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Edited by Annie Caubet the Power of Images edited by Annie Caubet The Power of Images Venice, Palazzo Loredan / Istituto Veneto di Scienze, Lettere ed Arti, Campo Santo Stefano 15 September 2018 – 20 January 2019 Cover, Back Cover, page 4 Exhibition curated by Fondazione Giancarlo Ligabue With the Patronage of “Oxus Lady” called “Ligabue Venus” Eastern Iran, Central Asia Annie Caubet Inti Ligabue President Oxus Culture (ca. 2200–1800 BC) General Coordination Ligabue Collection, Venice Secretariat for Management, Massimo Casarin (cat. 86) Administrative and Public and Private Loans Executive Vice President Secretariat Shipping and Insurance Design Lucia Berti Claudia Ghedin Marcello Francone Coordination and Communication Lucia Berti Editorial Coordination Claudia Ghedin Eva Vanzella Public Lenders Management of Public and Private Loans, Promotor Copy Editor Transport and Insurance Emily Ligniti Archäologische Sammlung der Universität Zürich Petra Lanza Layout (Zurich, Switzerland) Archive and Iconography Serena Parini Platinum Sponsor Translations Ashmolean Museum of Art and Archaeology Marta Dal Martello Lauren Sunstein for Scriptum, Rome University of Oxford Archive and Installation (Oxford, United Kingdom) Iconographical Research Communicative Layout Paola Lamanna Badisches Landesmuseum Federico Dei Rossi Main Sponsor (Karlsruhe, Germany) Ubis Three First published in Italy in 2018 by Congregazione Armena Mechitarista Photography Skira editore S.p.A. (Venice, Italy) Hughes Dubois Palazzo Casati Stampa Caroline Leloup Department of Antiquities Cyprus Via Torino 61 Archivi FGL 20123 Milano (Nicosia, Republic of Cyprus) Exhibition Design Italy Musée d’Archéologie nationale www.skira.net Luca Facchini Saint-Germain-en-Laye www.fondazioneligabue.it Ubis Three (Saint-Germain-en-Laye, France) © 2018 Fondazione Giancarlo Ligabue, Multimedia Projects Musées Royaux d’Art et d’Histoire Venice Marco Morbiato © 2018 Skira editore, Milan (Brussels, Belgium) Simone Tasselli All rights reserved under international Musei Civici di Padova – Sergio Pingenti copyright conventions. Museo Archeologico (Padua, Italy) No part of this book may be reproduced Installation or utilized in any form or by any means, Museo Arqueológico Nacional ABS Group electronic or mechanical, including (Madrid, Spain) File Fornasier impianti photocopying, recording, or any Fiorotto Design Polo Museale della Sardegna – Museo information storage and retrieval system, Interlinea Srl Archeologico Nazionale (Cagliari, Italy) without permission in writing from the Mobilifcio Vimar Gold publisher. Sartori group Printed and bound in Italy. First edition Private Lenders Simplex ISBN: 978-88-572-3885-2 Collection Jon Aisbitt, UK Exhibition Text Panels Distributed in USA, Canada, Central & Collection Bernard Dulon, Paris Roberta Menegazzi South America by ARTBOOK | D.A.P. 75 Ligabue Collection, Venice Broad Street Suite 630, New York, Press Offce George Ortiz Collection NY 10004, USA. Villaggio Globale International Distributed elsewhere in the world by Collection David Sofer, London Thames and Hudson Ltd., 181A High Insurance Technical Sponsors Holborn, London WC1V 7QX, United Steffano Assicuratori Kingdom. Transport and Logistics Gondrand International Ligabue Spa Catalogue edited by Ruth Maicas Ramos (M.R.R.) Acknowledgements It is our great pleasure to thank the lenders United Kingdom Museo Arqueológico Nacional, Madrid and private individuals from the following Salomon Aaron Annie Caubet For their generous loans, we express our countries, whose help, knowledge and Jon Aisbitt Fabio Martini (M.F.) deepest gratitude to the directors of the Editorial Offce - Fondazione Giancarlo infuence have made this exhibition possible: Aisha Burtenshaw Università di Firenze, Florence museums and institutions from the following Ligabue Maggie Crosland countries: Lucia Berti, Publications Coordination Natacha Massar (M.N.) Belgium John Curtis Petra Lanza, Archive and Iconography Musées Royaux d’Art et d’Histoire, Vincent Gerling Giuseppe Eskenazi Belgium Marta Dal Martello, Archive Brussels Eric Gubel Anna Garnett Musées Royaux d’Art et d’Histoire, Brussels Valérie Goodacre Liam McNamara (McN.L.) Cyprus Contributors to the Catalogue Cyprus Susie Greene Ashmolean Museum of Art and Archaeology Jacqueline and Vassos Karageorghis Department of Antiquities Cyprus, Nicosia Oliver Hoare Eftymia Alphas (A.E.) University of Oxford, Oxford Despo Pilides Noriyoshi Horiuchi Department of Antiquities Cyprus, Nicosia France Marina Solomidou-Ieronymidou Daniele Morandi Bonacossi (M.B.D.) John Kasmin Musée d’Archéologie nationale, Joan Aruz (A.J.) Università di Udine, Udine France Petra Korpivaara Saint-Germain-en-Laye Emerita, Metropolitan Museum of Art, Hélène Astruc Molly Limmer George Ortiz (O.G.†) New York Germany Nora Belkebla Nasser and Mansour Moktarzadeh Collector Badisches Landesmuseum, Karlsruhe Nicolas Benoit Maria Ragan Pedro Azara (A.P.) Catherine Perlès (P.C.) Marianne Cotty Charlotte Reeves Universitat Politècnica de Catalunya, Italy Université Paris-X Nanterre Victoire d’Amécourt Susan Richardson Barcelona Polo Museale della Sardegna – Museo Bernard Dulon Sir Paul Ruddock Elena Rova (R.E.) Archeologico Nazionale, Cagliari Martin Bürge (B.M.) Liliane and Michel Durand-Dessert Ina Sandeman-Sarikhani Università Ca’ Foscari, Venice Musei Civici di Padova – Museo Archeologico, Universität Zürich, Zurich Dominique Fourcade Ali Sarikhani Padua Lucia Sarti (S.L.) David Ghezelbash David Sofer Annie Caubet (C.A.) Ligabue Collection, Venice Università di Siena, Siena Clémentine Gustin-Gomez Alice Stevenson Emerita, Musée du Louvre, Paris Congregazione Armena Mechitarista, Venice Annie Kevorkian Rupert Wace Eftychia Zachariou (Z.E.) Stefano De Martino (DeM.S.) Spain Rémy Labrusse Moe Ward Department of Antiquities Cyprus, Nicosia Università di Torino, Turin Museo Arqueológico Nacional, Madrid Hélène Le Meaux United States Marielle Pic Jean-Paul Demoule (D.J-P.) Artefact Photos Switzerland Robert Haber Jacques Polge Université Paris-I Panthéon-Sorbonne, Fondazione Giancarlo Ligabue Archives Archäologische Sammlung der Universität Emily Leonardo Pierre Rouillard Paris Hughes Dubois Zürich Joan Mertens Catherine Thieck Caroline Leloup Laura Siegel Claudia Gambino (G.C.) United Kingdom Germany Michael Steinhardt Università di Padova, Padua Ashmolean Museum of Art and Archaeology Jörg Rumpf Michael Ward University of Oxford Pat Getz-Gentle (G-G.P.) Severin Schwan Independent researcher Gordian Weber We also wish to express our gratitude to all the lenders who prefer to remain anonymous. Katharina Horst (H.K.) Italy Badisches Landesmuseum, Karlsruhe Fulvia Lo Schiavo Dirke Huyge (H.D.) Spain Musées Royaux d’Art et d’Histoire, Carmen Cacho Quesada Brussels Jorge A. Soler Díaz Bo Lawergren (L.B.) Switzerland Hunter College, New York Brenno Bottini Jean-Claude Gandour Christine Lorre (L.C.) Michael Haedquist Musée d’Archéologie nationale, Caroline Kasper Nebel Saint-Germain-en-Laye Laurence Mattet Anne-Joelle Nardin Christoph Reusser Isabelle Tassignon IDOLS: THE DISCOVERY OF THE SOUL “The theory that God the Father of all monotheistic religions was originally a Mother Goddess began to emerge after the discovery of the frst Paleolithic Venuses, where the female form embodied a centre of divine power. It is believed that, right in that moment, between the Middle and Upper Paleolithic, certain changes occurred in the structure of the psyche in the spirit and consciousness of humankind. The phase of unawareness was superseded by a sort of urge that specialists today attribute to a rapid evolution of consciousness. Thus the concept of religion was born as man discovered that he had a soul.” hese words were written by Giancarlo Ligabue, my father, in one of his last essays. The dawn of anthropomorphic fgurative culture, the founding myths T of humanity and the representation of power, whether inseminated by gods or heroes – all these concerns are addressed and embodied in the Idols exhibition. Idols offers a unique journey to the very origins of fgurations of the human body, from the frst ambiguous images of the Neolithic era, which still to this day have no defnitive interpretation, to their evolution during the Bronze Age. It is a journey that climbs mountains, treks through steppes and deserts and braves oceans and seas to reveal networks of connections, a commonality of perception, and contacts between remote lands. The exhibition also marks the crowning of an important initial phase of our Foundation’s activity, a maturation process and a major step forward. Each of the exhibitions realized so far has been an adventure, in terms of skills, organisation and conception, but especially on a human, personal level. Sharing precious artefacts from the Ligabue Collection with the public has led me – inspired by new objectives and under a new light – to retrace the history of collecting in our family and the research conducted by my father for all those years. With the Centro Studi he founded and the help of prestigious curators and scientifc committees, we have deepened and updated that research, reliving the emotions of his countless missions, while also acquiring new skills and exploring new ways to “know and make known”. So far, in three years, there have been three major exhibitions, each with its own distinct focus on the scientifc activity and archaeological, paleontological and anthropological knowledge amassed by Giancarlo and the many scholars and in- stitutions working with him. With the exhibition The World That Wasn’t There on Pre-Columbian
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