BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Fondazione Morra - ECPv6.16.2//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 END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20221115T080000 DTEND;TZID=Europe/Rome:20230108T233000 DTSTAMP:20260602T171508 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:20260602T171508 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:20260602T171508 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:20260602T171508 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:20260602T171508 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:20260602T171508 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:20260602T171508 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:20260602T171508 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:20260602T171508 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:20260602T171508 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:20260602T171508 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:20260602T171508 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:20260602T171508 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:20260602T171508 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:20260602T171508 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:20260602T171508 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:20260602T171508 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:20260602T171508 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 BEGIN:VEVENT DTSTART;VALUE=DATE:20190515 DTEND;VALUE=DATE:20190516 DTSTAMP:20260602T171508 CREATED:20201103T132525Z LAST-MODIFIED:20210223T135325Z UID:4399-1557878400-1557964799@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Cinema Assoluto o Astratto 10° INCONTRO DESCRIPTION:May 15th 2019\nSTARTING PROJECTIONS at 6:00 p.m.\nMario Franco Archives c/o Casa Morra Archives of Contemporary Art\nSalita San Raffaele 20/C\, Naples \n10° MEETING Living the cinema between dream and technology \nBuster Keaton\nThe Ball No. 13 (Sherlock Jr.)\n1924\nblack and white \nKeaton is a young projectionist in a cinema\, but dreams of becoming a detective. In the projection booth he falls asleep. He dreams of entering the screen becoming the protagonist of the film that projects. Judged among the best films of world cinema\, Sherlock Jr (The Ball No. 13) has exceptional gags that have influenced artists and authors in subsequent years (Allen is the most famous example with The Purple Rose of Cairo). Full of daring gags at a furious pace\, the film is brilliant and amazing even today. Keaton addresses the nature of cinema\, reflecting on the ownership of the film machine with a cohesive plot and stunning athleticism (Keaton did not use stunt doubles)\, great artistic virtuosity and avant-garde exploration of the eternal dichotomy between reality and illusion. \nZbigniew Rybczynski\nSTEPS – The Stairs\n1987\ncolor \nwith Daniel Chapman\, Chase Coleman\, Reed Coleman\, H. Roger Daisley\, Drew Dix\, John Figley\, Peggy Freidman\, Nicholas Muglia\, Catherine Ryan\, Lev Shekhtman \nOne of the most representative artists in the history of video and experimental cinema in recent decades\, Polish artist Zbigniew Rybczynski has based his experience with cinema in a perennial confrontation with the constant technological changes in the means of reproduction. In STEPS (1987)\, Rybczynski places a group of tourists directly “inside” the mythical staircase sequence of Sergei Ejzeštejncon’s The Battleship Potëmkin\, one of the most well-known and analyzed sequences in the history of cinema. The interaction between the film and its “visitors” (in advance of many digital experiments) has a visionary flavor and echoes of surrealist\, irreverent and ironic\, especially when the old black and white film begins to interact with the unhinged visitors. URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-cinema-assoluto-o-astratto-10-incontro/ 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/cinema_astratto_15_maggio.jpg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190508 DTEND;VALUE=DATE:20190509 DTSTAMP:20260602T171508 CREATED:20201103T133756Z LAST-MODIFIED:20210223T141219Z UID:4402-1557273600-1557359999@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Cinema Assoluto o Astratto 9° INCONTRO DESCRIPTION:May 8th 2019\nSTARTING PROJECTIONS at 6:00 p.m.\nMario Franco Archives c/o Casa Morra Archives of Contemporary Art\nSalita San Raffaele 20/C\, Naples \n9° MEETING – Luis Buñuel \n  \n \nThe Discreet Charm of the Bourgeoisie\nOriginal title Le charme discret de la bourgeoisie\nA film by Luis Buñuel\nwith Fernando Rey\, Paul Frankeur\, Delphine Seyrig\, Bulle Ogier\, Stéphane Audran\, Jean-Pierre Cassel b/w\n1972 \nThe Spanish master\, nearing the end of his long career\, makes a film in France that maintains the freshness of his early works. Apparently without a plot\, it reproposes as in a loop the same scene: the protagonists\, a handful of lustrous and refined snobs. Three men and three women\, each with a prominent place in the social scale: the ambassador Fernando Ray\, the rich businessman and his beautiful wife\, the young “upstart” with a particular penchant for cocktails extra-strong! They meet around a table\, but after the aperitifs and the first mouthful of foi grais they are interrupted and postponed to the next appointment\, leaving the scene in escapes sometimes daring\, sometimes sly\, but all ridiculous. A fierce criticism of the bourgeoisie\, in the Oscar-winning masterpiece 1972. \n  \n\nLuis Buñuel\nActive from the 1920s to 1977\, Buñuel\, from his surrealist beginnings in France\, revolutionized the language of film\, imposing himself as a tireless scourge of human hypocrisies\, which he addressed with a lucid\, fiercely ironic and never conventional gaze. Reviewing and rethinking his films means going through the entire culture of the 20th century: literature and figurative arts\, modernism and avant-garde\, psychoanalysis and surrealism\, critical thought and protests.\n  URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-cinema-assoluto-o-astratto-9-incontro/ 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/immagine_il_fascino_discfreto_della_borghesia.jpg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190504 DTEND;VALUE=DATE:20190505 DTSTAMP:20260602T171508 CREATED:20201109T171459Z LAST-MODIFIED:20210223T141159Z UID:4382-1556928000-1557014399@www.fondazionemorra.org SUMMARY:Ada Lombardi - "Contemporary Art. Eastern and Western: 1945 to Present" DESCRIPTION:May 4th 2019\nSTART: 6:00 p.m.\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nAttend book launch Ada Lombardi\, Mario Franco\, director and cinema historian\, Andrea Viliani\, Director of MADRE-Museo d’Arte Contemporanea Donnaregina in Naples\, Loredana Troise\, from Dipartimento Arti Visive – Fondazione Morra\, coordinates the presentation. \nThe book\, published in 2018 by StreetLib\, traces a summary of Contemporary Art from the second Post-war period to the present day in the confrontation between East and West. \nSpecifically\, the study of Ada Lombardi was inspired by Virginia Woolf’s essay\, “A Room of One’s Own”\, in which the author retraces women’s literary history and claims\, for women in 19th-century in England\, the possibility to participate to cultural field\, till that moment exclusive male prerogative. \nFrom Virginia Woolf’s thesis for which\, where there aren’t tools and possibility (economic self-sufficiency\, same human rights as men\, etc)\, it’s impossible develop creativity\, especially in those roles or social classes block by lack of freedom\, Ada Lombardi bases her study on Contemporary Art\, like it has developed mainly in some specific Countries\, and how the evolution of art is linked not only to historical events\, but to an ongoing dialogue between East and West. This dialogue has intensified since the Second World War\, reflecting the end of European colonialism\, and the growing economic power of the global East. \nAda Lombardi has chosen to take an unusual approach to speak about Contemporary Art: using historical and sociological analysis as a starting point\, and examining the cultural similarities\, rather than the cultural barriers. Thanks to this approach\, the book maps out a world where artistic influence is not confined by mere borders\, or worse\, from approaches based on cultural prejudice. \nDuring the book launch\, some films by Jonas Mekas\, from the Mario Franco Archives\, will be project on screen in loop. \n  \nAda Lombardi is a professor of the History of Contemporary Art at the Academy of Fine Arts in Rome. Born in Rome and educated at the University La Sapienza of Rome\, Lombardi has written books\, essays and catalogues. She has curated exhibitions\, including the visual arts sections of the Venice Biennale in collaboration with the Japan Foundation. She has been a professor of Art History since 1991. URL:https://www.fondazionemorra.org/en/evento/ada-lombardi-contemporary-art-eastern-and-western-1945-to-present/ 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/ada-lombardi.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190424 DTEND;VALUE=DATE:20190425 DTSTAMP:20260602T171508 CREATED:20201103T134451Z LAST-MODIFIED:20210223T141505Z UID:4405-1556064000-1556150399@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Cinema Assoluto o Astratto 8° INCONTRO DESCRIPTION:April 24th 2019\nSTARTING PROJECTIONS at 6:00 p.m.\nMario Franco Archives c/o Casa Morra Archives of Contemporary Art\nSalita San Raffaele 20/C\, Naples \n8° MEETING – Luis Buñuel \nThe Exterminating Angel\nOriginal title El angel exterminador\nA film by Luis Buñuel\nWith Silvia Pinal\, Enrique Rambal\, Jacqueline Andere\, José Baviera\, Augusto Benedico.\nb/w duration 95 min\nMexico 1962 \nA group of middle-class people are invited after the Opera to have dinner at a friend’s house. At the end of the evening\, when it’s time to go home\, the people fail to cross an imaginary line beyond the living room they are in. Days pass\, and everyone loses first their manners\, then their personalities\, then their dignity. A Freudian nightmare\, mixed with an ironic social criticism\, although Buñuel\, warned critics against investigating esoteric hidden meanings. In the film there is the theme\, repeatedly proposed by the Spanish director\, the vices of the bourgeoisie\, hypocrisy through which they try to exorcise the fear of life and death. Luxury and culture are fictitious elements\, ostentation of false values. The work\, based on a play by José Bergamin entitled Los Naufragos\, has a strong contemporary feel due to both the winning idea (a sort of dramatic Big Brother in a bourgeois living room) and the surreal\, distressing narrative. Buñuel has always been an experimenter who has made an original contribution to the culture of the twentieth century. \n  \nLuis Buñuel\nActive from the 1920s to 1977\, Buñuel\, from his surrealist beginnings in France\, revolutionized the language of film\, imposing himself as a relentless scourge of human hypocrisies\, which he addressed with a lucid\, fiercely ironic and never conventional. Reviewing and rethinking his films means going through the entire culture of the 20th century: literature and figurative arts\, modernism and avant-garde\, psychoanalysis and surrealism\, critical thought and protests. URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-cinema-assoluto-o-astratto-8-incontro/ 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/langelo_sterminatore.jpg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190417 DTEND;VALUE=DATE:20190418 DTSTAMP:20260602T171508 CREATED:20201103T135443Z LAST-MODIFIED:20210223T140253Z UID:4409-1555459200-1555545599@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Cinema Assoluto o Astratto 7° INCONTRO DESCRIPTION:April 17th 2019\nSTARTING PROJECTIONS at 6:00 p.m.\nMario Franco Archives c/o Casa Morra Archives of Contemporary Art\nSalita San Raffaele 20/C\, Naples \n7° MEETING – Luis Buñuel \nWuthering Heights \nOne of the least seen films of Buñuel. \nStarting from the famous novel by Emily Bronte\, Buñuel builds in “Abismos de Pasion” (this is the original title) a gothic tale suspended between life and death and a love that exceeds death in an unforgettable erotic-necrophoric sequence. The concept of “amour fou” to which the Spanish director refers\, constitutes one of the theoretical cornerstones of surrealism\, a love totally free from any attempt made by the bourgeois morality and the Church to force it into fixed patterns. (The concept of “amour fou” was theorized by André Breton in 1937). Wagner’s “Tristan and Isolde” underscores the film’s tragic progression and justifies the necrophilic ending that\, “is far beyond and many cannot understand it” as Buñuel himself said. The version we present here\, in its original subtitled version\, does justice to Buñuel’s atmosphere\, betrayed by the Italian dubbing. URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-cinema-assoluto-o-astratto-7incontro/ 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/archivio-mario-franco-cime-tempestose_bunuel.jpg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190410 DTEND;VALUE=DATE:20190411 DTSTAMP:20260602T171508 CREATED:20201103T140009Z LAST-MODIFIED:20210223T140219Z UID:4413-1554854400-1554940799@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Cinema Assoluto o Astratto 6° INCONTRO DESCRIPTION:April 10th 2019\nSTARTING PROJECTIONS at 6:00 p.m.\nMario Franco Archives c/o Casa Morra Archives of Contemporary Art\nSalita San Raffaele 20/C\, Naples \n6° MEETING Luis Buñuel \nSimon of the desert\nDirector: Luis Buñuel\nStarring: Claudio Brook\, Silvia Pinal\, Hortensia Santoveria\, Enrique Del Castillo\, Jesus Fernandez\nMexico\, 1965 \nA Silver Lion winner at the 1965 Venice Film Festival\, the film is an unfinished masterpiece that tells the story\, set in 400 A.D.\, of a stylised monk who spends six years on top of a column in the Syrian desert. The unusual length (45 minutes) was due to production problems that pushed Buñuel to end the project prematurely. The devil (played by the beautiful Silvia Pinal\, wife of the producer) will have reason with the ascetic will of the monk\, throwing him in full 1900\, in a New York nightclub. \nLas Hurdes – Land without bread\nDirector: Luis Buñuel\nCommentary based on Las Hurdes by Maurice Legendre. Music: Symphony No. 4\nOp. 98 by J. Brahms. Spain\, 1933\, 30′. \n“Cinematic essay of human geography” through a region of Spain\, only 100 km from Salamnaca\, barren and inhospitable. A barren\, infernal place\, dominated by diseases – malaria\, goitre – where “dwarfs and cretins” abound on the roads and mule tracks\, the result of the lack of hygiene and incest. A reportage commissioned by an anarchist friend\, Ramon Acin (later shot with his wife by the Francoists)\, of an almost unbearable violence\, considered one of the most beautiful political documentaries ever made. The film was banned for a long time in Franco’s fascist Spain and boycotted both in Italy and in France also because of its short duration. \n\nLuis Buñuel\nActive from the 1920s to 1977\, Buñuel\, from his surrealist beginnings in France\, revolutionized the language of film\, imposing himself as a relentless scourge of human hypocrisies\, which he addressed with a lucid\, fiercely ironic and never conventional. Reviewing and rethinking his films means going through the entire culture of the 20th century: literature and figurative arts\, modernism and avant-garde\, psychoanalysis and surrealism\, critical thought and protests. URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-cinema-assoluto-o-astratto-6-incontro/ 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/mario_franco_10_aprile.jpg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190403 DTEND;VALUE=DATE:20190404 DTSTAMP:20260602T171508 CREATED:20201103T140949Z LAST-MODIFIED:20210304T133119Z UID:4416-1554249600-1554335999@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Cinema Assoluto o Astratto 5° INCONTRO DESCRIPTION:April 3rd 2019\nSTARTING PROJECTIONS at 6:00 p.m.\nMario Franco Archives c/o Casa Morra Archives of Contemporary Art\nSalita San Raffaele 20/C\, Naples \n  \n5° MEETING – Surrealism in Cinema (Man Ray\, Luis Buñuel\, Jean Cocteau) \nMan Ray\nL’ETOILE DE MER\n1929 (original version with Italian subtitles). \nMan Ray shows the poetry by Robert Desnos\, writer who joins very young in the Surrealist movement and published a his own book. La liberté ou l’amour (1927) convicted and censured because its erotic theme. He was part\, with Aragon\, of Communist French Party. Died in Terezin\, Czechoslovakia\, in 1945 after he was deported in a Nazi concentration camp. \nLuis Buñuel\nUN CHIEN ANDALOU\n1929 (original version\, Italian subtitles). \nThe most famous movie of historic Avant-gardes. A surrealist masterpiece. The cut-eye is cinema’s metaphor as art of the vision but also the assumption of different and new perceptive systems\, disruption of passive and static statement of the public. \nJean Cocteau\nLE SANG D’UN POÈTE\n1930 (sound\, original version). \nThe first work committed by the Viscount Charles de Noailles (patron of the Surrealists\, producer of the L’Age d’or by Buñuel too). The movie had to be subjected to the hostile reactions of the clerical and the middle-class. It was the first French movie to use the voice-over that suggest the presence of an hidden world\, which revelation make credible the world showed in the screen\, introducing into the public the abandon of the laws of a poetry universe\, which is less bounded to the plausibility boundaries. \n« Mirrors should think longer before they reflect. » (J. Cocteau) URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-cinema-assoluto-o-astratto-5-incontro/ 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/CINEMA-ASSOLUTO-O-ASTRATTO-MARIO-FRANCO-5.jpg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190327 DTEND;VALUE=DATE:20190328 DTSTAMP:20260602T171508 CREATED:20201103T142621Z LAST-MODIFIED:20210223T141429Z UID:4419-1553644800-1553731199@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Cinema Assoluto o Astratto 4° INCONTRO DESCRIPTION:March 27th 2019\nSTARTING PROJECTIONS at 6:00 p.m.\nMario Franco Archives c/o Casa Morra Archives of Contemporary Art\nSalita San Raffaele 20/C\, Naples \n4° MEETING – Surrealism in Cinema (René Magritte\, Max Ernst\, Man Ray\, Fernand Léger) \nHomage to René Magritte: a rare interview with the great artist and Les Amants\, the only film he shot\, in an amateur way\, with his wife Georgette Berger (1952). \nDesire by Max Ernst (1949) Classic example of “amour fou” with a pair of lovers undecided between dreams and frustrations. Ernst himself participates in the film. In color\, as a censor authority with a red sash on a ceremonial dress. \nLe mistyère de chateau de dès by Man Ray (1929) Inspired by a line from Mallarmé: “a throw of the dice will never abolish chance\,” the film is dedicated to the Viscountess of Noailles\, Man Ray’s patron\, and her luxurious residence. \nFernand Léger’s The Girl with the Prefabricated Heart (1949) Léger pokes fun at the American use of serial marriages\, staging a pantomime of mannequins to the tune of a popular song sung by Libby Holman. \nAmong the avant-garde movements of the 1920s\, the most “revolutionary” was the Surrealist movement. The territory that the artists of Surrealism set out to explore was that of the unconscious. It is the most popular artistic movement of the 1900s. The term has become so popular that today “surreal” is commonly used to designate that which is strange\, supernatural or unexpected. One of the basic beliefs of surrealism\, as stated in the 1924 “Manifesto” of André Breton\, its creator\, was the “amour fou”: that is\, obsessive love\, the kind of love that overwhelms the senses and drags uncontrollably in the vortex of feelings. For Breton\, the dream is the place where all the drives and desires repressed by the censorship represented by the bourgeois norm are manifested. The Surrealists want to bring out the unconscious side of each\, a primitive and disruptive side of the established order. In its highest expressions\, the surrealist cinema is really a subversive art that brings to the extreme consequences the dreamlike and paradoxical vision of the great similar painting of a Dali\, a Magritte\, a Max Ernst. We could also say that all cinema is a bit surrealist if it is true that the screen is like an open window on the dreams\, nightmares\, monsters\, ghosts and forbidden passions of all of us. URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-cinema-assoluto-o-astratto-4-incontro/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/56169818_2103810703251121_2426338123429445632_n.jpg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190323T080000 DTEND;TZID=Europe/Rome:20190505T170000 DTSTAMP:20260602T171508 CREATED:20191109T180113Z LAST-MODIFIED:20210115T154348Z UID:4348-1553328000-1557075600@www.fondazionemorra.org SUMMARY:LA DIGESTION - Musica ascoltata raramente III edizione DESCRIPTION:March 23rd – May 5th 2019\nFIRST DATE MARCH 23rd\, 8:00 p.m.\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Naples \nThe third edition of the festival LA DIGESTION – musica ascoltata raramente (rarely listened to music)\, will take place from the 23rd of March to the 4th of May 2019. Dedicated to research music and new languages in contemporary sonar art. The festival was created by the association Phonurgia (founded by four young Neapolitans Giulio Nocera\, Mimmo Napolitano\, Renato Grieco and Andrea Bolognino)\, in collaboration with the association E-M Arts and the Morra Foundation. \nAlready established as a reference point for research music from a wide variety cultures\, the festival again has performers recognized internationally for their artistic excellence. The festival opens with concerts from David Moss and Tomoko Sauvage\, two influential composes in contemporary sonar experimentation. Performances will be held at Casa Morra\, a place of experimentation and learning that has always been open to interdisciplinary events. The Paris based Japanese artist\, Tomoko Sauvage\, is fascinated by the sound of fluids; in her work she makes use of bulbs and specially made microphones to amplify the falling of water droplets to create a “natural synthesizer”\, giving life to a rarified and liturgical atmosphere. Inspired by the music of Anayampatti Ganesan\, the celebrated Indian jal tarang virtuoso\, a percussion instrument made of water filled bowls\, Sauvage amplifies drops\, bubbles and waves by means of microphones and creates hypnotic and dreamlike sonar landscapes. World renowned vocalist and composer\, David Moss\, collaborator of Luciano Berio\, John Zorn and Frank Zappa\, as well as director and cofounder of the Institute for Living Voices in Berlin\, gives a solo performance using voice in a flamboyant and innovative manner to be then accompanied by a choir composed of local volunteers and taught by David Moss himself in a workshop organized the previous day. David Moss is a pioneer in the medium of solo concertos for vocalists and maestro of sonar poetry and the power and passion of the human voice in its seductive physicality and surprising forms is expressed in every performance of the Provokalia Choir in a kaleidoscope of phrases\, loops\, patterns\, timbres\, chants and vocal dances. Casa Morra becomes once more a place for research and experimentation\, establishing itself as a multi-faceted space open to the knowledge and diffusion of performance and multi-media art. \nThe Festival is increasingly a platform turned towards the exploration of themes and currents that have criss-crossed contemporary experimental music. An entire day is dedicated to musique concrète\, the compositional practice involving the use of concrete sounds and noises recorded from daily-life and then creatively transformed. The majestic nave of the Saint Potito Church will be the fifth scenography of François Bonnet’s concerts\, known as a musician under the name of Kassel Jaeger and Director of INA-GRM of Paris\, a space native to musique concrète\, and of Lionel Marchetti and Jérôme Noetinger – some of the most influential figures in the movement and creators of the so-called cinema pour l’oreille (cinema for the ear)\, a sonar modality with affinities to the work of the maestro of Audiovision\, Michel Chion\, and to the Metamkine collective. The three artists will make the nave a temple to multi-channel listening\, an acusmonium\, an architecture of loud speakers that give body to an authentic tri-dimensional acoustic experience. The concerts will be preceded in the afternoon by a round table discussion during which the three artists will reveal some of the secrets of their artistic work. \nWith the intention of reconstructing the aesthetic dimension and exploring the theoretical aspects of music\, The Digestion proposes a free seminar over three days held by the philosopher Carlo Serra\, Professor of the Theory of Imagination and Sound and of Philosophy of Music at the University of Calabria. The seminar will invite reflections on the sound-world relation and on listening as a learning dimension\, equipped with the intellectual tools of Philosophy and Ethomusicography. \nFor its third edition\, La Digestion welcomes two new European figures active in the research and promotion of Sonar Art: In Situ Contemporary Art Foundation from Sokolowsko\, Poland\, and N.K. Projekt from Berlin\, with which a new project is generated\, MUSICA SANAE\, aimed at the exploration of the relationship between music and medicine\, and on a more general level that between Art and the care for one self through the realization of sound works\, installations and ad hoc research work given to some of the most representative artists and researchers on the contemporary international scene. \nThe approach to sonic material becomes visual\, cinematographic and corporeal since it is the body that offers itself as a cross-roads for communication\, sound\, and imagination. The exceptional location will be the beautiful and prestigious Maschio Angioino that has opened up its internal and external spaces to sound\, gesture\, and word\, transforming itself into a “Citadel of Music”. The porosity of the archaeological excavations meeting the austere structure of the Sala dei Baroni in a reference of reverberations that will echo around the castle over the two days. Performances of the MUSICA SANAE project will be from the following artists: Okkyung Lee\, Felicia Atkinson\, Anthony Pateras Pseudacusis (with C. Mallozzi\, R. La Foresta\, M. Majkowski\, G. Lebik\, T. Bertoncini\, L. Capece)\, FIS\, C.M. Von Hausswolf\, Croatian Amor\, Rudolf Eb.er\, Erik Bunger\, Luciano Chessa\, Michal Libera\, Barbara KingaMajewska& Tony Di Napoli\, Eks\, E-cor\, InconsolableGhost\, lesénérves\, SeppoRenvall. \nThe Festival program will be enriched further by a selection of films presented by Raffaella Morra and by sonar massage sessions held by the French duo Phonoscopie and available through advance booking. \nTHE PROGRAM\nDavid Moss [USA/DE] + Tomoko Sauvage [JP/FR]\nMarch 23th\nCasa Morra\, Salita S. Raffaele\, 20C\nKassel Jaeger + Lionel Marchetti & Jérôme Nœtinger [FR]\nApril 13th\nChiesa di San Potito\, Via Salvatore Tommasi\, 65\nSeminario a cura del prof. Carlo Serra\nfrom 16th to 18th\nCasa Morra\, Salita S. Raffaele\, 20C\nMusica Sanae – festival su musica e medicina [Napoli\, Sokolowsko\, Berlino]\nMay 3th and May 4th\nMaschio Angioino\, Via Vittorio Emanuele III\n\n \n \n \n \n \n \n David Moss\, LA DIGESTION Musica ascoltata raramente 3 edizione\, Casa Morra\, Napoli 2019 \n \n \n \n \n \n David Moss\, LA DIGESTION Musica ascoltata raramente 3 edizione\, Casa Morra\, Napoli 2019 \n \n \n \n \n \n David Moss\, LA DIGESTION Musica ascoltata raramente 3 edizione\, Casa Morra\, Napoli 2019 URL:https://www.fondazionemorra.org/en/evento/la-digestion-musica-ascoltata-raramente-iii-edizione/ CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/LaDigestion-e1552575159495.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190321 DTEND;VALUE=DATE:20190322 DTSTAMP:20260602T171508 CREATED:20201103T143305Z LAST-MODIFIED:20210223T135935Z UID:4423-1553126400-1553212799@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Hans Werner Henze\, incontro con Nina di Majo e Mario Martone DESCRIPTION:March 21st 2019\nMEETING AND PROJECTION from 7:00 p.m. to 9:00 p.m.\nMario Franco Archives c/o Casa Morra Archives of Contemporary Art\nSalita San Raffaele 20/C\, Naples \nReview “Voices and other invisibles\n“Hans Werner Henze: the music\, the friendship\, the game“.\nconversation with Nina di Majo\, Mario Martone and Bruno Roberti\nModerator: Mario Franco\nTo follow: screening of the documentary film \nAfter the opening in Sala Assoli with “Eloquenza delle lacrime” by Benedetto Sicca\, Casa Morra is pleased to host the review “Voci e altri invisibili”.\nThursday\, March 21\, starting at 19.00\, in the Shimamoto Room of Casa Morra there will be a meeting with Nina di Majo and Mario Martone and the screening of the documentary film “Hans Werner Henze: music\, friendship\, the game”. \nThe documentary directed by Nina di Majo tells the life of Hans Werner Henze\, homosexual composer\, German\, resident in Italy\, known for his Marxist political views and their influence on his work. (Gütersloh 1926)\nThe film is a journey through a restless life\, that of a man possessed by music\, his artistic and existential journey\, between momentary losses and continuous transformations\, heartbreaking fractures and flashes of serenity. “Enhancing the beautiful material of the Istituto Luce\, we retrace\, through the composer’s pains and impatience in his father’s house\, the stages of Nazism and the horrors of war – says the director – The study of musical composition will be investigated through interviews with those who knew and studied him (Roland Baoer\, Alessio Vlad\, Nanà Cecchi\, Pierluigi Pizzi\, Gioacchino Lanza\, Ilaria Borletti Buitoni\, Nuria Nono\, Massimo Cacciari) and who collaborated with him. And then the music that takes flight\, in the adored Italy\, the Dionysian and liberating south\, Naples\, the San Carlo\, the Italian glamour (of the years ’55-’75)\, Ischia\, Piedigrotta and the utopia of the Mediterranean life that is realized. In Naples\, the love between Hans Werner Henze and the poetess Ingeborg Bachamnn\, who was born and died told in the reading of the correspondence “Letters from a friendship”. And then\, score after score (Tom Thumb\, The Prince of Homburg\, Der Junge Lord\, Elegy for Two Young Lovers\, Gogo no Eiko)\, poised between experimentalism and tradition\, the story of the composer’s experience and the birth of the “Cantiere di Musica” school in Montepulciano. Henze decides to follow a very personal concept of beauty\, always ready to cross boundaries\, in music\, in politics\, as in private life”. \nHANS WERNER HENZE: MUSIC\, FRIENDSHIP\, THE GAME.\nDirection: Nina di Majo\nProduction: Nina di Majo – Red Velvet\nLIGHT INSTITUTE.\nEditing: Diego Zucchetto. Color Correction Alessandro Abate.\nWith the support of the Film Commission Campania\, Lombardia and Toscana. With the participation of the Istituto Cantiere di Musica of Montepulciano\, which provides archival and photographic material.\n“Letters from a Friendship. Carteggio\, EDT. (Ingeborg Bachamnn- Hans Werner Henze).\nThe Luce Institute makes available to the documentary film its invaluable repertory material regarding the History of Italy between the years 1935 and 1970\, which will be greatly enhanced. This material will be used with elegance and skill to tell the story of the composer’s life amidst the horrors of Nazism\, the beauty of southern Italy\, Naples\, Ischia\, the San Carlo theater in Naples and the glamour of those years\, but also Piedigrotta\, and the parades of floats\, the fishermen and the sea. URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-hans-werner-henze-incontro-con-nina-di-majo-e-mario-martone/ 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/hans-werner-locandina-definitiva.jpg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190320 DTEND;VALUE=DATE:20190321 DTSTAMP:20260602T171508 CREATED:20201103T144427Z LAST-MODIFIED:20210223T135853Z UID:4428-1553040000-1553126399@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Cinema Assoluto o Astratto 3° INCONTRO DESCRIPTION:March 20th 2019\nSTARTING PROJECTIONS at 6:00 p.m.\nMario Franco Archives c/o Casa Morra Archives of Contemporary Art\nSalita San Raffaele 20/C\, Naples \n3RD MEETING \nViking Eggeling\nDIAGONAL SYMPHONIE (1923-24/25)\nDir.: Viking Eggeling; 35mm\, 7’50”;restored by Svenska Filminstitutet / Cinemateket. \nA mythical film that confirms the extraordinary design of Eggeling’s work\, which reproduced the musical scansion of a “sonata” in the controlled abstraction of more than 7000 drawings. A work that is even paradoxical for its rigor and formal coherence\, which remains unique and unrepeatable\, also due to the death\, almost contemporary to the first screening\, of the author who was unable to continue his research. \nHans Richter\nRHYTHMUS 21 (1921?/25)\nDir.: Hans Richter; 35mm\, 65m\, 3’30” (16 fps)\, Münchner Stadtmuseum / Filmmuseum. \nRichter explores the dynamic transformation of signs in time\, a harmonic time that can be linked to musical expression (Richter was\, among other things\, a friend of Ferruccio Busoni). And if in these first experiments he films\, with the technique of carton decoupé animation\, abstract figures\, pure and regular: “the rhythm\, or rather the articulation of the units of time\, constitutes the sensation par excellence that can provoke any expression of movement in the art of cinema”. \nFILMSTUDIE (1926)\nDir.: Hans Richter; ph.: Hans Richter\, Endrejat; music: score from “La Création du monde” by Darius Milhaud; 6′ (16 fps)\, Nederlands Filmmuseum. \nRichter approaches the Surrealist theme in this film based\, by his own admission\, on a dream\, and which represents the expressive-technological means of verifying the reliability of the passage between graphic abstraction and its formal and rhythmic equivalent derived from re-elaborations of reality. \nOskar Fischinger\nSTUDIES NR. 5 in jazz (1929)\nProject for a live musical synchronization. The simple\, essential strokes\, sketched in charcoal and then presented in the further fascinating indistinctness of the negative\, are formed\, grouped\, and pulsate. \nEIN FORMSPIEL / [A FORM-PLAY] (1927)\nDir.: Oskar Fischinger; 35mm\, color\, 6’10” Deutsches Filmmuseum. \nOne of Fischinger’s experiments in the pre-sound era\, to be sonorized in performances by musicians with a multimedia effect\, as we would say today. The fascination of abstraction in constant mutation\, with many specular passages\, with the pulsating and continuous explosion of regular figures in evolution. Part of the material here colored with the classic systems of silent\, will become the experimentation of the system Gasparcolor. \nMÜNCHEN-BERLIN WANDERUNG [Journey from Munich to Berlin] (1927)\nDir.\, ph.: Oskar Fischinger; 16mm\, 4′ (18 fps)\, Deutsches Filmmuseum. \nJumping images of faces\, bodies\, animals\, clouds\, landscapes\, burnt frames\, memories of his journey between the two cities\, which in the concrete abstraction typical only of cinema\, evoke the representation of the process of memory. Fischinger uses the single-frame technique\, as will later be done by the most important filmmaker of the American underground\, Jonas Mekas. \nMan Ray\nLE RETOUR A LA RAISON (1923)\nIn this film the American artist\, who had just moved to Paris\, uses the technique of rayography (contact photography) of which he was the pioneer. We see on the screen of everyday objects such as springs\, nails\, night lighting\, the writing “dancer” with cigarette smoke\, light and shadow on the wall and finally the naked breast of Kiki de Montparnasse\, muse-model in many works of Man Ray. \nEMAK BAKIA a cinépoéme [Leave Me Alone] (1926)\nWith Kiki de Montparnasse and Jacques Rigaut \nA long series of images according to the incongruous surrealist juxtaposition\, rayograms and rotating optical effects: lights\, flowers\, nails. Wooden constructions and cardboard silhouettes that mimic human movement. A woman in a car drives along country roads. Farm animals. She gets out of the car and dances to the sound of a gramophone: dancing legs\, sea\, swimming fish\, geometric shapes\, cut glass. A man removes his starched collar. A girl has flashily painted eyes. When she opens her eyelids\, we discover her real eyes. \nFernand Léger\nLE BALLET MECANIQUE (1924)\nD. Fernand Léger\, Dudley Murphy; photography: Dudley Murphy\, Man Ray; music: Georges Antheil. \nGeorge Antheil\, a desecrating and original musician dictates the rhythm of the film. The disjointed silhouette of the Tramp presents the mechanical ballet. A woman is swinging on a swing in the garden. Objects break in: a straw hat\, numbers\, wine bottles\, a white triangle. Kiki’s lips shine. Wheels\, pendulums\, a convex mirror that swings; a pendulum\, a kaleidoscope; white geometric shapes on a black background; eyes that open and close; a male head appears in the kaleidoscope; the mold for a pudding\, a flower; a parrot; geometric shapes\, a spinning top in the kaleidoscope; marching feet; passing car; merry-go-rounds; pistons and plungers; spinning top\, kitchen whips; woman climbing stairs (repeated many times); enigmatic smile; zeros\, words (“on a volé un collier de perles de 5 millions”); eye; spinning doughnut; words and numbers; a puppet that approaches and recedes; circle; the woman’s face in the kaleidoscope that changes from serious\, to sad\, to happy; moving objects; pots in a row; geometric installation; sphere; mannequin legs; Finally\, the Tramp returns and the film ends with the girl on the swing sniffing a flower while smiling. URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-cinema-assoluto-o-astratto-3-incontro/ 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/ARCHIVI-MARIO-FRANCO-CINEMA_ASTRATTO__3.jpg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190315T180000 DTEND;TZID=Europe/Rome:20190406T180000 DTSTAMP:20260602T171508 CREATED:20201103T145330Z LAST-MODIFIED:20210223T141337Z UID:4385-1552672800-1554573600@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Adelaide Di Nunzio “La Pelle” DESCRIPTION:March 15th – April 6th 2019\nOPENING at 6:00 p.m.\nArchivi Mario Franco c/o Casa Morra Archivio d’Arte Contemporanea\nSalita San Raffaele 20/C\, Napoli \nCurated by Valentina Rippa\nInspired by Curzio Malaparte’s novel “La pelle” \nArchivi Mario Franco at Casa Morra in Salita SanRaffaele 20/C\, Napoli will host “The skin” an exhibition by Adelaide Di Nunzio curated by Valentina Rippa; Opening friday the 15th of March at 6.00pm. The event\, what has the patronage of Goethe Institut Neapel and Museo Cappella Sansevero\, will be open to the public until the 6th of April 2019. This project was inspired by Curzio Malaparte’s eponymous novel “The Skin”. The exhibition is a fictionalization of war-time Naples. Black and white photos visualize the sense of melancholia\, fear and insecurity that the inhabitants of the Southern Italy city experienced in 1943.\nPhotos are accompanied by the video “Hosios. Bread eaters” realized in collaboration with Daniele Rosselli and the duo of electronic music retina.it. The photos and video feature protagonists internationally renowned actors and artists  such as Alessandra Asuni\, Giovanni del Monte\, Federica Di Lorenzo\, Duccio Giordano Effimerus\, Eddy Fiorillo\, Rosalyn Hart\, Marialuna Papa\, Stefano Fico\, Cristina Messere\, Peppe Papa\, Marco Palumbo\, Massimo Pastore\, Riccardo Pisani\, Daniele Rosselli\, Fabio Rossi\, Ramona Tripodi\, Imma Villa\, Riccardo Greco\, Marcello de Bossa\, Roberto Tranchese\, Luca Capasso\, Filippo Pernice\, Claudio Cesarano. \n“The tragic events of the Second World war are the background of the exhibition\, but with her acute eye the artist does not focus on the ruins and rubbles. She discovers unexpected details of intimacy and subjectivity\, she portrays surreal elements\, awaking different emotions so that the spectator averts his or her gaze from the atrocities of the war. The light that spreads and illuminates\, opening white bursts in the darkness and in the silent scene holds an echo of hope and life. An ancestral force prevails on despair\, frost and starvation. The artist knows how to reconcile misery and decorum\, the tragic and surreal\, offering a range of images pervaded by a visual delirium \, theatricality and grace. The evocative complexity of her research widens reaching out to cinema and literary fascinations.” \nValentina Rippa \nAdelaide Di Nunzio lives between Cologne (Germany) and Naples (Italy). The first exhibition of this project was realized in Cologne in October with a great media and public success. She was born in Naples in 1978. She graduated at Academy of Arts in Naples and she moved to Milan to attend the photography and contemporary photographic design at Photography School “Richard Bauer”. She has devoted herself to different genres of photography\, from stage photos (music and theatre)\, to journalistic news and reportages. She is also a teacher of graphics and art of photography. Currently\, she is working on projects both in the field of art photography and reportage. Her approach to images is always socio-anthropological in search of symbols and evocations in order to realize an emotional communication through which viewers are stimulated to reflect on the subject.\n\n \n \n \n \n \n \n Adelaide Di Nunzio dal progetto fotografico “La Pelle” tratto dal’ omonimo libro di Curzio Malaparte misure 50/70 cm stampa fine art su carta cotone Hahnemuhle cornice in legno nera edizione: 5 copie e una copia d’artista\n\n \n \n \n \n \n Adelaide Di Nunzio dal progetto fotografico “La Pelle” tratto dal’ omonimo libro di Curzio Malaparte misure 50/70 cm stampa fine art su carta cotone Hahnemuhle cornice in legno nera edizione: 5 copie e una copia d’artista\n \n \n \n \n \n Adelaide Di Nunzio dal progetto fotografico “La Pelle” tratto dal’ omonimo libro di Curzio Malaparte misure 50/70 cm stampa fine art su carta cotone Hahnemuhle cornice in legno nera edizione: 5 copie e una copia d’artista\n \n \n \n \n \n Adelaide Di Nunzio dal progetto fotografico “La Pelle” tratto dal’ omonimo libro di Curzio Malaparte misure 50/70 cm stampa fine art su carta cotone Hahnemuhle cornice in legno nera edizione: 5 copie e una copia d’artista\n \n \n \n \n \n Adelaide Di Nunzio dal progetto fotografico “La Pelle” tratto dal’ omonimo libro di Curzio Malaparte misure 50/70 cm stampa fine art su carta cotone Hahnemuhle cornice in legno nera edizione: 5 copie e una copia d’artista\n \n \n\n  URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-adelaide-di-nunzio-la-pelle/ 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/invito-ADELAIDE-DI-NUNZIO.jpg END:VEVENT END:VCALENDAR