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.
FRIDAY 28th October 2016, 5pm
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.
|| 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.