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:20170326T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20171029T010000 END:STANDARD 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 END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190627T100000 DTEND;TZID=Europe/Rome:20190707T180000 DTSTAMP:20260602T193103 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:20260602T193103 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:20260602T193103 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:20260602T193103 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:20260602T193103 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:20260602T193103 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:20260602T193103 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:20260602T193103 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:20260602T193103 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:20260602T193103 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:20260602T193103 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:20260602T193103 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:20260602T193103 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:20260602T193103 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:20260602T193103 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:20260602T193103 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:20260602T193103 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:20260602T193103 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 BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190222T100000 DTEND;TZID=Europe/Rome:20190520T200000 DTSTAMP:20260602T193103 CREATED:20201109T185500Z LAST-MODIFIED:20210115T170102Z UID:4387-1550829600-1558382400@www.fondazionemorra.org SUMMARY:In the Volcano - Cai Guo-Qiang e Pompeii DESCRIPTION:February 23rd  – May 20th 2019\nOPENING February 23rd\, 4:30 p.m.\nMANN – Museo Archeologico Nazionale di Napoli\nPiazza Museo 19\, Napoli \nCurated by Jérôme Neutres \nAn explosion of fireworks and colours in Pompeii’s Amphitheatre to relive the tragic and\, at the same time\, vital dynamics of the eruption of Mt. Vesuvius\, in a timeless poetic journey telling the story of the destruction and rebirth of Pompeii.\nIt will be a unique performance by artist Cai Guo-Qiang\, who on February will execute his “Explosion Studio” in the arena of the Amphitheatre. It will be an artistic explosion whose different phases will bring to life again not only the tragedy that devastated Pompeii but also its fortunate discovery\, bringing to light exceptional historical and archaeological finds.\nThe works created from this explosion event\, together with the video of the performance\, will then be transferred to the MANN (National Archaeological Museum of Naples) from February 22nd (with a vernissage at 4.30pm) until May 20th\, 2019. Spread throughout the museum (from the Farnese Collection to the frescoes section\, from the lobby to the mosaic collection)\, Cai Quo-Qiang’s works will narrate the indissoluble link between past and present\, and between Eastern and Western culture.\nThe project’s art curator is Jérôme Neutres\, director of La Réunion des Musées Nationaux Grand Palais and president of the Musée du Luxembourg in Paris.\n“In the Volcano. Cai Guo-Qiang and Pompeii” hosts at the Archaeological Park of Pompeii is made possible with special support of Morra Foundation.\nWith this double artistic engagement\, Chinese artist Cai Guo-Qiang thus continues his work in Italy after the success of his firework performance in Florence (“Cai Guo-Qiang. City of Flowers in the Sky”) and the solo show “Flora Commedia alle Gallerie degli Uffizi”\, running until February 17th\, 2019 as part of Cai Guo-Qiang’s larger project\, “An individual’s Journey through Western Art history”.\nWinner of numerous cultural awards\, including the Golden Lion at the 48th Venice Biennale\, Cai was also in charge of the special and visual effects at the opening and closing ceremonies of the 2008 Summer Olympics in Beijing.\nHis artistic output\, which has always involved different media\, from drawing to installations\, from video performances to painting\, then began to focus on the special use of gunpowder that brings strength and vitality to the creative expression in his explosion installations.\nThe explosion at the Amphitheatre of Pompeii will be a one-of-its-kind event thanks to the uniquely awe-inspiring location: the event will be re-presented and visible to the public during the Exhibition at the MANN\, of which it will form an integral part.\nAt the Amphitheatre\, copies of objects linked to daily life and art in Pompeii will be suspended on a large 30-metre white canvas\, resting on a platform; these will include reproductions of sculptures from the MANN collections\, such as the Venus Callipigia\, the Farnese Hercules and Atlas\, and the bust of Pseudo-Seneca. There will be small original canvases\, produced at Casa Morra; they will be filled\, in the wake of the gunpowder explosion\, with drawings and colours inspired by the findings housed at the Archaeological Museum.\nThe Pompeii exhibition with the evocative title “Canvas of Civilization” is in three parts – small explosions will disrupt the artefacts arranged on the canvas\, marking it violently and inexorably\, with the same ruthlessness that has left its mark on human lives; after a brief pause\, there follows “Sigh”\, using coloured fireworks lined up along the canvas and pointing towards the sky as though in an unrelenting volcanic eruption\, fireworks that will recall the sound of a heavy sigh\, that of the rise and fall of human civilization. After another short break\, peace will reign once more. Then “Excavation” will begin – amid the last fumes; the artist and his team will bring to light the “archaeological ruins”.\n“Pompeii is a place of the contemporary\, I take a loan this thought of Massimo Osanna\, to whom we owe the promotion of this project\, which I find very significant.” – declares the interim Director of the Archaeological Park of Pompeii\, Alfonsina Russo – Pompeii\, suspended in time\, has always captured the imagination and creative spirit of artists of all ages\, reminding us that the tragic event of 79 AD was impressed by the collective memory for eternity\, not only for its unique history and testimony of an era\, but also because of the profound sense of fragility and impotence we constantly refer to “.\nAfter the Explosion Studio in the Amphitheatre\, the “In the Volcano” journey will come to its natural conclusion with the exhibition at the MANN: the long canvas used for the performance in Pompeii will be on display in the Museum lobby\, stretching out among the arches and vaults like a protective veil to welcome the public until March 11th.\nIn addition to the great masterpieces of ancient statuary\, copies of the Farnese Hercules and the Venere Callipigia\, reinterpreted by Cai through the colours of the explosion\, will also be installed\, and the three busts of Pseudo-Seneca in various colours as symbol of the different identities of Seneca the Young – tragic poet\, philosopher and involuntary mentor of dictators – in an interplay with the various architectural forms that will attract the gaze of the visitors.\nThere will be many surprises in store for those who follow the path traced by Cai Guo-Qiang through the Archaeological Museum: the evanescent traces of gunpowder on canvas will evoke references to the figures of classical iconography\, just as the presence of the extraordinary installations in the various rooms will invite reflection on the continuity between past and present.\nWhile vases and terracotta objects will be displayed on simple platforms\, evoking the everyday life of the Ancient Romans\, the reproduction of a boat\, anchored to the wall and placed alongside the frescoes of Pompeii\, will disclose the timeless secret of an ongoing artistic journey. \nCai Guo-Qiang was born in 1957 in the city of Quanzhou\, China. He trained at the Shanghai Theatre Academy and has worked with a variety of artistic media including drawing\, installation\, video and performance. During his stay in Japan\, from 1986 to 1995\, he explored the properties of gunpowder in his drawings\, undertaking a journey of research that led to the development of today’s explosion events. Drawing upon Eastern philosophy and contemporary social issues as a conceptual basis\, his artworks respond to culture and history and establish an exchange between viewers and the larger universe around them. His explosion art and installations are imbued with a force that transcends the two-dimensional plane to engage with society and nature.\nCai Guo-Qiang was awarded the Golden Lion at the 48th Venice Biennale in 1999\, the Culture Award at the 20th Asian Culture Prize in Fukuoka in 2009\, and the Barnett and Annalee Newman Foundation Awards in 2015. He won the Bonnefanten Prize for Contemporary Art (BACA) in 2016. In 2012\, he was among the five winners of the prestigious Praemium Imperiale\, which recognises lifetime achievement in the arts across categories not covered by the Nobel Prize. In addition\, he was named as one of the five artists to receive the first U.S. Department of State Medal of Arts for his outstanding commitment to international cultural exchange. Cai also served as Director of Visual and Special Effects for the Opening and Closing Ceremonies of the 2008 Summer Olympics in Beijing. His solo exhibitions and projects include Cai Guo-Qiang on the Roof: Transparent Monument at the Metropolitan Museum of Art\, New York in 2006 and his retrospective I Want to Believe\, which opened at the Solomon R. Guggenheim Museum\, New York in 2008.\nHis first solo exhibition in Brazil\, Da Vincis do Povo\, toured across three cities in 2013. Travelling from Brasilia to Sao Paulo before reaching his final destination in Rio de Janeiro\, it was the most visited exhibition by a living artist worldwide\, with one million visitors. In June 2015\, Cai created the explosion event Sky Ladder Off\, on Huiyu Island\, Quanzhou\, China\, which became the star of the 2016 documentary produced by Netflix\, Sky Ladder: The Art of Cai Guo-Qiang\, directed by Academy Award winner Kevin Macdonald.\nCai Guo-Qiang: Fireflies was his largest public art project in the United States in the past decade\, launched in Philadelphia in September 2017\, while the most recent explosion event\, Color Mushroom Cloud\, was held on December 2nd in Chicago. Solo exhibitions in 2017 included Cai Guo-Qiang: October at the Pushkin State Museum of Fine Arts\, Moscow; and The Spirit of Painting. Cai Guo-Qiang at the Prado at the Museo del Prado\, Madrid.\nHe currently lives and works in New York.\n\n \n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. Explosion Studio\, Pompei\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. Explosion Studio\, Pompei\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. Explosion Studio\, Pompei\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. Explosion Studio\, Pompei\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. Explosion Studio\, Pompei\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. Explosion Studio\, Pompei\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. Explosion Studio\, Pompei\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. Explosion Studio\, Pompei\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. Explosion Studio\, Pompei\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. Explosion Studio\, Pompei\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. Explosion Studio\, Pompei\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. Explosion Studio\, Pompei\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. MANN Museo Archeologico Nazionale di Napoli\, 2019 © photo Wen You Cai\, Courtesy Cai Studio\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. MANN Museo Archeologico Nazionale di Napoli\, 2019 © photo Wen You Cai\, Courtesy Cai Studio\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. MANN Museo Archeologico Nazionale di Napoli\, 2019 © photo Wen You Cai\, Courtesy Cai Studio\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. MANN Museo Archeologico Nazionale di Napoli\, 2019 © photo Wen You Cai\, Courtesy Cai Studio\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. MANN Museo Archeologico Nazionale di Napoli\, 2019 © photo Wen You Cai\, Courtesy Cai Studio\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. MANN Museo Archeologico Nazionale di Napoli\, 2019 © photo Wen You Cai\, Courtesy Cai Studio\n \n \n\n\n \n \n  URL:https://www.fondazionemorra.org/en/evento/in-the-volcano-cai-guo-qiang-e-pompeii/ LOCATION:MANN – Museo Archeologico Nazionale di Napoli\, Piazza Museo\, 19\, Napoli\, Italia CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/Cai-Guo-Qian-MANN-23febbraio.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190220 DTEND;VALUE=DATE:20190221 DTSTAMP:20260602T193103 CREATED:20201103T150558Z LAST-MODIFIED:20210223T135710Z UID:4430-1550620800-1550707199@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Cinema Assoluto o Astratto 1° INCONTRO DESCRIPTION:February 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 \n1st MEETING – Dada and Surrealist Cinema  \nOn Wednesday\, February 20\, the Archivi Mario Franco of Casa Morra\, in the Materdei area\, will inaugurate a weekly review on Absolute or Abstract Cinema. The first appointment is dedicated to the first two representations of Dadaist and Surrealist cinema\, presented in chronological order\, as they were presented in the last event of July 7\, 1923 coordinated by Tristan Tzara\, La Soirée Du Coeur À Barbe: A Visual Study of New York City Manhatta (1921) by Charles Sheeler and photographer Paul Strand\, one of Richter’s Rhytmus and one of Man Ray’s Rayograms\, made by scattering objects such as nails and thumbtacks\, exposed to light directly on film. \nOn May 3\, 1925\, in Berlin\, in the halls of the UFA\, were screened Diagonal Symphonie\, abstract animation film by Viking Eggeling\, the Opus of Ruttmann\, who was the first theorist of the “painting in motion\,” and two films of a new experimental path: Ballet Mécanique\, by Fernand Léger made in 1924 with interventions by Man Ray\, and Entr’acte\, by René Clair\, conceived by Francis Picabia as a short cinematic interlude within the Ballet of Rolf de Maré’s Swedish Company\, Relache (meaning “rest”)\, so named to confuse the audience into thinking of a closing night of the theater. \nThen\, every Wednesday there will be a series of film programs on the so-called “absolute cinema” or “abstract cinema”; films of the historical avant-garde of the 1920s and experimental cinema of the 1960s from Fluxus to the Underground up to the experiences of Andy Warhol. URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-cinema-assoluto-o-astratto-1-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_1_-DADA_SURREALISTA-Ritratto-Tristan-Tzara-by-Tihanyi-P.jpg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190130 DTEND;VALUE=DATE:20190131 DTSTAMP:20260602T193103 CREATED:20201103T151333Z LAST-MODIFIED:20210223T135450Z UID:4391-1548806400-1548892799@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Cavalli si nasce\, un film di Sergio Staino DESCRIPTION:January 30th 2019\nSTARTING PROJECTION at 6:00 p.m.\nArchivi Mario Franco c/o Casa Morra Archivio d’Arte Contemporanea\nSalita San Raffaele 20/C\, Napoli \nThere will be present Eugenio Bennato and Pietra Montecorvino \nWe at the Archivi Mario Franco are delighted to host a screening of the film Cavalli si nasce\, at 6pm on Wednesday 30th January\, 2019. Directed by Italian cartoonist and director Sergio Staino\, the film boasts a cast including Vincent Gardenia\, David Riondino\, Paolo Hendel\, Delia Boccardo\, Franco Angrisano\, Beniamino Placido\, Pietra Montecorvino\, Paco Reconti\, and Roberto Murolo. \nCavalli si nasce addresses the eternal contradiction between the scientific and rationalist world view and an irrational but “strongly altruistic and passionate” understanding\, as the director himself puts it. The film grew out of an idea of Staino’s when\, at the age of twenty-five\, he was part of a social/town planning team looking at the territorial problems of the Cilento area\, and focuses on how human beings can be overcome by their emotions and feelings. The “beauty of the locations\, the charm of the ancient sheep tracks\, the tiny Romanesque churches\, and the fascinating Baroque complexes” (Sergio Staino) lead us to “move from one feeling of solidarity to another without attempting to pigeonhole the events in which we are involved into any precise scheme or to interpret them with a cold sense of detachment” (Sergio Staino). \nThe dichotomy between reason and instinct is represented by the film’s two protagonists: Ottavio\, the cultured Florentine prince educated in the enlightened Habsburg-Lorraine school and enchanted with Goethe’s Journey to Italy\, played by David Riondino\, and his young servant and friend\, Paolo\, played by Paolo Hendel. The two travel round the south of Italy\, following in the footsteps of the great German writer\, and fall into a series of adventures and scrapes that engender a sense of indignation and rebellion\, especially in Paolo. The story is set in 1832\, the year of Goethe’s death and at the time when the Age of Enlightenment was transitioning into Romanticism. \nThe film\, which won the 1989 Nastro d’Argento for best soundtrack\, has an original score composed by Eugenio Bennato and Carlo d’Angiò. The music accompanies the viewer through the story: the “algebraic constructions” of Eugenio Bennato\, deliberately interrupted and disrupted by the cracked and emotional voice of Charles of Anjou\, set the rhythm of the entire film. “I had the music in my head even before working out the story in a complete script.” “The task of the music\, in my opinion\, was to bring out this dichotomy (the rational/irrational)\, in a commixture that would juxtapose the song of the farm workers and the refined music of the aristocratic salons; the desperate vocal timbre of Arab songs and atmospheres full of disturbing romantic sensuality”. \nSergio Staino is a draftsman\, writer\, director\, and interpreter of contemporary culture. A restless soul aligned with the Marxist left\, he is a “historical” cartoonist with l’Unità\, of which he is a former director\, but his strips have appeared in countless Italian newspapers and magazines. He lives and works in Scandicci in Tuscany. His most recent publications include the satirical graphic book Alla ricerca della pecora Fassina\, Giunti Editore\, the biography Io sono Bobo with Montanari and Galati\, Della Porta Editori\, and his book Il Pesce with Silvio Greco\, with Slow Food editions\, as well as the illustrations for the book Mamma quante storie by Andrea Satta\, Edizioni Enciclopedia Italiana. In 2017 he decided to discover how a blog works while trustingly awaiting the rebirth of l’Unità from its ashes. URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-cavalli-si-nasce-un-film-di-sergio-staino/ 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/Cavalli-si-nasce_Sergio-Staino_30-gennaio-2019_Archivi-Mario-Franco_Napoli-P.jpg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20181126T110000 DTEND;TZID=Europe/Rome:20191126T170000 DTSTAMP:20260602T193103 CREATED:20201022T140633Z LAST-MODIFIED:20210115T172014Z UID:4436-1543230000-1574787600@www.fondazionemorra.org SUMMARY:TEATRINGESTAZIONE - C.R.A.S.I. Permanent Interdisciplinary Workshop of Theatre and Performing Arts Education and research project\, practice and theory DESCRIPTION:november 2018 – november 2019\nFIRST MEETING NOVEMBER 26th 2018 from 11:00 a.m. to 5:00 p.m.\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nAs part of the activities promoted by the Fondazione Morra within the spaces of Casa Morra Archivio d’ArteContemporanea\, TeatrInGestAzione\, Gesualdi | Trono’s theater company\, starts the Permanent Interdisciplinary Workshop of Theatre and Performing Arts\, in collaboration with Lorenzo Mango\, professor of the History of Modern and Contemporary Theater of the University of L’Orientale of Naples. The Permanent Workshop is an education and research project which includes various pedagogical activities during the year; it is part of a larger and more complex project which takes the name of C.R.A.S.I. – Centro Internazionale di Ricerche per le Arti della Scena (International Theatre and Performing Arts Research Center)\, in synergy with the Fondazione Morra. A place whereTeatrInGestAzioneexperiments and explores the multiple dimensions of its work. \nThe Workshop includes a preliminary phase and three independent and parallel paths\, starting from November 2018 until November 2019\, interspersed with openings to the audience.\nThe primary path is based on standing periods of work\, focused on the artistic practice of TeatrInGestAzione\, led by Anna Gesualdi and Giovanni Trono\, and other members of the Co. The second punctuated by encounters\, based on different theories and praxis\, with experts of disciplines and studies that we consider complementary to the theatre (History\, architecture\, philosophy\, economy). The third one includes several intensive pedagogic practices\, welcoming visions from the contemporary international independent performing arts (directors\, choreographers\, performers). \nC.R.A.S.I. is a place for a hybrid activity of research\, training\, creation\, which can give rise to fruitful dialogue\, proposing itself as an alternative of constancy\, rigour and discipline\, to lead participants to a preparation needed to cultivate artistic autonomy. \nThe workshop is for us the time and place of mutual understanding\, nourishment; the time of the honesty\, of fragility; the place of the care\, of training. Through it\, we aim to build a kind of presence that is based on the agility of listening\, on receive and reaction; an opportunity to acknowledge ourselves and give rise to a project in common\, and maybe find that we can share a more extended time in the future. Here at Casa Morra\, TeatrInGestAzione will be a living body exhibited at work. (Gesualdi | Trono) \n\n \n \n \n \n \n \n C.R.A.S.I.\, Casa Morra Archivio d’Arte Contemporanea\, Napoli 2018\,\n\n \n \n \n \n \n Napoli\, Italia\, 18 gennaio 2013. Una scena dello spettacolo “Corpus” rappresentato dalla compagnia teatrale “Alto Fragile”. La performance si è svolta al Palazzo delle Arti di Napoli. Ph. Angela Grimaldi\n \n \n \n \n \n C.R.A.S.I.\, Casa Morra Archivio d’Arte Contemporanea\, Napoli 2018\,\nTeatrInGestAzione\nCourtesy Fondazione Morra\n \n \n \n \n \n C.R.A.S.I.\, Casa Morra Archivio d’Arte Contemporanea\, Napoli 2018\,\nTeatrInGestAzione\nCourtesy Fondazione Morra\n \n \n \n \n \n C.R.A.S.I.\, Casa Morra Archivio d’Arte Contemporanea\, Napoli 2018\,\nTeatrInGestAzione\nCourtesy Fondazione Morra\n \n \n\n  URL:https://www.fondazionemorra.org/en/evento/teatringestazione-c-r-a-s-i-permanent-interdisciplinary-workshop-of-theatre-and-performing-arts-education-and-research-project-practice-and-theory/ 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/teatringestazione-casa-morra-2018.jpg ORGANIZER;CN="TeatrInGestAzione":MAILTO:info@teatringestazione.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20181111T210000 DTEND;TZID=Europe/Rome:20181111T230000 DTSTAMP:20260602T193103 CREATED:20201113T114318Z LAST-MODIFIED:20210115T172747Z UID:4443-1541970000-1541977200@www.fondazionemorra.org SUMMARY:PSYCHOPLUM! a multimedia opera by DANIELE DEL MONACO DESCRIPTION:November 11th 2018\nSTART: 9:00 p.m.\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nPsychoplum! is a live multimedia performance written by the italian composer Daniele Del Monaco and produced in 2012 by the italian experimental collective LCP. The performance starts out from an original script for an electro-acoustic trio with a live video interaction. The 2018 version was totally revisited and arranged for a quartet featuring Marco Cappelli Acoustic Trio and Daniele Del Monaco at the keyboards. Most of the experimental sounds and complex musical forms of the past version turned into songs. The performance tells a story through music and projected images. The Celebraloids species is involved in exploring other planets via the Tellyhand\, which travelling aboard a Psychoplum\, in a kind of intergalactic Odyssey\, captures images from the various worlds explored and delivers them in the King’s presence. From Tellyhand’s innocent and “pure” perspective\, we can discover different universes full of ironic references to our own world. The video material was created through a mixed technique\, using both traditional animation processes and typical video-art techniques. \nThe Marco Cappelli Acoustic Trio (with Ken Filiano\, bass and Satoshi Takeishi\, percussion) explores the “chamber music” sound of Marco’s classical prepared guitar in combination with Ken’s powerful acoustic bass playing and Satoshi’s very special set of percussion. Formed back in 2009 by three of most active improvisers in the New York avantgarde music scene\, gained a reputation through many appearences in New York’s venues as well through two fortunate European tours in 2011 and 2013. The Acoustic Trio repertoire is mostly based on the music that Marco Cappelli writes inspired by the characters of noir writers.\nhttp://marcocappelli.com/projects/marco-cappelli-acoustic-trio/\nDaniele Del Monaco\nComposer\, keyboard player and sailor based in Venice\, born in 1977. He is author of chamber music\, symphonic music\, operas\, music for theatre\, electronics\, electro-acoustic\, multimedia operas\, music for films\, song\, interactive installations. He’s also an interpreter\, improviser\, teacher\, music producer\, band-leader and organizer. In 2007 he started the activity of indipendent producer.The most representative works are: Guernica\, 2007; Simurgh\, 2007 (with Flavio Albanese); Prove di fuga dalla terra\, 2008; Psicosusina Turboaccelerata 2013; Caligola\, 2014; The Zone\, 2014 (with Blixa Bargeld and Theodosii Spassov). For most of them he wrote also the libretto.\nMarco Cappelli\nMarco has lead since the middle 90ies an extraordinary artistic path\, becoming familiar with rigorous written music as well with free improvisation languages: nowadays Marco Cappelli works as contemporary music interpreter\, as side musician for other artists’ projects\, as well as composer and band leader and with his original music. The diversity of Marco’s performances is due to a fascinating array of collaborations: Anthony Coleman\, Michel Godard\, Butch Morris\, Franco Piersanti\, Jim Pugliese\, Enrico Rava\, Marc Ribot\, Adam Rudolph\, Elliott Sharp\, Giovanni Sollima\, Markus Stockhausen\, Cristina Zavalloni\, Raiz… and many more\nKen Filiano\nKen performs throughout the world\, playing and recording with leading artists in jazz\, spontaneous improvisation\, classical\, world/ethnic\, and interdisciplinary performance\, fusing the rich traditions of the double bass with his own seemingly limitless inventiveness. His lengthy discography includes his widely-praised solo CD\, subvenire; for this and numerous other recordings\, critics have called Ken a “creative virtuoso” a “master of technique” “a paradigm of that type of artist …who can play anything in any context and make it work\, simply because he puts the music first and leaves peripheral considerations behind”.\nSatoshi Takeishi\nDrummer\, percussionist\, and arranger is a native of Mito\, Japan. He studied music at Berklee College of Music in Boston\, Massachusetts. While at Berklee he developed an interest in the music of South America and went to live in Colombia. He spent four years there and forged many musical and personal relationships. In 1986 he returned to Miami\, U.S. where he began working as an arranger/producer as well as a performer. His interest expanded to the rhythms and melodies of the Middle East where he studied and performed with Armenian-American oud master Joe Zeytoonian. Since moving to New York in 1991 he has performed and recorded in vast variety of genre\, from world music\, jazz\, contemporary classical music to experimental electronic music.\n  \n  URL:https://www.fondazionemorra.org/en/evento/psychoplum-a-multimedia-opera-by-daniele-del-monaco/ 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/PSYCHOPLUM-INVITO_page-0001.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20181026T080000 DTEND;TZID=Europe/Rome:20190502T190000 DTSTAMP:20260602T193103 CREATED:20201113T102741Z LAST-MODIFIED:20210115T174031Z UID:4446-1540540800-1556823600@www.fondazionemorra.org SUMMARY:Knowing Places DESCRIPTION:October 26th 2018\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nA transdisciplinary course on reading and engaging with places through art \nSapere i Luoghi (‘Knowing Places’)\, a project organized by Fondazione Morra\, Fondazione Lac o Le Mon\, and Cantiere Giovani\, winner of the 2018 call for proposals for the “PRENDI PARTE! Agire e pensare creative” initiative run by the Directorate General for Contemporary Art and Architecture and Urban Suburbs (DGAAP) of the Ministry for Cultural Heritage and Activities to promote cultural inclusion among young people in areas characterized by situations of economic and social marginality\, gets to the very heart of transdisciplinary-community education. It will use various contemporary artistic idioms to provide methodologies and tools for a new reading of – and engagement with – places through research\, experimentation and artistic expression. \nThe 20 participants\, chosen from 89 applicants in the public selection process for young people\, especially those in the NEET category\, i.e.\, young people who neither study nor work\, will have the opportunity to attend lectures and workshops where they will be able to investigate the concepts and practices of place and identity\, \nterritory and map\, and differences and opportunities\, with input from Prof. Pasquale Persico. Encouraging contamination between the contemporary and the non-contemporary\, Prof. Rossella Bonito Oliva will focus on the possibility of building new crossing points by reversing the relationship between the inner city and the outskirts\, taking the Archives as the point of departure to attain a new\, shared\, imagination. These reflections will lead to the community-based explorations conducted by Nicoletta Ricciardelli\, who will be working with the group in the Avvocata District\, which\, being home to the Museo Archivio Laboratorio Hermann Nitsch\, the Associazione Shozo Shimamoto\, and the Casa Morra-Archivio d’Arte Contemporanea\, will form a basic training ground and a centre of artistic research. That of the “Art District” will become a geography of the imaginary and the virtual thanks to Prof. Mario Franco and “his” film locales: artistic manipulations that “invent” spaces for narrative purposes\, experimenting with the possibility of changing routes and place names\, bringing the sea into the backstreets of Naples\, spaceships into churches\, and surrealist dreams and Dadaist reversals into the story of everyday life. For tutors Loredana Troise and Raffaella Morra\, these collective investigations will turn the territory into “an area sensitive to the inrush of experience\, shaped by what we might call ‘thought from outside’\, to quote Foucault: a fence where a convergence is established between the soul and the forms\, between language and life. \nFrom this point of view\, the workshops run by Cesare Pietroiusti and Emilio Fantin will be of particular importance. With the help of Maria D’Ambrosio\, they will take place in Casa Morra in the Avvocata District and the enchanting Vigna di San Martino\, a piece of urban agricultural land in the heart of the city of Naples\, with vineyards\, citrus\, and other species of fruit trees. The topic of inquiry will by art itself\, the living forms and aesthetics of the process; how contemporary art can relate to places; the difference between site-specific and context-specific; artistic intervention in the urban context\, possible strategies and historical examples; the concept of “relational” and the importance of relating to others. \nLastly\, the experience of community will be consolidated by a residency at the Foundation Lac O Le Mon in San Cesario di Lecce\, in an early twentieth-century farmhouse now given over to autonomous experimentation with self-sustainable and self-organized art and education. The activities will be developed within this framework through discussions on theory and project design\, in a circular exchange of knowledge and new ideas\, of collective reception and production. The work group will therefore be invited to design projects where sharing counts more than individual authorship. It will be a formative experience but also one of artistic production in which the participants will be guided indirectly in the realization of an individual project as well as in the co-production of a collective work representative of the experience. \nThe workshop experience begins in Naples on March 4 and runs until April 7\, 2019. Tutoring will be provided during the production and design of the individual projects before the residency in San Cesareo di Lecce in Apulia\, where “community” and “land” will be the key words until May 2. \nThe fruits of the experience gained outside the city will be on display at Casa Morra – Archivio d’Arte Contemporanea from May 20\, with the preparations for the closing exhibition of the project\, a “demonstration” of the in-out-in transformation process as experienced and interiorized by the participants. \nThe “exhibition of the places included” is scheduled to open on June 1\, 2019. \nBando Iscrizione Sapere i Luoghi (Beneficiari Ammessi) \nAbout the Fondazione Lac o Le Mon\nThe Lac o Le Mon Foundation is a non-profit organisation dedicated to contemporary art and culture founded in late 2015 by artists Emilio Fantin\, Luigi Negro\, Giancarlo Norese\, Cesare Pietroiusti\, and Luigi Presicce. Shortly after its creation\, the Lac o Le Mon Foundation acquired a marvellous building\, renamed Casa Cafausica\, with a large plot of land located on the border between San Cesario di Lecce and Cavallino (in the south-east of Italy). Today\, it is the site of an experimental arts training centre running laboratory activities\, community experiences\, trans-disciplinary activities\, and promoting a culture of sustainability through bringing together and being together\, joint projects\, and osmosis between disciplines\, knowledge and skills.\nwww.lacolemon.wordpress.com \nAbout Cantiere Giovani\nCantiere Giovani is a non-profit organisation founded in 2001 in Frattamaggiore (Na) thanks to a group of young people who\, pooling their social\, educational and cultural experiences in Italy and Europe\, decided to take up the challenge of setting up a secular and independent organisation in the Neapolitan hinterland. The “Il Cantiere” project\, a socio-cultural centre for social aggregation\, has been recognised by the Council of Europe as being one of the most successful in getting young people involved in active citizenship. Cantiere Giovani is a member of the Coordination Committee for International/UNESCO Voluntary Service\, the European Italian Voluntary Network\, and the ITER Network. It promotes the resources of young people by combining social and cultural commitment to support processes of change and emancipation. It shares the running of Piazzetta Durante\, a space for social\, cultural and artistic experimentation.\nwww.cantieregiovani.org | www.piazzettadurante.it \n  URL:https://www.fondazionemorra.org/en/evento/knowing-places/ 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/2020/11/Sapereiluoghi-2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180920T170000 DTEND;TZID=Europe/Rome:20180920T210000 DTSTAMP:20260602T193103 CREATED:20201113T122449Z LAST-MODIFIED:20210115T174240Z UID:4449-1537462800-1537477200@www.fondazionemorra.org SUMMARY:M’ILLUMINO D’IMMENSO The staircase of Palazzo Cassano Ayerbo d’Aragona DESCRIPTION:September 20th 2018\nSTART: 5:00 p.m.\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele\, 20/C – Napoli \nDipartimento di Architettura e disegno industriale\, Università della Campania ‘Luigi Vanvitelli’ and Fondazione Morra present the book signingedited by Ornella Zerlenga. \nAt 18:30 the event will continue with the ‘inauguration of the photographic exhibition”dis-symmetries of a staircase” by Igor Todisco \nThe exceptionality of the case presented in this monograph includes the presence of an authoritative expert: Alfonso Gambardella\, the greatest international scholar of the architect Ferdinando Sanfelice\, to whom the project of the staircase in Palazzo Cassano Ayerbo d’Aragona in Naples refers. \nThe archival sources that document the transformations of the noble palace\, currently Casa Morra – Archivio d’Arte Contemporanea\, and the name of the architect who conceived its impressive eighteenth-century staircase are uncertain. The grandeur of the staircase consists of being both materially and immaterially ‘out of scale’\, a narrative event of boundless emotion in the ‘immense’ concept of architectural space. With a hexagonal plan\, the design of the planimetric and altimetric layout is the result of the skilful ability of the designer to articulate elementary geometric forms in a plastic and dynamic space\, vibrating with structural tensions as well as multiple symmetrical and asymmetrical visions. These are all elements that can be traced back to Ferdinando Sanfelice. \nThis book originates from the interest in the staircase of Palazzo Cassano Ayerbo d’Aragona of both the editor\, Ornella Zerlenga\, as well as the director of Fondazione Morra\, Giuseppe Morra. The research is developed on the basis of the memorandum of understanding signed between the Fondazione Morra and the Department of Architecture and Industrial Design of the University of Campania ‘Luigi Vanvitelli’ to not only collaborate scientifically\, but also to carry out initiatives that will positively influence the cultural growth of the territory. \nIn this sense\, the surveying and representation of the grandiose staircase of Palazzo Cassano Ayerbo d’Aragona\, in its spatial unity and methodological systematization of monographic research\, was carried out for the first time in 2017 by a research team of the aforementioned Department\, scientifically coordinated by Ornella Zerlenga with Vincenzo Cirillo and undertaken by Gianluca Delle Rose\, Brigida Di Costanzo\, Gessica Friello. \nIntroduced by the institutional roles\, Teresa Carnevale (President of the Fondazione Morra)\, Giuseppe Paolisso (Rector UniCampania)\, Luigi Maffei (Director of the Department)\, this book includes contributions by Pasquale Persico\, economist and co-creator of the social redevelopment plan “Il Quartiere dell’Arte”; Massimo Pica Ciamarra\, co-author of the reuse project of the building open to the neighbourhood; Igor Todisco whose ‘points of view’ conclude the description of a spatially changing staircase. \nThe book\, in Italian and English language\, was published by La scuola di Pitagora. \n\n \n \n \n \n \n \n M’illumino d’immenso\, Casa Morra\, Napoli 2018 photo Daniele Galdiero.\n \n \n \n \n \n M’illumino d’immenso\, Casa Morra\, Napoli 2018 © photo Daniele Galdiero Courtesy Fondazione Morra\n \n \n \n \n \n M’illumino d’immenso\, Casa Morra\, Napoli 2018 © photo Daniele Galdiero Courtesy Fondazione Morra\n \n \n \n \n \n M’illumino d’immenso\, Casa Morra\, Napoli 2018 © photo Daniele Galdiero Courtesy Fondazione Morra\n \n \n \n \n \n M’illumino d’immenso\, Casa Morra\, Napoli 2018 © photo Daniele Galdiero Courtesy Fondazione Morra\n \n \n \n \n \n M’illumino d’immenso\, Casa Morra\, Napoli 2018 © photo Daniele Galdiero Courtesy Fondazione Morra\n \n \n \n \n \n M’illumino d’immenso\, Casa Morra\, Napoli 2018 © photo Daniele Galdiero Courtesy Fondazione Morra\n \n \n \n \n \n M’illumino d’immenso\, Casa Morra\, Napoli 2018 © photo Daniele Galdiero Courtesy Fondazione Morra\n \n \n \n \n \n M’illumino d’immenso\, Casa Morra\, Napoli 2018 © photo Daniele Galdiero Courtesy Fondazione Morra\n \n \n \n \n \n M’illumino d’immenso\, Casa Morra\, Napoli 2018 © photo Daniele Galdiero Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/millumino-dimmenso-the-staircase-of-palazzo-cassano-ayerbo-daragona/ 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/MILLUMINO_DIMMENSO_invito_ITA.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180727T210000 DTEND;TZID=Europe/Rome:20180727T230000 DTSTAMP:20260602T193103 CREATED:20201113T143953Z LAST-MODIFIED:20210115T174618Z UID:4452-1532725200-1532732400@www.fondazionemorra.org SUMMARY:Terry Riley & Gyan Riley DESCRIPTION:July 27th 2018\nSTART: 9:00 p.m.\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c \nComing soon on a three-stage tour of Europe: Barcelona (at the Sónar festival)\, then for the first time in Naples\, closing in London (at the Oval Space).\nFor his Italian exclusive\, Terry Riley will perform at the piano and synth with his son Gyan on guitar in the eighteenth-century courtyard of Casa Morra. This event has\, of course\, been organised in conjunction with E-M ARTS by the Morra Foundation\, always keen to propose contemporary neo-avant-garde events in the city. Naples welcomes this great contemporary musician\, inventor of ‘repetitive’ minimalist music\, followed by many other minimalist musicians and popular music ensembles for this unique event.\nHe has spent the last few years on tour with his son Gyan alternating between the typical folk and jazz repertoire and\, of course\, moments of minimal avant-garde.\nThe fascinating Casa Morra – Archivio d’Arte Contemporanea di Napoli offers an exceptional opportunity to listen to and understand the intricate sound structures of the Terry Riley and Gyan Riley duo who\, unleashing intense and vibrant energy\, reach out with their particular artistic communication in a ‘neurotic’ and stimulating way.\nTerry expands the boundaries of a chosen structure and\, with Gyan’s ‘incitements’\, they embark together in unusual directions towards spontaneous and hypnotic creative marathons. This sonic force interacts with the spatial environment and the vigour of the audience\, providing an impactful experience that touches the depths of the soul.\nFor Terry Riley\, music is a way to make a connection with a strong and still indistinct power. Gyan is a virtuoso classical guitarist whose music is influenced by the rhythmic structures of North Africa and Spain. He is an expert in the art of improvisation.\nFather and son create a performance of intuitive matching in which they influence each other in an intense and intimate emotional flow. The harmonic structures generated by the piano and guitar\, guided by the human spirit\, create deep sound textures that intertwine through their reciprocal ability to improvise.\nFor Terry and Gyan\, sound matter is an incessant process coming from the unknown\, made up of modular movement and simple rhythms to be understood as a constant and universal pulse. \nThe founder of minimalism\, Terry Riley spans six decades of avant-garde music\, always faithful to himself\, inventing such flexible processes and structures that\, like his popular Indian ragas\, endure through time and have influenced a wide range of seemingly distant and irreconcilable styles\, from Miles Davis and John Coltrane’s modal jazz to the Canterbury sound of Soft Machine\, to the psychedelia of Pink Floyd\, and the modules of Philip Glass and Steve Reich\, taking on board the rock of The Who and the kosmische music of Tangerine Dream.\nFamous for introducing the ‘repetition of Western musical motifs’\, he devised the first experiments with tape loops and delay systems\, leaving an indelible mark on experimental music.\nHe started performing as a solo pianist in the 1950s\, when\, a classmate of La Monte Young\, he was studying composition in San Francisco and Berkeley. In the ‘60s he organised sound performances that lasted until dawn\, well before underground raves.\nIn 1963\, after graduating from Berkeley\, he published Music for the Gift for the show written by Ken Dewey\, using two tape recorders to create tracks with a tape delay-feedback system called Time Lag Accumulator\, playing Chet Baker’s version of Miles Davis’ So What in loop. This loop effect triggered his interest in repetition as a means of musical expression\, and in 1964 he completed his most famous work\, In C\, an acknowledged milestone in electronic music.\nIn 1968/69 with A Rainbow in Curved Air he foreshadowed ambient music\, and in 1970\, during his first trip to India to study with vocal master Pandit Pran Nath\, he began research on trance sounds.\nDuring the same period\, he made friends with David Harrington of the Kronos Quartet and was involved in numerous concerts for string quartet and orchestra; their Salome Dances for Peace (1989) earned Riley and Kronos a Grammy nomination.\nIn 2005 he worked with poet Michael McClure in I Like Your Eyes Liberty\, and in 2008 he published two works: Cusp of Magic and Banana Humberto (with the Sri Moonshine label).\nWith his son Gyan he released an album of live concerts (Sri Moonshine) in 2011 and\, later on\, Aleph\, for the Korg Triton 88 synthesizer originally created for the Aleph-Bet Sound Project at the Jewish Museum of San Francisco\, released by Tzadik in 2012.\n2015 saw the founding of the The Rileys duo: Terry & Gyan began a world series of concerts for piano\, synth and guitars. These concerts were a celebration of complex improvised structures containing elements of minimalism\, jazz\, ragtime\, and North Indian raga\, musical combinations that became the Rileys’ hallmark.\n“Nothing I have done in this life has given me more satisfaction than improvising on these songs with Gyan. Nothing I have done can match the intuitive synchronicity we have shared many times on the stage. Gyan supplies a brilliant counterpoint to the strands and moods of these pieces always surprising me with a virtuosity that serves and energizes his musical invention. I could not have dreamed up a better marriage of mind and spirit than this collaboration.”  Terry Riley\nhttp://terryriley.net\nGrowing up in a highly stimulating and experimental environment thanks to his father\, renowned composer Terry Riley\, Gyan chose the guitar as his instrument for life after winning his first one in a lottery at the age of 12. Once he had learned all the songs in his audio cassette collection by ear\, becoming a skilled performer\, he developed a passion for learning techniques and decided to enrol at the San Francisco Conservatory of Music.\nIn this context he had the opportunity to study with David Tanenbaum and Dusan Bogdanovic\, with whom he played on tour. Upon graduation in 2002\, Gyan made his debut with the album Food for the Bearded.\nGyan’s varied work focuses on complex compositions\, improvisation\, and both the classical and contemporary repertoire. He has worked with the Kronos Quartet\, New Music USA\, the Carnegie Hall Corporation\, the American Composers Forum\, and the New York Guitar Festival.\nOver the years\, he has travelled Europe\, Canada\, Latin America\, and the United States on numerous tours\, both as a soloist and in various ensembles with talented musicians. He has performed with Zakir Hussain\, Lou Reed\, John Zorn\, the Kronos Quartet\, Iva Bittova\, Bang On A Can All Stars\, the San Francisco Symphony\, the Philadelphia Chamber Orchestra\, and with his father\, composer/pianist/singer Terry Riley\, as on the 45th Anniversary of In C at the Carnegie Hall Performances in New York in 2009.\nIn New York\, Gyan performed with the Probosc duo\, the Eviyan trio and the Dither electric guitar quartet. He has composed and released four solo CDs and many ensemble/collaborative recordings with the New York Tzadik Records label.\n“… the improvisational nature of what we do demands that we’re always in that sort of listening mindset… We can’t ever really go out of it! A big part of that is also based on whatever energy we’re getting from the audience\, the space\, the acoustics\, and the overall experience. That can all have a big impact\, and it affects how we respond.” Gyan Riley\nhttp://gyanriley.com\n  URL:https://www.fondazionemorra.org/en/evento/terry-riley-gyan-riley/ 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/Terry_and_Gyan_Riley_invito_pages-to-jpg-0001.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180629T190000 DTEND;TZID=Europe/Rome:20180629T213000 DTSTAMP:20260602T193103 CREATED:20201113T160428Z LAST-MODIFIED:20210115T174814Z UID:4455-1530298800-1530307800@www.fondazionemorra.org SUMMARY:Thomas De Falco - MATERIE DESCRIPTION:June 29th 2018\nSTART from 7:00 p.m. to 9:30 p.m.\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nPerformance and Textile Installation curated by Lucrezia Longobardi. \n“My tree\, I speak to you and I tell you my secret thoughts. All my truth\, all my rustic desires\, you know everything about me and the troubles of the simpler life\, the one closest to you.” \nCit. Paul Valery \nOn the monumental octagonal scale of the Palazzo Cassano Ayerbo D’Aragona\, on 29 June 2018 will take shape\, after a period of residence held in this same place\, the performance and textile installation of the artist Thomas De Falco. A vision played on the dialogue between human and natural forms\, in their original reciprocity\, will decline through a mixed landscape of sculptural bodies and tapestries\, in which the performers become sculptural extension\, protuberance of the support through wrapping used as connectors of the two worlds\, and their turn\, a counter-representation of nature itself\, in a dreamlike and all-encompassing scenario. \nMaterie\, an evocative title of the plurality of the supports of life\, in an active dialogue with the architecture of the place\, tries to anchor itself to the stability of a monument making itself home\, where the stability of the moment is precarious and difficult to find. And the woman\, and her pain\, participate in this narrative as an absolute symbol. The latter is not bound to instability understood with a negative meaning\, but as an act of overcoming despite the dismay of affliction. At this point the parallels with the city emerge naturally and make a poetic and delicate vision of this semantic union. The woman\, which reflects the genre with which the “sex” of nature is recognized\, becomes an emblematic body for this identification between gesture and essence\, like the “femmena” city that hosts this work and inspires its main features. \nA work is inseparable from its historical and political context. \nA contemporary work\, therefore\, is an accent within a wider discourse\, a great symphony of voices and winds that animate it\, of reflections that spirally converge in the concept of Zeitgeist. \nNaples is a port. A threshold on the Mediterranean. On its waters have sailed ancient myths\, the exploits of the Greek heroes\, Ulysses\, but every age has its epics. And they always surpass the contours of reality to assume a hyper-ethical dimension\, epic. Pasolini in 1964\, with his “Prophecy”\, thought of tracing the contours of a contemporary Mediterranean mythology. We have woven that myth of elements from tragic radicality. Fixing the border warp in the plot of the sea. \nIt is from here that\, for exquisitely historical reasons\, the work of Thomas De Falco finds the trigger\, crossing the conceptual limit of a symbol that is a point of separation and union at the same time. The border\, in his work\, shows\, therefore\, all its structural consistency of ligatures\, seams. And in this sense it reverses its sense with respect to the common vision. The border becomes suture\, bone callosity\, welding. \nThe refined design made by the cotton that wraps\, tightens the natural material\, recalls a deeper meaning on the border\, shifts its meaning from the contemporary to the original meaning\, returning to the language its own complexity and thus its intelligence. In this way\, the true freedom of the observer is re-established in comparison with the integrity of the symbol. \nIn a game made of warps and knots\, woven ties and anchored to the support\, natural elements that become epicenter and equilibrium\, an exercise of relationships is consummated which is a completely physical\, all-physical metaphor of the most atrocious of today’s shortcomings. In their constant dialogue\, the materials of Thomas De Falco act together without being able to do one without the other\, in an alchemy of the material that goes far beyond the object and intertwines the roots of their different origins\, their symbolic stratigraphy. \nThe city itself\, for a work that is born site-specific\, becomes matter that\, at contact\, declines its resonance. Of Naples is the female dimension that the artist can not avoid to face. Her pity of exhausted shore\, lapped by a sea in pain\, finds in the feminine attribute the power to inflate an ancestral and regenerating energy that from the port rises and unravels through the alleys\, blood vessels\, nervous system of a human community that he has learned to overcome the lacerations through practice\, evolving until it exists\, in the condition in which the most excruciating pain coincides with the state of normality. Because of this devotion to the natural absolute\, Naples refuses the differences\, its children are all the same. The distinction passes through a system of seams\, balances\, stitches\, which have crossed the flesh not without pain. \nDe Falco then draws\, in space\, an anthropo-rama composed of performers of different ethnic groups\, evoking an idea of ​​a natural human family made indissoluble by visible ties\, interweaving of roots\, contacts\, articulations composed in a maternal embrace\, in a pity that of the feminine has everything and of the city the color. \n1. Le jardin noir\, wrapping on canvas with iron leaf and branch of ficus. 50x70m \n2. Untitled\, leaves with visible stitching in plastic with wrapping and branch. 125 x110m \n3. Untitled\, leaves with visible stitching on canvas with wrapping. 2x2m \n4. Untitled\, leaves with visible stitching in plastic with wrapping. 1\,90×1\,30m \nThe performer:\nAmie Zuore\nTraore Ladifa\nTraore Mariam\nKetcha Wandji Tracy Jonen\nKarim Tintore\nNoemi Perlingieri\nVlad Marchese\nAlessandra Aliberti\nJem Perrucchini\n  \nI musician:\nGiuseppe Vietri\nPietro Santangelo\nValentina Ciniglio\nGiulio De Asmundis\nGiuseppe di Taranto\nSara Piccegna\nViviana Ulisse\nGiusi Arvonio\nThe assistants of the artist:\nElisabetta Genoni\nFabiola Skraqi\nBeatrice Schivo\n\n \n \n \n \n \n \n Performance Materie\, Casa Morra Archivio d’Arte Contemporanea\, Napoli\, 2018 \n \n \n \n \n \n Performance Materie\, Casa Morra Archivio d’Arte Contemporanea\, Napoli\, 2018 © photo Elisa Partenzi Courtesy Fondazione Morra\n \n \n \n \n \n Performance Materie\, Casa Morra Archivio d’Arte Contemporanea\, Napoli\, 2018 © photo Elisa Partenzi Courtesy Fondazione Morra\n \n \n \n \n \n Performance Materie\, Casa Morra Archivio d’Arte Contemporanea\, Napoli\, 2018 © photo Elisa Partenzi Courtesy Fondazione Morra\n \n \n \n \n \n Performance Materie\, Casa Morra Archivio d’Arte Contemporanea\, Napoli\, 2018 © photo Elisa Partenzi Courtesy Fondazione Morra\n \n \n \n \n \n Performance Materie\, Casa Morra Archivio d’Arte Contemporanea\, Napoli\, 2018 © photo Elisa Partenzi Courtesy Fondazione Morra\n \n \n \n \n \n Performance Materie\, Casa Morra Archivio d’Arte Contemporanea\, Napoli\, 2018 © photo Elisa Partenzi Courtesy Fondazione Morra\n \n \n \n \n \n Performance Materie\, Casa Morra Archivio d’Arte Contemporanea\, Napoli\, 2018 © photo Elisa Partenzi Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/thomas-de-falco-materie/ 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/THOMAS-DE-FALCO-materie-casa-morra-invito_page-0001.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180519T210000 DTEND;TZID=Europe/Rome:20180519T230000 DTSTAMP:20260602T193103 CREATED:20201113T180707Z LAST-MODIFIED:20201216T172747Z UID:4472-1526763600-1526770800@www.fondazionemorra.org SUMMARY:LA DIGESTION – musica ascoltata raramente II Edizione DESCRIPTION:May 19th\, 2018\nSTART h. 9:00\nBasilica di San Giovanni Maggiore a Pignatelli\nRampe San Giovanni Maggiore\, Napoli \nh. 7:00 p.m. conversation with Prof. Carmelo Colangelo (Università di Salerno) \nLocation and line up of excellence for the fifth round of “La Digestion – musica ascoltata raramente”\, a festival for the most innovative languages of contemporary sound\, result of the synergy between the Phonurgia and EM-Arts associations and the Morra Foundation. \nThe event of May 19th will see the two masters of the German experimentation in dialog with the magnificent spaces of the Basilica of San Giovanni Maggiore Pignatelli. As in the case of the 3 February event\, the performance will be accompanied by a theoretical moment\, in conversation with the philosopher Carmelo Colangelo\, in an attempt to delve into the meanings that the sound opens\, thanks to its archetypical force that insinuates it in the practices\, in the imaginary\, in the cultures. \nRashad Becker is considered among the most original electronic musicians of the last years\, because he is able to create extremely complex\, but extremely musical sound textures\, which recall deconstructed fanfare and abstract sculptures. In fact\, part of his compositional process consists in translating into music the geometric systems that govern\, for example\, the models of organization of social groups or linguistic models. He is at the same time one of the most respected global sound engineers\, having worked on over 1200 records. Housed in the most prestigious international festivals\, it is for the first time in Naples. \nThomas Köner is a multimedia artist with an unmistakable personality. His music is a cross between ambient and drone\, created from incredible recordings made by the artist in some of the most remote places on the planet\, such as the Arctic Polar Circle or the Amazon Rainforest. The intensity of his music projects the audience into an abysmal\, almost static dimension\, pushing the listening to its most peripheral and primitive regions.\nThe dry and severe poetics of Becker and the lacerated and immersive environments of Koner seem to be suspended at the two opposite vertices of sonic art\, but they find common ground in the power and immersiveness of live performance and echo resonant in the listeners’ experience.\nThe event is realized thanks to the support of the Goethe Institut of Naples\, under the patronage of the City of Naples and the kind concession of the Basilica by Fondazione Ordine degli Ingegneri di Napoli. \nRashad Becker\, is one of the finest thinkers of living sound. \n“Rashad Becker’s work is probably the closest thing we currently have to an overwhelming glance through a break in the fabric of reality” – Brainwashed magazine. \nHis compositions are multi-layered narrations populated by a set of sound entities\, some pleased\, some shy\, some agitators\, others ready to surrender. Often there is a tragic-comic touch\, like a cartoon version of what might be a requiem from a dream (or even a dance of fertility from another dimension).\nThe most recent works include the Traditional Music Of Notional Species cycle\, published in two volumes on PAN and a work in several parts entitled Based On A True Story that draws scores from historical events in a sort of “sound staging”. In this context\, it is currently commissioned by the New York ensemble Alarm Will Sound and the string ensemble Berlin Kaleidoskop.\nRashad is mainly active as a solo artist\, but he is in a series of permanent collaborations alongside Eli Keszler\, Moritz von Oswald and as a member of the Moleglove formation. Other and more sporadic collaborators were Okkyung Lee\, Andre Vida\, Ashley Paul and Valerio Tricoli. \nhttps://soundcloud.com/pan_hq/rashad-becker-dances-vii \nThomas Köner (Bochum\, 1965) is a German musician and artist. \nDuring his studies\, he devoted himself to the intensive research of sound in the recording studio. His first impulse was to avoid the rhythm and the melody and concentrate instead on the phenomenon of the color of the sound. To intensify the sound experience\, he decided to work with other media\, in the beginning collaborating with the film artist Jürgen Reble (Alchemie 1992). Later\, he began composing soundtracks and accompanying old silent films with live electronic music for the Louvre Museum in Paris. Köner’s interest in combining visual and sound experiences to extend the effectiveness of his sound works allowed him to arrive at the installation and led him to collaborate with Max Eastley\, in which the combination of sound sculpture and performance became central. “List Of Japanese Winds” by Max Eastley and Thomas Köner is an installation commissioned by the Hayward Gallery in London. The Center Georges Pompidou commissioned the sound work for an installation by the filmmaker Yann Beauvais.\nAnother field of sound exploration and radical sound design is Köner represented by the club culture\, which Köner considers an ideal platform for intensive and physical listening. His project Porter Ricks\, along with Andy Mellwig\, is acclaimed in the techno world\, with commissions for “Nine Inch Nails” and even a remix of Claude Debussy for Universal Music. \nCarmelo Colangelo works at the Department of Philosophy at the University of Salerno. He was a scholar and assistant at the Faculty of Letters of the University of Geneva. Starobinski has translated the volume Action and reaction. Life and adventures of a couple (Einaudi 2001). He is the author of numerous essays\, including Limite and melancholy. Kant\, Heidegger\, Blanchot (Loffredo 1998)\, as well as articles about Kafka\, Merleau-Ponty\, Canetti\, Bataille\, Levinas\, Maldiney. His latest work The appeal of appearances is dedicated to Jean Starobinski. URL:https://www.fondazionemorra.org/en/evento/la-digestion-musica-ascoltata-raramente-ii-edizione/ LOCATION:Basilica di San Giovanni Maggiore Pignatelli\, Napoli\, Italia CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/locandina_koner-becker_P.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180515T180000 DTEND;TZID=Europe/Rome:20180530T180000 DTSTAMP:20260602T193103 CREATED:20210304T141730Z LAST-MODIFIED:20210304T142107Z UID:5550-1526407200-1527703200@www.fondazionemorra.org SUMMARY:Portflux DESCRIPTION:15th may – 30th may 2018\nOPENING 15 MAGGIO 6:00 p.m.\nArchivi Mario Franco c/o Casa Morra Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nCurated by Loredana Troise \nOpening of the Portflux exhibition\, curated by Loredana Troise\, at the Mario Franco Archives in Casa Morra on Tuesday 15th May 2018 at 6 pm. At the opening of the exhibition\, which is part of ‘Vietato Vietare 1968/2018’ Proiezioni\, incontri\, mostre a cinquant’anni dal 1968 (‘Forbidden to Forbid 1968/2018’ Screenings\, encounters\, and exhibitions fifty years on from 1968)\, there will also be an opportunity to see the documentary ‘Antologia Fluxus’ (by various artists\, 120 min). \nMario Franco\, curator of the review and founder of the Archives\, asks\, \n‘Why a review and an exhibition on the Fluxus collective among the commemorations recalling the events of fifty years ago?’ Because the ‘imagination in power’ of 1968 also meant the meeting and mixing of arts\, techniques\, disciplines\, languages\, and materials\, as well as their liberation from the requirement to produce meaning and to stop narrating the world in a descriptive\, linear\, and complete manner\, starting from a reflection on language\, on ways of narrating\, as the world itself has changed so quickly and profoundly: the metropolises have become a remarkable ‘training grounds’ for a mobile and multiple outlook. An idea of multimediality began to find its way into an awareness of the inadequacy of just one medium\, a single art\, a specific and sectorial technique to represent this plurality of stimuli\, this dense network of interconnections. The Gesamtweldbild (total image of the world) takes up and extends the Wagnerian concept of Gesamtkunstwerk. Fluxus assembles different techniques and materials: collages\, poetic texts\, architecture-sculptures-environments to unbind cultural habits and perceptual automatisms\, to tease out unexplored possibilities from different languages\, attempting to assemble them in a new way\, creating combinations as rich and complex as thought (or the world). An anthology of the movement’s films includes the body-artistic previews of Yves Klein\, moving on to show the origins of the video-art of Nam June Paik with Allen Ginsberg\, Charlotte Moorman\, Alan Schulman\, and the Living Theatre. This is followed by a short concert of music by John Cage on the Holocaust\, the experimental film ‘T.O.U.C.H.I.N.G.’ by Christopher Sharits\, two performances by Joseph Beuys\, George Maciunas (who founded Fluxus\, giving it its name in 1961)\, the Viennese actionism of Günther Brus\, plus John Lennon & Yoko Ono\, and Vito Acconci. \nThe screenings are accompanied by Loredana Troise’s exhibition of graphic works by key artists of the Fluxus movement. \nIn the words of curator Loredana Troise: \n14 extraordinary graphic works making up the Portflux portfolio (Factotum Art edition) and closely connected with the “Forbidden to Forbid 68/18” project are showing at the Mario Franco Archives. An adventurous and unpublished diary of the eye with indefinite boundaries pointing to the restless threshold of the present\, between incarnations and transits\, imagination\, and the re-functionalisation of forms. Sarenco\, Diego Strazzer and Giuseppe Morra came up with the idea for the Portflux collection in the 1980s. It is the result of an intense and unique experience born from intersections\, travels\, and relationships between researchers and fluxeur artists in the eighties: ‘each work in the portfolio’\, explains Giuseppe Morra\, ‘is a chapter born out of a long history of collaboration\, friendship\, and directly shared events: nothing to do with the logic of “making art”\, but freely directed towards emancipated and independent semiotic revisions’. Giving order to a complex and varied visual and emotional itinerary\, rich in sequences and layers of interpretation\, the works\, which are often marked by traces of the tangible (such as Ben Vautier’s key\, Philip Corner’s piano keys\, or Bob Watts’ stamps) show the splendour of a syntactic self-sufficiency perceivable as an uninterrupted and fleeting polyphony that can never be fully documented. Beyond the inclinations of each of the 14 artists represented in the exhibition\, the open structures of Portfluxus experience passages and flexions that preclude any opening towards fabulation or illusionism. Rather\, they reveal the process of happening; the unfolding of the event as a flow and the image – not understood as a ‘fact’ constituted and brought to its conclusion – but as a process in the making\, capable of infiltrating stratified temporalities where we can rediscover the directions in which culture is moving today. We therefore thought of setting up an ‘installation’ similar to a frontier without distracting media and superstructures: one that can be crossed by moving beyond traditional criteria\, with the same spirit of randomness that characterised the movement. In this way\, the Mario Franco Archives\, as well as being a place of study\, documentary analysis\, and research\, prove to be an extraordinary gateway through which we can perceive the changing and metamorphic appearances of time-space. URL:https://www.fondazionemorra.org/en/evento/portflux/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/03/Portfluxdefinitiva.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20180511 DTEND;VALUE=DATE:20180512 DTSTAMP:20260602T193103 CREATED:20210304T142552Z LAST-MODIFIED:20210304T142606Z UID:5552-1525996800-1526083199@www.fondazionemorra.org SUMMARY:Serena Russo. Presentazione del libro Cenere DESCRIPTION:11 maggio 2018\nINIZIO ORE 19:00\nCasa Morra- Sala Shimamoto\nSalita San Raffaele 20/c\, Napoli \nA Palazzo Cassano Ayerbo D’Aragona\, sede di Casa Morra -Archivio d’arte contemporanea\, è stato presentato venerdì 11 maggio 2018 alle ore 19:00 Cenere\, il primo libro della giovane scrittrice napoletana Serena Russo.\nIl piccolo volume intitolato Cenere\, edito nel 2017 dalla Casa Editrice Aletheia\, è una raccolta intima di racconti brevi all’interno dei quali la narrazione\, si intreccia non solo nella quotidianità vissuta dall’autrice\, ma anche in una concatenazione di pensieri\, ricordi\, sogni\, desideri e invenzioni. Per Serena Russo: “Questa non è una semplice raccolta di racconti. Piuttosto una scatola di frammenti di ogni tipo\, che sarà difficile richiudere una volta aperta”. In occasione della presentazione\, moderata da Loredana Troise che dialoga con Serena Russo\, la serata prosegue con un reading tratto da alcuni brani del libro letti da Simona Cocchia e Angelo Trifari e da un intermezzo musicale di Julia Primicile Carafa (clarinetto\, chitarra e voce) e Belardino Cerabona (violino). \nSerena Russo (Napoli\, 1984) laureata in lingue e letterature comparate presso l’Orientale di Napoli\, ha inoltre conseguito un dottorato in cinema e letteratura presso l’Università di Granada\, in Andalusia. Attualmente lavora a Valencia\, in Spagna\, come insegnante di inglese e di italiano per stranieri. Scrive recensioni di film e libri per vari siti web. Cenere è la sua prima raccolta di racconti. URL:https://www.fondazionemorra.org/en/evento/serena-russo-presentazione-del-libro-cenere/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/03/CENERElocandina.jpg END:VEVENT END:VCALENDAR