BIENNALE DI SENIGALLIA: A TRAVELLER'S COMPANION 2019 by Serge Plantureux

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• Mario Giacomelli. La Domenica in campagna, 1954

BIENNALE DI SENIGALLIA • A Traveller’s Companion for May 2019 Anteprima

Taccuini Maltagliati Senigallia 2019

Exhibitions, fairs, conferences, meetings, compose the "introductory piece" of the Biennale, whose first edition, announced in May 2020, and subsequent ones, will keep the free form and the intention to celebrate the first 150 years of photography, 1839-1989.

An "hypothesis", to be tested collectively, around the first sedimentary clues of this golden age of our past: what if the ideal museum of the future, like Marcel Duchamp's "Boîte-en-valise", was a suitcase containing a selection of ancient photographic prints? A "Boîte-en-musée" ?

The City of Senigallia was appointed by the Regional Council of the Marche "City of Photography" a year ago. The home of Giuseppe Cavalli, Ferruccio Ferroni, Mario Giacomelli and many other photographers, is recognized as an exceptional place, a denomination of controlled cultural origin. On May 2, 3 and 4, 2019 it will host the “première” of an ambitious Biennale, co-organized by the City Council and Serge Plantureux, with the collaboration of Francesca Bonetti, guest curator.

From the invention of photography to the advent of our Digital dark age, in an artistic and scientific approach of photography as a work and as an object, the Biennale di Senigallia invites us to explore together the potential richness of this material history.

Grouped under the title "Once upon a time there was photography", two exhibitions are set up in two noble locations in the heart of the city. Welcome to Senigallia ! Maurizio Mangialardi Maire of Senigallia 21 marzo 2019

• CONTENT •

• Combusta Rinascitur

First Foundation (400 BC) Second Foundation (284 BC) Third Foundation (554) Repopulation and Renaissance (1374) After the Earthquake (1930)

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Photography stopped at Senigallia (1938) Biennale’s programm Exhibitions Conferences

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Orientation Map Partners Restaurants Partners Hotels Partners Bookshops and Galleries Beaches Access by Rail, by Sea and by Air

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• 400 BC: FIRST FOUNDATION •

Senigallia - the ancient Sena of the Gauls - derives its name from the Senones, who founded it at the very beginning of the 4th century B.C., when they settled in the area between Fabriano and Arcevia. This aerea, most intensely inhabited by the Celtic populations, was connected to the Adriatic by the river Misa whose mouths, in the place of the present Senigallia, had been built a natural landing place.

The same gallic tribe of the Senons, led by semi-legendary Brennus, fought a few years after their arrival* the Battle of the Allia (390 BC). Their victory was followed by the Sack of Rome, with the famous episode of the geese of Juno. The Gauls agreed with the Roman on a ransom of a thousand pounds of gold, that they brought back to the Marche.

Levy (Titus Livus Patavinus) considered this event as the moment when the Legendary Times ended and the Roman History started. The story of Senigallia was linked with the story of Rome.

In 1894 a burial ground with 47 Gallic tombs was discovered in Montefortino**, a starting point for a characterization of the presence of the Gauls in the Marches. The gold objects differentiate their tombs from the contemporaries of the region where gold was almost unknown.

* ... recentissimi advenarum (Levy) ** G. Annibaldi, Montefortino di Arcevia, Enciclopedia Treccani dell' Arte Antica. The tombs are situated 34 kms out of Senigallia. The gold objects are now in Ancona, Archeological Museum. 8

• Paul Jamin. Le Brenn et sa part de butin (Brennus and his Share of the Spoils), 1893 9

• 283 BC: SECOND FOUNDATION •

In 283 BC, the Senones “were utterly destroyed by the Romans”*.

“The Senones, although they had a treaty with the Romans, nevertheless furnished mercenaries against them, wherefore the Senate sent an embassy to them to remonstrate against this infraction of the treaty. Britomaris, the Gaul... slew the ambassadors... cut their bodies in small pieces and scattered them in the fields.”

The consul Cornelius, learning of this abominable deed, moved with great speed against the towns of the Senones by way of the Sabine country and Picenum, and ravaged them all with fire and sword. He reduced the women and children to slavery, killed all the adult males without exception, devastated the country in every possible way, and made it uninhabitable for anybody else. I Ie carried off Britomaris alone as a prisoner for torture. A little later the Senones (who were serving as mercenaries), having no longer any homes to return to, fell boldly upon the consul Domitius, and being (B.c. 283) defeated by him killed themselves in despair. Such punishment was meted out to the Senones for their crime against the ambassadors.”

The via Flaminia antica linked Rome to Sena Gallica on the Adriatic coast through Sentinum (Sassoferato). In 220 BC, Gaius Flaminius built the enlarged via Flaminia, following the Metauro valley, ending in Fano. In the prelude to the Battle of the Metaurus between Romans and Carthaginians, on 22 June 207 BC, Sena Gallica was the southernmost point of Hasdrubal Barca’s invasion of Italy.

In 409 A.D., after 692 years of Roman administration, the town was completely destroyed by the Goths of Alaric I on their way to Rome. The Sack of Rome occurred on 24 August 410 AD.

Their capital settlement became the first Roman colony on the Adriatic, Sena, called Sena Hadria or Sena Gallica to distinguish it from Sena Julia (Siena) in Etruria. Sena was a colonia civium Romanorum, a colony of Roman law, and the inhabitants had full Roman citizenship.

* Livy’s Book XII, War against the Senones, has been lost, the main texts are by Polybius, and here translated from the Greek, Appian, Roman History, Gallic Wars 2.13. 10

• The Via Flaminia was the Roman road leading from Rome over the Apennine Mountains to Ravenna and the Ager Gallicus (Map: William R. Shepherd, 1923). 11

• 554 AD: THIRD FOUNDATION (BYZANTINE)

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Senigallia was included in the byzantine Duchy of the Pentapolis (554). The via Flaminia became the Ravenna road and the Pentapolis* became one of the more commercially vibrant parts of the Italia Annonaria.

Once in Italy through the Friuli in 568, the Lombards tore from the Byzantines a large part of land south of the Alps, but didn't constitute any uniform and contiguous domain. The Exarchate of Ravenna remained connected to Rome through the Byzantine corridor, the result of careful political and military strategies.

The Lombard king Aistulf captured Ravenna in 751, ending over two centuries of Byzantine rule in central Italy, with profound and lasting consequences. Pope Stephen II, seeking protection from the aggression of the Lombards, appealed to the Frankish king Pepin the Short. Pepin cowed Aistulf and restored Stephen to Rome at the head of an army.

This began the Frankish involvement in Italy: Pepin's son Charlemagne became Western Roman Emperor, and papal temporal rule in Italy satrted with the creation of the Papal States.

In 726, under Emperor Leo III the Isaurian, started the first Iconoclasm, Greek for "breaker of icons", after a a large submarine volcanic eruption. Many interpreted this as a judgement on the Empire by God, and decided that use of images had been the offence. The rise of Islam in the 7th century had also caused some consideration of the use of holy images. Pope Gregory III held two synods at Rome and condemned Leo's actions, and in response Leo confiscated papal estates in Calabria and Sicily. The Roman military aristocracies of the Pentapolis and Venetia rose in revolt declaring that they would protect the pope from the imperial decree. * The Pentapolis on the Adriatic: Ancona, Fano, Pesaro, Rimini and Senigallia.

• Scene of iconoclasm, miniature from the 9th-century Chludov illuminated marginal Psalter, kept at Mount Athos until 1847, when a Russian scholar brought it to Moscow. 13

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GUELPH vs GHIBELLINE

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Se tu riguardi Luni e Urbisaglia come sono ite, come se ne vanno di retro ad esse Chiusi e Sinigaglia,

Senigallia hold one of the largest fairs in medieval Italy, the Fair of the Magdalene, after Sergius, count of Senigallia, had received from the count of Marseille certain relics of Mary Magdalene.

udir come le schiatte si disfanno non ti parrà nuova cosa né forte, poscia che le cittadi termini ànno.

But the Guelph and Ghibelline wars affected Senigallia. They started when Frederick I, known as Frederick Barbarossa (red beard), struggled to restore the power and prestige of the German monarchy after the Investiture Controversy and went to Italy to find the finances needed. His supporters became known as Ghibellines (Ghibellini). The Lombard League and its allies, supported by the Church, were defending the liberties of the urban communes against the Emperor's encroachments and became known as Guelphs (Guelfi).

Le vostre cose tutte anno lor morte, sì come voi; ma celasi in alcuna che duran molto, e le vite son corte. If you consider Luni, Urbisaglia how they've ceased to be, and how Chiusi and Senigallia after them

The Guelph town of Senigallia, its cathedral and walls, were destroyed in 1264 by the Saracen troops of Percivale Doria, captain of Manfred, King of Sicily. Dante wrote the verses: “... even cities cease to be ...”.

then to hear how races have an end will not seem strange or hard, since even cities cease to be.

The floodings of the Misa turned the whole area into a swamp for one hundred years, almost corresponding to the years of the exile of the Popes in Avignon. Before returning to Rome, the Popes delegated Cardinal Albornoz to restore the territory of the Papal State*.

* The Papal delegation numbered only 250 fires in Senigallia in 1354, a population of circa 1200, the fortress was still a useful watchtower on the sea. 14

All your concerns are mortal, even as yourselves; but it is hidden in some That a long while endure, and lives are short. • Andrea del Castagno, Dante, 1450. Ex convento di S. Apollonia, Firenze. 15

• RENAISSANCE •

The Renaissance of Senigallia started in 1379, under the rule of the Malatesta who encouraged repopulation, promising immunity : "...and that the debts of those who came to live in this city could not be abstinct, nor convened for any time ever, ...also the newcomers .... will receive land for a pair of cows, site and timber to make houses in the city and exempt for ten years (from taxes) by donating them to a pair of cows, so that they could work the land donated".

The Malatesta lost the lordship of Senigallia in 1459 as a collateral of a debt with the Pope... Followed a series of violent disputes. After his election in 1469, Pope Sixtus IV assigned the lordship to his own nephew Giovanni della Rovere, who married to the Duke of Urbino’s daughter. The town underwent a period of growth and prosperity, within the sovereign state of the Duchy of Urbino.

A young Francesco went to Padova and got his thesis in July 1499. Surgeon and poet at the court of Medici Pope Leo X, he befriended to Paolo Giovio and Sebastiano del Piombo, composing in 1524 a poem* describing not less than 330 young poets present and active in Rome in that period. He signed Arsilli and adopted a coat of arms bearing a Phoenix with the motto: “Combusta Rinascitur”.

* Poem published in "Coryciana," [Impressum Romae, apud Ludovicum Vicentinum et Lautitium Perusinum, julio 1524]. Poems by various persons in honor of Janus Corycius (Goeritz), collected by Blosio Palladio. 16

• Sebastiano del Piombo, Francesco Arsilli, Rome, circa 1515 (Pinacoteca di Ancona)

• MACHIAVELLI •

One famous incident shed light on Papal strategic interest for Senigallia. Let’s Machiavelli be the investigation’s journalist*:

In March 1502, Pope Borgia, Alexander VI, apparently confirmed the title to young Francesco Maria della Rovere, but the Pope’s own son, Cesare, had interest for the place. After some military engagements, finding himself in a position of numerical inferiority in front of all his united neighbours, Cesare proposed a reconciliation.

Cesare Borgia planned a gathering on 31st December 1502, inviting his enemies for peaceful negotiations. Niccolò Machiavelli wrote an interessing narrative of what is now known as the Massacre of Senigallia: A Description of the Manner in which Duke Valentino put Vitellozzo Vitelli, Oliverotto da Fermo, Lord Pagolo and the Duke of Gravina to Death*.

In 1516, Pope Leo X transferred the Lordship of the desired town to his own nephew, Lorenzo II de Medici for three years, then the city was ruled again by the Della Rovere family.

The name of Pentagonal City comes from the shape of the walls built by Guidubaldo II Della Rovere in 1546.

* Il Principe ... La Vita di Castruccio ... Il Modo che tenne il Duca Valentino per ammazzare Vitellozzo Vitelli, Oliverotto da Fermo, il Signor Pagolo et il duca di Gravina, [1503]-1550. W.K. Marriott’s translation online. 18

• Fiorentine photographer, Machiavelli, salt paper print, circa 1850

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JEWISH SENIGALLIA

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Since the repopulation of Senigallia, Malatesta's liberality had attracted many Jews, harassed and persecuted elsewhere, so much so as to give rise to the saying: “Sinigaglia, mezza ebrea mezza canaglia”*.

In 1555, Pope Paolo IV Carafa decreed that all the Jews in its territory should live in the ghettos of Rome or Ancona, where 25 Marannos had been burned in an auto-da-fé. The Levantine Jews decided to boycott the port of Ancona by decreing the embargo in favour of the nearest port, Senigallia.

A brief interval of freedom brought by the French occupation was followed by episodes of destruction. On June 18, 1799, a RussianTurkish contingent landed at Marotta and headed for Senigallia. Accompanied by Senigallian citizens, they raided the ghetto killing 13 people). Social equality came only in 1860 with the Unification of Italy.

The ghetto extended over four blocks, comprising the modern-day streets of Via Arsilli, Via Marzi, Via Gherardi and Corso II Giugno. Four gates, one at either end, sealed off the two inner streets.

Seeing a considerable economic development, the Duke Guidubaldo II della Rovere stipulated a real agreement with the fugitives: diversion to Senigallia and Pesaro of all the traffic of goods from the east, in exchange for a residence permit.

After 1631, the duchy of Urbino came under the direct rule of the papacy, and ghettos were instituted in the main cities, Pesaro, Urbino and Senigallia, to which also the Jews from the surrounding towns were forced to move. During the next century and a half, the Jewish population of Senigallia trebled, from 40 families in 1634 to 120 in 1750. The Jews numbered 600 of a total of 5500 inhabitants. * "Sinigaglia, half Jewish half rogue".

• Imanuel Bonfils, Kanfei Nesharim (Wings of Eagles), astronomical manuscript, Senigallia, 1476 21

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GOLDEN PAPAL AGE

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Following the 1563 Council of Trent’s instructions, Senigallia Bishop Francesco Maria Enrici built a diocesan seminary. In the same period, Senigallia became an favorite stop for the pilgrims who went to Loreto, a sanctuary whose fame had reached the whole of Catholic Europe.

Travellers talk about their stay in Senigallia, mentioning the Locanda della Posta, owned by the ducal family, which a French visitor, Nicolas Audebert, described in 1578 as "the most beautiful hotel in Italy and one of the largest", forty rooms with two beds*.

The mid 18th century signified the Golden Age of the strategic trade city of the Papal State. Pope Benedict XIV promoted the enlargement of the port, and confirmed in 1750 a tax exemption at the Fiera Franca. To protect the interest of their merchants, fourteen nations had opened consulates, including those of distant Sweden and Turkey.

In 1760, Carlo Goldoni collaborated with Neapolitan composer Domenico Fischietti, setting the action of a comedie for music there: La Fiera di Sinigaglia. June 1846: The Municipality celebrated the election of Senigallia-born Giovanni Mastai-Ferretti as Pope Pius IX, whose first decision was a general amnesty to revolutionaries.

* Nicolas Audeber (1556-1598), Voyage d’Italie, Roma : L. Lucarini , 1981-1983. René Descartes went on pilgrimage to Loreto in 1623 in thanksgiving for the dream he reported in Olympica, which is at the origin of his Mathesis universalis. 22

• Early example of a waffle iron for dedicated osties, Pinacoteca 23

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SENIGALLIA BY THE SEA

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The invention of the seaside was deeply rooted in Italian tradition: the travel diaries of those writers who had embarked on the Grand Tour mentioned bathing and water sports enjoyed by groups of young people along the Italian coast from the late sixteenth century onwards.

The shareholders of the Bathouse sold their shares to the City Hall.

The raise of the new Grand Hotel Roma oriented the city's economy towards the tourist dimension.

The earliest bathing establishments opened in Trieste, Ancona and Venice, followed by Rimini, Pesaro, Fano and Senigallia, and the pentapolis became recreational. Senigallia’s opened on 9 July 1853: Stabilimenti di Bagni Marittimi, spiaggia del Molo di Levante.

On May 1857, Pope Pius IX visited his native town for the last time. Count Cavour’s newspaper, Il Risorgimento was calling for the unification and independence of Italy.

After September 1860, the Marches with Senigallia entered in the Kingdom of Italy and the Bologna-Ancona railway line was inaugurated by King Victor-Emmanuel II on 10 November 1861.

Eight years later, the abolition of the tax exemption and the closing of the Fiera Franca were followed by the bankruptcy of the Senigallian Savings Bank.

* On 18 September 1860, fellowing Cavour’s ultimatum, the battle of Castelfidardo saw the Piedmontese victory over foreign volunteers defending the Papal States. 24

• The Grand Hotel Bagni, town entrance. Senigallia, 1910

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AFTER THE EARTHqUAKE •

30 October 1930, a violent earthquake struck the city of Senigallia. The consequences were both dramatic and long-term decisive. A foreshock preceded the main earthquake by a few minutes. Its loud rumble was heard by many, although the shock caused little damage.

The post 1930 urban plan explains the quantity of light getting its way down the old streets and the planified development of the faubourgs. The City transformed from vertical to horizontal. The sun light augmented in the streets.

After hearing this warning noise, people fled the buildings they were in, flooding out onto the streets. Shortly after this the main shock came, at 8:10 a.m., with a magnitude of 5.9 on the Richter scale.

The earthquake affected the whole central and northwestern part of the Italian peninsula, with its epicenter near the city of Senigallia. Thanks to the foreshock alerting the people, casualties were quite low, but many were wounded by debris falling from the damaged buildings.

To prevent future damage the town administration took the decision to limit the number of floors to two more up the street level, even for the 15th and 16th centuries palaces.

Under a dynamic planification, Senigallia achieved its metamorphosis from a commercial town into a tourist and seaside resort. • The Grand Hotel Roma after the 1930 quake. It had its second floor destroyed.

• PHOTOGRAPHY STOPPED AT SENIGALLIA •

How Senigallia entered the Italian history of photography ? By a summer day of june 1938, an elegant automobile stopped on the national road for a lunch pause, children were excited with the idea of summer days in the fresh Alps (Dolomiti). After a curb, the sign indicated a restaurant, La Villetta. Time for a pause. Food was excellent and the father asked where they were, surprised to learn the safe and famous Senigallia beach was so close, the family decided to have a look.

With these friends, Cavalli specified his ideas on photography, published in 1942: Otto fotografi italiani d'oggi (Eight Italian photographers of today).

The book, despite its schematic nature, took on the value of an ideological manifesto. The group opposed both the pictorialist romanticism and the rhetorical formulas of fascist photography, to express rather a concept of "pure" photography, simple in form, always essential and rigorous.

The decision was unanymous, they will settle in Senigallia. Giuseppe Cavalli was not a supporter of Mussolini, especially since the turn of the Ethiopia war. After their studies in Rome, Emanuele, his twin brother had moved to Florence, while Giuseppe had returned to Lucera. He decided in 1938 to move up 340 kms from Lucera near Foggia in the Puglia, to Senigallia where his two children went to school.

Two years later, Cavalli published the first folder of the series Immagini*, and initiated a cultural dialogue with artists Federico Vender, Ercole Marelli, Walter Faccini, from Milan; Mario Finazzi, from Bergamo; Ferruccio Leiss, from Venice, and his twin brother Emanuele in Florence, where he often gathered with colleagues. * Immagini, Istituto italiano d'arti grafiche di Bergamo, 1940.

• 8 fotografi italiani d’oggi, 1942 What could be Art after the war ?

• Giuseppe Cavalli, The Paths of God, Senigallia,1946 29

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ASSOCIAZIONE FOTOGRAFICA MISA

The name Misa derives from the river crossing Senigallia

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Ferruccio Ferroni, Giuseppe Cavalli with Silvio Pellegrini, Senigallia, winter 1951-1952

Gruppo Misa:

• Mario Giacomelli, selfportrait in the Mirror, 1954

Giuseppe Cavalli, Vincenzo Balocchi, Paolo Bocci, Piergiorgio Branzi, Bruno Bulzacchi, Luciano Ferri, Ferruccio Ferroni, Mario Giacomelli, Francesco Giovannini, Adriano Malfagia, Guelfo Marzola, Giuseppe Moder, Bice De’ Nobili, Giulio Parmiani, Silvio Pellegrini, Lisa Ricasoli, Sandro Rota, Bruno Simoncelli.

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CARLO EMANUELE BUGATTI

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Carlo Emanuele Bugatti (1943-2019) was born in Senigallia soon after the arrival of Giuseppe Cavalli. He graduated from the University of Bologna, where he met leading figures in Italian cultural life such as the writers Paolo Volponi, Pier Paolo Pasolini and the painter Aldo Borgonzoni. These are the authors with whom he elaborated the first characteristic ideas on the function, at the same time experimental, social and communal, of a contemporary art museum leading to the foundation of the Municipal Museum of Modern Art, Information and Photography in Senigallia; MUSINF.

In collaboration with the State Museum of Literature in Moscow, he has curated the Italian exhibitions of Mayakovsky, Dostoevsky, Tolstoy and Chekhov. He was responsible for the realization of the celebrated exhibition of Mario Giacomelli in the Bibliothèque Nationale, Paris.

During forty years, il Professore Bugatti curated the collection of photographs and the exhibition program, inviting the members to give part of their archive in order to form a museum : MUSeo del’ INFormazione, MUSINF.

His tireless efforts over 40 years were rewarded this summer with the nomination of Senigallia, a city of photography, and he could discuss, influence and advise the creation of the Biennale di Senigallia. * Emanuele Bugatti : scelta dagli scritti, 1960-1980, presentazione di Paolo Volponi. 32

• Emanuale Bugatti nello studio del pittore Roberto Gabrieli

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BIENNALE DI SENIGALLIA •

Returning in May every even year, the Bienniale celebrates the first 150 years of photography, 1839-1989, and its material manifestations.

Preceding the Biennale, every odd year, at in the same period, the prelude or laboratory will help precise and start the program, with conference, shows and exhibitions.

It consists of :

— Exhibitions dedicated to the material history of photography — An Invited Nation

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The theme of each Biennale will allow to offer a series of ideas and interpretations, articulated around the transmission of tangible cultural heritage, especially the photographic objects crafted during the golden period 1839-1989, between the invention of photography and the Digital dark age.

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— Thematical publications and movies

— Prize (Research, Reinvention, Art)

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— Workshops, expert evaluation sessions

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— Fairs (galleries, collectors)

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— Conference and Meetings

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THEMES

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The public will be invited to vote online in order to decide a theme for each Biennale between a series of proposals, for example: — Photography records Nature, history of gardens and parks.

— Photography at the service of Urban planning and geography. Memory of the megalopolis, mapping of the planet. Documentary photography.

— Photography in the service of the Police, identification of criminals, crime scenes or missing persons.

— Photography in the service of Science: infinitely large or small.

— Photography in Wartime, registration of war history.

— Photography and Philosophy, in the service of Morality and religion, images can provoke feelings of compassion.

— Photography in the service of Political power or struggle, propaganda, censor, manipulation of emotions, satirical photographs.

— Photography and the Transmission of knowledge, curiosity and critical thinking, a vaccine against the ravages of conspiracy.

— Photography at the service of the Individual, photography within families, carte-de-visite, selfies. — Photography and Pleasure, eroticism, mimetic desire, Pavlov.

— Photography and the Art Market, history of Art, fakes, documentation, investigations, archeology. — Photography and Fashion, advertising photographs.

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C’ERA UNA VOLTA LA FOTOGRAFIA

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Grouped under the name "C'era una volta la fotografia” (Once upon a time there was photography), two exhibitions of early prints in two palaces in the heart of the city will be opened a few weeks before and after the May 2019 meetings:

GIUSEPPE CAVALLI

At the Duke's Palace (Palazzo del Duca), the first is dedicated to Giuseppe Cavalli, Ferruccio Ferroni and Mario Giacomelli, the three photographers who taught Senigallia to the point of becoming prophets in their country, and reveals their first images - unpublished prints, from the artists' family archives. Three small catalogues were produced with the help of Anna-Lisa Bismuth, Alessia Venditti, Simone Giacomelli and Marcello Sparaventi.

“We believe in photography as an art. This modern and very sensitive means of expression has reached, with the help of the technique that today mechanical chemistry and optics make available to us, the ductility, richness and effectiveness of an independent and lively language.... Even with the lens, in fact, you can transform reality into fantasy: that is the indispensable and first condition of art” (Manifesto of the La Bussola photographic group, drawn up by Cavalli, published in "Ferrania", 5 May 1947.

Taccuini Maltagliati Senigallia 2019

The photographs on display come from the archive of Ferruccio Ferroni, a testimony to the deep bond between the artits, as well as the magisterium of Cavalli in that extraordinary laboratory of ideas and forms that was the experience of the photographers of the group of Senigallia.

FERRUCCIO FERRONI

Ferruccio Ferroni was born in Mercatello sul Metauro in 1920 and left the school of officers in 1940, but for refusing to follow the Republic of Salo has known the tragic experience of German concentration camps.

And during his long convalescence (he weighed 38 kilos for 1m80) in Senigallia he became a pupil and faithful follower of Giuseppe Cavalli, then his reliable printer. Studying then to become a lawyer, he embraced the practice of photography with the rigor, seriousness and authority of an expert professional...

Between the opposite aesthetic and theoretical positions of Paolo Monti and Giuseppe Cavalli, Ferruccio Ferroni, maintains a measured balance between the high tones and the strong contrasts that opposed, dialectically, the two masters. Cavalli brought his friend's photographic art back to the lesson of Benedetto Croce. “ —Time, space, light, matter inhabit his images vivified in the passage of form”. Says Mario Giacomelli.

Taccuini Maltagliati Senigallia 2019

Typographer, photographer, painter, poet: acclaimed artist, prophet in his country and internationally recognized, already widely celebrated for the beauty and creativity of his work, Mario Giacomelli (Senigallia, 1925-2000) will be the focus of an anthological exhibition, in May 2020, in the heart of the first edition of the Biennale of Senigallia.

MARIO GIACOMELLI

Here, for the sake of the knowledge and inspiration of young people, experts and researchers, unpublished prints and proofs are presented, all from the artist's family archive.

They document and testify his unique and exemplary relationship with the material and artisan aspects of photography: the choice of papers, sizes, cuts, enlargements, the stubborn and original control in the printing phases. The works on display have the main task of exemplifying, through the wealth of information and notes on the verse of many of his prints, the creative process and the maturation of the artist's ideas.

The exhibition offers a careful analysis of the "signs", the material traces that remain imprinted on the original prints kept in its archive: just like those signs and traces ("in a ploughed field, in the flight of a seagull, in the face of a madman in an asylum ...") that, throughout his life, Giacomelli has seen, tracked, drawn and wonderfully transcribed in his images.

Taccuini Maltagliati Senigallia 2019

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EXHIBITION - PETIT PALAIS

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At the Petit Palais (Palazzetto Baviera), the second exhibition devoted to the first periods of the history of photography (1839-1914).

In the first room, the compositions of Count Minutoli, a work driven by the dream of creating the first virtual museum in the world to contribute to the training of students in applied arts. A project that seduced queen Victoria at the Crystal Palace.

In the second, some of the oldest known photographic portraits: American daguerreotypes.

Then, photographs on paper from the years 1840-1860, calotypes and albumins. "Variazioni Monocromatiche", We will discover the great variety of nuances obtained in the printing of proofs reputed to be monochrome. These rare and curious works come from the Serge Kakou Collection, Paris.

Luigi Naretti was the first reporter in Abyssinia and Eritrea, these period proofs were (re)discovered in the archives of the Antonelliana Library in Senigallia by a local historian, Leonardo Badioli:

“It sometimes happens that the few who enter those archives where direct access is allowed not to find the thing they are looking for but to come across anything that attracts attention, however deviant from its purposes. Who on earth - even a lover of photography or colonial history - would enter the Historical Archive of the Biblioteca Comunale Antonelliana in Senigallia with the precise aim of making contact with the collection of photographs by Luigi Naretti, which is kept there? Aligned among other sixty binders full of images of the administrative life of the city, and marked on the back with the number 29, the album that contains it seems to have fallen by mistake, as a spurious legacy of some adventurous character unknown to his fellow citizens because of a prolonged absence in distant places...

LUIGI NARETTI

Here, then, is the place in Eritrea where Naretti decided to settle, Massawa.

Here are the characters: already known to us even by name, such as the imperial couple Regina Taitùe Negus Menelik, or a little 'lesser-known, as a proud ras Mangascià on horseback.

Here are the people that the photographer meets in the places frequented or following the progress of the conquest in the direction of the whole, which are precisely the Abyssinian Players and the Girls Beni-Amer: portraits that today we would call "ethnic" as if we were not also as "ethnic" in their eyes.”

Taccuini Maltagliati Senigallia 2019

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INVITED NATION : ALBANIA

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Albanian portraits by Pietro Marubbi are the oldest preserved photographs, taken in the 1870s by the first Balkan studio in Scutari, (Shkodra, Albania), then still under Ottoman administration.

PIETRO MARUBBI

On display for the first time, these 25 originals, coloured with mud and natural pigments by the artist, were brought back by one of the very first travellers to venture into Albania. They belong to Pierre de Gigord’s collection, dedicated to the Ottoman Empire.

Pietro Marubbi trained young assistants, who helped him meeting with the inhabitants of the remoted valleys. He adopted the talented Kel Marubbi who should be credited together with his master for the realisation of that series.

Publication of a catalogue, with a presentation by Luçian Bedeni, Director of Albanian Marubi, National Museum of Photography.

Taccuini Maltagliati Senigallia 2019

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CONFERENCE

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Thursday, May 2, 2019. 10:00 am - 1:00 pm (Italian and Chinese language)

Coordinator: Francesca Bonetti, Istituto Centrale per la Grafica, Rome

Lorenzo Cicconi Massi, photographer, Senigallia, Homage to Professor Bugatti Walter Bastari, Artist, Senigallia, One Character in Search of an Author, Homage to Giacomelli

Lucjan Bedeni, Fototeka Marubi, Shkodra, Pietro Marubbi first photographer in Albania

Leonardo Badioli, Novelist, Senigallia, Luigi Naretti first photojournalist in Eritrea

Enea Discipoli, photographer, Senigallia, Photographic excursions in the Himalayas

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CONFERENCE

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Friday, May 3 10:00 am - 1:00 pm (French and English Language)

Session moderator: Serge Plantureux, Central Services of the Biennale, Senigallia Vincent Noce, essayist, journalist, Paris, Le vrai et le Faux en art

Paul-Louis Roubert, Société Française de Photographie, Paris, Mélancolie photographique

Ursula Richert-Nekes, Œil Trompé, the Werner Nekes collection of image games and optical illusions Discussion: Would the ideal museum of the future be a suitcase full of melancholic photographs? A Museum in a suitcase? Un Musée-en-valise?

Fang Zhang, filmmaker, Luoyang. 赛尼加利亚摄影双年展 - China at the Senigallia 2020 Biennale

Discussion: Senigallia the Adriatic, for two thousand years on the road of travellers

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CONFERENCE

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Saturday, May 4, 10:00 am - 1:00 pm (French Language)

Session Chairman: Patrice Montico, Compagnie des experts de justice en Culture et Communication, Cour d'Appel de Paris Jean-Louis Lagarde, lawyer, Brussels, Controversies in photography

Marc Durand, Archives Nationales, Paris, Les frères Lumière face à la défense de leurs droits

Myriam quemener, Advocate General at the Court of Appeal, Paris, Digital and art, protection or danger? Yves Liverset, Hubert de Maximy and Emmanuelle Le Roy Poncet, justice experts, Paris, Copyright in the image and audiovisual field today

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FIERA DELLA FOTOGRAFIA

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For three days, a trade fair where merchants and collectors will allow visitors to consider starting a collection.

And agree with us that the collection of ancient photographs is perhaps the most beautiful of all collections. Address: Ground floor, Petit Palais (Palazzetto Baviera), Piazza del Duca, 60019 Senigallia VIP Preview and cocktail : Fair Hours :

Thursday, May 2, 5:00 pm - 8:00 pm Friday, May 3,

10:00 am - 7:00 pm

Saturday, May 4, 10:00 am - 2:00 pm

Discussion and questions

Address: Auditorium, Petit Palais (Palazzetto Baviera), Piazza del Duca, 60019 Senigallia

R9 R5 Piazza G.

R8 Biblioteca

H8 R4 Biennale

SCBS Teatro

H4 H1 R6

H3 54

• HOTELS - ALBERGHI • H1. Albergo Bice ***, open all year around, half or full pension optional H2. Hôtel City ***, unexpensive, on the beach H3. Hôtel Cristallo ***, unexpensive, on the beach H4. Hôtel de la Ville ****, excellent, on the beach H5. Hôtel Regina *, all vintage, nothing upgrated since the 1930s H6. Terrazza Marconi *****, Spa with variety of treatments, rooftop, very chic H7. Palace Hotel**, very unexpensive, ask for a room with a nice view H8. B&B Al Foro Annonario**, in town, elegant

• Morning at Bagnino Maremio, n°50, lungomare Marconi, Senigallia

• RESTAURANTS - RISTORANTI •

R1, Angolino sul Mare, da Vinicio, a glasshouse on the beach, try the spaghetti vongole, and the fish cooked in salt R2, Osteria della Posta, inovative kitchen with sea products R3, Porta Braschi, delicious pizzeria and family restaurant R4, Spirito Libero, da Fabio, on the beach, the chef has a special attention to all recipes including Mezzancole (shrimps) R5, La Pagaia, on the canal, not far from the beach

Very chic :

R9, Uliassi, just received three stars Michelin In the neighborhood (3-7 kms)

R10, Madonnina del Pescatore, Lungomare Italia, 11 (Marzocca, 3 kms), two stars Michelin, take time to try the 12 courses menu R11, Seta, countryside taverna on the hills and out of time, 7 kms south of the town

R6, Bice, family kitchen, do not choose, let them do R7, Nagi sushi, ristorante giapponese in town R8, Magnon, Senigallia teenagers’ favorite

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BOOKSHOPS, GALLERIES AND CLUBS

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1. Libreria Ubik, with a large photography section upstairs, Corso 2 Giugno 54 - 60019 Senigallia

2. Montadori, with the famous Bar Centrale, still operating inside the bookshop, Corso 2 Giugno 61

3. Giuseppe Perlini, rare photographs, seasonal gallery near Hotel Cristallo, all year around by appointment: perlinigiuseppe@tiscali.it 4. Francesco Pigliapoco, “Niente di nuovo” antique shop, near the Piazza Garibaldi. Via Portici Ercolani, 16 5 : Sena Nova, Senigallia’s main non-profit organisation, hosting several clubs and associations, who will provide helpful services to the visitors : languages, photographic excursions, exhibition oportunities, etc. Via Oberdan 3

• BEACHES - SPIAGGIE •

Renting umbrellas and selling shadow is a seasonal activity in Senigallia.

• ACCESS BY PLANE, CAR, TRAIN OR FERRY • Train. Senigallia station is situated 250 metres from the location of the Biennale, and partner hotels can be reached by foot. Many direct trains from Milan, Venice, Bologna, Montecarotto or Munich. Two daily trains from Rome compared to 20 connections with Bologna!

Ferry. Close-by Ancona port proposes ferries connections with Greece, Albania and Croatia.

AL IG N SE

Plane. Marche airport is located in Falconara Maritima, half way between Ancona and Senigallia (16 kms, main airlines: Lufthansa (Munich), Ryanair (London).

Bologna airport (179 km) is more frequented and connected by convenient trains (quickest 1h 3/4, no need to rent a car).

Car. From Milan, Venice or Bologna, Senigallia is on the main Adriatic motorway.

From Rome and Florence, Senigallia can be reached by car through the picturesque Apennins.

• Approaching Ancona with LH 1958, April 2019

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NOTES

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NOTES

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Since 1891, the Gazette Drouot is the handbook of the amateur wishing to attend the French auctions. On the strength of eight years' experience in English with its monthly online magazine, La Gazette Drouot is starting up a new bilingual website starting in May.

Every day, you can find the latest news on auctions, fairs, shows, market trends and must-see exhibitions, as well as surveys and exclusive interviews with key figures in the world of art and culture. On March 29, 2019, research on the name â&#x20AC;&#x153;Senigalliaâ&#x20AC;? gave 26 positive results.

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COLOPHON

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This Traveller’s Compagnon, edited by Serge Plantureux, was printed on 15 April 2019 for SCBS, Servizi Centrali della Biennale di Senigallia, via Marchetti 2, Senigallia in an edition of 1500 copies, by IGO, Chemin des Amours au Poiré-sur-Vie ISBN 978-88-32191-01-1