BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Fondazione Morra - ECPv6.15.20//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Fondazione Morra X-ORIGINAL-URL:https://www.fondazionemorra.org/en/ X-WR-CALDESC:Events for Fondazione Morra REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:Europe/Rome BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20180325T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20181028T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20190331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20191027T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20200329T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20201025T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20210328T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20211031T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20220327T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20221030T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20230326T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20231029T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20240331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20241027T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20250330T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20251026T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20260329T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20261025T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20270328T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20271031T010000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260311T183000 DTEND;TZID=Europe/Rome:20260311T213000 DTSTAMP:20260415T002741 CREATED:20260308T155113Z LAST-MODIFIED:20260308T155138Z UID:15179-1773253800-1773264600@www.fondazionemorra.org SUMMARY:Le Nemesiache Reclaiming Mythological Rituals DESCRIPTION:BOOK LAUNCH \nLe Nemesiache\nReclaiming Mythological Rituals \nedited by Sonia D’Alto \nWednesday 11 March 2026 Archivi Mario Franco at 6:30pm \nThe Archivi Mario Franco / Casa Morra will host the book launch tour of the first international monograph on Le Nemesiache edited by Sonia D’Alto in collaboration with Marea Art Project\, winning project of the Italian Council 13 edition (2024) promoted by the MIC Direzione Generale Creatività Contemporanea\, published by Mousse Publishing. The result of Sonia D’Alto’s research through her frequent visit to the group and her study of Le Nemesiache Archive (formerly Le Tre Ghinee association) and Lina Mangiacapre private Archive (Posillipo)\, the book collects valuable documents\, photographs and unpublished posters on the exceptional procedural and collective nature of their work. \nThe presentation of the book is a dynamic and participatory dialogue with Gina Annunziata\, Sonia D’Alto\, Imma Tralli and Roberto Pontecorvo\, which recounts and explores the collaborative process behind the publication and the significant moments of the collective\, intertwined with contemporary reflections on ecological spirituality\, historical reconstruction of feminist solidarity networks\, transformative justice\, and queer artistic theories. This will be followed by a screening of Le Sibille (1977) on the origins of a myth identified as a vital presence in the archaeological landscape of Cuma\, where oral culture\, folklore\, nature and magic intertwine\, “… in the subculture of a type of divination that still survives among the elderly women of Naples…” (Lina Mangiacapre) \nArtists and pacifists\, feminists and activists Le Nemesiache have promoted experimental creative practices since 1970 rooted in mythology\, transcending the fixed coordinates of patriarchal culture. Art is action\, it is creative practice to be lived: there is no separation between knowledge\, between realization and sociality\, aesthetics and politics. Le Nemesiache participated in the change of society with demonstrations and public debates (abortion and the question of wages) and through painting and sculpture (Lina took the pseudonym of Nemesis and when she painted she used Malina\, the surname of Judith\, founder of the Living Theatre active in Italy in those years\, her sister Teresa the name of Niobe and Silvana Campese Medea)\, writing\, poetry and theatre as a practice of self-awareness (psycho-fable)\, performance\, cinema and photography. Le Nemesiache wanted to reclaim the freedom of expression and the cultural presence denied to women (men could not participate in their events unless accompanied by a woman)\, in 1976 they created the Rassegna di Cinema Femminista (Feminist Film Festival) as a counter-festival to the International Meetings of Sorrento\, made several films and awarded the Elvira Notari Award (1987-2002) as part of the Venice Film Biennale to the film featuring a female heroine\, and also published the magazine Manifesta (1988-2002) to welcome women’s reflections on culture. \nLe Sibille \n(1977\, S8mm>dvd\, 25 min.) directed by Lina Mangiacapre\, music and performances by Le Nemesiache\, produced by Cooperativa Le Tre Ghinee/Nemesiache \nLe Sibille (The Sibyls)\, Lina Mangiacapre’s third film\, recounts the historical and territorial expropriation of mythosophical knowledge reduced to legend: the music of the Sirens\, the word of the Sibyls\, the dance of the witches. Subversive ceremonies\, poetic rituals and stone liturgies converge with acts of reappropriation to bring to the surface the memory of “how progress kills civilization and how\, in this death\, women’s culture disappears”. URL:https://www.fondazionemorra.org/en/evento/le-nemesiache-reclaiming-mythological-rituals/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2026/03/nemesiache_casamorra.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20241001T190000 DTEND;TZID=Europe/Rome:20250301T180000 DTSTAMP:20260415T002741 CREATED:20241120T101856Z LAST-MODIFIED:20241120T101856Z UID:13450-1727809200-1740852000@www.fondazionemorra.org SUMMARY:Wiener Aktionismus DESCRIPTION:Archivi Casa Morra \nWiener Aktionismus \nCurated by Giuseppe Morra \n1 October 2024 – 1 March 2025 \n3 – D A Y S  R E P E R T O R Y \nFriday 27 September – 7pm – Archivi Casa Morra\ninterventions by Giuseppe Morra\, Julia Moebus-Puck e Leopoldo Siano \nSaturday 28 September – 7pm – Museo Hermann Nitsch\ninterventions by Giuseppe Morra e Leopoldo Siano \nSunday 29 September – 8pm – Vigna San Martino\ninterventions by Giuseppe Morra e Leopoldo Siano \nThree days of events to inaugurate the two-year period 2024-2026 exhibitions at Casa Morra and Museo Hermann Nitsch celebrating the history of Wiener Aktionismus and the 50 years of friendship (1974-2024) between Hermann Nitsch and Giuseppe Morra. \nThe works at Casa Morra testify to the tendencies and poetics of a philosophy without preconceived structures\, with a revolutionary function of life – the psyche and the unconscious\, the mind and the body – and a renewed interest in the primitive\, which is capable of perceiving the human as a temporal fragment of a continuum with the community\, the natural environment\, and the entire universe\, employing rituals and ceremonies such as sacrifices\, initiations\, flaying\, and tattoos\, using the body as a vehicle to connect with that which has existence. The traditional two-dimensionality of the canvas as a support for the medium of painting is surpassed in favour of the physicality of the artist’s body as he paints\, through action; experiences of sensory reality are extended to include objects and pictorial substance that aspire to transcend pictorial abstraction through actions that investigate the possibilities of an active body. \nAs with the poets Friedrich Achleitner\, Konrad Bayer\, Gerhard Rühm\, and Oswald Wiener of the Wiener Gruppe (1952–1964)\, so too with Wiener Aktionismus (Viennese Actionism\, 1960–1970) represented by Günter Brus\, Hermann Nitsch\, Rudolf Schwarzkogler\, and Otto Mühl. Although they had no stylistic manifesto\, their works are connected – through a close reading – to texts and statements expressed in both individual and collective actions\, as well as in paintings\, drawings\, photographs\, and films. These artists responded directly to the academicism\, backwardness\, and closed-mindedness of the official culture prevalent in Austria (and not only in Austria)\, which persisted well beyond the historical period in question. The Viennese Actionists\, each following their own path\, applied the terminology of psychoanalysis to art\, adopting terms such as abolition\, purification\, psychic hygiene\, abreaction\, and catharsis. Self-harm and bodily humiliation became methods of confronting obsessions\, neuroses\, and trauma\, serving as a means of liberation from the supremacy of power and hierarchical structures. \nA history of connections and separations under the cipher of the body\, gesture\, action\, and intellectual commitment\, for a shared experience that springs from the effects\, even beyond the perception of the performative moment\, re-emerging in the memory with photos\, films and videos\, relics\, and objects. From Dadaism to Futurism\, from Surrealism to Duchamp\, from Cage to Klein\, Pollock\, and Shimamoto; from Kaprow\, to Beuys\,… Art has changed\, and the body has become a substantial element of the artistic process in which any ordinary situation can generate a creative event. \nA galaxy whose planets are the artists who\, through their power\, inspire the audience to think\, meditate\, and construct bold ideas for the near future. URL:https://www.fondazionemorra.org/en/evento/wiener-aktionismus/ LOCATION:Casa Morra e Museo Hermann Nitsch\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra,Museo Nitsch,Vigna San Martino ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2024/11/azionismo-viennese-50anni.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20240409T180000 DTEND;TZID=Europe/Rome:20240731T203000 DTSTAMP:20260415T002741 CREATED:20240328T100407Z LAST-MODIFIED:20240328T102511Z UID:12805-1712685600-1722457800@www.fondazionemorra.org SUMMARY:Millenanni Terzo Anno Henri Chopin. Visiva Utopia DESCRIPTION:Millenanni Terzo Anno\nHenri Chopin. Visiva Utopia \nCurated by Giovanni Fontana\, Giuseppe Morra e Patrizio Peterlini \n9 April – 31 July 2024 \nCasa Morra. Archivi d’Arte Contemporanea\nSalita San Raffaele 20/c\, 80136 Napoli \nOn the occasion of the Third Year of Millenanni\, Fondazione Donnaregina per le Arti Contemporanee\, in collaboration with Fondazione Morra\, in the context of Progetto XXI\, unveils on 9 April 2024 the exhibition Henri Chopin. Visiva Utopia (ENG “Henri Chopin. Visual Utopia”). \nAs an artist of remarkable experimentation in the field of the international neoavanguardia (New Vanguard)\, Henri Chopin (Paris\, 1922 – London\, 2008) ushers his path into the great cultural ferment of “concrete poetry”. In the landscape of verbo-visual research in the second post-war period\, Chopin fits fully as an important figure in relation to the specific movement of “sound poetry”\, and yet his career cannot be encompassed within a single experience. Audio-poèmes (Audio-poems)\, voice recordings of deformation and distortion of the voice through magnetophon\, dactylo-poèmes (Type-poems)\, typographic practice and exploration of the formal framework of the word\, but also performance art experiences\, editorial and pamphlet writing\, film directing\, theoretical and theatrical writing. Henri Chopin corrupts every prescriptive mode in his practice of life\, and proceeds in horizontal research as compared with the fields of lexicon\, acoustics and grammar\, breaking the automatic relationships between them. The word is at degree zero\, the voice restores its sonorous body\, favouring the signifier over the semantic. Sensoriality prevails upon the relational sense of the verb. \nThe exhibition is not exclusive to the observation of the artistry of Chopin\, but is organised as a symposium between converging\, but not standardised figures from the neo-avant-garde movements. Paul de Vree and Bernard Heidsieck\, close to Chopin and equally associated with the experience of the “poésie sonore”\, are present in the exhibition; together with them\, the most representative names of the season of visual poetry in Italy: Eugenio Miccini\, Lamberto Pignotti\, Arrigo Lora Totino\, Ugo Carrega\, Stelio Maria Martini\, Luigi Tola\, Rodolfo Vitone\, Michele Perfetti\, Luciano Caruso and Giovanni Fontana. Situated in a network of synaesthetic interchange between artists from the collective experiences of Gruppo 63\, Gruppo 70\, Gruppo Tool\, as well as deriving from the editorial framework of the publications Documento Sud and Linea Sud\, the extent of Chopin retains its distinctiveness. His investigation\, characterised by the phonetic dismantling of language\, emerges and enters into a dialogue of poietic and poetic confrontation with other artists. A section of documents\, curated by Domenico Mennillo\, presents\, as a corollary to the exhibition\, some materials contained in the Henri Chopin Archive housed in the Casa Morra spaces: invitations\, posters\, photographs\, letters and preparatory writings for texts and performances\, magnetic tapes\, records and audio cassettes. \nThe collaboration between Fondazione Morra and Henri Chopin has been well established since the 1980s\, and found its expression through productions of miscellaneous nature\, supporting Chopin in his research with regards to verbal-visual scores. Moreover\, through the publication of his works in Italian translation\, including “L’ultimo romanzo del mondo” (“The Last Novel of the World”) ([1961]\, Edizioni Morra\, Naples\, 1984)\, “La Conferenza di Yalta” (“The Conference of Yalta”) ([1984] Edizioni Morra\, Naples\, 1987) or “Il gambero cosmografico” (“The Cosmographic Lobster”) and “Il granchiolino innamorato” (“The Little Crab in love”) ([1965 and 1967]\, Edizioni Morra\, Naples\, 1994) published by the same Foundation\, the fellowship between Giuseppe Morra and Henri Chopin acquired further consistency. \nDuring the days of 9\, 10 and 11 April\, Henri Chopin. Visiva Utopia (ENG “Henri Chopin. Visual Utopia”) will be supported by the interventions of Giovanni Fontana and Patrizio Peterlini\, exhibition curators\, Angela Tecce\, President of Fondazione Donnaregina per le Arti Contemporanee\, Eva Elisa Fabbris\, Director of Museo Madre\, Cecilia Bello Minciacchi\, professor of Contemporary Italian Literature at the University of Rome “La Sapienza”\, Barbara Meazzi\, professor in 20th century Italian Literature and Civilisation at the University of Nice\, Domenico Mennillo\, scientific curator of the Archives at Fondazione Morra\, Girolamo De Simone\, musician and cultural agitator\, Domenico Napolitano (SEC_)\, sound artist\, Mario Franco\, film critic and creator of the homonymous archive within the Foundation\, and Barbara Anceschi\, Greek scholar and editorial director of Edizioni del Verri. In parallel\, the critical lectures will be accompanied by performances by the duo “Acchiappashpirt” (Jonida Prifti and Stefano Di Trapani)\, Umberto Petrin. \nFrom April to July\, a special program of twelve film screenings will be presented in the spaces of Archivio Mario Franco to interact with the historical period analyzed. \nThe intermedial artistic production of Henri Chopin triggers a further exploration of the avant-garde current related to visual poetry and the use of words in all its declinations. Fondazione Morra intends to position itself as a subject of connection\, stitching together parallel experiences and foreshadowing possible avenues of research for the future. \nProgetto XXI is the platform through which Fondazione Donnaregina per le Arti Contemporanee has aimed\, since 2012\, to explore on the one hand the emerging artistic production\, in its theoretical-practical realization\, and on the other hand the most seminal artistic practices of the last decades\, in their exemplary methodological proposal. The project thus contributes to the production and dissemination of alternative narratives and historiographies of the contemporary and to the definition of a regional contemporary arts system based on collaboration and interchange between public and private institutions operating in the Campania region. \nThe exhibition is funded as part of the project “Rilancio e sostegno della Fondazione Donnaregina- Sez. Progetto XXI” – POR FERS Campania 2014/2020 \n  \nHenri Chopin. Visiva Utopia\n(Henri Chopin. Visual Utopia)\nProgramme of events \nTuesday 9 April \n6 p.m. Henri Chopin. Visiva Utopia (ENG. Henri Chopin. Visual Utopia) \nInterventions by: Angela Tecce\, President Fondazione Donnaregina per le Arti Contemporanee\nEva Elisa Fabbris\, Director Museo Madre\nBarbara Anceschi\, Editorial director Edizioni del Verri\nGiovanni Fontana\, Director Fondazione Berardelli\nPatrizio Peterlini\, Director Fondazione Bonotto\nGiuseppe Morra\, Director Fondazione Morra \n8 p.m. VOCÈMI Dismisure foniche e lallazioni randagie per Henri Chopin \nPoietic performance by Giovanni Fontana \nWednesday 10 April \n6 p.m. Henri Chopin. Archivio visivo e performativo (ENG. Henri Chopin. Visual and performative archive) \nInterventions by: Domenico Mennillo\, Scientific curator Archivi Casa Morra\nDomenico Napolitano (SEC_)\, composer of concrete and electroacoustic music\nBarbara Meazzi\, Université Côte d’Azur – du son dans les oreilles: Henri Chopin e i tentacoli del Verbo \n7 p.m. Secret Performance \nPerformance by duo Acchiappashpirt (Jonida Prifti and Stefano di Trapani) \n8 p.m. Liturgie du Souffle \nPerformance by Girolamo De Simone\, piano and electronics \nThursday 11 April \n6 p.m. Henri Chopin. Attuale Utopia (ENG. Henri Chopin. Current Utopia) \nInterventions by: Patrizio Peterlini – Henri Chopin: l’utopista del linguaggio\nCecilia Bello Minciacchi – La forza della voce. Chopin\, Vicinelli\, Balestrini\nGiancarlo Alfano – Sonorità\, visività\, cut-up: vie della poesia tra Henri Chopin e Nanni Balestrini\nStefania Zuliani \n8 p.m. LA VOCE IN SITUAZIONE Teoria e pratica della vocalità per testo e pianoforte jazz \nVoice streams: Giovanni Fontana\nPiano: Umberto Petrin \n6.30 p.m. La macchina fagocitante di Henri Chopin \nPerformance by Domenico Napolitano (SEC_) URL:https://www.fondazionemorra.org/en/evento/millenanni-terzo-anno-henri-chopin-visiva-utopia/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2024/03/millenannichopin.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20231019T190000 DTEND;TZID=Europe/Rome:20231115T190000 DTSTAMP:20260415T002741 CREATED:20231005T090743Z LAST-MODIFIED:20231005T090743Z UID:12412-1697742000-1700074800@www.fondazionemorra.org SUMMARY:Our Truths Flow Together With the Waves ch.II DESCRIPTION:Our Truths Flow Together With the Waves ch.II\nImagining – shaping feminist constellations\nCurated by Sara Guidi \nOctober 19 – November 15\, 2023\nArchivi Mario Franco – Casa Morra. Archivi d’Arte contemporanea\nSalita San Raffaele 20/c\, 80136 Napoli \nOpening October 19\, from 7pm \nThe project Our Truths Flow Together With the Waves ch.II\, curated by Sara Guidi\, will be inaugurated at Archivi Mario Franco – Casa Morra. Archivi d’Arte Contemporanea on Thursday October 19\, at 7pm. The first chapter of the project was hosted by the Italian Cultural Institute in Copenhagen\, in July 2023. \nOur Truths Flow Together With the Waves is the result of research on the artistic path of the Nemesiache\, a feminist group founded in Naples by Lina Mangiacapre (1946-2002) in 1970; the group’s commitment lasted about five decades. \nWhere do our memories lie? How to re-signify them\, internalize them? What kind of relationships can we establish within an archival realm? The curatorial project invites the audience to engage with selected archival material\, including written and audiovisual material\, photographs and costumes. \nOur Truths Flow Together With the Waves ch.II will be on display at Casa Morra until November 15\, during regular opening hours. \nWorkshop \nThe project includes a workshop curated by Mattias Gimigliano\, a performer and artist based in Berlin. The workshop\, titled In This Garden of Stars\, I Was\, I Can Be explores consciousness-raising practices\, focusing on vocal and physical exercises. \nThe project is open to all voices and bodies and takes place at Giardino Liberato di Materdei (Salita S. Raffaele\, 3 – Naples) on Saturday 21 and Sunday 22 of October. \nIn This Garden of Stars\, I Was\, I Can Be is free of charge but reservation is required\, info&subscription: mattiasgimigliano@gmail.com \nRead more on the workshop: here. \nOnline catalogue \nOur Truths Flow Together With the Waves comes with an online catalogue\, which focuses on the Nemesiache’s artistic path and explores ways to revive their methodologies and approaches in the present. \nMore info and subscription: here. \nThe newsletter program\, initiated in July 2023\, provides subscribers with interviews featuring some of the members of the Nemesiache\, along with critical content contributed by Giulia Damiani (performer\, curator\, writer and professor at the Rietveld Academie in Amsterdam – the first researcher to study the Nemesiache’s path)\, Sonia d’Alto (curator and researcher at the HFBK in Hamburg)\, and Sara Guidi (project’s curator). The newsletter also includes a performative guide on perception curated by Mattias Gimigliano. \nCritical content is collected by Nero Magazine and Reading Aloud. \nThe Nemesiache \nThe artistic-feminist group Nemesiache was founded in Napoli in 1970; the term “nemesiache” refers to Nemesis\, a mythological goddess in Greek mythology who enacts to restore harmony violated by egocentrism and hubris\, traits which characterize the patriarchal societies. The notion of justice claimed by the Nemsiache does not refer to social order or legal systems; instead it focuses on a dimension where women can explore and express their inner selves. Many of the activists of the group identified (and still identify) themselves by referring to women characters of mythology\, such as Daphne\, Echo\, Medea\, Nemesis\, Niobe… \nThe feminist struggle pursued by the Nemesiache is deeply connected with the city of Napoli\, its Mediterranean landscape and myths. The group combines the struggle for women’s liberation with the defense of the Neapolitan sea\, which is threatened by privatization\, pollution and urbanization. The Nemesiache’s exploration of pre-roman mythology arises from their interest in body language and transcend the oversimplified mind-body duality. Through gestures\, rituals\, music and dance\, the Nemesiache raised their own way to explore and affirm inner dimensions\, identities. \nThe group’s path is characterized by the affirmation of creativity as a form of political struggle; in that sense\, activism and artistic practices intersect\, rejecting professionalism and embracing multi and interdisciplinary approach across various media. \nWe are not interested in the crisis of male creativity\, we as Nemesiache know the our new dimension or\, let’s say or metaphysic\, turn everything down\, our creativity is our world that emerges\, explodes by turning down everything\, and discovers infinite\, fantastic unknown dimensions (The Nemesiache’s Manifesto\, written in 1970\, published two years later). \nPartners:  Trust nel nome della Donna\, Giardino Liberato di Materdei\, Reading Aloud\, Nero Magazine e ST:ART. URL:https://www.fondazionemorra.org/en/evento/our-truths-flow-together-with-the-waves-ch-ii/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2023/10/nemesiache-event.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20230928T170000 DTEND;TZID=Europe/Rome:20240131T190000 DTSTAMP:20260415T002741 CREATED:20230910T113458Z LAST-MODIFIED:20230910T114004Z UID:12346-1695920400-1706727600@www.fondazionemorra.org SUMMARY:The Intimate Resistance: 1971-2023 Mike Parr DESCRIPTION:The Intimate Resistance: 1971-2023 Mike Parr \nCurated by: Eugenio Viola \n28 September 2023 \nCasa Morra.Archivi d’Arte Contemporanea\nSalita San Raffaele 20/C \nOn Thursday 28 September\, at 5 pm\, Casa Morra will inaugurate Mike Parr. The Intimate Resistance: 1971-2023\, a retrospective curated by Eugenio Viola and organised in collaboration with MAMBO – Museo de Arte Moderno di Bogotà (Colombia) presenting\, for the first time in Italy\, the work of Australian artist Mike Parr. \nOn the opening day\, the artist will present a long-durational performance specially conceived for this exhibition\, Painting Towards a Hole (2023)\, from 5:00 p.m. to 7:00 p.m. \nThe title of the exhibition\, The Intimate Resistance\, is borrowed from the book of the same name by the Catalan philosopher Josep Maria Esquirol (La resistencia intima\, 2015)\, a profound reflection on the human condition that becomes the hypertext for offering an open panorama of Mike Parr’s subversive and radical work. \nMike Parr (Sydney\, 1945\, where he lives and works) is internationally recognised as one of the founding fathers of performance art. Over the course of a career spanning more than 50 years\, the Australian artist has challenged the limits of this medium within the parameters of art history and theory\, confronting the concepts of space\, time\, resistance\, memory\, and the mechanics of representation. \nMike Parr is among the pioneers who shaped performance art in Europe and the Americas in the late 1960s and early 1970s. Moreover\, he is among the very few artists who still use performance as their preferred means of expression. \nParr has always used his body as subject\, object and medium to explore the physical and mental limits of his own being. His work is often connected to pain\, involves bodily fluids\, requires acts of extreme resistance and appears disturbing and visceral. For this reason\, his performances provoke complex reactions that emotionally and intellectually challenge the artist himself and\, in many cases\, the spectators. \nThe Intimate Resistance includes photos\, films\, videos\, single and multi-channel video installations\, engravings\, and rare archival materials. Parr’s research is represented through over 80 oeuvres produced in five decades: including the early “task performances”\, like Pushing a Movie Camera Over a Hill (1971)\, or Hold Your Breath for as Long as Possible/ Hold Your Finger in a Candle Flame for as Long as Possible (1972). Some of his most controversial pieces are included\, like Cathartic Action: Social Gestus No.5 (The “Armchop”) (1977). Also\, some works are presented for the first time\, like Falling Self-Portrait (2023). \nMontage in Space & Time (1971-2023) offers an extraordinary overview of Parr’s radical work\, condensed into a synchronised four-channel video installation. A combination of videos\, almost a retrospective within a retrospective\, which seamlessly re-proposes his most daring and challenging actions\, presented in a deliberately episodic and disjointed manner. \nPhoto-Death (2023)\, on the other hand\, is a work that synthesises the artist’s entire career in a chronological sequence of images\, confronting the viewer with the photographic documentation of some of Parr’s most shocking performances. Both Montage in Space & Time and Photo-Death represent the artist’s attempt to determine new ways of representing performance\, safeguarding its memory for the future. \nPainting Towards a Hole and a Head (2023) is a new ‘site-responsive’ performance that Parr conceived for this exhibition\, linked to a series of Blind Paintings that the artist has made over the years\, strictly with his eyes closed and refusing even to see the audiovisual documentation of the result. \nThe Intimate Resistance offers the possibility of appreciating\, from a unified perspective\, all the coherence of Mike Parr\, one of the most extreme\, irreverent\, ironic\, radical\, blasphemous\, unrepentant and iconoclastic living artists who has experimented with and challenged performance art\, shaping its fields and territories and even determining its outcomes. \nThis exhibition also celebrates the donation of Mike Parr’s entire archive to Casa Morra\, which confirms its commitment to preserving\, exhibiting and promoting the archives of fundamental figures in the history of contemporary art\, such as Julian Beck\, Luca Maria Patella\, the Living Theatre and Vettor Pisani. \nMany thanks to Penny Clive and Anna Schwartz. \nProject financed by Regional Law no. 7/2003\, grants for cultural promotion year 2023. \nMike Parr co-founded in 1970 with Peter Kennedy\, Inhibodress Gallery\, the first artist run space in Australia that is credited with spreading conceptual and performance art across the continent. He has had numerous exhibitions in Australia and internationally over more than half a century. The latest include The Eternal Opening\, Schwartz/Carriageworks\, Sydney\, 2019; Underneath the Bitumen the Artist\, DarkMofo/Detached\, Hobart\, 2018; The Ghost Who Talks\, 55th Venice Biennale\, Palazzo Mora\, Venice\, 2013. He represented Australia at the 39th. Venice Art Biennale\, in 1980. Major retrospectives include Edelweiss\, Kunsthallewien\, Vienna\, 2012; Foreign Looking\, National Gallery of Australia\, Canberra. 2015; The Intimate Resistance\, Museo de Arte Moderno de Bogotá – MAMBO\, 2023. \nEugenio Viola is since 2019 Chief Curator of MAMBO – Museo de Arte Moderno de Bogotá\, in Colombia. From 2017 to 2019 he was Senior Curator at PICA – The Perth Institute of Contemporary Arts in Perth\, Western Australia. From 2009 to 2016 he was Curator at the MADRE Museum in Naples. He has collaborated with numerous Italian and international institutions. He curated in 2015 the Estonian Pavilion at the 55. Venice Biennale and in 2022 the Italian Pavilion at the 59. Venice Biennale. A scholar of experiences related to performance and the body\, he edited monographs dedicated to Teresa Margolles (Edizioni MAMBO\, Bogotà\, 2019); Regina Jose Galindo (Skira\, Milan\, 2014); Hermann Nitsch (Edizioni Morra\, Naples\, 2013); Marina Abramović\, (Sole 24 Ore Cultura\, Milan\, 2012); ORLAN (Charta\, Milan-New York\, 2007). \nA new monograph dedicated to the artist’s work\, The Intimate Resistance\, produced by the Fondazione Morra in collaboration with the Museo de Arte Moderno de Bogotá – MAMBO\, in an Italian/English edition (Edizioni Morra) and in an English/Spanish edition (Edizioni MAMBO)\, edited by Eugenio Viola\, will soon be published. URL:https://www.fondazionemorra.org/en/evento/the-intimate-resistance-1971-2023-mike-parr/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2023/09/parr-banner.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20230720T080000 DTEND;TZID=Europe/Rome:20231210T170000 DTSTAMP:20260415T002741 CREATED:20230708T110922Z LAST-MODIFIED:20230708T113733Z UID:12202-1689840000-1702227600@www.fondazionemorra.org SUMMARY:Neapolitan Dialogues III – Out of the “Basso” DESCRIPTION:Neapolitan Dialogues III – Out of the “Basso”.  \nSoon Naples will host three Portuguese artists in residency. The project is curated by Vittorio Urbani with Fabio Schiattarella from Fondazione Morra. \nThe Neapolitan Dialogues\, an artistic project that aims to establish a dialogue between Lisbon\, Naples and Istanbul\, three great cities of the South situated on the same parallel\, is now at its third edition (after the two first editions dedicated to Istanbul)\, preparing to host in two different periods respectively Sara & Andrè\, a couple of Portuguese artists who will stay in Naples from July 20 to August 20\, 2023; and Lorenzo Bordonaro\, an Italian artist living in Lisbon from 20 years\, from November 1 to December 10\, 2023. \nThe residencies of Neapolitan Dialogues\, hosted in the spaces of Fondazione Morra\, are always characterised by a strong social engagement. In this residency\, the artists are proposed to start from the intersection of three references\, the first socio-political\, the second mythological\, and a third socio-environmental – regarding the so called Basso – the cheaper accommodation in Naples\, usually inhabited by the lower strata of society and immigrants – which represents a typically Neapolitan life context. \nThe project of the Neapolitan Dialogues arises from the need of a greater awareness of the essential values of the South and want to go against the current compulsory North-South axis\, in which the vector of cultural values\, economic resources\, opportunities and workforce always goes from South to North in a covered\, but nonetheless real economic exploitation of a capitalistic type. On the contrary\, the aim is to favour a new awareness of the cultural values and centrality of the South\, and to promote collaborations and conversations primarily internal into the South. \nAt the end of the residency\, the artists will share their experience with the citizenship in a public meeting in the spaces of Fondazione Morra. \nNeapolitan Dialogues III are produced by Fondazione Morra\, Naples\, in collaboration with Nuova Icona\, Venice with the Patronage of the Embassy of Portugal\, Rome \nARTISTS’ BIO \nSara & André were born in 1980 and 1979\, in Lisbon\, where they live and work\, and studied respectively\, Stage Design at the School of Theatre and Cinema (Lisbon\, 1999-2005)\, and Fine Arts at the School of Art and Design (Caldas da Rainha\, 1999-2005). Together they studied Painting at the National Society of Fine Arts (Lisbon\, 2008-2011). They have regularly exhibited their work since 2006. The duo works with text\, painting and other media in site specific projects\, repeatedly collaborating or inquiring other cultural producers and conveying ideas such as authorship\, appropriation\, originality and\, in particular\, the study of the art world. Along with their artistic practice\, Sara & André have also developed several curatorial projects\, either exhibitions\, editions or both\, in recent years. \nLorenzo Bordonaro was born in Torino in 1971 where he majored in philosophy and social sciences. In 2001 he moved to Portugal where he obtained his PhD in Anthropology. He also studied painting and drawing at Ar.Co (Lisbon) and sculpture at the Academy Fine Arts (Lisbon). \nHis artistic practice merges with the anthropological research: his installations\, paintings and public art projects are often rooted in a wider social reflexivity and in political and\, more recently\, environmental activism. He carried out public art projects in different social contexts and geographical areas: from Brazilian favelas to shanty towns at the periphery of Lisbon; from the Cape Verdean ghettos to the historical neighbourhoods of Graça and Mouraria\, in Lisbon. \nPress URL:https://www.fondazionemorra.org/en/evento/neapolitan-dialogues-iii-out-of-the-basso/ LOCATION:Fondazione Morra\, Salita San Raffaele 20/c\, Napoli\, Italy CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2023/07/banner-nd3.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20230513T210000 DTEND;TZID=Europe/Rome:20230513T233000 DTSTAMP:20260415T002741 CREATED:20230509T211338Z LAST-MODIFIED:20230509T211950Z UID:12090-1684011600-1684020600@www.fondazionemorra.org SUMMARY:CHRISTOPH ERB GERRY HEMINGWAY MAGDA MAYAS DESCRIPTION:CHRISTOPH ERB GERRY HEMINGWAY MAGDA MAYAS\ntenor- and soprano saxophone – percussions – piano \nSONIC TOPOGRAPHIES \na guide to what we can hear but cannot see \nCasa Morra. Archivi d’Arte Contemporanea\nsaturday\, May 13\, 2023 9:00 p.m.\nfree admission subject to availability \nIn an Italian premiere\, Christoph Erb\, Gerry Hemingway and Magda Mayas will improvise in the performance SONIC TOPOGRAPHIES a guide to what we can hear but cannot see on saturday\, May 13\, 2023 at 9 p.m. at Casa Morra Archivi d’Arte Contemporanea\, organized in collaboration with Complus Events\, Fondazione Morra and E-M Arts cultural association. \nChristoph Erb on tenor and soprano saxophone\, Gerry Hemingway on percussions and Magda Mayas on piano: their performance is free and decidedly improvised. There are no boundaries in this vibrating interaction between bodies\, instruments and silence\, the sonic fabric surprise us with new aural vistas. These sounds result imposing\, eruptive\, sometimes brutal\, sometimes calm or hypnotic. A unique chance to participate in a spectacular\, courageous\, and exciting performance. \nThe other two tour dates\, promoted by Complus Events with the support of Pro Helvetia Swiss Foundation for Culture\, KANTON LUZERN Kulturförderung SWISSLOS\, SIS Schweizerische Interpretenstiftung\, Fondation Nicati-de Luze\, are in Rome on Friday\, May 12 at the Auditorium Rai Radio 3 Suite and Sunday\, May 14 at SIC12 artstudio. \nSince 2009 Gerry Hemingway taught the art of percussion at the Hochschule Lucerne (University of Applied Sciences and Arts)\, where Magda Mayas also is teaching improvisation since 2019. \nBathing Music is the trio’s first event performed on Oct. 9\, 2020 at Neubad in Lucerne\, and four days later Dinner Music on Oct. 13\, 2020 at the Mysterious Jazz club in Zurich; both recordings are released by Veto Records. www.veto-records.ch \nUnited by the intuition that undulating\, monotonously tapped sounds have a particular effect when rubbed and layered\, Erb blows small fluctuations and knocks like echoes of whistles spread by the wind\, Hemingway makes the metal of cymbals tick like bells submerged underwater\, and Magda Mayas indulges in the vibrations emitted by prepared strings trembling in rapid and lively motion. \nChristoph Erb (1973\, Switzerland) is active with his independent label Veto Records since 2007; in 2011 he moved to Chicago for a residency of several months and here created numerous collaborations with improvising musicians such as Fred Lonberg-Holm\, Michael Zerang\, Jason Adasciewicz\, Tomeka Reid\, Jim Baker\, Frank Rosaly and many others. www.erb.li \nGerry Hemingway (1955\, USA) involved in improvised music generated without preordained instructions\, structures or agreements\, he is composer\, singer and film-maker\, member of the Anthony Braxton Quartet from 1983 to 1994. https://www.gerryhemingway.com \nMagda Mayas (1979\, Germany) a pupil of the genius improviser pianist Misha Mengelberg\, has refined the technique of the prepared piano and developed a particular way of playing the strings through preparations and objects that become extensions of the instrument itself. www.magdamayas.com \nMedia Partner URL:https://www.fondazionemorra.org/en/evento/christoph-erb-gerry-hemingway-magda-mayas/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2023/05/trio_emh.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20230422T110000 DTEND;TZID=Europe/Rome:20230501T180000 DTSTAMP:20260415T002741 CREATED:20230131T154457Z LAST-MODIFIED:20230131T154731Z UID:11615-1682161200-1682964000@www.fondazionemorra.org SUMMARY:PARADISE NOW - Masterclass Living Theatre Europa DESCRIPTION:Living Theatre Europa\nin collaboration with\nCSR AMÀLA\nand Fondazione Morra\npresents \n  \nPARADISE NOW\nWHO WE ARE? WHERE DO WE COME FROM? WHERE DO WE GO?\nRITUALS AND POLITICAL THEATER\nintensive masterclass\non The Living Theatre technique\ndirected by Gary Brackett \nFROM 22/04 TO 01/05 2023\nCasa Morra – Archivi d’Arte Contemporanea\nSalita San Raffaele 20/C\, Naples \n  \nToday we live immersed in seemingly irreconcilable opposites and we all suffer for a missing community that could heal the wounds of alienation.\n1968: The Living Theatre meets to ask itself what is the burning question of the contemporary.\nStarting from this same question\, each workshop participant will contribute to the process of collective creation.\nOur starting point for this work are the collective creations of The Living Theatre\, some of the most important masterpieces of modern theater that have forever changed the role between actor and director\, between audience and artist: Mysteries and Smaller Pieces\, Frankenstein\, Antigone\, Paradise Now and Six Public Acts. \nThe workshop is open to professional and non-professional actors.\nA work of collective creation aimed at the realization of the show. At the end of the laboratory there will be a demonstration performance of the workshop. \nThe complete application can be downloaded HERE. \n  \nFor more information \nCSR AMÀLA\nChristian: 349 2343967\nAnna Rita: 348 3385520\nassociazioneamala@gmail.com \nFONDAZIONE MORRA\nSalita San Raffaele 20/C\, Naples\ninfo@fondazionemorra.org\nwww.fondazionemorra.org URL:https://www.fondazionemorra.org/en/evento/paradise-now-masterclass-living-theatre-europa/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/png:https://www.fondazionemorra.org/wp-content/uploads/2023/01/01_sito_Living_Gary-Brackett_2023_02.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20230209T000000 DTEND;TZID=Europe/Rome:20230331T000000 DTSTAMP:20260415T002741 CREATED:20230208T151806Z LAST-MODIFIED:20230208T152442Z UID:11705-1675900800-1680220800@www.fondazionemorra.org SUMMARY:IL MUSEO CHE VERRÀ -CALL FOR PROPOSAL DESCRIPTION:CASA MORRA – ARCHIVI D’ARTE CONTEMPORANEA\nand ICOM-CAMPANIA \npresent \n  \nIL MUSEO CHE VERRÀ\ncommunity | research | innovation\nII EDITION \n  \nCALL FOR PROPOSAL\nFROM 9 FEBRUARY TO 17 MARCH 2023\nAre you a student or a young professionals?\nTell us your idea to rethink the social role of museums connected to the younger generations and join ICOM Italia. \n  \nWHEN\nFrom 9 February to 17 March 2023 \nORGANIZED BY\nFondazione Morra and ICOM-Campania \nIN COLLABORATION WITH\nRegione Campania\nLuigi Vanvitelli University of Campania\nAcademy of Fine Arts of Naples\nPrime Ministers | School of politics for young women\nMediator | Museuminforms\nFAI Campania \nPARTICIPATION REQUIREMENTS \nYoung museum professionals under 35 and students regularly enrolled for the 2023 academic year in a degree course/academy of fine arts/PhD/specialization school/master related to the museum sector (Museology\, Museography\, Museum technology\, Cultural Heritage\, History of art\, architectural restoration\, archeology\, communication and management of cultural heritage\, conservation and diagnostics of cultural heritage\, etc.) residing in Campania. \nINFO AND REGISTRATION\ncampania@icom-italia.org \nThe best 50 proposals selected will be able to give shape to their idea of a museum in a social relationship with their community\, developing a prospectus hypothesis of social innovation.\nWorks that will see museums as important references for local communities will be privileged\, museums conceived and experienced not only as guardians of artistic treasures and witnesses of memories\, but active subjects capable of influencing the improvement of the well-being of the community. \n  \nDOWNLOAD THE COMPLETE CALL HERE. \n  \nFREE SUBSCRIPTION \nDEADLINE\n03.17.2023 \n  \nInfo and contacts: \nMORRA FOUNDATION\ncasamorra@fondazionemorra.org \nCAMPANIA REGIONAL COORDINATION OF ICOM ITALIA\ncampania@icom-italia.org URL:https://www.fondazionemorra.org/en/evento/il-museo-che-verra-call-for-proposal/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2023/02/museocheverra31marzo.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20230106T100000 DTEND;TZID=Europe/Rome:20230106T140000 DTSTAMP:20260415T002741 CREATED:20230104T102124Z LAST-MODIFIED:20230104T102124Z UID:11327-1672999200-1673013600@www.fondazionemorra.org SUMMARY:Nick Teplov – Laboratorio Avella DESCRIPTION:Fondazione Morra and Laboratorio Avella\npresent \nNICK TEPLOV – LABORATORIO AVELLA \nFriday 6 January 2023\nfrom 10 am to 2 pm\nLaboratorio Avella of Casa Morra\nSalita San Raffaele 20/C\, Naples \nArtist Nick Teplov will give a lesson in soft wax techniques and photoengraving. \nNick Teplov is an artist\, director and graphic designer. He studied graphic arts in St. Petersburg and at Burg Giebichenstein University in Halle\, Germany.\nHe deals with etching\, photoengraving and analog photography. He currently lives and works in Leipzig. \nnickteplov.com\nig @bureau44 URL:https://www.fondazionemorra.org/en/evento/nick-teplov-laboratorio-avella/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/png:https://www.fondazionemorra.org/wp-content/uploads/2023/01/Nick-Teplov-01-e1672828464307.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20221224T100000 DTEND;TZID=Europe/Rome:20230101T190000 DTSTAMP:20260415T002741 CREATED:20221219T104652Z LAST-MODIFIED:20230111T062117Z UID:11197-1671876000-1672599600@www.fondazionemorra.org SUMMARY:CASA MORRA AND THE HERMANN NITSCH MUSEUM WISH YOU HAPPY HOLIDAYS DESCRIPTION:CASA MORRA – ARCHIVI D’ARTE CONTEMPORANEA \nSalita San Raffaele 20/C Napoli \nwe are open\nTue-Fri 10am-6pm\nSat 10am-2pm \nCasa Morra will remain closed\nDecember 24\, 25\, 26 and 31\, 2022 and January 1\, 2023 \ncasamorra@fondazionemorra.org | www.casamorra.org \n  \n\n \n \n \n \n \n \n\nMUSEO HERMANN NITSCH\nVico Lungo Pontecorvo 29/c\, Napoli \nwe are open\nTue-Fri 10am-7pm\nSat 10am-2pm \nThe Museum will remain closed\nDecember 24\, 25\, 26 and 31\, 2022 and January 1\, 2023 \ninfo@museonitsch.org | www.museonitsch.org URL:https://www.fondazionemorra.org/en/evento/casa-morra-e-il-museo-hermann-nitsch-vi-augurano-buone-feste/ CATEGORIES:Casa Morra,Museo Nitsch END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20221209T183000 DTEND;TZID=Europe/Rome:20221209T183000 DTSTAMP:20260415T002741 CREATED:20221206T130325Z LAST-MODIFIED:20221206T130325Z UID:11040-1670610600-1670610600@www.fondazionemorra.org SUMMARY: DESCRIPTION:On Friday December 9 at 6:30pm\, the artists Cansu Çakar and Serra Tansel will give a talk at Casa Morra. Archivi d’Arte Contemporanea. The meeting is moderated by Vittorio Urbani and the artists will be in conversation with Lea Nocera\, Professor of Turkish Language and Literature at The University L’Orientale (Naples). \nNeapolitan Dialogues II is the closing moment of the second edition of “Neapolitan Dialogues”\, an artist residency programme that takes place in Naples\, hosting artists from the cities of Istanbul and Lisbon. With the aim to let the artists absorb and internalize the social\, visual and cultural imaginary of the hosting city\, the residency is free of any obligation and it doesn’t require an immediate outcome to the artists. During its first edition in 2021\, “Neapolitan Dialogues” hosted the artists Çağrı Taskin and Huo Rf. \nBy presenting their artistic paths\, Cansu Çakar and Serra Tansel will establishes a fluid and active dialogue\, allowing the public to be part of their process of knowledge. \n“Neapolitan Dialogues” is supported by Elgiz Museum (Istanbul) and T-One Foundation (Istanbul). \n  \nCansu Çakar “The core of my practice is to research the fractures of the aesthetics reflected by the modern and western influences in eastern painting\, together with social and cultural environments\, and to associate the meanings of traditional motifs with the subjects in my paintings. I believe that what defines modernity are not ‘imported’ ideas and concepts but rather\, the aesthetic values lost in the darkness between different layers of society. Using traditional art techniques as a mediator\, and utilizing contemporary issues\, I underline the absurdity of the conflict between traditional and modern. Believing powerfully that a language never dies\, it just changes forms and survives\, I try to recreate an old visual language. \nAlthough still a controversial topic\, many academicians today believe that scientific knowledge of the one-point perspective did not exist in antiquity. I want to leave the question open for discussion due to my observations on Pompei’s frescos. The fact that the composition technique known as lack of perspective or two-dimensionality\, which we encounter in the miniature painting that I studied\, is a piece of false and superficial information is an issue that I often underline. In miniature painting\, a production technique based on the understanding of multiple perspectives is adopted. Plural perspective is the use of changing perspectives in the same composition while describing a space. Perspective\, on the other hand\, is the way of including the subject and the viewer in the painting\, and it can be said that it is a “symbolic form” that expresses a kind of new-age culture. I think that I will undoubtedly be able to open the layers of the structural materials\, history\, and social structure that make up Naples\, and I will be able to make visual form studies that will look for ways to visually describe these layers. As the storytellings that start from the underground come to the surface\, the class phenomena that color the streets on the ground floors and the empty terraces facing the sea will be allusive elements of depicting Naples with multiple ways of seeing.” \nSerra Tansel “Our engagement with Napoli have shifted between being an outsider\, a stranger\, a tourist\, a collaborator and a local in each different activity we engaged in. The multiplicity of this positions allowed the feelings of awe and familiarity to co-exist. We have a saying in Turkish “Did you come from a village without a door?” if you don’t shut the door behind you as you leave someone’s office. This understanding of privacy is associated with modernisation and civilisation which leads us to estrangement and sharp borders. Napoli has many open doors. It doesn’t mean it lacks privacy or secrets but one can hide something by making it too visible or vocal also and this city seems to have more elaborate ways than shutting its doors. This intimacy shared in the public space\, the personal ownership of the streets\, the make-shift structures that utilises obstructions is what I want to take with me from Napoli and add to my vocabulary of resistance and progress.” \n  \nThe event will be held in English with simultaneous translation into Italian. \n  \nCansu Çakar (b.1988\, İstanbul) lives in İzmir. She investigates traditional art forms such as decorative drawing and illumination and integrates these traditions with contemporary art practices and topics. Thus she articulates her wish to free traditional forms of expression from their stereotypical classification. Her drawings and paintings\, together with the concepts she explores in her workshops\, critically question the typical male-dominated subjects of traditional miniature painting. Additionally\, they call into question the traditional classification of this art form and its conservatism. Çakar draws a line between what it means to be a woman or a prisoner in an oppressive society and the aesthetics of traditional arts in our contemporary art world. Both share the struggle against conservatism and the ensuing fight for emancipation. \n  \nAmong her projects and exhibitions are NATURE AND STATE\, Staatliche Kunsthalle Baden-Baden (Baden-Baden\, 2022)\, Fore-Edge Painting\, MACRO Museo d’Arte Contemporanea di Roma and Bibliotheca Hertziana\, (Rome\, 2021) The 6th Ural Industrial Biennial of Contemporary Art\, The Optical and Mechanical Plant\, (Yekaterinburg\, 2021) BB11- 11th Berlin Biennale for Contemporary Art\, The Crack Begins Within\, KW\, (Berlin\, 2020) Miniature 2.0\, Pera Museum\, (İstanbul\, 2020) The Crime of Mr. Adolf Loos\, Axel Vervoordt Gallery\, (Antwerp\, 2019) Cappadox Contemporary Art Program\, (Cappadocia\, 2018) Linear Transcendency” at the Lab- Darat al Funun\, (Amman\, 2016) SALTWATER: A Theory of Thought Forms. 14th Istanbul Biennial- 100°- FLO\, (İstanbul\, 2015). \n  \nSerra Tansel (b.1989\, İstanbul) currently lives in London. \nSerra Tansel’s practice engages with the ways in which we settle into our world and draw the boundaries of our cities\, houses\, bodies and the structures\, the relationships we establish within them. She works context specific and utilises a wide range of media to infiltrate mainstream cultures in order to create twists. She is a member of the music collective Makkam and one of the faces of Hayırlı Evlat. \nRecent exhibitions include SH/FT\, No Show Space\, London (2021); A Question of Taste\, Pera Museum\, Istanbul (2021); “Passion can create drama out of inert stone”?!\, Peak\, Elephant & Castle Shopping Mall\, London (2020); Higher\, Pilot Gallery\, Istanbul (2020). \n  \n  \n  URL:https://www.fondazionemorra.org/en/evento/11040/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/png:https://www.fondazionemorra.org/wp-content/uploads/2022/12/01_sito_ND_2022-1.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20221115T080000 DTEND;TZID=Europe/Rome:20230108T233000 DTSTAMP:20260415T002741 CREATED:20221115T114938Z LAST-MODIFIED:20221116T095223Z UID:10781-1668499200-1673220600@www.fondazionemorra.org SUMMARY:The Archives DESCRIPTION:The team of Fondazione Morra continues its effort to enhance and promote the cultural heritage preserved at Casa Morra. Archivi d’Arte Contemporanea. \nIt is possible to visit and do research in the following archives\, by reservation: \nArrigo Lora Totino Archive covering a period of time between 1964 and 2016\, the documents concern the Arrigo Lora Totino artistic path\, and focus on his visual poetry production. Following the approach adopted by Arrigo Lora Totino in his private archive\, the materials are subdivided in seven thematic sections:  Correspondence\, Professional Documentation\, Printed Documentation\, Graphics\, Photo Documentation\, Audio and Video\, Private Library. Currently\, the archive is undergoing digitalization of the documents. \n\nArrigo Lora Totino\, Amore tutto tatto dalla serie “Fotodinamiche Simultanee”\, 1975. © Amedeo Benestante / Courtesy Morra Foundation \n\nLiving Theater Historical Archive consisting of 8.800 documents\, the materials are subdivided in five different categories: Living Theater Photographic Fund; Living Theater Bibliographic Fund; Living Theater Fund; Garrick Beck Fund; Morra Foundation Fund. Regarding the Living Theater Historical Archives\, the digitalization process was completed in July 2022. \nThe Living Theater\, Six Public Acts\, 1973 © Libero De Cunzo / Courtesy of Morra Foundation \n  \nHenri Chopin Archive the materials\, undergoing a first stage of inventory\, mostly concern the Neo-Avantgarde experimentations. The Archive is so organized: Various Documentation (which includes correspondence\, original typewritten texts and manuscripts\, postcards and invitations\, photographies); Reviews; Books; Manifestos; Records. \nHenri Chopin\, Carpet’s project\, 1985. / Courtesy Fondazione Morra \n  \nFor more information and reservation\, please\, write to info@fondazionemorra.org. URL:https://www.fondazionemorra.org/en/evento/the-archives/ CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/11/Mysteries-Smaller-Pieces-San-Napoli-1995-©-Massiliano-Pappa-2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20221008T100000 DTEND;TZID=Europe/Rome:20221008T180000 DTSTAMP:20260415T002741 CREATED:20220926T080634Z LAST-MODIFIED:20220926T080634Z UID:10144-1665223200-1665252000@www.fondazionemorra.org SUMMARY:The eighteenth Giornata del Contemporaneo - Mille Nanni DESCRIPTION:Saturday 8 October 2022 will mark the eighteenth Giornata del Contemporaneo (Contemporary Art Day)\, an event promoted by AMACI – Associazione dei Musei d’Arte Contemporanea Italiani (the Association of Italian Contemporary Art Museums)\, which\, over the last eighteen years\, has been inviting museums\, foundations\, public and private institutions\, galleries\, studios\, and artists’ spaces to show just how vibrant contemporary art in Italy is. \nThis year too\, Fondazione Morra will be granting free entry to the permanent collection at Casa Morra. Archivi d’Arte Contemporanea\, which is also hosting “Mille Nanni”\, a temporary exhibition curated by Giuseppe Morra\, dedicated to artist and friend of the Fondazione\, Nanni Balestrini (1935- 2019). \n  \n“Mille Nanni” opened on 1 July 2022 to inaugurate a series of meetings dedicated to Balestrini. It presents his artistic journey\, exploring the complexity of his thought through archive material\, collages\, and sculptures from the nineties\, in addition to his prose\, and poems. \nNanni Balestrini’s work shows a powerful creative and political commitment\, manifest through tireless experimental research spanning different expressive languages. A keen observer and protagonist of today’s world\, Balestrini invites us to look at reality not as a monolith but to take it in through a thousand glances\, a thousand visions\, multiplying and distorting it\, challenging it. The artist’s universe is composed of constellations of poetic words\, denuded and sometimes violent\, searching for authenticity in a world of neo-capitalist inauthenticity. \nComplementing the permanent exhibition dedicated to him\, “Mille Nanni” is a diffuse exhibition throughout the building\, showcasing the multidisciplinary character of the artist’s work\, with a focus on his poetic sensibility. \n  \nfaster and faster/ breathing in through the nose/ always the same beat/ being reduced/ still here saying doing/ to reach/ now not breathing/ safe and sound and no longer knowing/ who we are nor (Nanni Balestrini\, Caosmogonia\, 2010). URL:https://www.fondazionemorra.org/en/evento/the-eighteenth-giornata-del-contemporaneo-mille-nanni/ LOCATION:Casa Morra – Archivio d’Arte Contemporanea\,  Salita S. Raffaele\, 20C\, Napoli\, 80136\, Italia CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/09/IMG_3630.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220930T170000 DTEND;TZID=Europe/Rome:20220930T200000 DTSTAMP:20260415T002741 CREATED:20220912T112909Z LAST-MODIFIED:20220916T095013Z UID:9891-1664557200-1664568000@www.fondazionemorra.org SUMMARY:Reverie – Dream 5 : Icarus DESCRIPTION:From 5 pm on Friday 30 September 2022\, Casa Morra. Archivi d’Arte Contemporanea in Naples will be hosting Reverie in the performative action “Sogno 5: Icaro” (Dream 5: Icarus).\nThe project\, with a text by Piero Tomassoni\, has been curated by Isabella Morra. \nConcluding her cycle devoted to dreams\, conducted over the years as a privileged alphabet of research\, this Tuscan artist proposes a contemporary reinterpretation of the Icarus of Greek mythology\, dedicating to the city of Naples her latest dream-themed performance. Initially suspended from a crane in the forecourt in front of the former chapel at Casa Morra\, Reverie will re-enact for the audience Icarus’s fateful flight.\nThe mythological Icarus assumes the burden of disobedience to the world’s constraints\, rules\, and laws. It is a challenge to what is reassuring – the desire to surpass human limits\, to look upwards and go beyond. But it is also the recklessness and impudence of a youthful idealist whose naïveté is transformed in Reverie’s work into a dreamlike experience that acquires a totally new and topical meaning.\nHer Icarus is “contemporary”: a genderless figure with prosthetic arms whom the artist has also represented in some of her opere-indivenire. She will appear as a majestic red wax sculpture with a cast around her torso. To this are attached two wings and a World War II parachute\, to which the incipit of the biography of this new Icarus\, that is\, the story that gave life to the work as a whole and to the performance itself\, has been stitched onto a satin insert in the artist’s own handwriting.\nThe story of the project\, as in all Reverie’s work\, thus originates from the desire to construct collective dimensions and memories that become a sharing zone between artist and audience. In the open space of Casa Morra\, the relationship between Reverie and the audience will be consolidated in a communion of emotional tension through an empathic relationship in which energies merge with the artist’s body. \nThe myth of flight\, of touching the intangible\, the sky\, would not exist without its opposite: the fall. They are antimeres of the same root: the push toward the beyond\, a journey that humanity has shared since its beginnings (Isabella Morra). The contemporary Icarus\, however\, takes his place in history in a new way\, celebrating life with its difficulties\, loneliness\, burdens and sufferings; he is every human. For centuries\, “Icarus” has been the therapeutic and sapiential song passed on from master to disciple\, from plant to healer in the Amazon. He has now become the mantra of Reverie (Piero Tomassoni). \nCasa Morra. Archivi d’Arte Contemporanea will be open to the public from 4 pm. \nReverie (Vinci\, 1994) lives in Milan\, dedicating every moment\, action\, and every rose of her life to Art. Her real name\, which she has chosen for life and art\, is a dedication to Bachelard’s Poetics of Reverie (nomen est omen). She works on contaminations\, the interference of conceptual and emotional gazes and reactions\, starting from interiority and profound solitude. She realizes performances representative of collective society\, contemporaneity and feeling\, between the real and the virtual. From the spark of intuition she creates texts to which she gives material form\, personally constructing all the elements necessary for the action. Crossing anthropology\, literature\, philosophy\, psychoanalysis and the sciences\, she has turned the study of dreams\, even “daydreaming”\, into an original line of research to develop an artistic language through which to investigate reality\, crossing archetypes as memories and “collective dreams”). She has produced several works on this theme and published a book\, librosogni with Skira (2021). Recent exhibitions and performances include: Il corpo dei sogni (solo show\, 2022\, Basilica di San Celso\, Milan); Sogno 5: Icaro (2022\, Casa Morra – Fondazione Morra\, Napoli); Sogno 4: alba lunare (2021\, Festa della Ceramica\, Montelupo); Sogno 3: la camera degli specchi (2021\, FOG\, Triennale\, Milan); Sogno 2: The Sleeping Muse (2020\, Palazzina Liberty Dario Fo e Franca Rame\, Milan\, in collaboration with Fondazione Mudima and curated by Raffaella Perna); Sogno 1: l’archetipo del sé (2019\, Fondazione VOLUME! Rome). \n  \nDialogue between R and I – Interview by Isbella Morra \nAn Icarus for Reverie – Piero Tomassoni URL:https://www.fondazionemorra.org/en/evento/reverie-dream-5-icarus/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/09/reverie-invito-digitale-fb_Tavola-disegno-1-003.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220703T190000 DTEND;TZID=Europe/Rome:20220703T230000 DTSTAMP:20260415T002741 CREATED:20220705T105257Z LAST-MODIFIED:20220708T130908Z UID:8863-1656874800-1656889200@www.fondazionemorra.org SUMMARY:Mille Nanni – 3rd July DESCRIPTION:1-3 july 2022 – Tribute to Nanni Balestrini\nOPENING 1st JULY 6.30 p.m.\n1st july – 30th october 2022 \nCasa Morra. Archivi d’Arte Contemporanea\nSalita San Raffaele 20/c\, Naples \nA project by Andrea Cortellessa and Giuseppe Morra\nCurated by Maria Teresa Carbone\, Andrea Cortellessa and Ada Tosatti \n7.00 p.m.\nDiscussion starting from Nanni Balestrini millepiani led by Ada Tosatti with the participation of Cecilia Bello Minciacchi\, Tommaso Ottonieri\, Emanuela Patti\, Chiara Portesine\, and Gian Paolo Renello. \n8.30 p.m.\nReadings by Mariano Bàino\, Biagio Cepollaro\, Laura Cingolani and Fabio Lapiana\, Gabriele Frasca\, Tommaso Ottonieri\, Lello Voce; reading performance L’esplosione on Balestrini’s texts by Fumofonico (Rosaria Lo Russo with Fausto Berti\, Matteo Zoppi\, music by Michael Nannini). \nGreetings and thanks by Rossana Campo. \nL’esplosione \nReading performance \nCurated by Rosaria Lo Russo \nWith Rosaria Lo Russo\, Matteo Zoppi\, and Fausto Berti \nMusic Michael Nannini \nThis reading performance from L’esplosione (2019) is a tribute to Nanni Balestrini’s testamentary work\, his last book of visual poetry. The voices of three reader-performers on stage give body in sound to three of the six movements\, or cantos\, of a work centred on multiples of three. There is a solemn Dantean motion to this short poem that recomposes the human story from the alpha of the first human traces of Neolithic art to the apocalyptic omega of the terminal phases of the Anthropocene. A Dantesque palingenetic motion\, albeit with the usual suspension of judgement\, which here\, however\, becomes a magnificent tension (and internal skirmish between the three voices)\, gives structure to each page with three outward triplets and three return triplets in the movement of the layout from left to right\, forming a cusp. It is the sign of a verticality that is not metaphysical but immanent in the human condition. It is the geometry of astonishment and disaster of experience\, both individual and historical/collective\, from the initial explosion of hominization to the explosion of the end\, of an exemplary poet’s life like that of our animal species. In this work\, the geometry of montage typical of Balestrini’s poetry\, underpinned here by a powerful emotional vein\, attains a moving clarity\, almost as if L’esplosione were actually a first work rather than a farewell. \n\n \n \n \n \n \n \n Mille Nanni\, Casa Morra\, Napoli\, 2022 Photo Serena Schettino Courtesy Fondazione Morra\n \n \n \n \n \n Mille Nanni\, Casa Morra\, Napoli\, 2022 Photo Serena Schettino Courtesy Fondazione Morra\n \n \n \n \n \n Biagio Cepollaro\, Mille Nanni\, Casa Morra\, Napoli\, 2022 Photo Serena Schettino Courtesy Fondazione Morra\n \n \n \n \n \n Laura Cingolani and Fabio Lapiana\, Mille Nanni\, Casa Morra\, Napoli\, 2022 Photo Serena Schettino Courtesy Fondazione Morra\n \n \n \n \n \n Rosaria Lo Russo and Fumofonico\, L’esplosione\, Mille Nanni\, Casa Morra\, Napoli\, 2022 Photo Serena Schettino Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/mille-nanni-3-luglio/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/07/fumofonico_brochure_page-0001.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220702T100000 DTEND;TZID=Europe/Rome:20220702T230000 DTSTAMP:20260415T002741 CREATED:20220705T103401Z LAST-MODIFIED:20220708T125230Z UID:8853-1656756000-1656802800@www.fondazionemorra.org SUMMARY:Mille Nanni - 2nd July DESCRIPTION:1-3 july 2022 – Tribute to Nanni Balestrini\nOPENING 1st JULY 6.30 p.m.\n1st july – 30th october 2022 \nCasa Morra. Archivi d’Arte Contemporanea\nSalita San Raffaele 20/c\, Naples \nA project by Andrea Cortellessa and Giuseppe Morra\nCurated by Maria Teresa Carbone\, Andrea Cortellessa and Ada Tosatti \n10.00 a.m.\nPresentation of the Sonora project of the University of Naples «Federico II» with the participation of Giancarlo Alfano\, Giuseppe Andrea Liberti\, Valentina Panarella\, and Stefania Zuliani. \n“What singles out the voice from the vast ocean of sounds and noise”\, wrote Mladen Dolar\, is its “inner relationship with meaning”. Indeed\, the voice is inside meaning (sense) because it is “sensuous”\, sonorous\, corporeal. At the same time\, the voice is inside meaning because it is “acousmatic”\, that is\, disembodied. Hovering between body and ghost\, the voice becomes poetry in working on presence (the setting for the performance)\, fetish (the recording of the poet’s “real voice”)\, and sonification (the acoustic manipulation of the recordings). \n12.00 p.m.\nPiano performance by Andrea Riccio. \n7.00 p.m.\nDiscussion starting from Nanni Balestrini millepiani (curated by Sergio Bianchi\, DeriveApprodi 2022) led by Gian Paolo Renello with the participation of Franco Berardi Bifo\, Giairo Daghini\, Maurizio Ferraris\, Renato Parascandolo\, and Franca Rovigatti. \n8.o0 p.m.\nReadings by Andrea Inglese\, Eugenio Lucrezi\, Giovanna Marmo\, and Franca Rovigatti. \n8.30 p.m.\nPerformance Questioni di tagli. Così come si agisce in concreto. Tessiture di suoni e voci per Nanni by Luigi Cinque and Giovanni Fontana. \nQUESTIONI DI TAGLI\nHow it is done in practice. Textures of sounds and voices for Nanni. \nElectroacoustic concert for voices\, speech\, singing\, modulator\, SFX effects\, woodwinds\, electronic sax\, loops & drums. \nby Luigi Cinque and Giovanni Fontana \nMille Nanni: a thousand stances in relation to the word and a thousand forms of the word. \nWeights\, measures\, complex and flexible space-time dimensions\, constantly evolving dynamics. Body-word\, gesture-word\, gaze-word\, action-word\, field-word\, footprint-word\, automaton-word\, machine-word\, image-word\, event-word\, sound-word\, object-word\, in phono-symbolic pictures and mirrors of verbal ideograms to compose performative paradigms and perspectives for performance on stage or in film through intermedial projections. \nGiven the challenge posed by the structural dynamics of Balestrini’s complexity\, Luigi Cinque and Giovanni Fontana dwell on the concept of the ‘cut’ and its technical peculiarities\, organizing a performative fabric where the verbal dimension is resolved into sounds and rhythms\, letting phono-semantic concepts emerge like tips of icebergs and releasing vocal and musical epiphanies in unforeseeable directions. Luigi Cinque’s multi-instrumental textures are entwined in a rhythmic weave that\, at times\, reveals in a digital dimension phonetic polyharmonies within which Nanni Balestrini’s own voice may also be heard\, while sustaining the poetic sonorities of Giovanni Fontana. The vocal aspect rests on the writing\, and the music credits everything in an acoustic puzzle concretely characterized by the electrophonic mask of the body. \n\n \n \n \n \n \n \n Mille Nanni\, Casa Morra\, Naples\, 2022 Photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Mille Nanni\, Casa Morra\, Naples\, 2022 Photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Andrea Riccio\, …per Nanni…\, Mille Nanni\, Casa Morra\, Naples\, 2022 Photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Mille Nanni\, Casa Morra\, Naples\, 2022 Photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Giovanni Fontana and Luigi Cinque\, Questioni di tagli\, Mille Nanni\, Casa Morra\, Naples\, 2022 Photo Amedeo Benestante Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/mille-nanni-2nd-july/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/07/cinque_fontana_brochure_page-0001.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220701T183000 DTEND;TZID=Europe/Rome:20221030T183000 DTSTAMP:20260415T002741 CREATED:20220624T151200Z LAST-MODIFIED:20220720T141822Z UID:8707-1656700200-1667154600@www.fondazionemorra.org SUMMARY:Mille Nanni - Tribute to Nanni Balestrini DESCRIPTION:1-3 july 2022 – Tribute to Nanni Balestrini\nOPENING 1st JULY 6.30 p.m.\n1st july – 30th october 2022 \nCasa Morra. Archivi d’Arte Contemporanea\nSalita San Raffaele 20/c\, Naples \nA project by Andrea Cortellessa and Giuseppe Morra\nCurated by Maria Teresa Carbone\, Andrea Cortellessa and Ada Tosatti \nMa noi facciamone un’altra is the title of the second book of poetry by Nanni Balestrini (1935-2019)\, published in the iconic 1968. The title is a citation from one of Nanni’s main sources of inspiration\, Bertolt Brecht. However\, it also evokes Balestrini’s mercurial ability to move from one of the thousand facets of his polymorphous personality to another as artist\, writer\, political activist\, and organizer of cultural events. Peppe Morra has dedicated one of the permanent exhibition spaces in Casa Morra to Balestrini\, his friend\, frequent guest\, and accomplice and has established a memorial day dedicated to him in early July (2 July\, Nanni’s birthday). The event will involve longstanding travelling companions and younger friends and collaborators whose tributes will take the form of poetic and musical performances\, readings\, interpretations\, in-depth interdisciplinary discussions\, and specialist seminars. \nThere really are a thousand ‘best’ Nannis in our lives\, as Mille piani\, published in 1980\, shows. It was the summa of the works of Gilles Deleuze\, the man whom Balestrini considered the greatest thinker of his time\, as well as those of controversial psychoanalyst Félix Guattari\, his friend and companion during his exile in France between 1979 and 1984 in the wake of a judicial hypothesis subsequently proved unfounded.In Balestrini we find the writer\, pioneer in the 1960s of cybernetics-based combinatorial writing; there is also the visual artist who\, decades later\, would apply the same technique to images with his masterpiece Tristanoil\, “the longest film in the world”. After showing at DOCUMENTA in 2012\, it is now on permanent display at the Fondazione Morra. Then there is the narrator of Violenza illustrata\, outlining the evils plaguing Italy in the seventies\, as well as recounting our own times. We also have Nanni the cultural organizer\, tireless inventor of movements\, magazines\, festivals\, and editorial series. In addition\, there is Balestrini the political activist who\, from his Vogliamo tutto\, painted an unflinching picture of our times. \nNot a thousand\, but dozens of poets\, artists\, essayists\, and critics will be represented in turns at Casa Morra under the coordination of Maria Teresa Carbone\, Andrea Cortellessa\, and Ada Tosatti. Names will include Achille Bonito Oliva and Franco Berardi-Bifo\, Maurizio Ferraris\, Alessandra Carnaroli\, and Carmen Gallo\, Gabriele Frasca\, Aldo Nove\, and Lello Voce\, Andrea Inglese\, Tommaso Ottonieri\, and Girolamo De Simone\, the Luigi Cinque/Giovanni Fontana duo\, and performance quartet Fumofonico\, led by Rosaria Lo Russo. \n  \nPROGRAMME \n  \nFriday\, 1st July \n6.30 p.m. \nInauguration Mille Nanni\, a documentary exhibition curated by Giuseppe Morra. Speeches by Achille Bonito Oliva\, Andrea Cortellessa\, Gino Di Maggio. \nFilm Il Suono di un’Isola by Uliano Paolozzi Balestrini\, produced by Almendra Music. \n7.30 p.m. \nGian Maria Annovi and Vittorio Pellegrineschi introduce Tristanoil. \n8.30 p.m. \nReadings by Gian Maria Annovi\, Alessandra Carnaroli\, Carmen Gallo\, Marco Giovenale & Michele Zaffarano\, and Aldo Nove. Followed by the performance Tristano per Nanni\, music and piano by Girolamo De Simone. \n  \nSaturday\, 2nd July \n10.00 a.m. \nPresentation of the Sonora project of the University of Naples «Federico II» with the participation of Giancarlo Alfano\, Giuseppe Andrea Liberti\, Valentina Panarella\, and Stefania Zuliani. \n12.00 p.m.\nPiano performance by Andrea Riccio\, music by Cage\, Cilio\, Eno\, Pärt. \n7.00 p.m. \nDiscussion starting from Nanni Balestrini millepiani (curated by Sergio Bianchi\, DeriveApprodi 2022) led by Gian Paolo Renello with the participation of Franco Berardi Bifo\, Giairo Daghini\, Maurizio Ferraris\, Renato Parascandolo\, and Franca Rovigatti. \n8.30 p.m. \nReadings by Andrea Inglese\, Eugenio Lucrezi\, Giovanna Marmo\, and Franca Rovigatti; performance Questioni di tagli. Così come si agisce in concreto. Tessiture di suoni e voci per Nanni by Luigi Cinque and Giovanni Fontana. \nSunday\, 3rd July \n7.00 p.m. \nDiscussion starting from Nanni Balestrini millepiani led by Ada Tosatti with the participation of Cecilia Bello Minciacchi\, Tommaso Ottonieri\, Emanuela Patti\, Chiara Portesine\, and Gian Paolo Renello. \n8.30 p.m. \nReadings by Mariano Bàino\, Biagio Cepollaro\, Laura Cingolani and Fabio Lapiana\, Gabriele Frasca\, Tommaso Ottonieri\, Lello Voce; reading performance L’esplosione on Balestrini’s texts by Fumofonico (Rosaria Lo Russo with Fausto Berti\, Matteo Zoppi\, music by Michael Nannini). \nGreetings and thanks by Rossana Campo. \n\n \n \n \n \n \n \n Nanni Balestrini\, Mille Nanni\, Casa Morra\, Naples\, 2022 photo Amedeo Benestante Courtesy Fondazione Morra \n \n \n \n \n \n Nanni Balestrini\, Mille Nanni\, Casa Morra\, Naples\, 2022 photo Amedeo Benestante Courtesy Fondazione Morra \n \n \n \n \n \n Nanni Balestrini\, Mille Nanni\, Casa Morra\, Naples\, 2022 photo Amedeo Benestante Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/mille-nanni-tribute-to-nanni-balestrini/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/06/mille_nanni_brochure_def2_page-0001.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220701T183000 DTEND;TZID=Europe/Rome:20220701T230000 DTSTAMP:20260415T002741 CREATED:20220705T101215Z LAST-MODIFIED:20220708T105812Z UID:8836-1656700200-1656716400@www.fondazionemorra.org SUMMARY:Mille Nanni - 1st July DESCRIPTION:1-3 july 2022 – Tribute to Nanni Balestrini\nOPENING 1st JULY 6.30 p.m.\n1st july – 30th october 2022 \nCasa Morra. Archivi d’Arte Contemporanea\nSalita San Raffaele 20/c\, Naples \nA project by Andrea Cortellessa and Giuseppe Morra\nCurated by Maria Teresa Carbone\, Andrea Cortellessa and Ada Tosatti \n6.30 p.m. \nInauguration Mille Nanni\, a documentary exhibition curated by Giuseppe Morra. Speeches by Achille Bonito Oliva\, Andrea Cortellessa\, Gino Di Maggio. \nFilm Il Suono di un’Isola by Uliano Paolozzi Balestrini\, produced by Almendra Music. \n7.30 p.m. \nGian Maria Annovi and Vittorio Pellegrineschi introduce Tristanoil. \n8.30 p.m. \nReadings by Gian Maria Annovi\, Alessandra Carnaroli\, Carmen Gallo\, Marco Giovenale & Michele Zaffarano\, and Aldo Nove. Followed by the performance Tristano per Nanni\, music and piano by Girolamo De Simone. \n“Tristano per Nanni Balestrini” \nPerformance by Girolamo De Simone \nTristano is Nanni Balestrini’s first novel. It was written for Gruppo ’63 and later published\, in one of its various forms\, by Feltrinelli. It is\, in fact\, a mutant or rather a permutant\, work as the different chapters are organized into juxtaposable nuclei – sentences that can be combined in a multiplicity of ways\, almost in the hope that the narrative movement will no longer be “a transformation following a linear order of development\, but a succession of presences”. \nThe book is entitled Tristan\, and the author reminds us of the reason for this choice (the word “reason” is loaded with a meaning assumed in perspective; I feel it has the meaning put forward by Deleuze and Guattari in A Thousand Plateaus): a love story\, where “love is turned upside down in relation to the way one encounters it in Wagner’s Tristan: not perdition\, destiny\, destruction\, and slavery\, but freedom\, choice. Not intrigue\, not drama…” [sleeve notes to Tristan\, Milan 1966]. \nAnd yet\, in a – today not so easy – reading of the novel (complementing John Cage’s writings\, many contained in Silence\, Wesleyan University Press\, 1961)\, the presence of movement is particularly evident since anything linear is shattered in almost in every sentence\, with lexical\, content-related\, allusive virtuosity… Thus\, a “drama” as movement is still alive here and simply brings us face to face with a change of perspective: it is not a matter of Wagner’s “perdition” or “destiny”\, but of the vague circulation of personal meaning that the reader assigns to the pages (“reversible”\, in musical jargon\, in any number of ways)\, and which\, in its variations\, leads to the historicized affirmation of the loss of the subject. A subject that becomes multiple and therefore indistinct\, distributed such that it does not yet make the meaning evaporate but requires a possibly transversal one between the lines of discourse (one of those possible). A perhaps personal truth\, confided by the author to each reader in the virtuosic secret of a word that needs organizational forcing to transform it into an almost filmic sequence… \nThis is the thinking that underlies the idea of this performance\, Tristan for Nanni Balestrini: I look to Wagner’s music\, especially Tristan und Isolde\, but also to the mysterious Elegy\, marked Schmachtend\, or soulful\, languishing\, in progress\, and presented again in linear form and\, immediately afterwards without a break\, in reverse\, with obvious additions of my own in terms of touch and sound. Thus\, I present my variously contrived piano versions of Tristan\, employing Fluxus digression (with the correlation between the sound/note and its duration\, i.e.\, establishing the fall of each sound according to the spatial distance from the one preceding it)\, but also “minimal” multiplication… transferring Nanni Balestrini’s writing into music. \nSome sentences from the novel are also read out during the piano performance: I reconstructed some threads of meaning for… themes/motifs\, proceeding in precisely the opposite way to what happens in the music. The result is a captivating and alternating journey\, halfway between the “sound of the word” (possible and rediscovered meaning) and the “sound of the instrument” (a meaning that is proposed and then shattered)\, dense with a new drama\, which intends – perhaps – to acknowledge the current state of BEWILDERMENT\, which now binds and unites us all. \nGirolamo De Simone \n\n \n \n \n \n \n \n Mille Nanni\, Casa Morra\, Naples\, 2022 Photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Mille Nanni\, Casa Morra\, Naples\, 2022 Photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Carmen Gallo\, Mille Nanni\, Casa Morra\, Naples\, 2022 Photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Michele Zaffarano\, Mille Nanni\, Casa Morra\, Naples\, 2022 Photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Girolamo De Simone\, Tristano per Nanni\, Mille Nanni\, Casa Morra\, Naples\, 2022 Photo Amedeo Benestante Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/mille-nanni-1-luglio/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/07/de_simone_brochure_page-0001.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220701T080000 DTEND;TZID=Europe/Rome:20230131T170000 DTSTAMP:20260415T002741 CREATED:20221115T092421Z LAST-MODIFIED:20221115T092421Z UID:10764-1656662400-1675184400@www.fondazionemorra.org SUMMARY:Mille Nanni DESCRIPTION:Mille Nanni is an exhibition opened on 1 July 2022 to inaugurate a series of meetings dedicated to Balestrini. It presents his artistic journey\, exploring the complexity of his thought through archive material\, collages\, and sculptures from the nineties\, in addition to his prose\, and poems. \nNanni Balestrini’s work shows a powerful creative and political commitment\, manifest through tireless experimental research spanning different expressive languages. A keen observer and protagonist of today’s world\, Balestrini invites us to look at reality not as a monolith but to take it in through a thousand glances\, a thousand visions\, multiplying and distorting it\, challenging it. The artist’s universe is composed of constellations of poetic words\, denuded and sometimes violent\, searching for authenticity in a world of neo-capitalist inauthenticity. \nComplementing the permanent exhibition dedicated to him\, “Mille Nanni” is a diffuse exhibition throughout the building\, showcasing the multidisciplinary character of the artist’s work\, with a focus on his poetic sensibility. \nfaster and faster/ breathing in through the nose/ always the same beat/ being reduced/ still here saying doing/ to reach/ now not breathing/ safe and sound and no longer knowing/ who we are nor (Nanni Balestrini\, Caosmogonia\, 2010). \n  \nNanni Balestrini\, Mille Nanni\, Casa Morra\, Naples\, 2022 photo Amedeo Benestante Courtesy Fondazione Morra \n  \nNanni Balestrini\, Mille Nanni\, Casa Morra\, Naples\, 2022 photo Amedeo Benestante Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/mille-nanni/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/06/DSC5323.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220530T180000 DTEND;TZID=Europe/Rome:20220530T180000 DTSTAMP:20260415T002741 CREATED:20220523T125053Z LAST-MODIFIED:20220523T141434Z UID:8110-1653933600-1653933600@www.fondazionemorra.org SUMMARY:Presentazione libro Presentimenti del mondo senza tempo. Scritti su Emilio Villa DESCRIPTION:30th may 2022\nSTART 6.00 p.m.\nCasa Morra. Archivi d’Arte Contemporanea\nSalita San Raffaele 20/c\, 80136 Naples \nBook preview to present \nPresentimenti del mondo senza tempo. Scritti su Emilio Villa \nby Aldo Tagliaferri\ncurated by Gian Paolo Renello \nMonday 30 May 2022 at 6pm: Gian Paolo Renello previews Aldo Tagliaferri’s Presentimenti del mondo senza tempo. Scritti su Emilio Villa (Argolibri editore\, Ancona\, 2022)\, a volume of essays dedicated to Emilio Villa. The speakers will be Gian Paolo Renello\, the editor of the volume\, and Giancarlo Alfano\, Professor of Italian Literature at the Federico II University of Naples. \nThe volume brings together for the first time all the essays and the principal writings Aldo Tagliaferri has dedicated to Emilio Villa in over 40 years of sharp criticism. With this compendium of a life’s work in pursuit of Villa’s labyrinthine and sibylline poetics\, Aldo Tagliaferri\, one of the leading living critics\, has produced what is\, perhaps\, his most important book\, a text that will surely become a classic of literary criticism\, an indispensable key to the kaleidoscopic oeuvre of Villa’s genius and the cultural processes of hybridization and change that took place in the second half of the twentieth century in Italy and abroad. The volume\, edited by Gian Paolo Renello\, consists of sixteen essays and a video interview entitled Esprimere l’inesprimibile (Expressing the Inexpressible)\, which can be accessed through the QR code inside the book\, edited by Giuseppe Sterparelli and Gian Paolo Renello. It contains priceless unpublished documents\, including two of Villa’s Labyrinths and a postcard from Marcel Duchamp to his friend “Villadrome”. The book comes out at a time critic Andrea Cortellessa has rightly defined the “Villa-Renaissance”. Countless exhibitions showcasing Villa’s works were held in 2021 in Rome\, Macerata\, and other cities\, in addition to conferences in Italy and abroad (work is ongoing to set up an international study centre). Hitherto unknown works and new studies are currently being published\, including Rovesciare lo sguardo. I Tarocchi di Emilio Villa\, edited by Bianca Battilocchi\, also by Argolibri\, in 2021. \n“When\, in some histories or anthologies of Italian poetry\, cancellation has been replaced by hasty additions\, the patch has often proved to be a greater problem than the void it was meant to remedy\, bringing out the flat\, historic and uncritical nature of handbooks\, regarding which publishers\, chronic latecomers\, wish above all to appear à la page. The objective difficulty facing a reader grappling with an oeuvre dispersed across so many publications appearing in limited editions\, mostly privately\, has been circumvented effectively and convincingly by poets who\, despite their mutual incompatibility\, found something with which to engage in the texts available. This was not the case of Montale\, who was perhaps dulled by the hybris to which Nobel Prize winners are susceptible\, nor of Sanguineti\, set on an improbable marriage between artistic avant-gardism and Marxism-Leninism. However\, it did happen\, for example\, with Adriano Spatola in 1975\, Giovanni Raboni in 1989\, Lello Voce in 1994\, and Andrea Zanzotto in 1998. Zanzotto\, the most tireless follower of the vicissitudes of Villa’s poetry over the years\, had formed firm convictions on his work. When I sent him a copy of Niger Mundus in 2006\, he commented: ‘It is a pity that jewels such as these are estranged from large-scale distribution. In Villa’s case\, however\, the more he disappears\, the more you find him…’ (the suspension points are Zanzotto’s)”. \n(From A. Tagliaferri\, “Prolegomeni villiani”\, in Presentimenti del mondo senza tempo. Scritti su Emilio Villa\, Argolibri editore\, Ancona\, 2022) \nEmilio Villa (b. Affori\, 21 September 1914\, d. Rieti\, 14 January 2003). An artist\, poet\, essayist and biblical scholar\, Villa was interested in linear\, concrete-visual\, and sound-visual poetry and art; he is considered a precursor of the neo-avant-garde and one of the greatest poets of the 20th century. He was in touch with Matta\, Duchamp\, and Rothko\, also working with Italian artists such as Burri\, Novelli\, Turcato\, and Schifano. In the 1950s\, he experimented with multilingualism\, mingling French\, English\, Provençal\, Latin\, Greek\, Semitic languages\, and Lombard dialects. With a strong dislike for the ‘Ytalyan’ language (which he considered one of slavery)\, he sought to create interactions between dead languages and living ones through his profound knowledge of etymology. He contributed to several art and literature magazines\, including Meridiano\, Letteratura\, Malebolge\, and Documento Sud. He also founded two highly important reviews: Ex and Appia Antica. With small publishers and galleries\, he produced several limited editions of books and booklets on the art of poetry. Feltrinelli published his collection of essays on art\, Attributi dell’arte odierna 1947-1967\, in 1970. The posthumous\, and still incomplete\, L’opera poetica\, edited by Cecilia Bello Minciacchi\, for L’Orma editore\, is forthcoming. Edizioni Morra has published the following: Comizio millenovecentocinquanta3 (1978)\, Sì\, Ma Lentamente (1997)\, Baptêmes (1997)\, Le Mura di Tebe (2000)\, Scritti Napoletani (2003)\, and Mondo Nero – Niger Mundus (2005). \nAldo Tagliaferri is the author of Beckett e l’iperdeterminazione letteraria (Feltrinelli\, 1977)\, L’estetica dell’oggettivo (Feltrinelli\, 1968)\, L’invenzione della tradizione (Spirali 1985)\, Il Taoismo (Newton&Compton\, 1996)\, La via dell’impossibile. Le prose brevi di Beckett (Edup\, 2006)\, Il clandestino. Vita e opere di Emilio Villa (Mimesis\, 2016). As editor\, he has published Lettere di Ezra Pound (Feltrinelli\, 1980) and Samuel Beckett’s Trilogia (Einaudi\, 1996)\, and\, with Giorgio Barbaglia\, he published Uno e due. Indagini sul teatro dell’onnipotenza (Sipiel\, 1998). With Edizioni Morra he edited POST SCRIPTUM nel centenario della nascita di Emilio Villa (2014)\, and\, with Chiara Portesine\, Emilio Villa e i suoi tempi. Finestre per la monade (Mimesis\, 2016). \nGian Paolo Renello is the author of Italian Poetry 1950-1990 (Dante University Press\, 1996)\, with Gayle Ridinger. He is editor of Segnare un secolo. Emilio Villa: la parola\, l’immagine (DeriveApprodi\, Rome\, 2007) and author of Machinae. Studi sulla poetica di Nanni Balestrini (CLUEB\, Bologna\, 2010). URL:https://www.fondazionemorra.org/en/evento/presentazione-libro-presentimenti-del-mondo-senza-tempo-scritti-su-emilio-villa/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/05/COPERTINA-VILLA-OK2_page-0001.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220304T170000 DTEND;TZID=Europe/Rome:20220731T170000 DTSTAMP:20260415T002741 CREATED:20220226T092726Z LAST-MODIFIED:20220411T082203Z UID:7527-1646413200-1659286800@www.fondazionemorra.org SUMMARY:Gli Unici. Al Hansen\, Dieter Roth\, Jean Toche & Roberto Paci Dalò DESCRIPTION:04 march – 31st july 2022\nOPENING 04 march 5.00 p.m.\nCasa Morra. Archivi d’Arte Contemporanea\nSalita San Raffaele 20 C\, Naples\n \nCurated by Manuela Gandini \nDuring the 2021-2022 edition of Progetto XXI\, Fondazione Donnaregina per le arti contemporanee and Fondazione Morra present Gli Unici. Al Hansen\, Dieter Roth\, Jean Toche and Roberto Paci Dalò\, curated by Manuela Gandini. The exhibition\, whose title can be loosely translated as “The Only Ones”\, opens at Casa Morra. Archivi d’Arte Contemporanea (Salita San Raffaele 20/C\, Naples) on 4 March 2022 at 5 pm\, with speeches by Patrizia Boldoni\, President De Luca’s Councillor for Culture and Cultural Heritage; Rosanna Romano\, Director General for Cultural Policies and Tourism of the Campania Region; Angela Tecce\, President of the Fondazione Donnaregina per le arti contemporanee; Giuseppe Morra\, Director of the Fondazione Morra\, and Manuela Gandini\, Curator of the exhibition. This will be followed\, at 7 pm\, by a sound performance by Roberto Paci Dalò entitled Niggunim. A film show by Mario Franco will be running at the same time. \nFondazione Donnaregina per le arti contemporanee has been using the Progetto XXI platform since 2012 to explore emerging artists\, the theory and practice of their output\, and the legacy of the innovative art of the last few decades through their exemplary methodology. The project intends to contribute to creating and disseminating alternative narratives and historiographies of the contemporary and defining a regional system of contemporary arts based on collaboration and interchange between public and private institutions in the Campania Region. \nGiuseppe Morra takes up where he left off in 2018 with his 3P+B exhibition showcasing works by Luca Maria Patella\, Vettor Pisani\, Cesare Pietroiusti\, and Nanni Balestrini. He continues his game-based programme where the recurring numerology of 3 and 7 sets the rules. \nThis year\, in fact\, Casa Morra presents its 3+1 for what should officially be the seventh year of exhibitions. But the chosen competitors\, around whom the aura of a Stirnerian uniqueness revolves\, are unpredictable and elusive figures\, nomads who land on their “square”\, freeing themselves from the restrictions inherent to the game. The Ones. \nThis is how the curator describes them: “Like forests or wasteland between buildings\, they were in constant evolution: not rational\, controllable\, profitable\, or safe – they cannot be classified or claimed. No framework can hold them in: they contaminate other terrains of awareness”. \nRoberto Paci Dalò will do a sound performance entitled Niggunim on the day of the opening. \n“Niggun (plural niggunim) means ‘sung tune’ or ‘melody’ in Hebrew and is a form of Jewish religious chant or melody sung in groups. It is a singing technique using abstract repetitive sounds rather than formal lyrics. Verses from the Torah or quotations from other traditional Jewish texts are sometimes sung repetitively to create a niggun. Some niggunim are sung as prayers of lamentation\, while others may be joyful or victorious.” \nRunning parallel to the exhibition is a film review by director Mario Franco\, whose archives are housed at Casa Morra. It is dedicated to “that Stirnerian unicum which\, in individual\, anarchic and self-sufficient experience opposed official morals and customs by pursuing a mode of expression that strenuously safeguarded its individuality without pre-established rules”. His show proposes a programme on historical avant-garde cinema and the experiments of the 1960s and 1970s. \n“Filmmaker-artists such as Man Ray\, Hans Richter\, Jonas Mekas\, Maya Deren and others were beyond economic or technical conditioning. We must continue watching these productions because they are a form of defence against the dematerialisation and standardisation present-day filmmakers and artists seem to be embracing”. \nThe exhibition is funded by the Campania Region’s POC (PROGRAMMA OPERATIVO COMPLEMENTARE) project in “Azioni Culturali della Fondazione Donnaregina – Progetto XXI”. \nBrochure Film Review \n\n \n \n \n \n \n \n Installation View\, Gli Unici. Al Hansen\, Dieter Roth\, Jean Toche & Roberto Paci Dalò\, Casa Morra\, Naples\, 2022 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Gli Unici. Al Hansen\, Dieter Roth\, Jean Toche & Roberto Paci Dalò\, Casa Morra\, Naples\, 2022 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Gli Unici. Al Hansen\, Dieter Roth\, Jean Toche & Roberto Paci Dalò\, Casa Morra\, Naples\, 2022 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Gli Unici. Al Hansen\, Dieter Roth\, Jean Toche & Roberto Paci Dalò\, Casa Morra\, Naples\, 2022 © photo Amedeo Benestante Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/gli-unici-al-hansen-dieter-roth-jean-toche-roberto-paci-dalo/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/02/invito-unici.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20210511T100000 DTEND;TZID=Europe/Rome:20211113T170000 DTSTAMP:20260415T002741 CREATED:20210426T084534Z LAST-MODIFIED:20211115T095501Z UID:6251-1620727200-1636822800@www.fondazionemorra.org SUMMARY:Beuys e Napoli DESCRIPTION:9th may 2021\nFACEBOOK LIVE 5.00 p.m. \nWith contributions by: Achille Bonito Oliva\, Michele Bonuomo\, Mario Franco\, Petra Richter and Italo Tomassoni\nWith an introduction of the German Ambassador Viktor Elbling \n11th may 2021- 13th february 2021\nSTART 10.00 a.m.\nCasa Morra – Archive of Contemporary Art\nSalita San Raffaele 20/c\, Napoli \nCurated by Giuseppe Morra \nFrom 11 May to 13 February Casa Morra in agreement with Goethe-Institut Neapel\, pays tribute to Joseph Beuys\, commemorating the centenary of his birth with the exhibition Beuys e Napoli curated by Giuseppe Morra\, reflecting on the cultural heritage of the German artist’s visits to Naples and his travels around Italy between 1971 and 1985. \nThe Mario Franco Archives will host a showing of five films in succession. Neapolitan film director Mario Franco has assembled the most comprehensive documentary footage of Lucio Amelio and Beuys’s work together\, starting with their first exhibition\, La rivoluzione siamo noi (1971)\, at the Modern Art Agency. To celebrate its 50th anniversary\, the programme opens with a showing of the film of the same name\, which will be screened together with Der Tisch\, a film Beuys donated to the Neapolitan director in its original 16mm format\, documenting one of his first actions at the Düsseldorf Academy (1971). Franco documents other actions resulting from the collaboration between the Neapolitan gallery owner and the German artist\, such as ‘Vitex agnus castus’\, for Arena: dove sarebbe arrivato se fosse stato intelligente! (1972)\, and ‘Diagramma Terremoto’\, produced at the same time as Terremoto in palazzo (1981). Petra Richter conjures up an evocative image of Beuys in this second action\, describing him as a “human seismograph […] absorbed in tracing the vibrations of an imaginary earthquake\, just like an ECG machine records the electrical activity of the human heart”. For the last great exhibition at the Capodimonte Museum\, Palazzo Regale (1985) – described by Michele Bonuomo as “a definitive architecture of his entire production\, almost […] a testament” – Franco made a film from his last interview with Beuys\, discussing his work and his ties with Naples and Italy. \nConfirming Casa Morra’s aptitude for embarking on unexpected lines of research inspired by findings among archive material\, a series of photographs by Gerardo Di Fiore bears witness to Beuys’ incursion into the context of the action ‘Hic Sunt Leones’ (1972) from the collective exhibition Galleria Inesistente\, at the same time offering a broader view of the many layers of Neapolitan artistic and cultural life in the nineteen-sixties and seventies. \nThe exhibition also includes a selection of multiples\, part of Beuys’ broader “social sculpture” project: for him\, the problem of “giving form” is not a question of stylistic research within the autonomous space of art; rather it is resolved in the anthropological possibilities of forming/organizing every social field\, starting from individual creativity. On closer inspection\, this is what Achille Bonito Oliva defined as a “Socratic space” during his first key interview with Beuys in 1971. This critical insight is confirmed by the artist himself: “art interests me only insofar as it allows me to dialogue with humanity”. And Beuys ably investigates the constituent possibilities of art in the inclusive and democratic sense in his historic contribution to Documenta 5 (1972)\, where he set up an office for the “Organisation for Direct Democracy by Referendum”\, running for a hundred days. Vettor Pisani presented a previously unseen photo documentary of this experience in Kassel. \nThe exhibition closes with an addition to the room permanently dedicated to the German artist\, set up in 2017 with materials donated by Lucrezia De Domizio Durini: an in-depth look at Difesa della natura in Bolognano\, where\, on 13 May 1984\, Beuys set up a space for public talks on the defence of nature and individual creativity. On the occasion of Beuys e Napoli Italo Tomassoni revisits this shared experience through an intimate letter to the artist. \nFor info and bookings:      \nOpen by appointment from Tuesday to Friday\, 10am-5pm. \nThe films will be screened every Wednesday at 18:00 by reservation (except for the months July and August) in the space of the Mario Franco Archives \ncasamorra@fondazionemorra.org\narchivimariofranco@fondazionemorra.org \n\n \n \n \n \n \n \n Beuys e Napoli\, Casa Morra\, Naples\, 2021 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Beuys e Napoli\, Casa Morra\, Naples\, 2021 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Beuys e Napoli\, Casa Morra\, Naples\, 2021 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Beuys e Napoli\, Casa Morra\, Naples\, 2021 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Beuys e Napoli\, Casa Morra\, Naples\, 2021 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n\n \n  URL:https://www.fondazionemorra.org/en/evento/beuys-e-napoli/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/04/invito-web-generale__Tavola-disegno-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20191210T183000 DTEND;TZID=Europe/Rome:20191221T210000 DTSTAMP:20260415T002741 CREATED:20201103T120720Z LAST-MODIFIED:20210223T135413Z UID:4345-1576002600-1576962000@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - IL CINEMA A NAPOLI DALLE ORIGINI AD OGGI DESCRIPTION:December 10th – December 21st 2019\nFIRST MEETING DECEMBER 10th\, 6:30 p.m.\nMario Franco Archives c/o Casa Morra Contemporary Art Archive\nSalita San Raffaele 20/C\, Naples \nCurated by Mario Franco \nTuesday\, December 10th at 18:30\, the Morra Foundation presents to the public the Film Festival IL CINEMA A NAPOLI DALLE ORIGINI AD OGGI\, a project financed by the 2019 Annual Cinema Plan of Regione Campania\, Section 2. Promotion of film and audiovisual culture and dissemination of film culture. \nAt the Mario Franco Archives\, within the historical frame of Palazzo Ayerbo d’Aragona Cassano\, the artistic director Prof. Mario Franco will start the selection of auteur films of “The greatest invention of the century”. Together with him\, the outstanding guest Alberto Castellano\, essayist and film critic\, presents to the public the first movie of the festival symbol of this season\, Carosello napoletano\, born in 1954\, directed by Ettore Giannini and with Sophia Loren and Paolo Stoppa. \nThe intent of the initiative is to retrace the great passion of the city for the cinema\, which since the end of the 19th century has become part of an environment rich in traditions and spectacular occasions\, at a time when the theatres are so crowded\, at San Ferdinando there are tears-wracking dramas\, Scarpetta turns his most famous farces from the French and the whole city seems to move on the air of the most famous songs of the variety or of the Piedigrotta. \nWithin a few years\, Naples is filled with cinemas. The Sala Iride\, the Arenile Olimpia\, the Cinema Moderno\, the Salon Parisienne\, the Vittoria\, the Alberini\, the Umberto\, the Krumas\, the Internazionale\, the Sala Roma\, the Trianon\, the Santa Brigida\, become meeting points for professionals and wastrels. \nThis cinema fever is not limited to multiplying theatres; the first film producers born\, such as Roberto Troncone\, starting with short documentaries (Ritorno da Montevergine\, 1903) and then moving on to the verist feature film (Camorra\, 1905)\, inaugurating a controversial collaboration with Roberto Bracco. Troncone is the first to constitute a “theatre of pose” to realize his films\, soon followed by a colorful assortment of failed lawyers and former glovers\, typographers\, tailors and poets who had learned to grind movies with their machines “Lumiére” inventing a market that had nothing to envy to that of Rome or Turin. And how much this phenomenon is important in the Italian and European panorama can be learned by the analysis of the specialized cinema publishing sector\, from the Neapolitan silent cinema of the origins to that of today\, to its specific thematic and linguistic choices that Italian cinema will make its own. \nFrom 10th to 21st December 2019 at 18:30\, except for Sunday\, eleven appointments\, from the 1920s to the 2000s\, will deal with genres\, authors and trends that have made the history of the Cinema in Naples: \n10 December: Carosello Napoletano (1954) by Ettore Giannini\, introduction by Alberto Castellano \n11 December: Le mani sulla città (1963) by Francesco Rosi \n12 December: Assunta Spina (1915) and ‘A santanotte (1922) by Elvira Notari\, introduction by Pasquale Iaccio \n13 December: Un amore selvaggio (1912) and La tavola dei poveri (1932) by Alessandro Blasetti\, Tribute to Viviani\, introduction by Pasquale Scialò \n14 December: Il Decameron (1971) by Pier Paolo Pasolini \n16 December: Le occasioni di Rosa (1981) by Salvatore Piscicelli \n17 December: Pasqualino Settebellezze (1975) by Lina Wertmüller \n18 December: Mi manda Picone (1983) by Nanni Loy \n19 December: Morte di un matematico napoletano (1992) by Mario Martone \n20 December: L’ uomo in più (2001) by Paolo Sorrentino \n21 December: Gomorra (2008) by Matteo Garrone \nTo further enhance the programming\, meetings with authors and critics such as Alberto Castellano\, Pasquale Iaccio and Pasquale Scialò who will anticipate the moment of the viewing-projection of the rediscovered cinema. Cultural climax of the exhibition\, Saturday 21st December\, the award of the prize for the production and sound in contemporary key of Neapolitan inspired silent cinema. \n  URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-il-cinema-a-napoli-dalle-origini-ad-oggi/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/copertinafb.jpeg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190627T100000 DTEND;TZID=Europe/Rome:20190707T180000 DTSTAMP:20260415T002741 CREATED:20201024T110630Z LAST-MODIFIED:20210115T140250Z UID:4360-1561629600-1562522400@www.fondazionemorra.org SUMMARY:Workshop dell’Architectural Association DESCRIPTION:June 27th – July 7th 2019\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nThe Architectural Association in collaboration with Casa Morra – Archivio d’Arte Conemporanea in Naples offers it’s second phase of a 10 day workshopthis summer.  Learning from local artisans and an original collection of more than 500 moulds dating from 1700 to today\, we challenge and question ornament and generate our own formal grammar through moulding in plaster. A group of international experts in the fields of Architecture\, Design\, Architecture History\, and technology London based model makers will lead the workshop\, it’s lectures and several arranged visits in the city of Napoli. URL:https://www.fondazionemorra.org/en/evento/workshop-dellarchitectural-association/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/10/Architectural_Association_a_Casa_Morra_1.jpg ORGANIZER;CN="Architectural Association di Londra":MAILTO:naples@aaschool.ac.uk END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190612 DTEND;VALUE=DATE:20190613 DTSTAMP:20260415T002741 CREATED:20201103T122235Z LAST-MODIFIED:20210223T134930Z UID:4396-1560297600-1560383999@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Antologia Fluxus DESCRIPTION:June 12th 2019\nSTARTING PROJECTIONS at 6:30 p.m.\nMario Franco Archives c/o Casa Morra Archives of Contemporary Art\nSalita San Raffaele 20/C\, Naples \nFor the occasion\, a series of documents will be screened about the international network of artists\, composers and designers who mixed different media and different artistic disciplines in the 1960s\, working in the fields of performance\, visual arts\, design\, music and literature\, and who strongly addressed the 1968 utopias of “fantasy to power”.\nThe screening begins with anticipations of Yves Klein and then shows Nam June Paik’s video art with Allen Ginsberg\, Charlotte Moorman\, Alan Schulman\, John cage\, the Living Theatre.\nThis will be followed by the video of a short concert by Giuseppe Chiari; the experimental film “T.O.U.C.H.I.N.G.” by Christopher Sharits; George Maciunas (who was the founder of Fluxus\, and coined its name in 1961); Yoko Ono’s song introduced by John Lennon.\nArchivi Mario Franco at Casa Morra boasts a library-media library open to the public that includes books\, catalogs\, films on film\, DVD\, in both analog and digital formats\, records and music CDs produced or collected in about 50 years of intense activity.\nThe library has a core of History and Film Criticism\, and a large sector of non-fiction\, 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. \n  \n  \n  URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-antologia-fluxus/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/Charlotte-Moorman-Nam-June-Paik.jpg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190531T080000 DTEND;TZID=Europe/Rome:20190721T170000 DTSTAMP:20260415T002741 CREATED:20201024T112243Z LAST-MODIFIED:20210115T140759Z UID:4363-1559289600-1563728400@www.fondazionemorra.org SUMMARY:Lo Spazio Esistenziale. Definizione #2 DESCRIPTION:May 31st – July 21st 2019\nOPENING MAY 31st\, 6:00 p.m.\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nCurated by Lucrezia Longobardi \nThe Morra Foundation is pleased to announce the exhibition The existential space – definition #2\, curated by Lucrezia Longobardi at Casa Morra\, Naples. Opening on May 31st\, and on view through July 21st 2019\, the show is the second stage of an ongoing series which started in 2017 with the first exhibition “Definition #1”.\nThe focus of this project is the concept of living as a means for self-representation and/or denial of the individual.\nConsidering the concept of the living as a point of departure\, and therefore the existential space connecting us to the places of our life\, it was interesting to define this second chapter through an analysis of the time and its dimension.\nEmbedded within a capitalist system profoundly based on media\, the representation of the subjectivity\, emotion and the feeling of time is not an easy task. It can drive us to incur in a contraction\, which is the one we face in the attempt to find a sense of time within the actual reality but it crushes in the distressing gravity of its physicality and the contradiction that “time” doesn’t have one\, being it a concept. As a product of our imagination we can only create alternative versions of time which\, though\, make it an experience artificial\, manufactured\, processed\, and functionalized to self-representation.\nIn opposition to this\, a temporal stumbling-block happens\, eventually\, that instigates our way-out from the continuum stream of a shared experience. There\, residues of reality run aground and deepen into the multiple zones of our mind’s peripheral stagnation. Escaped from the turbulent flow of this emotional landscape\, this process confuses the outlines among submersions\, overhangs and accelerations\, to find the cleanness of their perimeters in the static circumstance of a dead zone\, but safe from the cruel consumption of time.\nCasa Morra hosts the exhibition with the artworks by Berlinde de Bruyckere\, Roberto Cuoghi\, Helene Fauquet\, Flavio Favelli\, Luigi Ghirri\, Liz Magor\, Vettor Pisani and Rachel Whiteread. \nA special thank:\nLaura Bonito\, Fazizi Sore\, Corrado Beldì\, Norberto Ruggeri\, Galleria Continua\, Verusca Piazzesi\, Acappella Gallery\, Pepi Marchetti Franchi\, Gagosian Gallery\, Studio Ghirri\, Marcelle Alix Gallery\, Retrobalera.\n\n \n \n \n \n \n \n Installation View\, Lo Spazio Esistenziale. Definizione #2\, Casa Morra\, Napoli\, 2019\n© Photo Amedeo Benestante\nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Lo Spazio Esistenziale. Definizione #2\, Casa Morra\, Napoli\, 2019\n© Photo Amedeo Benestante\nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Lo Spazio Esistenziale. Definizione #2\, Casa Morra\, Napoli\, 2019\n© Photo Amedeo Benestante\nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Lo Spazio Esistenziale. Definizione #2\, Casa Morra\, Napoli\, 2019\n\n \n \n\n  URL:https://www.fondazionemorra.org/en/evento/lo-spazio-esistenziale-definizione-2/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/10/proposta1-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190528T180000 DTEND;TZID=Europe/Rome:20190630T180000 DTSTAMP:20260415T002741 CREATED:20201024T115219Z LAST-MODIFIED:20210115T145226Z UID:4371-1559066400-1561917600@www.fondazionemorra.org SUMMARY:Sapere i Luoghi - IN SEI ATTI DESCRIPTION:May 28th – June 30th 2019\nOPENING MAY 28th\, 6:00 p.m.\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nSapere i Luoghi (“Knowing Places”)\, a project created by Fondazione Morra\, Fondazione Lac o Le Mon and Cantiere Giovani\, winner of the 2018 call for proposals “PRENDI PARTE!” Agire e pensare creativo” (“TAKE PART! Act and think creatively”) offered by the Directorate General for Contemporary Art and Architecture and Urban Suburbs (DGAAP) of the Ministry for Cultural Heritage and Activities\, to promote the cultural inclusion of young people in areas characterized by situations of economic and social marginalization\, brings to the close an experience in which 20 young people between the ages of 18 and 29\, some of whom are NEET – young people in a condition of non-study and non-work – have taken part.\nOn May 28th 2019\, at Casa Morra – Archivio d’Arte Contemporanea\, the twenty participants (artists and non-artists alike) in the project will present their work to the public collectively\, in groups performing simultaneously. It will be a firm and conscious “restitution” of the cognitive but also political importance of the process of community-building they have been working on bodies\, not just screens; voices\, not just “applications”; movements\, not just technologies.\nIn the In Six Acts\, it is the forms – of living\, of knowing\, of experiencing – that take priority. The product of this formative experience cannot but call into question any possible content\, taking “nothing” as the topic around which – but also within which – to work.\nUnder the guidance of Cesare Pietroiusti\, artist and creator of the project\, Francesca Carfeda\, Daniela D’amore\, Mariateresa De Cristofaro\, Luisa De Donato\, Carmela De Falco\, Giuliana Divino\, Anna Dormio\, Giovanni Ferrara\, Simona Anna Gentile\, Sara Maietta\, Viviana Marchiò\, Rachele Montoro\, Caterina Morigi\, Salvatore Pastore\, Maria Grazia Piccirillo\, Alessandro Piromallo\, Noemi Saltalamacchia\, Antonia Treccagnoli\, and Marco Vitale will create a single macro-work divided into several acts.\nSix + One are the situations of common grammar spring from the micro-compromises of sharing.\nThe titles of the moments are: One (Yoke Cards); Two (Scale 1: 1); Three (A talk on nothingness or the impossible to call oneself of nothing); Four (Cavity); Five (We are too sad to tell you); Six (Manifesto of things not done) and In six acts – Contributions (self-publication). They have been authored collectively and will be staged in key positions inside Casa Morra\, representing different ways of living in community (formed by all the people taking part in the project) in the spaces in which community has been experienced. Movement\, speech\, the performance of varyingly complex actions\, playing: all these things will be carried out with the idea that the performers are “working” not only with – but also for – others. \nAnd what does it mean to “work”? Doing\, or saying\, are they not still doing? \nPerhaps\, in the end\, there are no deeds; but only things being done. \n\n \n \n \n \n \n \n IN SEI ATTI\, Casa Morra\, Napoli\, 2019\nCourtesy Fondazione Morra\n \n \n \n \n \n \, IN SEI ATTI\, Casa Morra\, Napoli\, 2019\nCourtesy Fondazione Morra\n \n \n \n \n \n IN SEI ATTI\, Casa Morra\, Napoli\, 2019\nCourtesy Fondazione Morra\n \n \n \n \n \n IN SEI ATTI\, Casa Morra\, Napoli\, 2019\nCourtesy Fondazione Morra\n \n \n \n \n \n IN SEI ATTI\, Casa Morra\, Napoli\, 2019\nCourtesy Fondazione Morra\n \n \n \n \n \n Discorso sul niente o dell’impossibile dirsi del nulla\, IN SEI ATTI\, Casa Morra\, Napoli\, 2019\n\n \n \n \n \n \n IN SEI ATTI\, Casa Morra\, Napoli\, 2019\nCourtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/sapere-i-luoghi-in-sei-atti/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/10/IMG_2675.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190523T183000 DTEND;TZID=Europe/Rome:20190525T183000 DTSTAMP:20260415T002741 CREATED:20201109T164727Z LAST-MODIFIED:20210304T121117Z UID:4374-1558636200-1558809000@www.fondazionemorra.org SUMMARY:Peter Kubelka - Film Metrici e Film Metaforici DESCRIPTION:May 23rd and May 25th 2019\nSTARTING LESSONS AND PROJECTIONS at 6:00 p.m.\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nOn 23rd May\, with his FILM METAFORICI and 25th May with FILM METRICI\, Peter Kubelka will be offering a detailed presentation of his complete filmography\, including his latest masterpiece\, MONUMENT FILM\, showing in its original 35mm format for the first time in Italy. \nAn expert in primitive music\, himself a musician and member of the Spatium Musicum ensemble\, an independent film-maker when the concept of experimental cinema was as yet unknown\, Peter Kubelka was one of the founders of the Vienna Filmmuseum and the Anthology Film Archives in New York\, with its screening room\, the “Invisible Cinema”\, constructed to his own design. It has black walls and seats\, separated from one another by screens to create a wholly immersive viewing experience. There is just one rule: no latecomers! \nKubelka’s nine films are the result of a lengthy endeavour; each one lasts around an hour and is a meticulous production created with limited economic means but in absolute freedom\, without the constraints of producers or market rules. For him\, film is plastic and\, like a tailor\, the film-maker cuts it by hand with scissors and then glues the frames together. As he explains\, “…cinema as a machine has no movement. The projector emits pulses of light: twenty-four per second. To be precise\, each pulse lasts about one forty-eighth of a second followed by another forty-eighth of a second of darkness. In this fraction of time the projector shifts the next frame and projects it. But while the frame is being projected it does not move\,” and the ability to divide time into regular elements and to provide twenty-four different items of visual information and twenty-four different sound bites per second is an extraordinary resource for humanity\, frustrated by commercial entertainment cinema. \nFor Kubelka\, one minute of film is 1\,440 frames that must be read one by one\, so his films can be enjoyed over again\, allowing us to appreciate their wealth of composition; they cannot be digitalised\, which is most unfortunate\, since this means that he cannot distribute them as he would like and thus loses many young viewers. \nThe film-maker\, like the sculptor\, bases his work on a process of subtraction and exclusion\, on the ‘negative’. He isolates the few useful elements of his outline\, leaving an infinite amount of debris on the ground and putting time to good use. \n“…The hand\, the involvement of the body\, is fundamental. We know that the development of the hand took man to the highest spiritual levels. There is no such thing as abstract thought. Everything comes into being in relation to the body and materials. In other words\, if I work with film I seize the ideas that this medium suggests to me”. \nPeter Kubelka is no stranger to Naples\, its surroundings\, and traditional cuisine as a regular visitor in the company of friends\, both for pleasure and to present his work\, which has been formative for younger generations. One recalls in particular his concert/conference Musica Sopra Origini held in the chapterhouse of the Basilica of San Lorenzo Maggiore in 2002\, and prior to this his concerts at the Church of Santa Chiara and the Archaeological Site in Cuma in 1995\, not to mention his eight-day course with Jonas Mekas titled Cinema Independente/Cinema d’Avanguardia/Cinema fatto da una sola persona\, and the 1978 Fotogrammi: film metrici a parete exhibition at Studio Morra. \n  \nPROGRAMME OF EVENTS\nThursday 23rd May 2019 at 6.30pm FILM METAFORICI\nMOSAIK IM VERTRAUEN\n1954-55\, sound\, 35mm\, b/w and colour\, 16’\nUNSERE AFRIKAREISE\n1961-66\, sound\, 16mm\, colour\, 12’30”\nPAUSE!\n1977\, sound\, 16mm\, colour\, 12’30”\nDICHTUNG UND WAHRHEIT\n2003\, mute\, 16mm\, colour\, 13’\nSaturday 25th May 2019 at 6.30pm FILM METRICI\nADEBAR\n1957\, sound\, 35mm\, b/w\, 69’’\nSCHWECHATER\n1958\, sound\, 35mm\, colour\, 1’\nARNULF RAINER\n1958-60\, sound\, 35mm\, b/w\, 6’24’’\nANTIPHON\n2012\, sound\, 35mm\, b/w\, 6’24’’\nMONUMENT FILM\n2012\, sound\, 35mm\, b/w\, 2 projectors\, 2 speakers\, 2 projectionists\, 6’24”\, 4 times\n\n \n \n \n \n \n \n Peter Kubelka. Film Metrici e Film Metaforici\, Casa Morra\, Napoli\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/peter-kubelka-film-metrici-e-film-metaforici/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/KUBELKA-FONDAZIONE-MORRA.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190521T080000 DTEND;TZID=Europe/Rome:20190528T170000 DTSTAMP:20260415T002741 CREATED:20201026T100540Z LAST-MODIFIED:20210115T142452Z UID:4377-1558425600-1559062800@www.fondazionemorra.org SUMMARY:Laboratorio Avella - Segni di un Percorso DESCRIPTION:May 21st – May 28th 2019\nOPENING MAY 21st  \nNILOTYPE\nVico San Nicola a Nilo 5\, Napoli \n\n \n \n \n \n \n \n btr\n \n \n \n \n \n btr URL:https://www.fondazionemorra.org/en/evento/laboratorio-avella-segni-di-un-percorso/ LOCATION:NILOTYPE\, Vico San Nicola a Nilo\, 5\, Napoli\, Italia CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/png:https://www.fondazionemorra.org/wp-content/uploads/2020/10/mostra.png END:VEVENT END:VCALENDAR