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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" ?

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 The City of Senigallia was appointed by the Regional Council of the as an object, the Biennale di Senigallia invites us to explore together the "City of Photography" a year ago. The home of Giuseppe Cavalli, potential richness of this material history. Ferruccio Ferroni, Mario Giacomelli and many other photographers, is recognized as an exceptional place, a denomination of controlled Grouped under the title "Once upon a time there was photography" , two cultural origin. exhibitions are set up in two noble locations in the heart of the city. Welcome to Senigallia ! On May 2, 3 and 4, 2019 it will host the “première” of an ambitious Maurizio Mangialardi Biennale , co-organized by the City Council and Serge Plantureux, with Maire of Senigallia the collaboration of Francesca Bonetti, guest curator. 21 marzo 2019

4 5 • CONTENT •

First Foundation (400 BC) 6 Second Foundation (284 BC) 8 Third Foundation (554) 10 Repopulation and Renaissance (1374) 14 After the Earthquake (1930) 22

Photography stopped at Senigallia (1938) 24 Biennale’s programm 34 Exhibitions 38 Conferences 46

Orientation Map 52 Partners Restaurants 54 Partners Hotels 56

• Combusta Rinascitur Partners Bookshops and Galleries 54 Beaches 56 Access by Rail, by Sea and by Air 58

© 5OCHE 2019, published by SCBS di Serge Plantureux Palazzo Arsilli, Via Marchetti, nr 2, 60019 Senigallia (AN)

6 7 400 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 4 th century B.C., when they settled in the area between 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 , 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 . The gold objects differentiate their tombs from the contemporaries of the region where gold was almost unknown.

* ... recentissimi advenarum (Levy) • Paul Jamin . Le Brenn et sa part de butin ** G. Annibaldi, Montefortino di Arcevia, Enciclopedia Treccani dell' Arte Antica . The tombs are situated (Brennus and his Share of the Spoils) , 1893 34 kms out of Senigallia. The gold objects are now in , Archeological Museum.

8 9 283 BC SECOND FOUNDATION • : • The via Flaminia antica linked Rome to Sena Gallica on the Adriatic coast through Sentinum (Sassoferato). In 220 BC, Gaius Flaminius built the In 283 BC, the Senones “were utterly destroyed by the Romans” *. enlarged via Flaminia, following the Metauro valley, ending in Fano. “The Senones, although they had a treaty with the Romans, nevertheless furnished In the prelude to the Battle of the Metaurus between Romans and mercenaries against them, wherefore the Senate sent an embassy to them to remonstrate Carthaginians, on 22 June 207 BC, Sena Gallica was the southernmost against this infraction of the treaty. Britomaris, the Gaul... slew the ambassadors... point of Hasdrubal ’s invasion of . cut their bodies in small pieces and scattered them in the fields.” In 409 A.D., after 692 years of Roman administration, the town was The consul Cornelius, learning of this abominable deed, moved with great speed completely de stroyed by the Goths of Alaric I on their way to Rome. against the towns of the Senones by way of the Sabine country and Picenum, and The Sack of Rome occurred on 24 August 410 AD. 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.” 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 • The Via Flaminia was the Roman road leading from Rome over the Apennine Mountains translated from the Greek, Appian, Roman History, Gallic Wars 2.13. to and the Ager Gallicus (Map: William R. Shepherd, 1923).

10 11 554 AD THIRD FOUNDATION BYZANTINE • : ( ) • The Lombard king Aistulf captured Ravenna in 751, ending over two centuries of Byzantine rule in central Italy, with profound and lasting Senigallia was included in the byzantine Duchy of the Pentapolis (554). The consequences. Pope Stephen II, seeking protection from the aggression via Flaminia became the Ravenna road and the Pentapolis* became one of of the Lombards, appealed to the Frankish king Pepin the Short. Pepin the more commercially vibrant parts of the Italia Annonaria . cowed Aistulf and restored Stephen to Rome at the head of an army. Once in Italy through the Friuli in 568, the Lombards tore from the This began the Frankish involvement in Italy: Pepin's son Charlemagne Byzantines a large part of land south of the Alps, but didn't constitute became Western Roman Emperor, and papal temporal rule in Italy any uniform and contiguous domain. The satrted with the creation of the Papal States. remained connected to Rome through the Byzantine corridor , the result of careful political and military strategies. 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 7 th 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.

th * The Pentapolis on the Adriatic: Ancona, Fano, , and Senigallia. • Scene of iconoclasm , miniature from the 9 -century Chludov illuminated marginal Psalter, kept at Mount Athos until 1847, when a Russian scholar brought it to Moscow.

12 13 GUELPH vs GHIBELLINE Se tu riguardi Luni e Urbisaglia • • come sono ite, come se ne vanno Senigallia hold one of the largest fairs in medieval Italy, the Fair of the di retro ad esse Chiusi e Sinigaglia, Magdalene , after Sergius , count of Senigallia, had received from the count udir come le schiatte si disfanno of Marseille certain relics of Mary Magdalene. 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 Le vostre cose tutte anno lor morte, restore the power and prestige of the German monarchy after the sì come voi; ma celasi in alcuna Investiture Controversy and went to Italy to find the finances needed. His che duran molto, e le vite son corte. supporters became known as Ghibellines (Ghibellini). The Lombard League and its allies, supported by the Church, were defending the If you consider Luni, Urbisaglia liberties of the urban communes against the Emperor's encroachments how they've ceased to be, and and became known as Guelphs (Guelfi). how Chiusi and Senigallia after them

The Guelph town of Senigallia, its cathedral and walls, were destroyed then to hear how races have an end in 1264 by the Saracen troops of Percivale Doria, captain of Manfred, will not seem strange or hard, King of Sicily. Dante wrote the verses: “... even cities cease to be ...” . since even cities cease to be.

The floodings of the Misa turned the whole area into a swamp for one All your concerns are mortal, even as hundred years, almost corresponding to the years of the exile of the yourselves; but it is hidden in some Popes in Avignon. Before returning to Rome, the Popes delegated That a long while endure, Cardinal Albornoz to restore the territory of the Papal State*. and lives are short.

* The Papal delegation numbered only 250 fires in Senigallia in 1354, a population of circa 1200, • Andrea del Castagno, Dante, 1450. the fortress was still a useful watchtower on the sea. Ex convento di S. , Firenze.

14 15 • RENAISSANCE •

The Re naissance 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 • Sebastiano del Piombo, Francesco Arsilli, Rome, circa 1515 (Pinacoteca di Ancona) 1524]. Poems by various persons in honor of Janus Corycius (Goeritz), collected by Blosio Palladio.

16 17 • 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 31 st 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, • Fiorentine photographer, Machiavelli, salt paper print, circa 1850 Oliverotto da Fermo, il Signor Pagolo et il duca di Gravina , [1503]-1550 . W.K. Marriott’s translation online.

18 19 • JEWISH SENIGALLIA • A brief interval of freedom brought by the French occupation was followed by episodes of destruction. On June 18, 1799, a Russian- Since the repopulation of Senigallia, Malatesta's liberality had attracted Turkish contingent landed at Marotta and headed for Senigallia. many Jews, harassed and persecuted elsewhere, so much so as to give Accompanied by Senigallian citizens, they raided the ghetto killing 13 rise to the saying: “Sinigaglia, mezza ebrea mezza canaglia”* . people) . Social equality came only in 1860 with the Unification of Italy. In 1555, Pope Paolo IV Carafa decreed that all the Jews in its territory The ghetto extended over four blocks, comprising the modern-day should live in the ghettos of Rome or Ancona, where 25 Marannos had streets of Via Arsilli, Via Marzi, Via Gherardi and Corso II Giugno . Four gates, been burned in an auto-da-fé . The Levantine Jews decided to boycott the one at either end, sealed off the two inner streets. port of Ancona by decreing the embargo in favour of the nearest port, Senigallia. 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. • Imanuel Bonfils, Kanfei Nesharim (Wings of Eagles ), * "Sinigaglia, half Jewish half rogue". astronomical manuscript, Senigallia, 1476

20 21 • GOLDEN PAPAL AGE •

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 18 th 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 • Early example of a waffle iron for dedicated osties , Pinacoteca pilgrimage to Loreto in 1623 in thanksgiving for the dream he reported in Olympica , which is at the origin of his Mathesis universalis . 22 23 • SENIGALLIA BY THE SEA • 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 The invention of the seaside was deeply rooted in Italian tradition: the towards the tourist dimension. 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 earliest bathing establishments opened in Trieste, Ancona and , 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 • The Grand Hotel Bagni, town entrance. Senigallia, 1910 over foreign volunteers defending the Papal States.

24 25 • AFTER THE EARTHqUAKE • The post 1930 urban plan explains the quantity of light getting its way down the old streets and the planified development of the faubourgs. 30 October 1930, a violent earthquake struck the city of Senigallia. The The City transformed from vertical to horizontal. consequences were both dramatic and long-term decisive. The sun light augmented in the streets. A foreshock preceded the main earthquake by a few minutes. Its loud rumble was heard by many, although the shock caused little damage. 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 15 th and 16 th 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.

26 27 • PHOTOGRAPHY STOPPED AT SENIGALLIA • With these friends, Cavalli specified his ideas on photography, published in 1942: Otto fotografi italiani d'oggi (Eight Italian photographers of today ). How Senigallia entered the Italian history of photography ? By a The book, despite its schematic nature, took on the value of an summer day of june 1938, an elegant automobile stopped on the ideological manifesto. The group opposed both the pictorialist national road for a lunch pause, children were excited with the idea of romanticism and the rhetorical formulas of fascist photography, to summer days in the fresh Alps (Dolomiti). After a curb, the sign express rather a concept of "pure" photography, simple in form, always indicated a restaurant, La Villetta . Time for a pause. Food was excellent essential and rigorous. 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. 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 • Giuseppe Cavalli, The Paths of God , What could be Art after the war ? Senigallia,1946

28 29 • ASSOCIAZIONE FOTOGRAFICA MISA • Gruppo Misa: The name Misa derives from the river crossing Senigallia 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, • Ferruccio Ferroni, Giuseppe Cavalli with Silvio Pellegrini, Senigallia, winter 1951-1952 • Mario Giacomelli, selfportrait in the Mirror, 1954 Bruno Simoncelli.

30 31 • CARLO EMANUELE BUGATTI •

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. • Emanuale Bugatti nello studio del pittore Roberto Gabrieli

32 33 • BIENNALE DI SENIGALLIA • Preceding the Biennale, every odd year, at in the same period, the prelude or laboratory will help precise and start the program, with Returning in May every even year, the Bienniale celebrates the first 150 conference, shows and exhibitions. years of photography, 1839-1989, and its material manifestations. It consists of : — Exhibitions dedicated to the material history of photography — An Invited Nation ALLIA - NIG AN E TE — Conference and Meetings I S P D R IM E — Fairs (galleries, collectors) L A A 2 N 0 — Workshops, expert evaluation sessions N 1

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— Thematical publications and movies c y r h e p The theme of each Biennale will allow to offer a series of ideas and e a n r interpretations, articulated around the transmission of tangible cultural in g g to heritage, especially the photographic objects crafted during the golden t o he ph period 1839-1989, between the invention of photography and the firs of Digital dark age. t 150 years

34 35 • THEMES •

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 at the service of the Individual, photography within — Photography and Philosophy, in the service of Morality and religion, families, carte-de-visite, selfies. images can provoke feelings of compassion. — Photography and Pleasure, eroticism, mimetic desire, Pavlov. — Photography in the service of Political power or struggle, propaganda, censor, manipulation of emotions, satirical photographs. — Photography and the Art Market, history of Art, fakes, documentation, investigations, archeology. — Photography and the Transmission of knowledge, curiosity and critical thinking, a vaccine against the ravages of conspiracy. — Photography and Fashion, advertising photographs.

36 37 • C’ERA UNA VOLTA LA FOTOGRAFIA • Grouped under the name "C'era una volta la fotografia” (Once upon a time GIUSEPPE CAVALLI 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: 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 Taccuini Maltagliati reality into fantasy: that is the indispensable and first condition of art” (Manifesto Senigallia 2019 of the La Bussola photographic group, drawn up by Cavalli, published in "Ferrania" , 5 May 1947.

38 39 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 FERRUCCIO FERRONI forms that was the experience of the photographers of the group of Senigallia. 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 Taccuini Maltagliati Senigallia 2019 art back to the lesson of Benedetto Croce. “ —Time, space, light, matter inhabit his images vivified in the passage of form” . Says Mario Giacomelli.

40 41 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, MARIO GIACOMELLI 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. 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 Taccuini Maltagliati those signs and traces ( "in a ploughed field, in the flight of a seagull, in the face Senigallia 2019 of a madman in an asylum ..." ) that, throughout his life, Giacomelli has seen, tracked, drawn and wonderfully transcribed in his images.

42 43 • EXHIBITION - PETIT PALAIS •

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.

44 45 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: LUIGI NARETTI “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... 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 Taccuini Maltagliati the Girls Beni-Amer: portraits that today we would call "ethnic" as if we were not also as Senigallia 2019 "ethnic" in their eyes.”

46 47 • INVITED NATION : ALBANIA •

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

48 49 • CONFERENCE • • CONFERENCE •

Thursday, May 2, 2019. 10:00 am - 1:00 pm Friday, May 3 10:00 am - 1:00 pm (Italian and Chinese language) (French and English Language)

Coordinator: Francesca Bonetti, Istituto Centrale per la Grafica , Rome Session moderator: Serge Plantureux, Central Services of the Biennale, Senigallia Lorenzo Cicconi Massi, photographer, Senigallia, Homage to Professor Bugatti Vincent Noce, essayist, journalist, Paris, Le vrai et le Faux en art Walter Bastari, Artist, Senigallia, One Character in Search of an Author, Paul-Louis Roubert, Société Française de Photographie , Paris, Mélancolie Homage to Giacomelli photographique Lucjan Bedeni, Fototeka Marubi , Shkodra, Pietro Marubbi first photographer Ursula Richert-Nekes, Œil Trompé, the Werner Nekes collection of image games in Albania and optical illusions Leonardo Badioli, Novelist, Senigallia, Luigi Naretti first photojournalist in Discussion: Would the ideal museum of the future be a suitcase full of melancholic Eritrea photographs? A Museum in a suitcase? Un Musée-en-valise? Enea Discipoli, photographer, Senigallia, Photographic excursions in the Himalayas 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

50 51 • CONFERENCE • • FIERA DELLA FOTOGRAFIA •

Saturday, May 4, 10:00 am - 1:00 pm For three days, a trade fair where merchants and collectors will allow (French Language) visitors to consider starting a collection. Session Chairman: Patrice Montico, Compagnie des experts de justice en And agree with us that the collection of ancient photographs is perhaps Culture et Communication , Cour d'Appel de Paris the most beautiful of all collections. Jean-Louis Lagarde, lawyer, Brussels, Controversies in photography Address: Ground floor, Petit Palais (Palazzetto Baviera), Piazza del Duca, 60019 Senigallia Marc Durand, Archives Nationales , Paris, Les frères Lumière face à la défense de leurs droits VIP Preview and cocktail : Thursday, May 2, 5:00 pm - 8:00 pm Myriam quemener, Advocate General at the Court of Appeal , Paris, Digital Fair Hours : Friday, May 3, 10:00 am - 7:00 pm and art, protection or danger? Saturday, May 4, 10:00 am - 2:00 pm Yves Liverset, Hubert de Maximy and Emmanuelle Le Roy Poncet, justice experts, Paris, Copyright in the image and audiovisual field today Discussion and questions

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

52 53 R9 R5

Piazza G. R2 R8 R7 Biblioteca H8 R4

Biennale SCBS

Teatro H4 H1 R6 R3 H7 H6 R1

H3

54 55 H2 H5 • 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

• Morning at Bagnino Maremio, n°50, lungomare Marconi, Senigallia H8. B&B Al Foro Annonario**, in town, elegant

56 57 • RESTAURANTS - RISTORANTI • Very chic : R1, Angolino sul Mare , da Vinicio, a glasshouse on the beach, try the spaghetti vongole, and the fish cooked in salt R9, Uliassi , just received three stars Michelin

R2, Osteria della Posta , inovative kitchen with sea products In the neighborhood (3-7 kms) R3, Porta Braschi, delicious pizzeria and family restaurant R10, Madonnina del Pescatore , Lungomare Italia, 11 (Marzocca, 3 kms), R4, Spirito Libero , da Fabio, on the beach, the chef has a special attention two stars Michelin, take time to try the 12 courses menu to all recipes including Mezzancole (shrimps) R11, Seta , countryside taverna on the hills and out of time, 7 kms south R5, La Pagaia, on the canal, not far from the beach 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

58 59 • BOOKSHOPS , GALLERIES AND CLUBS •

1. Libreria Ubik, with a large photography section upstairs, Corso 2 Giugno 4 54 - 60019 Senigallia 1 2. Montadori, with the famous Bar Centrale, still operating inside the 5 2 bookshop, Corso 2 Giugno 61

3. Giuseppe Perlini, rare photographs, seasonal gallery near Hotel Cristallo, all year around by appointment: [email protected]

4. Francesco Pigliapoco, “Niente di nuovo” antique shop, near the Piazza Garibaldi. Via Portici Ercolani, 16 3

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

60 61 • BEACHES - SPIAGGIE •

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

62 63 • ACCESS BY PLANE , CAR , TRAIN OR FERRY • Plane. Marche is located in Falconara Maritima, half way between Ancona and Senigallia (16 kms, main airlines: (Munich), (London).

Train. Senigallia station is situated 250 metres from the location of the Bologna airport (179 km) is more frequented and connected by convenient Biennale, and partner hotels can be reached by foot. trains (quickest 1h 3/4, no need to rent a car). Many direct trains from Milan, Venice, Bologna, Montecarotto or Munich. Car. From Milan, Venice or Bologna, Senigallia is on the main Adriatic Two daily trains from Rome compared to 20 connections with Bologna! motorway.

Ferry. Close-by Ancona port proposes ferries connections with Greece, From Rome and Florence, Senigallia can be reached by car through the Albania and Croatia. picturesque Apennins.

A LI AL IG N SE

• Approaching Ancona with LH 1958, April 2019

64 65 • NOTES •

66 67 • NOTES •

68 69 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 “ Senigallia” gave 26 positive results. • COLOPHON •

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