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Museo Hermann Nitsch 2018-2020 | relitti 152 azione

00 museo nitsch 10 anni 2018 homeTen years after its opening, the Hermann Nitsch Museum - Laboratory Archive for Contemporary Arts continues the critical and theoretical reflection around the great Austrian artist, father of Viennese artism.
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The Fondazione Morra - Istituto di Scienze delle Comunicazioni Visive aims to promote and organise research and to develop and spread the culture of visual communication.
::
 Archive
:: Study and Research Centre
:: Media Laboratory
:: Permanent exhibition venue
:: Museum of Image and Information
:: Center meetings, conferences, seminars and special educational activities

 henrik stroemberg refraction of lightness rifrazione di luce associazione shozo shimamoto home

HENRIK STRÖMBERG
Refraction of lightness

from 16th October 2019 to 31st January 2020
OPENING SATURDAY 12th OCTOBER 2019, 7:00 P.M.

Associazione Shōzō Shimamoto - Palazzo Spinelli di Tarsia

Naples

 

 

15 12 2017 SHIMAMOTO ASSOCIAZIONE

ASSOCIAZIONE SHOZO SHIMAMOTO
Permanent exhibition and Archive


Palazzo Spinelli Tarsia – Naples

CASA MORRA ARCHIVE OF CONTEMPORARY ART

Salita San Raffaele 20/c – 80136 Napoli

Fondazione Morra’s day-to-day activity is concretely reflected in its archive material. From its beginnings in 1969, it has become one of the most important archives of contemporary artistic and cultural production in Campania and abroad. Much of the archive documentation is an inexhaustible source of information for scholars and researchers, contributing to a complete study of the artistic phenomena and their exponents over time. In fact, in 2019 the Ministry for Cultural Heritage and Activities - Archival and Bibliographical Superintendence declares the Archives of the Fondazione Morra to be of particularly important historical interest.

The main goal of the Foundation is to trace a common thread highlighting the connections between itscontents, setting up a dialogue between the different aspects of its constantly expanding activities through a network of interconnected information, bringing added value tothe dynamic relationship that subsists between its complementary archives. 

One of the goals that underpins the Foundation’s operational approach is to bring out this complementarity, which, in turn,produces more information and generates new research tools.

In addition to itsextensive photographic and bio-iconographic archive, the Foundation is home to a series of collections that currently constitute the institution’s entire heritage.

The Foundation Archives currently house fourteen collections with various sections by author, and several dossiers containing, in alphabetical order, documents pertaining to around 70 artists belonging to the first two historical avant-gardes, right up to the latest artistic movements, as well as a vast treasury of works, drawings, letters, and miscellaneous documents.

The Living Theatre and Julian Beck Collections cover a vast span of time from the late forties to the late nineties. They relate to the lives of Julian Beck and Judith Malina, and to the complex network of relationships they set up, promoting cultural, political, and sociological activities, reconstructed here through letters and documentation of different kinds.Of particular interest is the documentation relating to the Concrete Visual Poetry movement in the neo-avantgarde climate of the early nineteen-sixties. The Arrigo Lora Totino Personal Collectionconsists of numerous items bearing witness to his relationship with the international visual poetry scene. Artists in Campania is a collection consisting of documentary referencestoseveral artists on the Campania arts scene, ranging from members of the '58 Group, the MAC Movement topublishers of major avant-garde magazines likeDocumento Sud, Linea Sud, Radio Taxi, Silence’s Weke, Quaderno, and AEIOU. The Luca Maria Patella Archive containshis entire artistic output and correspondence, as well as manuscripts of his most interesting writing, published by Edizioni Morra, in addition to his photographic material. The Vettor Pisani Archive is currently made up of a large group of installations, in addition to a photographic archive documentingPisani’s entire artistic journey. The Shozo Shimamoto and Gutai Group Archive focuses on one of the founders of the 1950s avant-garde Gutai movement, preserving and protecting most of the artist’s work, starting from all the film, performance, and documentary materialpertaining to Shimamoto and his relationswith the rest of the world. The Anne Tardos and Jackson Mac Low Collection, mainly consisting of audio files and material from the 1950s and 1960s, holds numerous originals and correspondence by various American avant-garde artists. The Futurism and Dadaismarchive comprises numerous important magazines, cyclostyles, and invitations belonging to some of the leading exponents of the movement in Campania.The Viennese Actionism Archive, housed at Fondazione Morra, provides a unique chance to investigate the phenomenon, documentingevery aspect of the unparalleled vastness and uniqueness of the movement. In addition to the Collection dedicated to Body Art, the Happening and Fluxus Archive contains variousphotographs, documents, and materials relating to the leading exponents of the international network of Fluxus artists, composers, and designers, as well as the contemporary Happening created by Allan Kaprow and focusingnot so much on objectsas on events that can be organized outdoors in public places,bursting out, as it were, into everyday life.  

 

CASA MORRA ARCHIVE OF CONTEMPORARY ART 2

 

Description of the archivecollections

The Morra Foundation contains fourteen Archives. Below is a detailed description of the specific features of each collection and a description of their ties with regional history and culture:

The Living Theatre Collection, acquired in the early nineties,is not numbered continuously but is divided into twelve marked series, currently on show at Casa Morra - Archivio d’ArteContemporanea.It contains a variable number of files with handwritten letters (1,350), manuscripts (700), reviews and articles (over 2,000), notes for conferences and speeches, reports, lists with names and addresses of artists, sketches (over 100), drawings (400), posters and invitations (1,000), books (over 200), magazines (300), photographs (1,100), sets (15) masks, props (approx. 200),and award certificates (over 150). The collection covers a lengthy period spanning fromthe late 1940s to the late 1990s and relates to the lives of Julian Beck and Judith Malina and the complex network of relationships they set up, promoting cultural, political, and sociological activities, here reconstructed through letters and various kinds of documentation. The numerous letters testifying to the birth of the Living Theatre movementare of particular importance.

TheVisual and Concrete Poetry Collection, reflecting the climate of the Neo-avantgarde, contains material from the 1960s, with authors likeStelio Maria Martini, Luciano Caruso, Ugo Carrega, Eugenio Miccini, LambertoPignotti, Nanni Balestrini, Paul De Vree, Henri Chopin, and many others, including sound works and typewriter poems, invitations, posters, press reviews, and documents.

- The Arrigo Lora Totino Personal Collectioncontains numerous letters (700), professional papers (2,000), printed papers (500), graphic works (500), photographic works, (150),and audio-videomaterial (200). The collectionholds documentation and material pertaining to the work of one of the lead figures in the world of concrete and sound poetry and hismany relationships and exchanges with artists across the globe from the 1950s to 2016.

 

- TheArtists in Campania Collection: numerous artists from the Campania art scene,ranging from members of the ’58 Group, to the MAC Movement, to the publishers of leading avant-garde magazines, such as Documento Sud, Linea Sud, Radio Taxi, Silence’s Weke, Quaderno, continuum, and AEIOU.

- The entire collection donatedby the Family of ErricoRuotolo consists of drawings, sketches, and documents.

- The Luca Maria Patella Collectioncontains material associated with the Roman artist, considered the spiritual father of the dozens of young artists who practise “conceptual” arttoday; it consists of his entire artistic production, correspondence, and manuscripts of his most interesting publications, published by Edizioni Morra, in addition to ample photographic material.

-TheVettor Pisani Collection. Vettor Pisani was one of the most controversial and fascinating figures in the history of Italian art from the 1960s onwards. The Vettor Pisani Archive currently consists of a large group of letters, as well as a photographic archive documenting his entire artistic journey.

- TheShozo Shimamoto and Gutai Group Collection.Shozo Shimamoto, one of the founders of the Gutai avant-garde movement, also known internationally in the “Mail Art” circuit, turned the common idea of Japanese art upside down. Fondazione Morra preserves and safeguards most of the artist’s work, namely, all the film, performance, and documentary material.

- The Anne Tardos and Jackson Mac Low Collectionconsists mainly of audio files and documents from the 50s and 60s, with numerous originals and correspondence from various American Avant-garde authors.

- The Futurism and Dadaism Collection, comprisingnumerous magazines, cyclostyles, invitations, books, and photographs of some of the leading figures of the two movements that explored all forms of expression and revolutionized the conventions of cinematic and artistic aesthetics: Francesco Cangiullo, Lucio Venna, Anton Giulio Bragaglia, Mino Delle Site, Raffaele Castello, Duchamp, Man Ray, Cristian Schad, Lajos Kassák.

- The Viennese Actionism Collectionprovides a unique chance to investigate the phenomenon, with the unparalleled vastness and uniqueness of the moviment documented here from every angle. It represents approximately 3,000 archive documents concerning the major exponents of the movement, including Günter Brus, Otto Mühl, Rudolf, Schwarzkogler, and above all the great Austrian artist Hermann Nitsch (Vienna 1938), collected in over thirty years of activity in the city of Naples.

- TheBody Art Collection. Material connected with Gina Pane, Marina Abramovic, UrsLuthi, and numerous editions containing around 40 rare photographs each.

- The Happening and Fluxus Collection houses documentary material, photographs, and paperspertaining toleading exponents of the international Fluxus artist network and the contemporary “Happening”,including Dick Higgings, Allan Kaprow, Charlotte Moorman, Nam June Paik, Ben Petterson, Wolf Vostell, Emmett Williams, Al Hansen, Bob Watts, Geoffrey Hendricks, and Jean Toche.

- Joseph Beuys: numerous documents, graphics, photographs, and other materials on the German artist and his relationship with Naples, plus numerous materials donated by Baroness Lucrezia De Domizio Durini

Involvement in National Archive System projects and the production of digital analytical inventories

The Foundation, which is already part, forits second three-year period, of the national and regionalMiBACtable of Institutes of High Culture, is starting the legal process for recognition of the cultural interest of its archivesthrough the Superintendent’s Bureau. We entered the PUBLIC CALL FOR ACCESS TO CONTRIBUTIONS TO SUPPORT INTERVENTIONS, ACTIVITIES, AND SERVICES FOR THE DEVELOPMENT, PROMOTION, AND VALORIZATION OF MUSEUMS AND COLLECTIONS OF LOCAL INSTITUTES AND LOCAL INTEREST FOR FINANCIAL YEAR 2017/18, including the documentation and cataloguing of the museum heritage, consisting of 830 itemspertaining to the Viennese Actionism Collection according to the standards set by the I.C.C.D. (the Central Institute for Cataloguing and Documentation of the Ministry of Cultural Heritage and Activities and Tourism). The Foundation is registeredwith the SBN system and has its own NAPMO identification code. It is also part of the MUSEUMS IN CAMPANIA -SIGEC WEB circuit.

 

Description of the archivematerials in terms of their importance for identity

The daily activity of the Morra Foundation is concretely reflected in the contents of its archives. In fact, towards the end of the 1960s, Giuseppe Fioroni, Gianfranco Baruchello, Sergio Lombardo, and a number ofhighly successful Neapolitan artists, such as Giuseppe Maraniello, Luigi Mainolfi, and Enrico Ruotolo were hosted at the CAE Centro Arte Europa cultural association. In 1974, artists representing the most important international avant-gardes such as Günter Brus, UrsLüthi, Gina Pane, Joe Jones, Marina Abramovic, Bob Watts and Peter Kubelka, Allan Kaprow, and many others went on showat Studio Morra. Through these events in Campania, the Fondazione Morra –formerly Studio Morra and CAE – acquired most of the works and archive materials currently featuring among its heritage. During the mid-to-late 80s, Studio Morra focused mainly on Visual-Concrete-Sound Poetry, holding numerous exhibitions byleading artists, such as Carrega, Luca (Luigi Castellano), Martini, Miccini, Pignotti, Chopin, Villa, Tola, Totino, etc. In the nineties, a series of exhibitions were dedicated to artists from the national and international scene, including an important anthological exhibition on Bruno Munari in 1990, with seven huge sculptures along the seafront in ViaCaracciolo, Piazza Municipio, and the harbourside (see,Munari Scultore,Edizioni Morra); Perez held a monumental exhibition entitled The Myth of Sculpture,on the open spaces and interiors of the Castel dell’Ovo in 1991.In 2002 Allan Kaprow, creator of the Happening, performed five versions of the most important environments in his artistic life in Naples. 2003 was the year of Living Theatre Labyrinths of the Imaginary: three months of events, performances, and concerts with numerous international artists, an exhibition on Julian Beck, and the world-exclusive performanceof Enigmas.

The cultural heritage contained in the Fondazione Morra Archives and Library is one of the most important testimonies of contemporary international culture and, in particular, of its manifestation in the city of Naples and the Campania region. The need to study and carry out research on such arare legacycalls for the digitization of the Foundation’s archive heritage.

 

Description of the archive material user target group and access

The users of the Morra Foundation Archives are mainly university professors, Italian and foreign students, connoisseurs, and persons and institutions operating in the cultural/arts sector. The significant current and future quantitative and qualitative development of the Archives, including the digitization of the material they contain, the construction from scratch of extensive multimedia collections, and the ample use of web resources, give a foretaste of a potentially larger, more varied, and richer user base than at present. In addition to extending the kind of target audience already reached by the Foundation’s cultural programmes, reconnaissance activities will make it possible to conquer hitherto less enthusiastic sectors in the community, who may be attracted by the new resources and new services offered.With this in mind, the Foundation will identify methodologies and fact-finding tools with a view to gaining a better understanding of its users, who they are, and how they use the Archives and services.The aim is to increase the level of satisfaction of current and future users, to facilitate the expression of new needsin terms of information and culture, and to identify possible new users.

 

 

The consistency, completeness, and thematic relevance of the archive collections

The Archivecollections presented for recognition as being of historical interest mainly consist of documents in different media with different levels of treatment, touching on many aspects of contemporary artistic, social, and civil life, aimingto satisfya need for information, training and cultural development, study, and research. The general principles underlying and guidingArchive management policy ensure accessibility to – and pluralism of– information, fostering critical use of the means of information available. Furthermore, the materials are open for all to use. The levels of consistency and completeness of the Foundation's archive collections are a): apt for research, with a broad selection of documents and sources necessary for study purposes, alsoin other languages, addressed to an expert public of scholars and researchers – the material includes, in addition to reference works, a choice of specialist materials, reports, and summaries on field activities and research, b) extensive: the archive collections includeimportant material on contemporary art and culture in a variety of formats and languages. As a whole, and in accordance with established policies of accessibility and the enjoyment of culture, the Foundation archives comply with the need for information and basic documentation.

Description of the environment in which the materials are stored

The FondazioneMorra Archives are currently housed in a number of roomsat Casa Morra - Archivio d’Arte Contemporanea, the Archive of Contemporary Art. The former Palazzo CassanoAyerbod’Aragona, a historicalbuilding situated in Salita San Raffaele in Naples, was transformed into a private home in the mid-eighteenth century, when the Materdei area of the city began toexpand. Deeds dating from 1748 record the beginning of renovation and expansion work commissioned by Prince Giuseppe Maria d'Aragona. The palace has an octagonal staircase hithertounknown to architecture critics, and it is assumed that the design and workson the sitewere initially supervised by Ferdinando Sanfelice, who died on 1st April of the year the worksbegan. Attribution to Sanfelice is based on his ample use of this unusual style of Neapolitan staircase. The renovation work was probably then entrusted to Giuseppe Astarita, who had worked with Sanfelicefrom the eighteenth century. In 1906, Palazzo CassanoAyerbod’Aragona was purchased by the Sisters of Our Lady of Sorrows who built the church of Our Lady of Sorrows in the garden. Since 2016, the Foundation has gradually been renovating the 4,200m2.complexto house the extensive Morra Collection and its archives. In 2017,upon the advice of the Department of Urban Planning and Common Goods, the City Council approved the “feasibility plan”for a privately-run public facilitynamedCasa Morra – Archivio d’ArteContemporanea – Il Gioco dell’Oca: Cento anni di mostre. The project involves the redevelopment and restoration of most of the building located in Via Salita S. Raffaele, the demolition of the various additions made over the years, and the creation of a museum facility, regulated by an agreement with Naples City Council.

Of the 1,000 m2allocated for the conservation of the archives, 200 are to be used for the conservation of the Living Theatre and Julian Beck Archive, amounting to an estimated 300 linear metres of material. All the other collections are estimatedto occupy 779 linear metres, totalling approximately 1,079 linear metres of constantly growing archive.

 

pdfDichiarazione interesse storico particolarmente importante ARCHIVI FONDAZIONE-MORRA

08 10 2017 archivio mario franco

Casa Morra - Archives Mario Franco         

Multimedia library

Archivi Mario Franco collection includes books, catalogues, films, DVDs, in analogue and digital forms, discs and music CDs produced or collected in 50 years of activity, promoting cinema d’essai and cineclub, and collaborating with the galleries that led to the most recent artistic history of the city: Amelio, Morra (with exclusive films and videos on artists like Beuys, Warhol, Nitsch, Shimamoto, Acconci, Kaprow, etc.). Next to the volume of Cinema History and Criticism, a large field is dedicated to the essay on media and sociological communication, philosophy, psychoanalysis, theater, photography, classics of Italian and foreign literature, with particular attention to all those literary works transposed into films. The DVD movie collection, in Beta and 16mm, ranges from cinema origins to the most recent production, addressing genres, authors and trends that led to the history of the seventh art. A large section is dedicated to documentary and experimental cinema, from French and Russian German avant-gardes from the XX century to the experiments of the American underground and contemporary digital productions. An equally important section, both in historical and critical essays as well as in CDs, DVDs and Vinyls, is dedicated to music, from the Renaissance to the music of the XX century, from dodecaphony to Ligeti, Webern, Varese, Glass, to Complete work of John Cage. All archives assets can be consulted exclusively on site for training courses, Erasmus students, scholars and researchers.

E-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.

 

Archives Mario Franco  

salita San Raffaele, 20 c - 80136 Napoli
Ph. + 39 081 5641655
This email address is being protected from spambots. You need JavaScript enabled to view it.
www.fondazionemorra.org
Opening Times: Tuesday-Wednesday 10am- 8pm

08 10 2017 archivio mario franco 1

Staff

Fondazione Morra

Giuseppe Morra Founder
Eliana Morra Founding member
Maria Rosaria Morra Founding member
Teresa Carnevale President
Raffaella Morra General Coordinator
Filomena Vecchione Counselor

Loredana Troise Counselor
Corrado Izzo Counselor
Mario Landolfi Board of Auditors President
Giuseppe Livigni Auditor member

Michele di Dato Full member

Museo Archivio Laboratorio per le arti contemporanee Hermann Nitsch

Director Giuseppe Morra

Scientific Commettee
Achille Bonito Oliva
Mario Franco
Peter Gorsen
Maria Graff
Rita Leitenbor
Lorenzo Mango
Jurgen Schilling
Romano Gasparotti

Cinema Department Mario Franco and Raffaella Morra
Theatre Department Lorenzo Mango
Document center Giuseppe Morra and Loredana Troise
Fund raising Corrado Izzo and Teresa Carnevale
Organizational and Communication Secretary Valentina Castronuovo
Logistic management and setting up Irene Gallardo e Elisa Partenzi
Archive manager  Casa Morra Chiara Aiello

Web project manager Iole Funeroli
Ticket Office Andrea Marino
Library Anna Venuso
Education Lorella Starita and Martina Conte
Collaborations Natalia Savino, Roberta Russo
Art Curator
/Communications and press office manager Giuseppe Arnesano

Privacy & Cookie Policy
Fondazione Morra respects your right to privacy, and will not collect any personal information about you on this website without your clear permission. Any personal information, which you volunteer to Fondazione Morra, will be treated with the highest standards of security and confidentiality, strictly in accordance with the EU Data Protection Directive (also known as Directive 95/46/EC).
Fondazione Morra does not collect any personal data about you on this website, apart from information which you volunteer (for example by e-mailing us or by using our online forms). Any information, which you provide in this way, is not made available to any third parties, and is used by Fondazione Morra only in line with the purpose for which you provided it.
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A "cookie" is a small data text file that is placed in your browser and allows Fondazione Morra to recognize you each time you visit this site. Cookies themselves do not contain any personal information, and Fondazione Morra does not use cookies to collect personal information. Fondazione Morra uses Google Analytics (just like nearly everybody else) which is a service provided by Google. They gather anonymous data of how people are using this site and then provide us with visitor statistics, details of page views etc.
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The technical information will be used only by Fondazione Morra, and only for statistical and other administrative purposes. You should note that technical details, which we cannot associate with any identifiable individual, do not constitute "personal data" for the purposes of the EU Data Protection Directive.
Remember there are risks whenever you use the Internet and while we do our best to protect your personal information, we cannot guarantee the security of any information that you transmit to Fondazione Morra and you are solely responsible for maintaining the secrecy of any passwords or other account information. In addition other Internet sites or services that may be accessible through this website have separate data and privacy practices independent of us, and therefore we disclaim any responsibility or liability for their policies or actions. Please contact them directly if you have any questions about their privacy policies.

Casa Morra  Archivio d’Arte Contemporanea
Il gioco dell’oca - 100 anni di mostre

Grand opening year 1

La neoavanguardia americana 2016
M. Duchamp/ J. Cage/ A. Kaprow

The principle of randomness animates the symbolic path of the snakes and ladders game on which Casa Morra bases its statutes and its becoming.  The first exhibition opens with three artists who have made randomness their creative practice, bringing about a breakthrough in the way art is seen and perceived: Cage, Duchamp, Kaprow, all brought together in an exhibition whose purpose is to create a place in which to act – to experiment with experience. Randomness is the distinguishing feature of Stockroom (1961) of Kaprow, a real reconstruction of a confused warehouse, created by the public. This introduction to the role of chance recalls John Cage’s Not Wanting To Say Anything About Marcel (1969), a plexiglass multiple edition designed in Duchamp's tribute and built on the use of the case as a means of determining the image, the composition and the colour. For Duchamp, evoking the unpredictable is a way of conceiving art, and Casa Morra proposes an alternative reconstruction of The Large Glass and Related Works (1915-23), the center of all his work.

Casa Morra Archivio d Arte Contemporanea 496 PCasa Morra Archivio d Arte Contemporanea 571P13 John Cage Marcel Duchamp Allan Kaprow 2016 Casa Morra PCasa Morra Archivio d Arte Contemporanea 532P


FRIDAY 28th October 2016, 5pm
CAGE-DUCHAMP-KAPROW

The principle of randomness animates the symbolic path of the snakes and ladders game on which Casa Morra bases its statutes and its becoming. The first exhibition opens with three artists who have made randomness their raison d’être and who represent a breakthrough in the way art is seen and perceived: John Cage, Marcel Duchamp, and AllanKaprow, brought together in an exhibition whose purpose is not to build yet another exhibition space, but to create a place in which to act – to experiment with experience. Randomness is the distinguishing feature of Stockroom (1961-1992) and as Kaprow said, “... this version of Stockroom must be painted in different colours by the visitors each day: white, red, orange, yellow, green, blue, purple, and black, repeating thissequence every eight days. Those who wish to take part will find suitablebrushes, rollers, a ladder and something to protect their clothing. Feel free totake part in this process!” This introduction to the role of chance recalls Cage’s Not Wanting To Say Anything About Marcel (1969), designed as a tribute to Duchamp and constructed on the use of Yin and Yang as a way of determining image, composition and colour. For Marcel Duchamp, evoking the unpredictable is the only way to think about art, and Casa Morra proposes an alternative philological reconstruction starting from Duchamp’s etchings dedicated to Arturo Schwarz and contained in his two 1968 volumes entitled ‘The Large Glass’ and ‘Related Works’. The first volume is entirely given over to the structure and deconstruction of the individual sections of the Large Glass (1915-23), while the second is dedicated to the ‘lovers’ series, deemed by Schwarz to be the natural follow-on to the large glass itself, as it is here that the bride and the young man are finally united. The exhibition will display six other important works, including

 

||7pm CONCERT 1
DANIELE LOMBARDI - CAGE 1-13
Numerology has always played a role in Cage's musical development – eclectic and confused as his youth may have been. But he was fascinated by all mathematical and speculative games with numbers from the start: he loved mesostics, acrostics and every kind of sense-shifting device. He was attracted to works such as Marcel Duchamp’s Erratum Musical, where the words are replaced by numbers that dictate the notes of the composition. Numbers, coincidences, destinies: the year Cage was born, a new 13-hour dive record was set at 13:00 on Friday 13th by a submarine with 13 people on board, built to the design of an inventor named John Milton Cage: the fate of numbers had preceded him. The opening event, prelude to a whirlwind of activities that will continually animate these new spaces, will also be celebrated by the Daniele Lombardi project: CAGE 1-13, with the performance of thirteen pieces by John Cage, along with Ana Spasic, Jonathan Faralli, the "puntoOorg” Ensemble, and Luigi Esposito.

28 10 2016 casa morra daniele lombardi

 

 

|| 9pm CONCERT 2
EMANUEL DIMAS DE MELO PIMENTA
DECAMERON is a complex work, specially created for the inauguration of Casa Morra. It has been produced entirely in virtual reality, and takes the work of Giovanni Boccaccio as its central point of reference. But it is also a conceptual and cognitive dip into the world of surrealism, of John Cage, Marcel Duchamp and Allan Kaprow. A concert, a music-installation, film ...DECAMERON offers a whole world of experience in which the public can take part via three audio tracks that can be downloaded directly onto a smartphone. It is also a reflection on the metamorphoses produced by the electronic universe.

28 10 2016 casa morra Emanuel dimas

 

pdfCasa Morra Brochure

 

Casa Morra | Architectural front

1 PANNELLI MORRA PCA FINALI Pagina 06 2b PANNELLI MORRA PCA FINALI Pagina 02

3 PANNELLI MORRA PCA FINALI Pagina 03 4 PANNELLI MORRA PCA FINALI Pagina 04

5 PANNELLI MORRA PCA FINALI Pagina 05

 

 pianta progetto Pica Ciamarra Associati 1

 

 Casa Morra |  Opening 28.10.2016

casa morra video

 

CASA MORRA
Archive of Contemporary Art - Snakes and Ladders - 100 years of exhibitions

GRAND OPENING  Friday, 28th October 2016 at 5pm
FIRST EVENT - 1st YEAR

JOHN CAGE – MARCEL DUCHAMP – ALLAN KAPROW

7 pm - CONCERT 1   DANIELE LOMBARDI CAGE 1-13
9 pm - CONCERT 2   EMANUEL DIMAS DE MELO PIMENTA

Casa Morra is a new museum area created by Giuseppe Morra at Palazzo Ayerbo D'Aragona Cassano in Naples. It is a 4,200 m2 complex that will gradually be restored to house the extensive Morra collection, comprising more than 2,000 works presented by theme and focusing on individual artists. A journey through the history of contemporary art and its fundamental movements from Gutai, Happenings, Fluxus, Viennese Actionism, Living Theatre, and Visual Poetry to the most advanced research in Italy and abroad. Thus continues the adventure of this Neapolitan patron of the arts, who will transfer his extensive collection, the result of over forty years of active presence on the international art scene, to the Casa.

Casa Morra will not be a static exhibition space, but will become an archive of contemporary art, a place of dynamism encouraging reflection and research on society and its development. It will be a "house of ideas" where the past blends into the present and the future, defying time with a programme mapped out until 2116.
In fact, Beppe Morra has planned exhibitions for the next 100 years, using a ‘snakes and ladders’ system of references, cross-overs and turnings back.  The exhibition cycles are governed by the alchemy of the numbers 3 and 7 to coincide with the number of artists on show or the number of works and exhibition sequences.

The first event on 28th October will be a totally new dialogue of works by John Cage - Marcel Duchamp - Allan Kaprow. The principle of randomness animates the symbolic path of the snakes and ladders game on which Casa Morra bases its statutes and its becoming.  The first exhibition opens with three artists who have made randomness their creative practice, bringing about a breakthrough in the way art is seen and perceived: Cage, Duchamp, Kaprow, all brought together in an exhibition whose purpose is to create a place in which to act – to experiment with experience.

Randomness is the distinguishing feature of Stockroom (1961-1992) and as Kaprow pointed out, “... this version of Stockroom must be painted in different colours by the visitors each day: white, red, orange, yellow, green, blue, purple, and black, repeating this sequence every eight days. Those who wish to take part will find suitable brushes, rollers, a ladder and something to protect their clothing.  Feel free to take part in this process!”

This introduction to the role of chance recalls John Cage’s Not Wanting To Say Anything About Marcel (1969), created using I Ching to decide a word or phrase, an image, composition or colour.  For Duchamp, evoking the unpredictable is a way of conceiving art, and Casa Morra proposes an alternative reconstruction starting from the eighteen etchings dedicated to Arturo Schwarz contained in his two 1967-1968 volumes entitled The Large Glass and Related Works, and six other important works including Rotoreliefs, and À l’Infinitif. 
The opening event, a prelude to a whirlwind of activities that will continually give life to these new spaces will be celebrated in two performative projects: CAGE 1 - 13 by Daniele Lombardi, with the performance of thirteen pieces by John Cage, together with Ana Spasic, Jonathan Faralli, the puntOorg ensemble, Luigi Esposito, Bruno Persico and Maria Teresa Fico and the video installation/concert Decameron by Emanuel Dimas De Melo Pimenta, a complex work created by Morra and performed entirely in virtual reality, a world of experience open to the free participation of the public by means of three audio tracks to download and play at will in the spaces of Casa Morra using their own smartphones.

Casa Morra thus adds a new element to the great "Il Quartiere dell’arte" project (designed by Giuseppe Morra, Pasquale Persico, Nicoletta Ricciardelli and Francesco Coppola) with the aim of regenerating an entire neighbourhood bordering the Naples old town centre, which already houses the Museo Laboratorio per le Arti Contemporanee Hermann Nitsch set up by Fondazione Morra in 2008. The public opening of Palazzo Ayerbo D’Aragona Cassano in the Materdei district and access to the works in the Collection will help enliven and give new verve to artistic and cultural debate in the city, but above all will ensure that contemporary art becomes more accessible, and brings benefits to the community. Numerous conference activities, meetings, and seminars will also reflect the study and teaching role of the Casa.  

The Morra collection comprises works by: Marina Abramović, Nanni Balestrini, Julian Beck, George Brecht, John Cage, Ugo Carrega, LUCA/Luigi Castellano, Henri Chopin, Giuseppe Desiato, Marcel Duchamp, Maurizio Elettrico, Heinz Gappmayr, Al Hansen, Geoffrey Hendricks, Dick Higgins, Allan Kaprow, Urs Lüthi, Stelio Maria Martini, Charlotte Moorman, Eugenio Miccini, Hermann Nitsch, Günter Brus,   Nam June Paik, Giulio Paolini, Luca Maria Patella, Lamberto Pignotti, Luigi Tola, Vettor Pisani, Paul Renner, Gerhard Rühm, Shozo Shimamoto, Rudolf Schwarzkogler, Daniel Spoerri, Arrigo Lora Totino, Bob Watts, Jean-Jacques Lebel, Dieter Roth, Oswald Wiener, Giuseppe Zevola and many others between past and future. Almost all of them have been companions to Giuseppe Morra in his special artistic adventure, which he has always experienced with curiosity, participation and a project in mind; this time reaching beyond the limits of his own lifetime.

casa morra 4

Casa Morra  Archivio d’Arte Contemporanea 
Snakes and Ladders - 100 years of exhibitions

 

PROGRAM 2016-2116

years 1 - 7/ group shows
year 1/L’Avanguardia Americana 2016
Duchamp/ J. Cage/ Kaprow

year 2/ I Giganti dell’Arte dal Teatro 2017
J.Beck/ S. Shimamoto/ H.Nitsch / + J.Beuys

year 3/ L’Arte Italiana – 3p+B 2018
G.Paolini/L.M.Patella / V. Pisani + N.Balestrini

year 4/ Gli Unici 2019
D.Roth/A.Hansen/J. Toche

year 5/ La Performance 2020
M.Abramović/G. Pane/U.Luthi

year 6/ Poesia Visiva-Concreta 2021

Ruhm /U. Carrega/L.Tola/E. Miccini/S.M.Martini

year 7/ Poesia Concreta 2022
U.Carrega/ H.Chopin /S.M. Martini/A.LoraTotino

years 8 – 9 RESET 2023
Change rooms with installations by new artists

years 10-11 -12
years 13-14-15
years 16- 17-18
years 19-20 -21
years 22-23-24
years 25-26-27
years 28-29-30
years 31- 52/outfitting of monographic exhibitions + Archives
A. Kaprow- H. Nitsch-V. Pisani –L. M. Patella- S. Shimamoto-N. Balestrini- F.Donato- U. Carrega-A.L.Totino- Fluxus Living Theatre - B.Watts - A.Hansen-M.Elettrico - M.Fraterno - Azionismo Viennese - Naples (Visual and Concrete Poetry) Genova (Visual and Concrete Poetry) Florence (Visual Poetry), Body Art and similar.

51- 81 years/ outfitting every 3 years focused on 10 artists
Artists from the first part of the program, who have been more successful and internationally recognised, and 15 installations or rooms by the missing artists of the first part.

82 - 90 years
The extension of the space and the outfitting of 50 artists from the first and the second part.

91- 100 years
A great exhibition and some collateral events in different spaces of the city (Museo di Capodimonte, Castel Sant’Elmo, Museo Madre, Villa Pignatelli, PAN, churches, monumental spaces) on the hundred artists of the collection, among the most important artists over the last 50 years. Collateral and educational activities: music, cinema, theatre, poetry, conferences, etc. The departments will increase from five to seven. The number 3 and 7 must have a decisive function in all the activities. Seven installations by Allan Kaprow, seven plexigrams by John Cage “Not wanting to say anything about Marcel”, and the installation of the seven sculpture by Bruno Munari, exposed in the 90’s at Lungomare Caracciolo in Naples.

Fondazione Morra
Vico Lungo Pontecorvo 29/d
80135 Napoli

Casa Morra Residencies

In keeping with its vocation as an open space for ideas and artistic experiment, Casa Morra offers residencies for artists and students of art, art history and humanities on Erasmus projects.

The (normally) short-term residencies for artists reflect the desire to support young artists called to develop projects in some way linked to the Neapolitan territory. These are often proposed by curators and cultural institutions such as the Goethe-Institut, which has been active in the field of culture for many years, and is the principal partner in the residency.

Residencies (of least three months) for Erasmus students aim to contribute to, and highlight, the work of the research centre that Casa Morra aspires to become. The Naples Academy of Fine Arts, (the Accademia di Belle Arti di Napoli), organizes specific courses for Erasmus students, providing training and direct experience in the arts and culture, which students can explore at Casa Morra.


Casa Morra
Salita San Raffaele, 20/c
Napoli

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Casa Morra  Archivio d’Arte Contemporanea
Il gioco dell’oca - 100 anni di mostre

 

 

OPENING HOURS

Tuesday - Friday from 10:00 to 18:00
Saturday from10:00 to 14:00

Sunday-Monday closed
Holidays by appointment only for groups of no less than 10 people

Full price: € 7,00
Reduced: € 5,00
Cumulative ticket Casa Morra - Museo Nitsch: €15,00
Free for under 16

INFO
Fondazione Morra
T. +390815641655
This email address is being protected from spambots. You need JavaScript enabled to view it. 

www.fondazionemorra.org

WHERE
Salita San Raffaele 20/c
80136 Napoli

How to reach us
FROM CAPODICHINO AIRPORT
AliBus, departing every 30 minutes. Alight at Central Station – Piazza Garibaldi. From here, take the metro Line 1 to Materdei
Taxi, around 30/35 minutes


FROM CENTRAL STATION
Metro Line 1, to Materdei
Taxi, around 20 minutes

 


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Casa Morra  Archivio d’Arte Contemporanea 
Il gioco dell’oca - 100 anni di mostre

year 3° /3P+B Patella, Pietroiusti, Pisani + Balestrini, 2018

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Casa Morra  Archivio d’Arte Contemporanea 
Il gioco dell’oca - 100 anni di mostre

year 2/ I Giganti dell’Arte dal Teatro 2017
J.Beck/ S. Shimamoto/ H.Nitsch / + J.Beuys

Casa Morra I Giganti dell Arte 1 PCasa Morra I Giganti dell Arte 3 PCasa Morra I Giganti dell Arte 4 PCasa Morra I Giganti dell Arte 5 PCasa Morra I Giganti dell Arte 6 PCasa Morra I Giganti dell Arte 7 PCasa Morra I Giganti dell Arte 8 PCasa Morra I Giganti dell Arte 9 PCasa Morra I Giganti dell Arte 10 PCasa Morra I Giganti dell Arte 11 PCasa Morra I Giganti dell Arte 12 PCasa Morra I Giganti dell Arte 13 P

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Casa Morra  Archivio d’Arte Contemporanea
Il gioco dell’oca - 100 anni di mostre

year 1/L’Avanguardia Americana 2016
Duchamp/ J. Cage/ Kaprow

Casa Morra Archivio d Arte Contemporanea 508P Casa Morra Archivio d Arte Contemporanea 512P22 John Cage Marcel Duchamp Allan Kaprow 2016 Casa Morra P36 John Cage Not wanting to say anything about Marcel 2016 Casa Morra P30 John Cage Marcel Duchamp Allan Kaprow 2016 Casa Morra PCasa Morra Archivio d Arte Contemporanea 593PCasa Morra Archivio d Arte Contemporanea 532PCasa Morra Archivio d Arte Contemporanea 547PCasa Morra Archivio d Arte Contemporanea 571PCasa Morra Archivio d Arte Contemporanea 585P17 Allan Kaprow 2016 Casa Morra Fondazione Morra PCasa Morra 616Casa Morra Archivio d Arte Contemporanea 32 PCasa Morra Archivio d Arte Contemporanea 629PCasa Morra Archivio d Arte Contemporanea 635P11 John Cage Marcel Duchamp Allan Kaprow 2016 Casa Morra P13 John Cage Marcel Duchamp Allan Kaprow 2016 Casa Morra P16 John Cage Marcel Duchamp Allan Kaprow 2016 Casa Morra P19 John Cage Marcel Duchamp Allan Kaprow 2016 Casa Morra P20 John Cage Marcel Duchamp Allan Kaprow 2016 Casa Morra P

casa morra logo ok

Casa Morra  Archivio d’Arte Contemporanea
Il gioco dell’oca - 100 anni di mostre

3P+B

Luca Maria Patella, Cesare Pietroiusti, Vettor Pisani + Nanni Balestrini

&

Luca Maria Patella and Rosa Foschi Patella. The films.

Screening of artist’s films.

&
Girolamo De Simone concert

“Prayer for Aldo Braibanti” – A homage to Giuseppe Chiari

 

Friday 26th OCTOBER 2018 at 5pm

event III – 3rd year

 

 

CASA MORRA

Archivio d’Arte Contemporanea – Il Gioco dell’Oca – 100 anni di mostre

Salita San Raffaele 20/C, Napoli

 

Casa Morra continues the Gioco dell'Oca (“Snakes and Ladders”) idea, opening its third year of activity around the artists featured in the collection and the theme of inversions and confluences, all the while bearing in mind the 100 years of planned exhibitions. Once again, the number 3 – symbol of the triune – dominates, marking the time gone by since Casa Morra opened, as well as the presence of the artists in the exhibition.

A sign of the power of energy and a unifier, the number 3 mirrors the multifaceted and dynamic identity of Casa Morra, which welds together the arts, education, research, experimentation, and the local territory. The personality of Casa Morra, able to express a plurality of languages and trends, uniting them in one place, is reflected in the number 3 and its geometric expression, the triangle, image of the return of the multiple into one.

The singular/plural dichotomy is implemented in the 3P+B exhibition, with works by Luca Maria Patella, Vettor Pisani and Cesare Pietroiusti, and with Nanni Balestrini.

Luca Maria Patella is the personification of versatility, an omnivorous precursor who cannot be boiled down to any narrow definition. With a penetrating gaze upon science and philosophy, he is a poet and photographer, a sculptor, a performer, and video artist. On display here are the Alberi parlanti (Talking Trees, tr.) presented in 1971 at the Apollinaire Gallery in Milan, in Gianni Carandente’s New Italian Art exhibition at the Walker Art Gallery in Liverpool, and at the MACRO - Museum of Contemporary Art in Rome. The Trees, under a Heaven of moving clouds, take the viewer on a sensory, dreamlike and poetic, fairy-tale journey. By placing the ear near the trunk and branches, we can listen to the trees murmuring, coming alive, and whispering ironic-creative or scientific speeches. In this interactive sound path Patella creates a multimedia space in which the word becomes the lifeblood of a synaesthetic game.

Cesare Pietroiusti is present in the encounter between different times and meanings that takes place at Casa Morra in the context of the Gioco dell’Oca (Snakes and Ladders). In this exhibition he presents Lavori da vergognarsi ovvero Il riscatto delle opere neglette (Works to be ashamed of or The Redemption of Neglected Works, tr.), a retrospective of pieces that have never been exhibited before, "of works that, having been made in the past for a certain exhibition, I have never used because", as Pietroiusti says, "once I had made them, I thought they seemed inadequate, out of context, or too similar to works by other artists. In so doing, the artist reflects on the relationship between the wish to present a work and the possibility of fulfilling this desire by tricking it, i.e., by exhibiting the “wrong works”.

This nomadism between different languages recalls the work of Vettor Pisani, in which "it is difficult to establish linguistic supremacy, if not perhaps under the general term of ‘behaviour’, meaning a total immersion of life in art" (I. Tomassoni in Vettor Pisani. Apocalypse Now. Carpe Diem, 2012) In Il mio cuore è un cupo abisso (My heart is a dark abyss, tr.) (2004) Pisani stages “obsessive metaphors” through the value of the symbol, the sacred and the profane, the spiritual and the material and he focuses on themes of Symbolist art in a dialogue between painting and text.

The oeuvre of Nanni Balestrini focuses on the idea of different repetition. A tireless experimenter with language, he creates connections between words, texts and images in both visual and theatrical works. An active member of the Avantgarde of Italian poetry in the 1960s, Balestrini has reconfigured the language of everyday life. His Colonna Verbale (Verbal Column, tr.), which rises in the centre of one of the rooms in Casa Morra, crowns the word as the key element of grammar and verbal and visual communication, just as the column is the supporting structure in architecture. Like the sheets with words on them that cover the ceiling of the room, the column erases the meaning of the words printed on it and magnifies the enigma. Also on show is the world’s longest film, Tristanoil (2,400 hours of screen time) in which Balestrini combines the title of the 1966 novel Tristano with the word oil, as a denunciation of the destruction of the planet through the exploitation of its resources.

 

at 6pm
Luca Maria Patella e Rosa Foschi Patella. I films.
Screening of artist’s films.

Archivi Mario Franco

Is about to take place at the Mario Franco archives of Casa Morra the artist’s film exhibition of Luca Maria Patella e Rosa Foschi Patella. I films (Luca Maria Patella e Rosa Foschi Patella. The films). The initiative is a tribute to the film production of the artist Luca Maria Patella and his wife Rosa Foschi, and to their video experimentations of the Sixties, among the first carried out in the Italian art scene. About Patella, the programme foresees Terra animata; SKMP2; Vedo, vado!; Tre e basta? No!; Fanimesto-manifesto, oggettivo-ragionale; soggettivo-irrazionale; Paesaggio misto; Screck!; Intorno fuori.Whereas, about Rosa Foschi production, itwill be possible to see herdrawn or photographed animation films Ma femme; Amore e Psiche, which had received the Premio Qualità del Ministero dello Spettacolo (Quality award from the show Ministry).

 

at 7pm
Girolamo De Simone concert
“Prayer for Aldo Braibanti” – A homage to Giuseppe Chiari

On the 50th anniversary of the publication of Giuseppe Chiari’s Preghiera per Aldo Braibanti (Prayer for Aldo Braibanti, tr.), Girolamo De Simone presents a national preview of the text accompanied by the music that Chiari composed for De Simone before his death. The event, with the reading of Giuseppe Chiari's text and Girolamo De Simone’s piano performance, aims to focus on “old and new fascisms”, on the current relevance of homophobia and on homosexuality considered as a merely “medical issue” and on the trials, that were once held against the “freedom of life”.

Girolamo De Simone, musician and cultural agitator, is considered one of the main exponents of Italian frontier music. He has dedicated part of his artistic work to “unconciliated” memories, from Luciano Cilio to Giuseppe Chiari, and from Antonello Neri to Pietro Grossi.

 

OPENING OF LABORATORIO VITTORIO AVELLA
(VITTORIO AVELLA LABORATORY)

Casa Morra receive in its spaces the Vittorio Avella Laboratory.
The Laboratorio Avella is an art printing house founded by Vittorio Avella and Antonio Sgambati in Nola (Naples) in 1978. It was created with the purpose of preserving manual knowledge of chalcographic techniques and rediscovering the link between art and craftsmanship

The installation of Vittorio Avella’s Laboratorio in the spaces of Casa Morra is part of the long-awaited IlQuartiere dell'Arte project, a journey of regeneration of urban standards through the new-found centrality of cultural and creativity, including artistic craftsmanship – very much alive in the city – helping to foster the growing relationship between art, the city, and its creative communities.

 

 

pdfCasa Morra hosts the Vittorio Avella Laboratory 

 

 

INFO

Casa Morra
Salita San Raffaele 20/c – 80136 Napoli

80135 Napoli

ph. 0815641655 | Fax. 0815641494

This email address is being protected from spambots. You need JavaScript enabled to view it.

This email address is being protected from spambots. You need JavaScript enabled to view it.

www.fondazionemorra.org

 

PRESS OFFICE

MANUAL comunicazione informazione immaginazione

Paola Marino

paola.manualgmail.com

ph. 3393449512

 

 

sapere i luoghi bando new EN

 

 

SAPERE I LUOGHI
(KNOWING PLACES)
A transdisciplinary experience designed by
Fondazione Morra, Fondazione Lac o Le Mon and Cantiere Giovani
pdfADMITTED BENEFICIARIES

Ministero dei Beni e delle Attività Culturali e del Turismo

Share of 5x1000

 

Year 2016
Decreto di Riparto anno 2016
Programma di Riparto 2016

Year 2015
Decreto di Riparto anno 2015
Programma di Riparto 2015
Relazione Conclusiva 2015

Year 2014
Decreto Dirigenziale del 06 Agosto 2015
Decreto di Riparto2014 3 maggio 2016 
Verbale di visita in cantiere 27/03/2017
Verbale di visita in cantiere 18/04/2017
Verbale di visita in cantire 02/05/2017
Verbale di visita in cantiere 07/07/2017
Verbale di visita in cantiere 10/09/2017
Verbale di fine attività 23/11/2017
Relazione conclusiva 24/11/2017

 

Year 2013
Decreto Dirigenziale del 10 Aprile 2014
Decreto Dirigenziale del 14 Aprile 2014

Decreto Dirigenziale del 13 Ottobre 2015
Certificazione nuovo allestimento museale 2016/2018
Verbale di visita in cantiere 25/07/2016

 




video museo nitrsch G 

 

Museo Nitsch Esterno 2016 web7 Hermann Nitsch pArena opere dall opera 2016 2018 web 2 P

The Museo Archivio Laboratorio per le Arti contemporanee Hermann Nitsch is unique among the Campania Region’s Museums. It is a space for documentation and in-depth study of the philosophical, poetic and visual themes developed by the great Austrian artist, Hermann Nitsch (Vienna 1938) in over thirty years of activity. It is a multifunctional space where the works of art, the wrecks from the actions of the famous Orgien Mysterien Theater (Theatre of Orgies and Mysteries) which characterised Viennese Actionism in the sixties, journeys through odour and colour, and excursions into astronomy and botany come to life along a pathway always open to experimentation. The exhibitions in this unique location, reflect the urgent need to renew and promote cultural research and include permanent sections such as the impressive Farmacia, as well as meticulously prepared biennial exhibitions like the current celebration of the seventh anniversary of the Foundation, which marks a radical change to the collection: Arena. Opere dall’opera, that opened on April 23rd, 2016. The Museo Archivio Laboratorio per le Arti contemporanee Hermann Nitsch is based in the historical part of Naples’ city centre, at 29/d Vico Lungo Pontecorvo, in an early twentieth-century building called “Stazione Bellini”, that takes its name from the then Teatro Bellini, for which it served as a power station. In line with its vocation as a Museum for ideas, a dynamic centre for study, reflection and research, the Archivio Laboratorio per le Arti contemporanee Hermann Nitsch performs its diverse and multiple functions and activities in four main fields: the documentation, education, production, and dissemination of experience through its library, which houses texts ranging from 1930 to the present day, together with its laboratories and research archives. One of the roles defining the institution is to support the research of young artists and intellectuals from the Campania region and further afield. It promotes and preserves cultural heritage and knowledge in a spirit of openness towards advanced research and scientific culture, using a network of facilities and institutions at home and abroad. Ours is an all-encompassing project that looks far beyond the static vision of traditional museums and their limitations.

www.museonitsch.org

Quartiere dell’Arte

The project Quartiere dell’Arte was born in 2004 by Giuseppe Morra, Francesco Coppola, Roberto Paci Dalò, Nicoletta Ricciardelli and Pasquale Persico, with the purpose to create over time a network of cultural and creative realities working inside the quarter Avvocata of Naples, to regenerate and requalify the urban area through arts and cultural practices. At first, the historical complex of the ex Convento delle Cappuccinelle, that was the Filangieri juvenile prison in Salita Pontecorvo, was been identified as a propulsive center for laboratories and activities of artistic and handcrafted production. With the opening of Museo Nitsch in 2008, Fondazione Morra lays the foundations for the launch of the renewal, redevelopment and urban enhancement  process that art is able to produce, getting in touch with the residents and the other cultural communities. In 2009 there was the first round of meetings, aimed at presenting the project Quartiere dell’Arteand its networking system between public and private institutions, emphasising not only the ability to produce a cultural renewal but also to promote an economic growth, focusing on the idea of art as resource. In 2013 Fondazione Morra takes part in the Expression of interest promoted by the city hall of Naples as part of UNESCO program, in the strategic plan elaborated by the city hall to give legal importance to the institutions and the local involved associations, to give special importance to local authorities and associations and create economies and developments easily. Over the years, the project Quartiere dell’Arte has also developed outside of its promoters; Fondazione Morra and Museo Nitsch opened the way to new cultural spaces, active players in the daily life of the quarter Avvocata, by showing that art and culture can turn the social life and the urban space, creating synergies, discussions, and increase in employment.  

casa morra logo ok


CASA MORRA
Archive of Contemporary Art – Il giocodell'oca – 100 years of exhibitions

3P+B

Luca Maria Patella, Vettor Pisani, Cesare Pietroiusti + Nanni Balestrini

&

“Preghiera per Aldo Braibanti” – Omaggio a Giuseppe Chiari

by Girolamo De Simone

Friday 26th OCTOBER 2018 at 5pm
event III – 3
rd year

CASA MORRA

Contemporary Art Archive – Snakes and Ladders - 100 years of exhibitions

Salita SanRaffaele 20/C, Napoli


Casa Morra continues the 
Gioco dell'Oca (“Snakes and Ladders”) idea, opening its third year of activity around the artists featured in the collection and the theme of inversions and confluences, all the while bearing in mind the 100 years of planned exhibitions. Once again, the number 3 – symbol of the triune – dominates, marking the time gone by since Casa Morra opened, as well as the presence of the artists in the exhibition.

A sign of the power of energy and a unifier, the number 3 mirrors the multifaceted and dynamic identity of Casa Morra, which welds together the arts, education, research, experimentation, and the local territory. The personality of Casa Morra, able to express a plurality of languages and trends, uniting them in one place, is reflected in the number 3 and its geometric expression, the triangle, image of the return of the multiple into one.

The singular/plural dichotomy is implemented in the 3P+B exhibition, with works by Luca Maria Patella, Vettor Pisani and Cesare Pietroiusti, and with Nanni Balestrini.

Luca Maria Patellais the personification of versatility, an omnivorous precursor who cannot be boiled down to any narrow definition. With a penetrating gaze upon science and philosophy, he is a poet and photographer, a sculptor, a performer, and video artist. On display here are the Alberi parlanti (Talking Trees, tr.) presented in 1971 at the Apollinaire Gallery in Milan, in Gianni Carandente’s New Italian Art exhibition at the Walker Art Gallery in Liverpool, and at the MACRO - Museum of Contemporary Art in Rome. The Trees, under a Heaven of moving clouds, take the viewer on a sensory, dreamlike and poetic, fairy-tale journey. By placing the ear near the trunk and branches, we can listen to the trees murmuring, coming alive, and whispering ironic-creative or scientific speeches. In this interactive sound path Patella creates a multimedia space in which the word becomes the lifeblood of a synaesthetic game.

This nomadism between different languages recalls the work of Vettor Pisani, in which "it is difficult to establish linguistic supremacy, if not perhaps under the general term of ‘behaviour’, meaning a total immersion of life in art" (I. Tomassoni in Vettor PisaniApocalypse Now. Carpe Diem, 2012) In Il mio cuore è un cupo abisso (My heart is a dark abyss, tr.) (2004) Pisani stages “obsessive metaphors” through the value of the symbol, the sacred and the profane, the spiritual and the material and he focuses on themes of Symbolist art in a dialogue between painting and text.

Cesare Pietroiusti is present in the encounter between different times and meanings that takes place at Casa Morra in the context of the Gioco dell’Oca (Snakes and Ladders). In this exhibition he presents Lavori da vergognarsi ovvero Il riscatto delle opere neglette (Works to be ashamed of or The Redemption of Neglected Works,tr.), a retrospective of pieces that have never been exhibited before, "of works that, having been made in the past for a certain exhibition, I have never used because", as Pietroiusti says, "once I had made them, I thought they seemed inadequate, out of context, or too similar to works by other artists. In so doing, the artist reflects on the relationship between the wish to present a work and the possibility of fulfilling this desire by tricking it, i.e., by exhibiting the “wrong works”.

The oeuvre of Nanni Balestrini focuses on the idea of different repetition. A tireless experimenter with language, he creates connections between words, texts and images in both visual and theatrical works. An active member of the Avantgarde of Italian poetry in the 1960s, Balestrini has reconfigured the language of everyday life. His Colonna Verbale (Verbal Column, tr.), which rises in the centre of one of the rooms in Casa Morra, crowns the word as the key element of grammar and verbal and visual communication, just as the column is the supporting structure in architecture. Like the sheets with words on them that cover the ceiling of the room, the column erases the meaning of the words printed on it and magnifies the enigma. Also on show is the world’s longest film, Tristanoil (2,400 hours of screen time) in which Balestrini combines the title of the 1966 novel Tristano with the word oil, as a denunciation of the destruction of the planet through the exploitation of its resources.

Friday 26th October 2018 at 9pm

“Preghiera per Aldo Braibanti” – Omaggio a Giuseppe Chiari

“Prayer for Aldo Braibanti” – A homage to Giuseppe Chiari

Girolamo De Simone

On the 50th anniversary of the publication of Giuseppe Chiari’s Preghiera per Aldo Braibanti (Prayer for Aldo Braibanti, tr.), Girolamo De Simone presents a national preview of the text accompanied by the music that Chiari composed for De Simone before his death. The event, with the reading of Giuseppe Chiari's text and Girolamo De Simone’s piano performance, aims to focus on “old and new fascisms”, on the current relevance of homophobia and on homosexuality considered as a merely “medical issue” and on the trials that were once held against the “freedom of life”.

Girolamo De Simone, musician and cultural agitator, is considered one of the main exponents of Italian frontier music. He has dedicated part of his artistic work to “unconciliated” memories, from Luciano Cilio to Giuseppe Chiari, and from Antonello Neri to Pietro Grossi.

 

 

 

INFO

Casa Morra
Salita San Raffaele 20/c – 80136 Napoli

80135 Napoli

This email address is being protected from spambots. You need JavaScript enabled to view it.

Fondazione Morra – Museo Nitsch

Vico Lungo Pontecorvo 29D-80135 Napoli

Tel. 0815641655 | Fax. 0815641494

This email address is being protected from spambots. You need JavaScript enabled to view it.

www.fondazionemorra.org

PRESS OFFICE

MANUAL comunicazione informazione immaginazione

Paola Marino

paola.manualgmail.com

T. 3393449512

peppe morra 6

peppe morra 5PCASA MORRA 1PCASA MORRA 2P

 

 

 

Video Vimeo Casa Morrra

 

pdf Palazzo Cassano D'Aragona - Historical notes

 

 

 video vigna san martino G

 

HOW THE VINEYARD OF SAN MARTINO BECAME A MONUMENT 16.12.2010

The ancient vineyardof San Martino, anevergreen hill in the heart of the city, located at the foot of the great 14th century charterhouse of the same name, became a monument, as established by decree n.851 of the Italian Art and Culture Ministry, issued after a proposal from the Supervisory-Advisory Committee for Architectural and Natural Heritage for Naples and its Province. An urban agricultural space (7 hectares) is declared of“historical and artistic value” and becomes part of Italian Cultural Heritage, as a statue, a castle, a royal palace. Exemplary and exceptional is the fact that the decree was not ordered to protect a cultural site in danger, as usually happens with protest and legal remedies, but it was requested by the owner Giuseppe Morra (Director of Museo Hermann Nitsch).

The ancient vineyard of the monks of San Martino has appeared in images of Naples for at least six centuries, a great piece of land which has miraculously survived the illegal constructionboom, visible from various vantage points ofthe city and dominated by the monastic building of which it was part. It was identified a “landscape site of interest” only in 1967, when it risked being bulldozed and built over, as unfortunately allowed by the Development Plan of 1939.

Giuseppe Morra purchased the vineyard in 1988. The cleaning of the wild vegetation revealed paths, terraces, small farm buildings, built by the monks over the course of the centuries. Today you can walk the whole area using the map drawn in 1775 by the Duke of Noja. In 1999, together with the Associazione Amici dellaVigna di San Martino, an association born with the purpose of protection and enhancement, Giuseppe Morra asked the supervisory committee the most strict and definitive restrictions.

 

 

Vigna San Martino 1PVigna San Martino 2PVigna San Martino, 2015 | Courtesy Fondazione Morra/Museo Nitsch | Foto di Amedeo BenestanteVigna San Martino 4PVigna San Martino 5PVigna San Martino 6P

 

 

pdf  Il Parco Metropolitano delle Colline di Napoli
Guida agli aspetti naturalistici, storici e artistici
a cura di Leonardo Recchia e Renato Ruotolo
Copyright © 2010 CLEAN Edizioni

 

pdfVigna San Martino Cenni storici

 

THE LA FABBRICA NEL PAESAGGIO AWARD

Federazione Italiana Club and UNESCO Centres

On Saturday 21st October 2017, Neapolitan gallery owner and entrepreneur Giuseppe Morra received the ‘La Fabbrica nel Paesaggio’ award from the Federazione Italiana Club and UNESCO Centres at a ceremony held in the town of Foligno, hailing ‘La Vigna di San Martino’ as an example of extraordinary landscaping value, acknowledging the Morra family’s initiative as a ‘miraculous feat of landscape and town planning recovery in the heart of Naples through the determination of the owner who petitioned and encouraged MIBACT to secure the necessary safeguards for the land in question and save it from the danger of urban speculation. They have managed to preserve and give new working life to a valuable fragment of the ancient landscape formerly serving as a vineyard, restoring it to its traditional vocation for ‘urban agricultural’ use. The aesthetic quality of the intervention, the careful choice of materials, and its positive impact on the environment are a model for the whole city.’

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Vigna di San Martino Peppe morra premio La Fabbrica nel paesaggio 2017

 

 

VIGNA DI SAN MARTINO| NEVICATA FEBBRAIO 2018

 

 

 

 

CASA MORRA | Scientific Committee

 

casa morra cs Martinez Chus 02 swCHUS MARTÌNEZ

Born in Spain, Chus Martínez has a background in philosophy and art history.Currently Chus Martínez is the Head of the Institute of Art of the FHNW Academy of Arts and Design in Basel, Switzerland. From 2018 till 2020, she will be the Expedition Leader of The Current, a project initiated by the TBA21 Academy.
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casa morra cs Eva FabbrisEVA FABBRIS
Eva Fabbris (1979) lives in Milano. She is a curator and art historian. She obtained a PhD in Humanities from the University’ of Trento. Since February 2016 she is part of the Curatorial and Research Department of Fondazione Prada in Milan. From 2013 to 2016 she was curator and coordinator of Back to the Future for Artissima, Turin.
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EUGENIO VIOLAcasa morra cs eugenio viola

Eugenio Viola (Naples 1975) is an Italian art critic and curator. He was voted the best Italian curator for 2016 by the Italian art magazine Artribune and in 2014, British art magazine ‘Apollo’ named Viola as one "of the most talented and inspirational young people who are driving forward the art world today”.
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GARRICK BECKcasa morra cs Garrick Beck 1

As the son of Julian Beck and Judith Malina, The Living Theatre’s founders, I was raised in the vibrant and expansive Off-Broadway theatre world of the 1950s.
This included – of course – performing in all the children’s roles in the theatre’s productions. And also, being a part of the astonishing milieu of artists, writers, poets, dancers, and painters who frequented the theatre – and our apartment.
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casa morra cs Pasquale PersicoPASQUALE PERSICO
Pasquale Persico was born in 1946. He has been Professor of Political Economy, Communication Sciences at the University of Salerno since 1987. He has taught Political Economy, Econometrics, Economic Policy and Italian Economics at the “Aldo Moro” University of Bari, at the “Orientale” and “Parthenope” Universities of Naples, at the University of Calabrie and at the Sapienza University of Rome.
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casa morra cs Pier TomassoniPIERO TOMASSONI
Piero Tomassoni is an independent contemporary art curator and art critic based in London. He is the founder and director of the art advisory platform Artvisor. He works closely with international institutions, galleries and collectors. 
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CASA MORRA |Scientific Committee

 

casa morra cs Martinez Chus 02 sw

CHUS MARTÌNEZ

Born in Spain, Chus Martínez has a background in philosophy and art history.

Currently Chus Martínez is the Head of the Institute of Art of the FHNW Academy of Arts and Design in Basel, Switzerland. From 2018 till 2020, she will be the Expedition Leader of The Current, a project initiated by the TBA21 Academy.

She has been the Chief Curator at El Museo Del Barrio, New York. She was dOCUMENTA (13) Head of Department, and Member of Core Agent Group. Previously she was Chief Curator at MACBA, Barcelona (2008 to 2011), Director of the Frankfurter Kunstverein (2005–08) and Artistic Director of Sala Rekalde, Bilbao (2002–2005). For the 56th Biennale di Venezia (2015), Martínez curated the National Pavilion of Catalonia, with a solo project of filmmaker Albert Serra, and for the 51st edition the Cyprus National Pavilion (2005). In 2014-2015 she served as curatorial “alliance” for the current edition of the Istambul Biennial (2015); in 2008 served as a Curatorial Advisor for the Carnegie International and in 2010 for the 29th Bienal de São Paulo. During her tenure as Director of the Frankfurter Kunstverein she curated solo exhibitions of Wilhelm Sasnal among others; and a series of group exhibitions including Pensée Sauvage and The Great Game To Come. She was also the founder of the Deutsche Börse Residency Program for international artists, art writers and curators. While at MACBA Martínez curated the Thomas Bayrle retrospective, an Otolith Group monographic show, and an exhibition devoted to television, Are you ready for TV?. In 2008 Martínez was the curator of the Deimantas Narkevicius retrospective exhibition, The Unanimous Life at the Museo de Arte Reina Sofia, Madrid, which traveled to major European museums. Among her recent projects are the exhibitions The Metabolic Age in September 2015-February 2016 at Malba in Buenos Aires and Undisturbed Solitude with Flora Klein, Emil Michael Klein, Tiphanie Mall and Johannes Willi at Kunstler Haus Hamburg from February to April 2016.

At the Art Institute in Basel she initiated a series of specially commissioned work for der TANK, the Institute’s exhibition space. So far the following projects have been produced: In Revolution, a painting and video installation by Mathilde Rosier (June 2016); The Organ, a sculpture installation by Julieta Aranda (November 2016); The Inner Ocean, a large scale-performance by Ingela Ihrmann (June 2017); is currently preparing another large scale drawing installation by Eduardo Navarro (November 2017).

Martínez lectures and writes regularly including numerous catalogue texts and critical essays and is a regular contributor to Artforum among other international journals.

Independently of her commitment at the Basel Art Institute, in 2016 she curated a one-year installement of the Helga de Alvear Collection - Idiosyncracy. Anchovies Dream of an Olive Mausoleum-, at the Helga de Alvear Foundation in Caceres, Spain. In October 15th 2017 under the title Le Fin de Babylone, she presented the 9th edition of the the Sculpture Park in Cologne, where a series of new commissioned works will remain till 2019.

 

CASA MORRA |Scientific Committee

casa morra cs Eva FabbrisEVA FABBRIS

Eva Fabbris (1979) lives in Milano. She is a curator and art historian. She obtained a PhD in Humanities from the University’ of Trento. Since February 2016 she is part of the Curatorial and Research Department of Fondazione Prada in Milan. From 2013 to 2016 she was curator and coordinator of Back to the Future for Artissima, Turin. She worked in different curatorial departments in Italian museums (she was curatorial assistant at Museion in Bolzano, in 2008-2009 and adjunct curator at Galleria Civica in Trento in 2009-2010). She was co-curator at Kaleidoscope Project Space in Milan with Michele D'Aurizio in 2011-2012 and then, as independent curator she took care of solo and group exhibitions for international institutions, among which the Nouveau Musée National de Monaco, Montecarlo, la galerie de l'erg, Brussels, Triennale di Milano and Fondazione Morra, Naples. As guest lecturer she gave talks and conversations in many museums and schools as Centre Pompidou, Paris, Daimler Foundation, Berlin, HEAD, Geneve, GAM, Turin and in Italian universities. She is co-editor of "Arrow of Time", the book recently published by Humboldt Books dedicated to filmmakers Yervant Gianikian and Angela Ricci Lucchi. 

She contributes to Moussemagazine, L'Officiel Art Italia and Flash Art.

She has extensively worked with or addressed the work of Giorgio Andreotta Calò, Lupo Borgonovo, Marc Camille Chaimowicz, Anna Franceschini, Dora Garcia, Alberto Garutti, Yervant Gianikian e Angela Ricci Lucchi, Pierre Leguillon, Diego Marcon, Fausto Melotti, Brian O'Doherty, Alessandro Pessoli, Fabio Sandri, Paul Sietsema, Lucy Skaer among others.

 

CASA MORRA |Scientific Committee

casa morra cs eugenio violaEUGENIO VIOLA

Eugenio Viola (Naples 1975) is an Italian art critic and curator. He was voted the best Italian curator for 2016 by the Italian art magazine Artribune and in 2014, British art magazine ‘Apollo’ named Viola as one "of the most talented and inspirational young people who are driving forward the art world today”. He received his PhD in “Methods and Methodologies of Archaeological and Historical-Artistic Research” at University of Salerno, and specializes in the experiences and theories related to performance and bodily poetics. On this subject Viola most notably edited monographs devoted to Marina Abramović, (Sole 24 Ore Cultura, Milan), Regina Jose Galindo (Skira, Milan, 2014), and ORLAN (Ed. Charta, Milan- New York, 2007) among others, and published a number of essays for international publications.

Viola has been appointed the new Chief Curator of Museo de Arte Moderno de Bogota, Colombia (MAMBO). His first project at MAMBO will be the first solo exhibition of work by Teresa Margolles in Colombia, which will open on March 21, 2019.

2017-2019 saw Viola as the Senior Curator at Perth Institute of Contemporary Arts, where his curatorial practice was focused on cultivating and strengthening the Institution’s relationship with the Asia-Pacific region. He presented the first Australian solo exhibition of Kimsooja (Zone of Nowhere, 2018), in which the work extended beyond the walls of PICA and into the streets of Perth, where iterations of To Breathe – The Flags (2012-2018) materialized as size specific installations around the city. Viola has also been instrumental in a promising partnership between PICA and Taipei Fine Arts Museum as part of the City of Perth and Taipei Residency Exchange Program.

From 2009 to 2016 Viola held curatorial positions at MADRE, the Contemporary Art Museum of Naples. From 2013 to 2016, as Curator at Large, he was responsible for the research and development of MADRE Museum's collection (Performing a collection project) and co-curated the first Italian large-scale exhibitions of Boris Mikhailov and Francis Alÿs. From 2009 to 2012, he was the Curator of the Project Room, a space dedicated to the young and experimental artists organising a network residence and exhibition program in partnership with institutions and art organizations from the Middle East (Transit project), and an annual performance festival named Corpus. Art in Action (2009-2012). 

As a guest curator Viola has worked extensively. He curated the Estonian Pavilion at the 56th Venice Biennial (Jaanus Samma, Not Suitable For Work. A Chairman’s Tale, Palazzo Malipiero, Venice), whose iteration at the Museum of the Occupations in Tallinn was listed by the American Hyperallergic amongst the top 15 exhibitions around the world in 2016. Other major projects include: Regina José Galindo, Mechanisms of Power (Frankfurter Kunstverein, Frankfurt, Germany, 2016); The Prince and Queens by Karol Radziszewski (CoCA. Center of Contemporary Art, Torun, Poland,2014); Mark Raidpere’s The Damage (EKKM- Contemporary Art Museum of Estonia, Tallinn, 2013); Marina Abramović’s The Abramović Method ( PAC - Contemporary Art Pavilion, Milan, Italy, 2012); and the most comprehensive retrospective of ORLAN to date, Le Récit (Musée d’art moderne and contemporain de Saint Etienne Métropole, France, 2007).

 

CASA MORRA |Scientific Committee

casa morra cs Garrick Beck 1GARRICK BECK

As the son of Julian Beck and Judith Malina, The Living Theatre’s founders, I was raised in the vibrant and expansive Off-Broadway theatre world of the 1950s.

This included – of course – performing in all the children’s roles in the theatre’s productions. And also, being a part of the astonishing milieu of artists, writers, poets, dancers, and painters who frequented the theatre – and our apartment.

In clear addition to their creative works, my parents were active in many of the social freedom and peace movements of those times, and I was introduced to the organizers and offices of many of these.

Julian and Judith gave over one of the studio rooms in their 14th Street Theatre to start-up peacenik groups and civil rights activists. I worked there in the afternoons after school, learning how to do mailings, printings, posters, phone trees, and other social organization.

After the theatre – and my parents – left the United States (because of political issues with the U.S. government) and began an ‘endless’ tour overseas, I remained in New York, living with Julian’s mother, Mabel, and attending high school.I worked then with the Student Peace Union and the War Resistor’s Leagueorganizing anti-draft and anti-war protests during the escalation of the Vietnam War.

In the fall of 1967, I entered Reed College in Portland, Oregon where I studied Humanities. With friends from the Portland peace movement, the back-to-the-land movement, and the psychedelic, arts, health and yoga communities we produced the Vortex Festival in the fall of 1970, a free celebration with music and camping that drew 50,000 people.

Following that I moved with friends to a back-to-the-land community, Rainbow Farm, in the Coast Range along Oregon’s Smith River. We grew all manner of organic veggies and worked with a number of food co-operatives and organic seed distributors. We began a process of sustainable forestry that is a multi-age, multi-species progression.

With friends from surrounding experimental communities, the vision of bringing together all the various parts of the numerous new social movements, gave rise to the Rainbow Gatherings. Beginning in 1972, I have worked with these free, non-commercial events,held on remote forest or mountain lands, which have brought together people from diverse backgrounds and numerous creative fields in over fifty countries.

In the 1980s I lived and worked in the East Village of Lower Manhattan, where the community gardens were beginning to sprout. I was able to develop a Children’s Gardening Program that became integrated into the public school system, and with the help of the Trust for Public Land, I co-authored, Plant & Grow!Teacher’s Guidebook for an Outdoor Children’s Gardening Program for Elementary School Classes.

During this time I worked with The East Village Baker’s Dozen, whereunusual formula baking (wheat free, gluten free, egg free, flour free, etc.) were being produced.

In 1983 when The Living Theatre returned to New York, I assisted the company and my parents with technical, archival and printing work.

We retrieved Julian’s cachés of paintings, drawings, set and costume designs from the numerous friends and relatives where he had left them before leaving the States with the theatre two decades earlier. I worked with salvaging these, as well as assisting with literary, press and other theatre affairs.

After Julian’s dispersion in 1985, I assisted Judith and Hanon Reznikov in The Living Theatre’s productions at their venue on Third Street.And,after that,with openings and productions atthe Living Theatreon Clinton Street.

During this time I began to develop a gem and mineral business, Natural Stones, which opened in Santa Fe, New Mexico, USA in 1994.

Since that time I have been living in Santa Fe with my wife Jenny. I continue to work in New York several times a year at several goldsmithing and jewelry-making studios. And I lecture periodically about turquoise at the Santa Fe Museum of Indian Arts and Crafts.

After Hanon Reznikov’s dispersion, Judith asked me to join the Living Theatre’s Board, a position that I currently enjoy.

Judith dispersed in 2015 but the Living Theatre is continuing to produce with a new generation of theatre artists.

Most recently, I have authored a book of memoirs, True Stories, Tales from the Generation of a New World Culture, which is both a detailed accounting of many of the incidents, meetings and events of my life, and also a philosophical commentary on where we are headed as a human species.

 

Regarding my work with the Fondazione Morra

by Garrick Beck

The Fondazione Morra presents a unique opportunity to protect, preserve and promote experimental artworks spanning a hundred-year period of human creativity.

The synthesis of painting, poetry, sculpture, dance and theatre that developed in the Beat and post-Beat Generations let artists explore more than just one discipline and led to the interactive productions such as the Happenings, The Living Theatre’s Paradise Now, and a broad range of participatory arts that today are still engaging the public. Today these multi-disciplinary art forms are flourishing everywhere from street theatre in small towns to extravaganzas in glitzy venues.

The records of the growth and development of these truly modern arts are being collected, preserved and made available by Fondazione Morra to the next generation of artists whose job it will be to carry this creative work forward through future time.

My own familiarity with the collection of Julian Beck – my Father’s artworks – including stage and set designs, watercolors, oil paintings, costume designs and collage masterpieces gives me unique ability to annotate and verify.

My work over disparate years with The Living Theatre has given me much understanding of the interrelation of many contemporary writers, dancers, performers, and artists with the community of peace activists, justice advocates and social movers.

My work with environmental, social and community activist groups has given me perspective to see how contemporary arts can shine a light and guide our culture ahead. Because, after all, that is what the arts do, by showing us what is, and by showing us what could be.

 

CASA MORRA |Scientific Committee

casa morra cs Pier TomassoniPIERO TOMASSONI

Piero Tomassoni is an independent contemporary art curator and art critic based in London. He is the founder and director of the art advisory platform Artvisor. He works closely with international institutions, galleries and collectors. After a brief experience in the Photography and Education departments of the SFMOMA, he moved to the UK and started curating and writing independently. He has spoken and gives lectures on contemporary art and the art market at various institutions throughout Europe and is constantly involved in academic and educational initiatives. He has appeared in several international publications with interviews and commentary. He contributes as a freelance critic to magazines and journals in the UK and Italy.

About Casa Morra

by Piero Tomassoni

So far my involvement with the Fondazione and with Casa Morra has mostly been geared towards fostering the international presence and recognition of the artists of the foundation, and of Casa Morra as a leading collection, archive and research hub. This involved promoting and curating exhibitions of our main artists in Italy and abroad, as well as building and maintaining solid relationships and collaborations with the artists’ estates and representing galleries. In the future I would like to complement these activities with more localised initiatives and curatorial projects specifically designed for Casa Morra, in line with its history and ethos.

 

CASA MORRA |Scientific Committee

casa morra cs Pasquale PersicoPASQUALE PERSICO

Pasquale Persico was born in 1946. He has been Professor of Political Economy, Communication Sciences at the University of Salerno since 1987. He has taught Political Economy, Econometrics, Economic Policy and Italian Economics at the “Aldo Moro” University of Bari, at the “Orientale” and “Parthenope” Universities of Naples, at the University of Calabrie and at the Sapienza University of Rome.

In 1981 he won the Saint Vincent Prize for Economics and in the following years established himself as a Research Scholar at the London School of Economics and a Visiting at the SIRCED of the same School.

In 1987 he was an OCDE Consultant in the Science and Technology Division.

In 1990 he was Head of the PhD Program in Public Sector Economics of the University of Salerno and, from 1987 to 2000 and from 2006 to 2011, he was Director of the Department of Economic Sciences of the same university.

Over the years he has been responsible for several socio-economic development plans such as the one for Val D'agri in 1999 and the National Park of Cilento (UNESCO site) from 1999 to today. He was also the Scientific Director of the PIT of the Cilento National Park in 2002.

He coordinated the strategic program "Identity and Development" for the Basso Ferrarese area.

From 1993 to 1997 he was Councilor for Development of the Municipality of Salerno and in 2001 he was Councilor for Territorial and Environmental Policies of the Campania Region.

He is Director of the research series "The cities of men" and of the series "The City and the Other City", the latter in collaboration with Maria Cristina Treu.

 

Casa Morra. Membrane Laboratory of the Metropolitan City

by Pasquale Persico

The large staircase of Palazzo Cassano Ayerbo d’Aragona, today known as Casa Morra, a visual art archive, announces the ambition of the ‘100 years of exhibitions’ project, with it wanting to be a post-vision of a process-project-path of knowledge and emotions through the game of the goose, this time open beyond alpha and omega, to produce urban standards with a broad spectrum of new generation culture for the city that is to come.

In starting the visit of the Casa Morra and the project, the young interns who present it will say that “Casa Morra is not a gallery”, even highlighting at times how vital it is for the Casa to present the soul of the artists through the existing archives. They will then say that “Casa Morra is not a museum in the classical definition”, although on an administrative and expository level it is to be recognized as a producer of themes concerning the conservation, maintenance and valorization of inventoried and classified artefacts like a visual art archive.

Casa Morra is not a monastery even if it is inhabited by ‘contemporary Carthusians’, in addition to those inhabitants of the area who still live as if the ‘Urban Complex Casa’ were not in contemporary metamorphosis.

The ‘contemporary Carthusians’ also include those young men and women who, as interns or employees of the Foundation, are temporarily living there like residents, often coming from different parts of the world and learning about the themes of the representative artists of the archive as well as those who are attracted to the activities of Casa Morra.

Casa Morra is not a ‘closed-house-city’ because, as a project-process, it produces complex activities that, in addition to being recognized as an urban standard consistent with the urban planning of the City of Naples, aspire to present themselves as part of a city producing strategic contemporary intangible standards, in line with the competitive perspectives between internationalized cities (which reposition their cultural activities, proposing networks of museums and innovative contemporary art proposals) and visual arts (see the latest international reports on global cities).

With the reading of its archives, Casa Morra is now contributing to reading the idea of the art district with more elements, showing the design vitality of the Fondazione Morra, which is committed to strengthening the cultural infrastructures of the wider district - “Quartiere dell’Arte” (Avvocata Art District).

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Fondazione Morra
Vico Lungo Pontecorvo 29/d
80135 Napoli

The Fondazione Morra - Istituto di Scienze delle Comunicazioni Visive aims to promote and organise research and to develop and spread the culture of visual communication.

The Fondazione Morra traces its origins to the “Studio Morra”, which began operating in 1974. Giuseppe Morra, who had always been fascinated by the subversive potential of the avant-garde, was one of the first in Italy to promote artists coming from Viennese Actionism and Body Art. In the seventies, the studio hosted artists such as Hermann Nitsch, Günther Brus, Urs Lüthi, Gina Pane, Joe Jones, Marina Abramovic, Bob Watts and Peter Kubelka. The early eighties saw the first exhibitions by the Fluxus group, whose art goes beyond structure, understood as an action in the present, in real space. For Fluxus, art is an event that incorporates all disciplines and styles, so the times of art and life become one and the same, where any object, any gesture, wherever they come from, can cross the threshold of art. In the late eighties, the Studio focused primarily on Visual Poetry, holding numerous exhibitions with the most influential visual poets, such as Carrega, Luca, Martini, Miccini, Pignotti, and Chopin, becoming one of the most important centres for visual poetry in Italy. Visual poetry examines mass communication and is, at the same time, its channel of expression. In the nineties, a series of exhibitions were devoted to the up-and-coming artists and trends of the day. One of these was Bruno Munari's 1990 “Sculture nella città” (Sculptures in the City), comprising a selection of large metal sculptures displayed along the Naples waterfront. The sculptures became signals for the imagination, intriguing viewers and stimulating their imaginations. 1992 saw the reconstruction of four Environments by Allan Kaprow. As the creator of the ‘Environment’, Kaprow sees art as the material expression of feelings, desires, and emotions, where the viewer is no longer a passive contemplator of objects, but an active protagonist of movement, crossing the threshold of art. In the same year, Studio Morra moved from the Chiaia district to the Rione Sanità and became the Fondazione Morra, whose artistic and cultural raison d'être is “art for the sake of research and knowledge”, strongly affirming the social purpose of cultural promotion as a means of re-evaluating particularly problematic social contexts. On September 13th 2008, the new head office/museum was opened at number 29d Vico Lungo Pontecorvo. It consists of the Museum Archive/Hermann Nitsch Workshop, a place where the works of Hermann Nitsch are brought together and displayed, but also a culturally active centre, engaged in critical and theoretical reflection on the work of this great Austrian artist, organised according to a set of core principles:

  1. the Centre for Documentation, Research and Training. Here texts, images and events from the twentieth century onwards are digitalised and the website is kept up to date
  2. the Department of Independent Experimental Film
  3. the Contemporary Music Library, from 1940 to the present day
  4. the Centre for the Performing Arts and Multimedia. The Centre is computerised and has the potential for connection and streamlining with planned future archives
  5. the Library of the Avant-garde and Neo-avant-garde. This is a new space in a building next to the Nitsch Museum covering an area of approximately 240m2

On October 28th 2016, Giuseppe Morra opened a new museum, Casa Morra - Archivio d'Arte Contemporanea, in Palazzo Ayerbo D’Aragona Cassano, a 4,200m2 complex that will gradually be refurbished to house the large Morra collection, consisting of over 2,000 works. It will also host exhibitions dedicated to the artists of the Fondazione and those of the youngest generation. Casa Morra is a dynamic space set up to stimulate reflection and research on society and its evolution; it is a “house of ideas” and a centre for environmental rehabilitation, social innovation, and a residence for artists, as well as a home to creativity, research, practice, workshops, poetry, theatre, music, cinema, seminars, conventions and meetings.

The Fondazione Morra not only promotes and organises research, developing and spreading the culture of visual communication, but it is also dedicated to producing and handing contemporary culture down across the generations. In the light of the work carried out in its various departments, and especially bearing in mind its socio-cultural context, the Fondazione aims to set up activities geared to an authentic reading of the complex dynamics that arise within the micro- and macro social systems of production and the economy of the “culture of communication”. These activities will promote projects with independent groups and institutions in order to involve and recruit those wishing to promote communities able to develop, and put to good use, the resources of the cultural territories. The Fondazione is registered in the Regional Government's “High Culture” Registry and was recognised as a Museum of Local Interest in 2007 after registration as a legal entity in 2005.

The Fondazione Morra collaborates with numerous bodies at home and abroad, including the Kaprow Estate, Los AngelesRome, MAXXI Museo nazionale delle arti del XXI secolo – Rome, Galleria Nazionale d’Arte Moderna - Rome, MACRO Museo d'Arte Contemporanea di Roma – Torino, GAM Galleria Civica d’arte moderna e contemporanea - The University of Texas at Dallas - the Faculty of Architecture at the “Federico II” University of Naples, and the Departments of Philosophy and Mathematics and Computer Science at the University of Salerno, the Fondazione Donnaregina per le arti contemporanee-museo MADRE - Naples, PAN Palazzo delle Arti Napoli - Naples, the Centro per l’arte Contemporanea Luigi Pecci - Prato, the Accademia delle Belle Arti - Naples, the Accademia delle Belle Arti - Brera, the ISA Universidad de las Artes , Cuba, Mart - il museo di arte moderna e contemporanea di Trento e Rovereto, Fondazione Mudima – Milan, the Museum of Modern Art Ludwig Foundation - Vienna, the Anthology Film Archives - New York, and the Al Hansen Archive - California.

The Fondazione Morra - Istituto di Scienze delle Comunicazioni Visive aims to promote and organise research and to develop and spread the culture of visual communication.

The Fondazione Morra traces its origins to the “Studio Morra”, which began operating in 1974. Giuseppe Morra, who had always been fascinated by the subversive potential of the avant-garde, was one of the first in Italy to promote artists coming from Viennese Actionism and Body Art. In the seventies, the studio hosted artists such as Hermann Nitsch, Günther Brus, Urs Lüthi, Gina Pane, Joe Jones, Marina Abramovic, Bob Watts and Peter Kubelka.
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Casa Morra 

“...L’arte dipinge la vita…”

Allocate 5x1000 to Fondazione Morra. Fondazione Morra is one of the cultural non-profit institution  which every year it is possible to allocate the 5x1000 of income tax.


Vigna San Martino


Museo Hermann Nitsch

Fondazione Morra

Vico Lungo Pontecorvo 29/d
80135 Naples, Italy

Opening Times: Monday-Friday 10am-7pm| Saturday 10am-2pm

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Tel +39 081 5641655
Fax +39 081 5641494

info@fondazionemorra.org

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