-9. Courtesy the artists and Caterina Tognon<\/figcaption><\/figure>\n\n\n\n
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Luca Bertolo, Alba mediterranea. La costa vista dal mare<\/em>, 2022. Courtesy the artist and SpazioA<\/figcaption><\/figure>\n\n\n\n
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Stefano Arienti, Santi in giardino<\/em>, 2022. Courtesy the artist and Galleria Massimo Minini \/ Mario Merz, La casa abbandonata<\/em>, 1977-83. Courtesy Tucci Russo<\/figcaption><\/figure>\n\n\n\n
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Matteo Fato, senza tempeste, senza naufragio e senza alcun merito nostro<\/em>; souvenir vuol dire venire in aiuto (mia madre e mio padre che fanno una zattera)<\/em>, 2022. Courtesy the artist and Monitor<\/figcaption><\/figure>\n\n\n\n
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Pietro Consagra, Ferro trasparente rosa chiaro<\/em>, 1967. Courtesy Archivio Consagra and Galleria Tommaso Calabro<\/figcaption><\/figure>\n\n\n\n
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Mario Air\u00f2, Incubation place #3<\/em>, 1995\/2018. Courtesy the artist and Vistamare<\/figcaption><\/figure>\n\n\n\n
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Gianfranco Baruchello, Hard Technology<\/em>, 1968 Soft Technology<\/em>, 1968. Una casa in fil di ferro<\/em>, 1975. Courtesy MASSIMODECARLO<\/figcaption><\/figure>\n\n\n\n
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Giangiacomo Rossetti, Tutti i crocicchi del cielo sarebbero affollati di nostre controfigure<\/em>, 2021. Courtesy the artist and Galleria Federico Vavassori \/ Medardo Rosso, Femme \u00e0 la voilette (Impression de boulevard; Dama dalla veletta)<\/em>, 1928 [1895]. Courtesy Galleria Russo<\/figcaption><\/figure>\n\n\n\n
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Massimo Grimaldi, Smashed Green Guitar Inside a Dismantled Green Tent<\/em>, 2022.
Courtesy the artist and ZERO… \/ Valerio Nicolai, Chiocciole<\/em>, 2022. Courtesy l’artista e Clima<\/figcaption><\/figure>\n\n\n\n
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Alberto Savinio, Materia in trasformazione<\/em>, 1951. Courtesy Bottegantica \/
Antonio Sanfilippo, La mia occupazione<\/em>, 1952. Courtesy Galleria dello Scudo \/ Mimmo Rotella, Leda col Cigno<\/em>, 1987. Courtesy Cardi Gallery<\/figcaption><\/figure>\n\n\n\n
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Duilio Cambellotti, L\u2019avo<\/em>, 1924. Galleria Carlo Virgilio & C. \/ Antonio Sanfilippo, La mia occupazione<\/em>, 1952. Courtesy Galleria dello Scudo<\/figcaption><\/figure>\n\n\n\n
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Antonio Zanchi, Davide e Golia<\/em>, 1660-70. Courtesy Galleria Canesso<\/figcaption><\/figure>\n\n\n\n
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Stanley Whitney, Howl<\/em>, 2022. Courtesy the artist and Gagosian<\/figcaption><\/figure>\n\n\n\n
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Carl August Wilhelm Sommer, Psiche<\/em>, 1880-90. Courtesy Maurizio Nobile Fine Art<\/figcaption><\/figure>\n\n\n\n
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Gianni Politi, Enter the Wolf King<\/em>; My God is the Sun (after W.T.)<\/em>; Noble Attitude (Pittura)<\/em>; The Wolf King in the Moment of His Ascension<\/em>, 2019. Courtesy the artist and Galleria Lorcan O\u2019Neill<\/figcaption><\/figure>\n\n\n\n
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Sam Falls, Untitled<\/em>, 2022; Beam 2<\/em>, Fall Line (II)<\/em>, 2019. Courtesy the artist and Galleria Franco Noero \/ Giovanni Lanfranco, Il bacio di Angelica e Medoro<\/em>, 1633-34. Courtesy Alessandra Di Castro<\/figcaption><\/figure>\n\n\n\n
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Francesco Laurana, Donor and architectural decorative elements<\/em>, 1472-74 \/ Nicola Samori\u0300, Vergine della pietra<\/em>, 2022. Courtesy Galleria Porcini<\/figcaption><\/figure>\n\n\n\n
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Alighiero Boetti, Copertine (Anno 1984)<\/em>, 1984. Private Collection, Florence. Courtesy Tornabuoni Arte \/ Mimmo Rotella, Comunicazioni internazionali<\/em>, 1992. Courtesy Cardi Gallery<\/figcaption><\/figure>\n\n\n\n
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Carlo Manieri, Still life, II half of ‘600. Courtesy Galleria Carlo Orsi \/ Nathalie Djurberg & Hans Berg, Brown Egg<\/em>, 2013; Piece of Egg Shell & Turquoise Egg<\/em>, 2013. Courtesy the artists and Gi\u00f3 Marconi<\/figcaption><\/figure>\n\n\n\n
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Aviva Silverman, Other People\u2019s Dreams II<\/em>, 2022. Courtesy lthe artist and VEDA<\/figcaption><\/figure>\n\n\n\n
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Alfredo Jaar, Spheres of Influence<\/em>, 1990. Courtesy the artist and Galleria Lia Rumma<\/figcaption><\/figure>\n\n\n\n
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Diego Miguel Mirabella, El asunto Miguel<\/em>, 2022. Courtesy the artist and Studio SALES di Norberto Ruggeri<\/figcaption><\/figure>\n\n\n\n
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Adelita Husni-Bey, Encounters on Pain<\/em>, 2016-in corso. Courtesy the artist and Laveronica Arte Contemporanea<\/figcaption><\/figure>\n\n\n\n
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Franca Maran\u00f2, Abiti Mentali<\/em>, 1977. Courtesy Richard Saltoun Gallery<\/figcaption><\/figure>\n\n\n\n
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Adelaide Cioni, \u00e0 propos de Bacchelli 5<\/em>, 2015. Courtesy the artist and P420<\/figcaption><\/figure>\n\n\n\n
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Jieun Lim, Dear and Dearest, chapter II<\/em>, 2020. Courtesy the artist and Ermes Ermes<\/figcaption><\/figure>\n\n\n\n
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Maria Adele Del Vecchio, En ce temps-l\u00e0<\/em>, 2020-22. Courtesy the artist and Galleria Tiziana Di Caro<\/figcaption><\/figure>\n\n\n\n
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Runo Lagomarsino, Europa Point<\/em>, 2019. Courtesy the artist and Francesca Minini<\/figcaption><\/figure>\n\n\n\n
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Fran\u00e7ois Morellet, \u03c0 piquant neonly n\u00b09 1=6\u00b0<\/em>, 2007; \u03c0 piquant neonly n\u00b010 1=10\u00b0<\/em>, 2008. Courtesy A arte Invernizzi<\/figcaption><\/figure>\n\n\n\n
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Ann Veronica Janssens, Blanchette<\/em>, 2007. Courtesy the artist and Alfonso Artiaco<\/figcaption><\/figure>\n
All photo: Cosmo Laera<\/figcaption><\/figure>\n\n\n\n
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Seven performances <\/strong>wowed the public, involving people in one-of-a-kind activities and experiences.  <\/p>\n\n\n\n

In the full Italics spirit of offering authentic experiences to discover the traditions and soul of the territory that is hosting the multi-venue exhibition, a symbolic act kicked off Panorama Monopoli: <\/strong>participation in an event held every year in Cala di Porta Vecchia. <\/strong>At dawn on September 1, in Cala di Porta Vecchia<\/strong>, Massimo Vitali<\/strong> offered the public the unique opportunity to take part in a traditional rite widespread among the inhabitants of some municipalities of the Costa dei Trulli and Valle d’Itria, considered auspicious: a ritual and symbolic collective plunge into the sea, immortalized by his camera as an everlasting testimony of this magical moment and a continuation of the photographic series on Italian beaches.<\/p>\n\n\n\n

Each day at the Complex of San Leonardo, Franca Maran\u00f2<\/strong>‘s \u201cAbiti mentali<\/strong>\u201d (1977) were reactivated, while in the afternoon visitors were regaled with tales focusing on the traditions of southern Italy by Maria Adele Del Vecchio<\/strong> with \u201cEn ce temps-l\u00e0<\/strong>\u201d (2020-22). Adelita Husni-Bey<\/strong>‘s individual sessions mapped out the pain of each of the participants in “Encounters on Pain<\/strong>” (2016-ongoing). Francesco Arena’s \u201cAltalena<\/strong>\u201d (2022), on the other hand, suggested novel, unusual perspectives by swinging between centuries of art in the comparison between Lorenzo Lippi<\/strong>‘s \u201cMadonna con il bambino e San Giovannino<\/strong>\u201d (1606-65) and Marisa Merz<\/strong>‘s work, \u201cUntitled<\/strong>\u201d (undated) in the Church of San Nicola de Pinna in the underground part of Castello Carlo V. New patterns of aggregation and spontaneous design were generated with informal poker games held by Eugenio Tibaldi <\/strong>in “Cuba casin\u00f2<\/strong>” in the Cloisters of Palazzo San Martino.<\/p>\n\n\n\n

Finally, Michelangelo Pistoletto<\/strong> orchestrated a grand collective celebration, with marching bands, the Banda del Giubileo, passing through city alleys and the creation of a “Third Paradise<\/strong>” at Largo Palmieri, where the phrase “Love Difference” in different languages turned the square into an open-air dance floor.<\/p>\n<\/div>\n<\/div><\/div>\n\n\n\n

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Eugenio Tibaldi, Cuba Casin\u00f2, 2015<\/em>. Chiostro Palazzo S. Martino. Photo: Piero Percoco<\/figcaption><\/figure>\n\n\n\n
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Michelangelo Pistoletto, Terzo Paradiso Love Difference, 2022<\/em>, Largo Palmieri. Photo: Piero Percoco<\/figcaption><\/figure>\n\n\n\n
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Michelangelo Pistoletto, Terzo Paradiso Love Difference, 2022<\/em>, Largo Palmieri. Photo Cosmo Laera<\/figcaption><\/figure>\n\n\n\n
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Massimo Vitali, Cooking Show <\/em>Cala Portavecchia. Photo: Piero Percoco<\/figcaption><\/figure>\n\n\n\n
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Maria Adele Del Vecchio, En ce temps-l\u00e0<\/em>, 2020-22, Complesso S. Leonardo. Photo: Piero Percoco<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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As with the previous edition, ITALICS came up with two special projects<\/strong> this year as well.<\/p>\n\n\n\n

The first was the awarding of the Italics d’Oro<\/strong> to commemorate the career of an artist so fundamental to the local area, Lisetta Carmi<\/strong> (Genoa, 1924 – Cisternino (BA), 2022). The prize was presented on Thursday, September 1, 2022, at the end of the press conference to Gianni Martini<\/strong>, as President of the Lisetta Carmi Estate and Archive. Lisetta Carmi’s work was featured in an exhibition developed in collaboration with the international photography and art festival PhEST – See Beyond the Sea, which included a selection of never-before-seen shots taken in 1960 between Puglia and Basilicata.<\/p>\n<\/div>\n<\/div><\/div>\n\n\n\n

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Panorama Monopoli tote bag conceived by Francesco Arena. Photo: Piero Percoco<\/figcaption><\/figure>\n\n\n\n
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The second project involved an invitation to artist Francesco Arena<\/strong> to create symbols that would accompany “Panorama” and its visitors during the entire exhibition, but also at the end of the exhibition. These were seen on the tote bags and manufactured by Bonotto and on the t-shirts worn by the cultural mediators, students and teachers from the Liceo Artistico Luigi Russo<\/strong>, Monopoli, whose efforts were indispensable in guiding visitors in discovering the works on display.<\/p>\n\n\n\n

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Panorama Monopoli t-shirt by Francesco Arena worn by the cultural mediators from Liceo Artistico Luigi Russo. Photo: Piero Percoco<\/figcaption><\/figure>\n<\/div>\n\n\n
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Panorama Monopoli
Public Program<\/a><\/h3>\n<\/div>\n\n\n\n
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The “Panorama Monopoli” Public Program was devised in conjunction with Treccani Arte and entitled “Puglia e le arti<\/strong>“. A calendar of three morning appointments at the Porto Antico to hear the views of special guests on the relationship between the region and the languages of contemporaneity. Massimo Bray<\/strong>, Editorial Director of the Istituto dell\u2019Enciclopedia Italiana, founded by Giovanni Treccani in conversation with Vincenzo de Bellis kicked off the cycle, followed by Eva Degl’Innocenti<\/strong>, director of the Museo Archeologico Nazionale, Taranto and the Musei Comunali, Bologna, and Sergio Rubini<\/strong>, actor, director and screenwriter.<\/p>\n<\/div>\n<\/div><\/div>\n\n\n\n

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All images: Photo Piero Percoco<\/figcaption><\/figure>\n\n\n\n
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\u201cPanorama Monopoli\u201d has been reconfirmed as a unique exhibition experience. An exhibition designed as the emanation of ITALICS<\/em>, designed to bring together ancient, modern and contemporary styles, techniques and multiple thoughts in art itineraries that will take the viewer to discover the most authentic and little known aspects of our country, a live continuation of the extraordinary journey<\/a> that began in 2020 on the web pages of this platform.<\/p>\n\n\n\n

\u201cPanorama Monopoli\u201d was realized under the patronage of the UNESCO,<\/strong> the Ministry of Culture, the support of the Department of Tourism, Economy of Culture and Valorization of the Territory of the Puglia Region and the Departments of Culture and Tourism of the Municipality of Monopoli<\/strong>.<\/p>\n\n\n\n

Belmond<\/a> has joined ITALICS<\/em> as Main Partner to support the Consortium activities and \u201cPanorama Monopoli\u201d. <\/strong>Developing its long and successful hospitality and leisure tradition, Belmond has always devoted attention and care to the heritage and history of the Countries where it operates. The partnership with ITALICS<\/em> will aim to the common objective of promoting Italy and its territory through art, inviting the public to see the culture and beauty spread throughout the country with a different point of view.<\/p>\n\n\n\n

After having supported the first edition in Procida in 2021, Tod\u2019s<\/a><\/strong> reconfirmed its support as Partner<\/strong> of the second edition of \u201cPanorama\u201d.
Tod\u2019s chooses to continue along the path already begun with the desire to give continuity to the cultural projects of ITALICS<\/em> consortium with which it shares an interest in the enhancement of the Italian territory and the important cultural work expressed by the over 60 art galleries involved in the project.
This year, Tod\u2019s support is also enriched by a project, in collaboration with young artists, aimed at developing new artworks on the theme \u201cTimeless\u201d.<\/em><\/strong><\/p>\n\n\n\n

The Panorama Monopoli Public Program<\/strong> was organized in collaboration with Treccani Arte<\/a><\/strong>.<\/p>\n\n\n\n

Panorama Monopoli was realized with the special participation of<\/strong> Liceo Artistico Luigi Russo<\/a><\/strong>; thanks to all students, teachers and Headmaster Adolfo Marciano, who contributed to the cultural event. <\/p>\n\n\n\n

Media Partner: Il Giornale dell\u2019Arte<\/a><\/strong><\/p>\n<\/div>\n<\/div><\/div>\n\n\n\n

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Porto Antico, Monopoli. Photo: Piero Percoco<\/figcaption><\/figure>\n\n\n\n
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Featured Artists<\/h3>\n<\/div>\n\n\n\n
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Mario Air\u00f2, Francesco Arena, Stefano Arienti, Gianfranco Baruchello, Luca Bertolo, Paolo Bini, Alighiero Boetti, Pier Paolo Calzolari, Duilio Cambellotti, Adelaide Cioni, Pietro Consagra, Mariana Castillo Deball, Maria Adele Del Vecchio, Gaia Di Lorenzo, Nathalie Djurberg & Hans Berg, Mimosa Echard, Sam Falls, Matteo Fato, Cesare Fracanzano, Massimo Grimaldi, Edi Hila, Judith Hopf, Adelita Husni-Bey, Alfredo Jaar, Ann Veronica Janssens, Runo Lagomarsino, Giovanni Lanfranco, Francesco Laurana and Nicola Samor\u00ec, Jieun Lim, Lorenzo Lippi, Carlo Manieri, Franca Maran\u00f2, Richard Marquis & Johanna Nitzke Marquis, Mario Merz, Marisa Merz, Luzie Meyer, Diego Miguel Mirabella, Fran\u00e7ois Morellet, Valerio Nicolai, Alessandro Piangiamore, Michelangelo Pistoletto, Gianni Politi, Nathlie Provosty, Medardo Rosso, Giangiacomo Rossetti, Mimmo Rotella, Antonio Sanfilippo, Alberto Savinio, Aviva Silverman, Carl August Wilhelm Sommer, Eugenio Tibaldi, Patrick Tuttofuoco, Luca Vitone, Massimo Vitali, Stanley Whitney, Antonio Zanchi.<\/p>\n<\/div>\n<\/div><\/div>\n\n\n\n

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Participating Galleries<\/h3>\n<\/div>\n\n\n\n
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A arte Invernizzi; ADA; Galerie Rolando Anselmi, Roma | Berlin; APALAZZOGALLERY; Alfonso Artiaco; Bottegantica; Galleria Tommaso Calabro; Galleria Canesso; Cardi Gallery; Carlo Orsi; Clima; GALLERIA CONTINUA; Galleria Raffaella Cortese; Monica De Cardenas; MASSIMODECARLO; Galleria Tiziana Di Caro; Alessandra Di Castro; Galleria Umberto Di Marino; Ermes Ermes; Fanta-MLN; Gagosian; Galleria dello Scudo; Giacometti Old Master Paintings; Gi\u00f3 Marconi; kaufmann repetto; Laveronica Arte Contemporanea; Galleria Lia Rumma; Magazzino; Martina Simeti; Mazzoleni, London \u2013 Torino; Francesca Minini; Galleria Massimo Minini; Monitor Roma, Lisbona, Pereto; Moretti Fine Art; Maurizio Nobile; Galleria Franco Noero; Galleria Lorcan O’Neill; P420; Peola Simondi; Giorgio Persano; Pinksummer; Galleria Porcini; Richard Saltoun Gallery; Galleria Russo; Studio SALES di Norberto Ruggeri; Schiavo Zoppelli Gallery; SpazioA; Studio Trisorio; Caterina Tognon Arte Contemporanea; Tornabuoni Arte; TUCCI RUSSO Studio per l’Arte Contemporanea; Galleria Federico Vavassori; VEDA; Galleria Carlo Virgilio & C.; Vistamare | Milano, Pescara; ZERO…<\/p>\n<\/div>\n<\/div><\/div>\n\n\n\n

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Under the Patronage of<\/strong><\/p>\n\n\n

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Main partner<\/strong><\/p>\n\n\n

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Partner<\/strong><\/p>\n\n\n

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Technical Sponsors<\/strong><\/p>\n\n\n\n

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Events Technical Sponsor<\/strong><\/p>\n\n\n\n

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Public Program in collaboration with<\/strong><\/p>\n\n\n

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Media Partner<\/strong><\/p>\n\n\n

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With the Special Participation of<\/strong><\/p>\n\n\n\n

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Panorama Monopoli Team <\/h3>\n\n\n\n

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A Project by Italics<\/strong><\/p>\n\n\n\n

Curated by Vincenzo de Bellis<\/strong> <\/p>\n\n\n\n

Curatorial Coordination e Production
Stefania Scarpini<\/strong><\/p>\n\n\n\n

General Coordination
ArtsFor_<\/strong><\/p>\n\n\n\n

Strategic Consulting
Camilla Invernizzi<\/strong><\/p>\n\n\n\n

Communication and Editorial Coordination
Carlotta Poli<\/a><\/strong><\/p>\n\n\n\n

Production Coordination
Francesca Verga<\/strong><\/p>\n\n\n\n

Production
Maria Stradoni, Pierfederica Verdegiglio<\/strong><\/p>\n\n\n\n

Graphic Design
Leftloft<\/strong><\/p>\n\n\n\n

External Relations
Damiana Leoni<\/strong>
damiana@damianaleoni.com<\/a><\/p>\n\n\n\n

Press Office
PCM Studio di Paola C. Manfredi<\/strong>
press@paolamanfredi.com<\/a>

In collaboration with the Municipality of Monopoli
<\/strong>Mayor: Angelo Annese<\/strong>
Departments of Culture and Tourism: Rosanna Perricci<\/strong>, Cristian Iaia<\/strong>
Event Coordination: Pietro D\u2019Amico<\/strong>, Manager of Organisational Area I
Operating Staff A.O.I: Antonio Todero<\/strong>, Giorgio Spada<\/strong> 
Press Office: Sandro Scarafino<\/strong><\/p>\n\n\n\n

For more info info@italics.art<\/a><\/p>\n<\/div>\n<\/div><\/div>\n\n\n\n

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Panorama Off<\/a><\/h3>\n<\/div>\n\n\n\n
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Places of culture and landscape, exhibitions and events.<\/p>\n\n\n\n

VISIT OUR DEDICATED PAGE<\/a> <\/h5>\n<\/div>\n<\/div><\/div>\n\n\n\n
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Panorama Monopoli presentation in Venice<\/h3>\n<\/div>\n\n\n\n
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Isola di San Giorgio, Venice, 2022. Photo: Masiar Pasquali<\/figcaption><\/figure>\n\n\n\n

During the 59th International Art Exhibition, the Venice Biennale, the new edition of Panorama Monopoli was presented in the Abbey of San Giorgio Maggiore.<\/p>\n\n\n\n

VIEW THE PRESENTATION IN VENICE<\/a><\/h5>\n<\/div>\n<\/div><\/div>\n\n\n\n
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Panorama Procida 2021<\/h3>\n<\/div>\n\n\n\n
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\"Panorama<\/a>
Procida, 2021. Photo: Barbara Rossi<\/figcaption><\/figure>\n\n\n\n
DISCOVER THE FIRST EDITION OF PANORAMA<\/a><\/h5>\n<\/div>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

The city-wide exhibition curated by Vincenzo de Bellis brought ancient, modern and contemporary art to the town of Monopoli. 12,000 visitors over four days admired the works of 60 artists spread throughout the city in 16 different exhibition venues. The second edition of the widespread exhibition “Panorama” was held in Monopoli (Bari) from Thursday, Sept. …<\/p>\n","protected":false},"author":3,"featured_media":25117,"parent":24959,"menu_order":1,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_uag_custom_page_level_css":"","footnotes":""},"class_list":["post-16669","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nPanorama Monopoli | 1 \u2013 4 September 2022 - Italics<\/title>\n<meta name=\"description\" content=\"Panorama Monopoli: a city-wide exhibition curated by Vincenzo de Bellis, 1 \u2013 4 September 2022, Monopoli (Bari), Puglia.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/italics.art\/en\/panorama\/panorama-monopoli\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Panorama Monopoli | 1 \u2013 4 September 2022 - 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The second edition of the widespread exhibition “Panorama” was held in Monopoli (Bari) from Thursday, Sept.…","_links":{"self":[{"href":"https:\/\/italics.art\/en\/wp-json\/wp\/v2\/pages\/16669","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/italics.art\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/italics.art\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/italics.art\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/italics.art\/en\/wp-json\/wp\/v2\/comments?post=16669"}],"version-history":[{"count":162,"href":"https:\/\/italics.art\/en\/wp-json\/wp\/v2\/pages\/16669\/revisions"}],"predecessor-version":[{"id":25004,"href":"https:\/\/italics.art\/en\/wp-json\/wp\/v2\/pages\/16669\/revisions\/25004"}],"up":[{"embeddable":true,"href":"https:\/\/italics.art\/en\/wp-json\/wp\/v2\/pages\/24959"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/italics.art\/en\/wp-json\/wp\/v2\/media\/25117"}],"wp:attachment":[{"href":"https:\/\/italics.art\/en\/wp-json\/wp\/v2\/media?parent=16669"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}