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"In the sign of Manara. Works by Milo Manara"

Event | Exhibitions | Art

In the fascinating setting of the historic centre of Bologna, on 22nd September 2017 Palazzo Pallavicini will open its doors to the public for the first time presenting a great exhibition “In the sign of Manara. Works by Milo Manara”, edited by Claudio Curcio and promoted by the Pallavicini S.r.l. group in cooperation with Comicon.

It stands to be one of the most important exhibitions ever achieved on the vast and famous artistic production of cartoonist Milo Manara. The event will breathe new life into the halls of the historic Palazzo – once a venue of splendour and court of prominent historic personalities. The exhibition will run up until 21 January 2018 and will pay tribute to the artist by putting on display about 130 of his works.

Father of the erotic imagination, and not only, of entire generations from the 1980s onwards, Milo Manara has revolutionized the universe of comics with his unmistakable stroke, influencing and inspiring hundreds of authors in Europe, the US and Japan. He chose the language of comics with the intention of shaping his role in society and in a matter of forty years he has become one of the best known Italian contemporary artists in the world, “capable of filling entire cinema halls and of attracting long queues of people lining up for an autograph in all of the five Continents” (Curcio).

The exhibition at Palazzo Pallavicini, which comprises seven sections, will display his cartoon production and his works as illustrator for the press, cinema and advertising: from the illustrations that have hardly ever been seen of Un Fascio di Bombe to the absolute preview of the illustrations of the second volume dedicated to Caravaggio which are not yet available in bookstores.

Of the masterpieces of his first volumes, the exhibition includes the illustrations from Il Gioco and Il Profumo dell’Invisibile, whose protagonist is his alter ego Giuseppe Bergman, the pages of the comics that are the result of his cooperation with his friend and maestro Hugo Pratt (Manara was the only cartoonist that the great Venetian author ever chose for his scripts) and those of I Borgia, in cooperation with Alejandro Jodorowsky.

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There are also the illustrations of Viaggio a Tulum and Il Viaggio di G. Mastorna detto Fernet, born from the exceptional cooperation with Federico Fellini and, very exclusively, a series of precious drawings bearing the signature of the Director from Rimini, as well as the storyboards and indications that the meticulous Fellini would send to the young Manara as plot outlines for his stories.

The exhibition will also present some older works that have rarely or never been displayed, like the series of illustrations inspired by Shakespeare or the illustrations for the celebrations of the 250th anniversary of the birth of W.A.Mozart. It is no coincidence that the latter will be put on display in the hall of Palazzo Pallavicini that bears the name of the composer from Salzburg, in memory of the exhibition organized by Mozart in 1770 when he was the guest of Count Pallavicini.

Another section will present for the first time to the Italian public the watercolours produced in 2016 for a charity auction on the legendary Brigitte Bardot. At the same time, the Municipality of Saint Tropez will be installing in Place Blanqui, a statue dedicated to the French actress that was inspired by one of Manara’s drawings and produced under his supervision.

Furthermore, the most recent illustrations made for the French magazine LUI, whose protagonists are some splendid contemporary actresses will be displayed as well as unpublished personal illustrations made for his family.

In this way, the exhibition will be a journey across the career of a great explorer, for the joy of all enthusiasts of comics, but also of those who only know Manara’s name or his drawings. This is an invitation to immerse oneself into the details of his original illustrations and enjoy the magic of his drawings that no print will ever be able to fully reproduce on paper.

Giulia Rigobello

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