At the MAN in Nuoro, Odessa and the Potemkin Staircase between cinema and literature

At the MAN in Nuoro, Odessa and the Potëmkin Staircase between cinema and literature

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At the MAN in Nuoro, Odessa and the Potëmkin Staircase between cinema and literature

The MAN Museum in Nuoro is hosting an exhibition from 3 March
unpublished and important dedicated to the history and myth of the stairway of
Odessa, renamed by popular culture the “Potemkin Stairs”
following the success of the famous film by Sergej Michajlovič
Ėjzenštejn, _The battleship Potemkin_ of 1925.

The original project of the staircase, monumental hinge of
connection between the sea and the city, was signed in the thirties
of the nineteenth century, by the architect Francesco Carlo Boffo (1796-1867) the
whose biography has remained shrouded in mystery for decades, hanging in the balance
between an oral tradition that linked him to Sardinia and new pieces
documentaries that the exhibition today reveals along the way, thanks to
recent archival discoveries.

Francesco Carlo Boffo is a figure of great interest,
and for the architectural experimentation of themes related to space
urban, and for its role as interpreter of culture
Italian architecture, already very much alive between Russia and Ukraine since
reconstruction of the Moscow Kremlin in the Renaissance, and which has
gave multicultural Odessa that unmistakable face
classic also betrayed by the choice of a Greek name for the city.

Boffo therefore presents himself as the main author of many spaces
public, representative architectures and the staircase itself
symbol of the place, which connects the esplanade of the port to the Piazza de
Richelieu, along an ideal axis that the exhibition will return through
the exhibition of drawings provided exceptionally by the Archive of
Odessa, original floor plans on loan from prestigious institutions
Italians, including the National Central Library of Florence and
the Historical Archive of Turin, in addition to the reconstruction of the drawings and
of a scale model made in collaboration with the
Agrigento Territorial University Pole of the University of
Palermo studies.

The MAN will delve into the work of the architect for the first time,
underlining the contribution offered in the construction of identity
architectural and urban of Odessa, along with the fascinating story
human and artistic suspended between the legend of his birthplace on the island and
the real Ticino origins, fertile ground for many architects
then grew up in Italy and in its centers of academic culture,
strongly linked to the discipline of the project.

But the story of Boffo and “his” stairway could not fail
weave that of a film that made it universally known
this panorama in the eyes of the public of the twentieth century, transforming a
masterpiece of 19th century architecture in an icon of the great
screen, thanks to the tight, violent and dramatic editing of the
famous sequence of Ėjzenštejn, carved in the common imagination. In the
catalog text by film critic Roberto Nepoti reads:
«It is an indisputable sign of iconicity that the sequence is
by far the most quoted in the entire history of cinema, both in form
of homage and in the form of parody, by countless followers of the
Russian master. So much so that, at the end of the nineties, the known
critic Roger Ebert wrote: “…the famous massacre on the steps
of Odessa is so cited, which is likely to many viewers
have seen the parody before the original'”.

To enrich the exhibition it’s up to two notable romantic paintings
value and quality, a stormy navy by Ivan Konstantinovich
Ajvazovsky of 1897, granted by the National Museum of Warsaw, and a
large port of Odessa by Rufim Gavrilovitš Sudkovski from 1885, in
coming from the Kunstimuseum in Tallinn, Estonia. Curious the presence of
some rare ex votos with scenes of Sardinian brigantines in the bay of
Odessa, before and during the Crimean War.

Architecture and cinema alternate all along the way, now
sinking into the constructive analysis of the stairway, now passing into
review the frames of a film that has made school and that exalts,
in his own shots, the formal details of the scenographic ramp.
Period panoramas and new views duet with ingenious solutions
directed by Ėjzenštejn at the center of the video installation which
tells the genesis.

Cure her

Giovanni Francesco Tuzzolino, Federico Crimi and Paolo De Marco

In collaboration with

Territorial University Pole of Agrigento_University of Studies
from Palermo_

National University Lviv Polytechnic_

Turin State Archive_

State Archive of the Odessa Region_

Coordination

Rita Moro and Elisabetta Masala

from an idea by Tommaso Esca

Catalog of Libria editions, texts by Viktor Proskuryakov, Federico
you crime,

Giovanni Francesco Tuzzolino, Paolo De Marco, Roberto Nepoti

Video installations by Storyville

in collaboration with Cineteca Milano

At the MAN in Nuoro, Odessa and the Potemkin Staircase between cinema and literature – Sardegna Reporter