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DTSTART;TZID=Europe/Rome:20220429T183000
DTEND;TZID=Europe/Rome:20220429T183000
DTSTAMP:20260513T022755
CREATED:20220426T124823Z
LAST-MODIFIED:20220427T091828Z
UID:7751-1651257000-1651257000@www.fondazionemorra.org
SUMMARY:JOHN CAGE E SHOZO SHIMAMOTO. Il silenzio come musica. La pittura come azzardo.
DESCRIPTION:29th april 2022\nSTART 6.30 p.m.\nCIAC – Centro Italiano Arte Contemporanea\nVia del Campanile 13\, Foligno \nClosing event of the “SHOZO SHIMAMOTO / GRANDI OPERE” exhibition \n\nMarco Scolastra (piano)\nItalo Tomassoni (narrator) \nJohn Cage e Shozo Shimamoto. Il silenzio come musica. La pittura come azzardo is the closing event of the exhibition project “SHOZO SHIMAMOTO/GRANDI OPERE” organized by the Fondazione Morra in Naples\, curated by Italo Tomassoni at the Centro Italiano Arte Contemporanea in Foligno. \nThe retrospective follows the Japanese artist’s experiments from the earliest beginnings to his performances in Italy in the early years of the 21st century\, highlighting the many links between Japanese culture and contemporary research in the arts in the United States of America. \nThe revolutionary scope of the Gutai experiments sparked the interest of the leading Western personalities in the art world of the time. Michel Tapié headed for Japan in 1957\, followed in 1960 by Peggy Guggenheim and John Cage. Cage returned to Japan in 1962 with Clement Greenberg\, Jasper Johns\, and Robert Rauschenberg to visit the Osaka Art Gallery\, the centre where the Gutai group’s creative forces were concentrated. \nWith no rules or categories\, Gutai musical compositions emancipate the element of randomness. In his contributions to the Gutai Journal\, Shimamoto expresses his rejection of the linearity of composition. As some audio productions – now preserved at the Centre Pompidou in Paris and the Ashiya City Museum of Art and History – show\, it is tonality that occupies centre stage in his musical compositions\, the material essence of sound\, to the detriment of a harmonic combination of the elements that make up the composition. It is no coincidence that in 1966 Allan Kaprow called Shimamoto the “pioneer of the happening”. \nThe points of contact between Shimamoto’s and Cage’s artistic research are their experimentation with performance\, their desire to shatter every kind of category\, to abandon traditional expressive codes\, and their interest in the element of chance and the unexpected. Both artists set in motion action that goes beyond the limits of conventional notation (Cage) and the spatial boundary of the canvas (Shimamoto)\, thus inducing collective and collaborative audience participatio. Presence\, physicality and a new organization of temporal spaces: it is in these three aspects that Shimamoto’s and Cage’s quests intertwine. \nWithin the museum spaces\, in dialogue with the works on exhibition\, John Cage e Shozo Shimamoto. Il silenzio come musica. La pittura come azzardo. becomes the arena for action in which pianist Marco Scolastra performs ten pieces by John Cage\, La Monte Young\, and Erik Satie\, interspersed with reflections by Italo Tomassoni. It is a tribute to two great exponents of 20th-century experimental art and a performative event to explore the shared ground of their techniques. \nThe event is funded entirely by the Fondazione Cassa di Risparmio di Foligno. \nProgramme: \nERIK SATIE Gnossienne n.1; Vexations \nJOHN CAGE A Room; Ophelia; In a Landscape; Suite for Toy Piano (n.2); Seven Haiku \nLA MONTE YOUNG\nComposition 1960 #7 \nJOHN CAGE\n4’ 33’’; Bacchanale \nMarco Scolastra is an Italian pianist and the artistic director of AdM – Amici della Musica di Foligno. He graduated from the Conservatorio di Perugia under Maestro Franco Fabiani and has studied with Aldo Ciccolini\, Lya De Barberiis\, Paul Badura-Skoda\, Joaquin Achúcarro and Katia Labèque. He has performed for major Italian and fo\,reign musical institutions in prestigious venues\, including the Auditorium Parco della Musica and Teatro dell’Opera in Rome\, the Teatro Regio in Parma; the Auditorium dell’Orchestra “G. Verdi” in Milan; the Teatro La Fenice in Venice; the Moscow State Conservatory\, the Tonhalle in Zurich\, the Konzerthaus in Bern\, and the Musikverein in Vienna. \nItalo Tomassoni is an Italian art critic and curator and has been artistic director of CIAC – Centro Italiano Arte Contemporanea di Foligno since 2009. He has been a member of AICA since 1964\, working with various newspapers\, including La Fiera Letteraria\, Avanti!\, Vogue\, Momento Sera\, Flash Art\, and Segno. He worked with Alberto Burri in the 1970s to set up the Fondazione Burri\, where he was both a board member and a member of the scientific committee. In 1999\, he curated a retrospective on Gino De Dominicis with director Harald Szeemann for the 48th Venice Biennale. In the same year he founded the Archivio Gino De Dominicis. Exhibitions he has curated at CIAC include: Spazio\, Tempo\, Immagine (2009); Calamitati da Gino\, with Giacinto Di Pietrantonio (2012); Vincenzo Agnetti\, with Bruno Corà\, (2012); Julian Schnabel and Carlo Maria Mariani (2013); Hermann Nitsch. O.M.T. Colore dal Rito (2017); Shozo Shimamoto. Grandi Opere (2021).
URL:https://www.fondazionemorra.org/en/evento/john-cage-e-shozo-shimamoto-il-silenzio-come-musica-la-pittura-come-azzardo/
LOCATION:CIAC – Centro Italiano Arte Contemporanea\, Via del Campanile 13\, Foligno\, 06034
CATEGORIES:Associazione Shōzō Shimamoto
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20210919T100000
DTEND;TZID=Europe/Rome:20220109T180000
DTSTAMP:20260513T022755
CREATED:20210902T133816Z
LAST-MODIFIED:20220110T140953Z
UID:6788-1632045600-1641751200@www.fondazionemorra.org
SUMMARY:Shozo Shimamoto MAJOR WORKS
DESCRIPTION:19th september 2021 – 1st may 2022\nOPENING 18th september 6.00 p.m.\nCentro Italiano Arte Contemporanea – CIAC\nVia del Campanile 13\, Foligno\n \nCurated by Italo Tomassoni \nA wide-ranging retrospective dedicated to Japanese artist Shozo Shimamoto (1928 – 2013)\, curated by Italo Tomassoni\, opens on 19 September at CIAC – Centro Italiano Arte Contemporanea in Foligno\, and runs until 1 May 2022. \nThe “SHOZO SHIMAMOTO/MAJOR WORKS” exhibition takes place in collaboration with the Fondazione Morra di Napoli\, supported by the Fondazione Cassa di Risparmio di Foligno\, with the technical\, logistic\, and organizational assistance of the Associazione Shozo Shimamoto.\nThe exhibition offers a detailed and comprehensive review of the Japanese artist’s career\, from his first innovative experiments in the 1950s up to the more momentous and spectacular of the last years. In the 1950s\, Shimamoto worked largely in the East and especially in Japan\, but by the new millennium\, he was working mainly in the West\, performing many of his actions. The dialectic between these two phases in his output occurs within a unique and extraordinary artistic process. In the 1950s\, he began exploring a new concept (and practice) in painting\, working with gesture and paint marks\, which later evolved into the ‘happening’. In particular\, “[t]he power of the mark\, that Shimamoto endows with the most authentic meaning of his message\, conditions the fluctuation of the paths of written signs that never appear “closed”\, developing freely in space\, on the other hand\, in search of unexplored passages driven by their inner dynamism” (Italo Tomassoni\, from the presentation in the catalogue). Nevertheless\, the large-scale events of recent years go beyond marks on canvas\, favouring a sizeable theatrical edifice with their own dramatic and expressive autonomy\, and taking place in public as a unique aesthetic event. For Shimamoto\, the work “offers itself to the experience of the artist and the public as though spread out over time\, on the infinite horizontality of liquid and multiple spatial displacements” (Tomassoni\, ibid). \nAfter a period of inactivity due to Covid-19\, the Foligno Centro Italiano Arte Contemporanea opens with an exhibition reflecting its global outlook through this retrospective of Shozo Shimamoto’s historically most significant works. The collection starts with Shimamoto’s earliest pieces from his time with the Gutai Group\, moving on to Japanese calligraphy\, and culminating with the explosions of colour that characterize his Italian works. The Major Works chosen for this exhibition underline how Shimamoto’s most extraordinary creativity coincides with his use of large surfaces\, a constitutive element in his work\, denoting both total fullness and\, at the same time\, a boundary to be continually overcome using colour and matter. \nShimamoto’s large canvases on show at the CIAC take the viewer on a journey that starts with gesture and mark\, moving on through colour and contending with matter until it penetrates the deepest and “other” meanings of form. Suspended between heaven and earth\, Shimamoto’s artistic gesture creates through these works an empathy beyond time and space. \n\n		\n		\n			\n				\n			\n				\n				Installation View\, Shozo Shimamoto Major Works\, CIAC\, Foligno\, 2021 © photo Elisa Partenzi Courtesy Fondazione Morra\n				\n			\n				\n			\n				\n				Installation View\, Shozo Shimamoto Major Works\, CIAC\, Foligno\, 2021 © photo Elisa Partenzi Courtesy Fondazione Morra\n				\n			\n				\n			\n				\n				Installation View\, Shozo Shimamoto Major Works\, CIAC\, Foligno\, 2021 © photo Elisa Partenzi Courtesy Fondazione Morra\n				\n			\n				\n			\n				\n				Installation View\, Shozo Shimamoto Major Works\, CIAC\, Foligno\, 2021 © photo Elisa Partenzi Courtesy Fondazione Morra
URL:https://www.fondazionemorra.org/en/evento/shozo-shimamoto-major-works/
LOCATION:CIAC – Centro Italiano Arte Contemporanea\, Via del Campanile 13\, Foligno\, 06034
CATEGORIES:Associazione Shōzō Shimamoto
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20191016T190000
DTEND;TZID=Europe/Rome:20200131T200000
DTSTAMP:20260513T022755
CREATED:20201022T145320Z
LAST-MODIFIED:20210115T152848Z
UID:4351-1571252400-1580500800@www.fondazionemorra.org
SUMMARY:HENRIK STRÖMBERG - Refraction of Lightness
DESCRIPTION:October 16th 2019 – January 31st 2020\nOPENING OCTOBER 12th\, 7:00 p.m.\nAssociazione Shōzō Shimamoto – Palazzo Spinelli di Tarsia\nLargo Tarsia 2\, Naples \nCurated by Chiara Valci Mazzara and Loredana Troise \n“Accumulating\, transforming\,\ncreating photographic images and volumes\,\nmaterializing the action\, I isolate the creative gesture as a moment fixed in time.”    – Henrik Strömberg \nThe Quartiere dell’Arte (Art District)\, program conceived by Fondazione Morra to foster a new awareness of contemporary art in the city of Naples\, presents a new exhibition project created for Palazzo Spinelli di Tarsia\, home of Shōzō Shimamoto Foundation.\nThe space will host the show Refraction of lightness\, displaying a site-specific installation of serigraphs and hand blown glass sculptures and volumes by the Swedish artist Henrik Strömberg.\nThe exhibition\, curated by Chiara Valci Mazzara (fontaine b. Berlin\, Paris) and Loredana Troise\, in collaboration with Fondazione Morra together with Laboratorio Avella Naples with Gianluigi Prencipe\, is the result of the three-month residency of Henrik Strömberg.\nIn the historical spaces of Palazzo Tarsia\, glass sculptures and serigraphs are presented as the two main areas of density of the installation\, determining the core around which the presentation of further assembled elements\, organized in an immersive landscape\, revolves.\nThe serigraphs are relocated as a uniqum: a large-scale work mirrors (refracts into) the new series of glass sculptures conceived and created on the occasion of the exhibition.\nThe work of Henrik Strömberg is the result of a creative process of investigation about form and content\, volume and concept\, multiplication and refraction of meaning.\nLiving and recovered materials such as paper\, glass\, burned newspapers and pigments contribute to the creation of works that allow the viewer to immerse in a landscape organised as a self-sufficient ecosystem that\, by suggesting new forms\, creates new contents. Where every element becomes part of a whole.\nThe assembled prints creating a new system of references relating to the meanings and aesthetics they originally had\, are now enriched with additional semantics\, while\, at the same time\, the glass volumes reflect the complexity of the creative gesture. In the glass works\, a transformation and the alteration of content\, occur simultaneously.\nUltimately\, the matter is shaped and transferred through different media\, all the elements are commuting back and forth regularly concurring\, and eventually\, overlaying meanings. Nothing can be isolated\, everything mutate as when volcanic magma erupts.\nIn the spaces dedicated to the master of the Gutai group\, the Northern European artist approach the exhibition space through the system of references linked to the creative gesture. At the same time\, the references to Surrealism\, to the re-evaluation of the object-trouvee and the use of the form to act on the content are perceived as a characterizing elements of Strömberg’s work.\nIn the printed pieces the roots of the past meanings\, and -for the sculptural volumes- the references to biological forms are perceived diving into an alternate drift of perspective: Strömberg reduces the source to polarise the content at the very core of the image perception. He doesn’t settle down for clarity\, rather he pursues the action of placing triggers to initiate a new existence of the subject. The clarity being left aside\, it is consequential that the viewer is exposed to an unexpected outcome and to an ephemeral content.\nWhile the installation of the volumes and the different components takes shape\, a sub-ecosystem formed through the combination between seemingly disparate elements appears as a logical consequence. Photographic elements\, negative cut outs\, paper works and sculptural volumes are coexisting but their accumulation is not left to chance\, rather to a multiplication of occasions. The various elements commit to deliver a wider perception of the different pieces\, it’s like a dance where every single element concur to a higher harmony.\nThe sequence of reflections\, the portions of images and the verticality of the installation take form as an immersive landscape through which the viewer is moving\, absorbing the complexity of the elements\, never redundant and always cohesive. There’s not a unique interpretation but rather a kaleidoscope given by the use of different media equally involved in the final result. \nChiara Valci Mazzara \nHenrik Strömberg (b. 1970) | based in Berlin (Germany) | graduated from Camberwell College of Art in London (United Kingdom) and Academy of Performing Arts FAMU in Prague (the Czech Republic) | works with the idea of metamorphosis\, decay and the transformation of materials\, sculptural objects and their photographic documentation\, as well as the deconstruction and transformation of the photographic image itself | his works have been presented at solo and group exhibitions in Germany\, Italy\, Sweden\, Switzerland\, the United Kingdom\, Poland\, France\, the Czech Republic and the U.S.A.\, and acquired by various collections\, including: Alexander Tutsek-Stiftung\, Munich Germany – Ann Wolff Foundation\, Sweden – Christine Symchych Collection\, USA\, – Kultur Hässleholm\, Sweden – Mecklenburgisches Künstlerhaus\, Schloss Plüschow\, Germany – La Luxembourgeoise SA\, Luxemburg.\n\n		\n		\n			\n				\n			\n				\n				Installation View (detail)\, Refraction of Lightness\, Palazzo Spinelli di Tarsia\, Napoli\, 2020 Henrik Strömberg Courtesy Fondazione Morra\n				\n			\n				\n			\n				\n				Installation View\, Refraction of Lightness\, Palazzo Spinelli di Tarsia\, Napoli\, 2020 Henrik Strömberg Courtesy Fondazione Morra\n				\n			\n				\n			\n				\n				Installation View (detail)\, \n				\n			\n				\n			\n				\n				Installation View\, Refraction of Lightness\, Palazzo Spinelli di Tarsia\, Napoli\, 2020 Henrik Strömberg Courtesy Fondazione Morra\n				\n			\n				\n			\n				\n				Installation View\, Refraction of Lightness\, Palazzo Spinelli di Tarsia\, Napoli\, 2020 Henrik Strömberg Courtesy Fondazione Morra\n				\n			\n				\n			\n				\n				Installation View\, Refraction of Lightness\, Palazzo Spinelli di Tarsia\, Napoli\, 2020 Henrik Strömberg Courtesy Fondazione Morra\n				\n			\n				\n			\n				\n				Installation View\, Refraction of Lightness\, Palazzo Spinelli di Tarsia\, Napoli\, 2020 Henrik Strömberg Courtesy Fondazione Morra\n				\n			\n				\n			\n				\n				Installation View\, Refraction of Lightness\, Palazzo Spinelli di Tarsia\, Napoli\, 2020 Henrik Strömberg Courtesy Fondazione Morra\n				\n			\n				\n			\n				\n				“Double Negative”\, Refraction of Lightness\, Palazzo Spinelli di Tarsia\, Napoli 2020\nHenrik
URL:https://www.fondazionemorra.org/en/evento/henrik-stromberg-refraction-of-lightness/
LOCATION:Associazione Shōzō Shimamoto\, Largo Tarsia\, 2\, Napoli\, 80135\, Italia
CATEGORIES:Associazione Shōzō Shimamoto
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20180613T093000
DTEND;TZID=Europe/Rome:20180806T183000
DTSTAMP:20260513T022755
CREATED:20201113T153045Z
LAST-MODIFIED:20210428T152025Z
UID:4467-1528882200-1533580200@www.fondazionemorra.org
SUMMARY:Shozo Shimamoto - Time Rack
DESCRIPTION:June 13th – August 6th\, 2018\nOPENING JUNE 13th h. 6:00 p.m.\nFondazione Sant’Elia\nVia Maqueda 81\, Palermo \nCurated by Achille Bonito Oliva \n“A colour without matter does not exist. When we are about to create\, we do not throw away the brush; there is no hope of emancipating colours. Without the paintbrush the colourants will come to life for the first time. Any tool may be used to good effect in place of a paint brush: one’s bare hands or the paint spatula would be a start. To these we might add the objects that members of the Gutai group use\, such as watering cans\, umbrellas\, vibrators\, abaci\, skates\, and toys\, not to mention feet\, guns\, or anything else. And amid all these\, the paintbrush may even reappear\, because there is certainly room for something from the past in innovative work like this.” \nShozo Shimamoto | ‘Gutai’ Bulletin n.6\, Ōsaka\, 1957 \nIn the mid-fifties\, the Japanese artist Shozo Shimamoto [Osaka\, 22nd January 1928 – 25th January 2013]\, began his adventure in the small city of Ashiya\, producing a creative work in public; it was a garden where he and other artists carried out works of art consisting of performances where the work came into being before the eyes of the audience\, with all the interference of a live event. Distancing themselves from the surrealist tradition and the influence of Duchamp\, the Gutai group powerfully established themselves in terms of a new form of creativity centred around impulse. \nAchille Bonito Oliva’s wide-ranging retrospective dedicated to the Japanese artist opens in Palermo at 6 pm on June 13th and runs until 6th August at the Fondazione Sant’Elia. The ‘SHOZO SHIMAMOTO/TIME RACK’ exhibition is a project by the Morra Foundation with the technical\, logistic\, and organisational support of the Shozo Shimamoto Association and the cooperation of the Fondazione Sant’Elia. A colour catalogue containing articles of particular historical and critical significance accompanies the exhibition\, which offers an in-depth study of Shimamoto’s artistic career from his first innovative experiments in the 40s and 50s up to the performances of his last years. During the 1950s\, Shimamoto spent his life in Japan – in the East – but he spent the first part of the twenty-first century mainly in the West\, where he did his most important performances. The dialectic between these two periods points to an extraordinary\, important\, and single artistic process. During the 50s\, Shimamoto began working as a painter\, and\, in his search for a new way of seeing and doing painting\, he also began working on actions that would gradually transform into happenings. His work throughout his last years in Italy took quite the opposite direction: he used large-scale stage construction as an integral part of his performance\, as reflected in the production of works that are the result of a public representative moment. ‘The aim is to expand the aesthetic space of the action as far as possible\, encompassing both earth and sky. (…) Ultimately\, Shimamoto is a nomadic samurai of art able to hit the mark thanks to the intelligent chance of a creative process seeking to pierce the inertia of the world and energise the community of men’\, writes Achille Bonito Oliva. \nThe works on show at the Fondazione Sant’Elia\, from Shimamoto’s early output with the Gutai group to the beautiful explosions of colour of the Campania period\, are of great historical importance. The exhibition also brings his works on paper from the 1950s to the Italian public for the very first time. This retrospective dedicated to the works of Shozo Shimamoto is one of the high points of the many events organised as part of the Palermo Italian Capital of Culture 2018 programme. \n\n		\n		\n			\n				\n			\n				\n				Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n				\n			\n				\n			\n				\n				Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n				\n			\n				\n			\n				\n				Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n				\n			\n				\n			\n				\n				Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n				\n			\n				\n			\n				\n				Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n				\n			\n				\n			\n				\n				Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n				\n			\n				\n			\n				\n				Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n				\n			\n				\n			\n				\n				Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n				\n			\n				\n			\n				\n				Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n				\n			\n				\n			\n				\n				Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n				\n			\n				\n			\n				\n				Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018  Shozo Shimamoto  © photo Amedeo Benestante  Courtesy Fondazione Morra\n				\n			\n				\n			\n				\n				Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \n				\n			\n				\n			\n				\n				Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n				\n			\n				\n			\n				\n				Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n				\n			\n				\n			\n				\n				Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n				\n			\n				\n			\n				\n				Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n				\n		\n\n \n 
URL:https://www.fondazionemorra.org/en/evento/shozo-shimamoto-time-rack/
LOCATION:Fondazione Sant’Elia\, Via Maqueda\, 81\, Palermo\, Italia
CATEGORIES:Associazione Shōzō Shimamoto
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