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:20160327T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20161030T010000 END:STANDARD 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 END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180920T170000 DTEND;TZID=Europe/Rome:20180920T210000 DTSTAMP:20260602T215530 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:20260602T215530 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:20260602T215530 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:20260602T215530 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:20260602T215530 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:20260602T215530 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 BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180417T120000 DTEND;TZID=Europe/Rome:20180519T190000 DTSTAMP:20260602T215530 CREATED:20201116T103327Z LAST-MODIFIED:20201216T173447Z UID:4475-1523966400-1526756400@www.fondazionemorra.org SUMMARY:Cesare Pietroiusti - Scuola del disegno e della pittura in assenza di talento DESCRIPTION:April 17th  – May 19th\, 2018\nOPENING APRIL 17th h. 12:00 a.m.\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/C\, Napoli \nWe inaugurate at Casa Morra the new workshop and exhibition project conceived and coordinated by the artist Cesare Pietroiusti.\nThe School of drawing and painting in the absence of talent\, in collaboration with the Academy of Fine Arts in Naples\, consists of a project that retrospectively retraces elements of Pietroiusti’s artistic research\, and will be composed of two distinct yet related moments: a performance-workshop and a conclusive exhibition.\nThe workshop\, with the participation of a group of students from the Academy of Fine Arts of Naples\, will consist in retracing the techniques that Cesare Pietroiusti used (between 1982 and 1986) to realize his first (and almost only) pictorial works\, starting from the preparation of the canvases and leading to the copying of images projected through slides\, creating the new works in the most faithful way possible to the originals.\nThe students will also be able to design and realize one or more series of large quantities of drawings made with heterodox techniques and materials (fire\, beer\, salt water\, etc.)\, according to methods already used by the artist for “free productions and distributions” of drawings since 2005.\nAll the works realized will be the object of the final exhibition.\nThe performing workshop and the exhibition will follow each other temporally on the monumental staircase\, and in the adjacent spaces\, of the Palazzo Cassano Ayerbo D’Aragona – Casa Morra. The public will be able to appreciate the different phases of work and\, in particular: \nfrom 17 to 24 April 2018\, from Tuesday to Friday from 12 a.m. to 7 p.m.\nPerforming workshop School of drawing and painting in the absence of talent\nwith the students of the Academy of Fine Arts of Naples \nfrom 25 April to 19 May 2018\, from Tuesday to Friday from 10 a.m. to 5 p.m.\nFinal exhibition of the School of drawing and painting in the absence of talent \nCasa Morra is thus transformed into a theater of operations similar to a factory: a multifocal situation is put in place\, in which the different tasks occur simultaneously in distinct points of the space\, underlining the natural performative vocation of the staircase itself. \nOn the School of drawing and painting in the absence of talent\nIn addition to the laboratory and performative elements\, Cesare Pietroiusti addresses the theme of the retrospective in a lateral way\, reflecting on how it might be possible to operate on the history of one’s artistic career without having to exhume one’s works of the past in a conventional or fetishistic way. While facing the taboo of remaking a work of another time\, the artist proposes a new interpretation of the concept of contemporaneity that\, in a dialectical re-examination with the past\, becomes the simultaneous and convergent presence of different times and meanings. The author’s hand tends to disappear\, in an operation where one contemplates the non-necessity\, for an artist\, to possess a talent that can be expressed with a manual and technical skill. On the other hand\, this project reflects the same lack of talent of Pietroiusti himself\, which\, in his time\, led him to use a slavish way of copying slide projections onto canvas and paper. \nWith the participation of: Eleonora Alabiso\, Cristiana Amato\, Gianmarco Biele\, Elsa Bigliardo\, Laura Bonito\, Antonella Calabrese\, Elena Chirico\, Enrica Rosi Crispo\, Maria Teresa De Cristofaro\, Luisa De Donato\, Giovanni Ferrara\, Sara Fiorentino\, Valeria Gentile\, Francesca Iovane\, Natalya Savino Kochetova\, Valentina Manzo\, Emanuela Palmieri\, Roberta Passaro\, Chiara Perna\, Alessandro Piromallo\, Chatrin Ponticelli\, Gianmarco Trotta\, Maria Ulino\, Aurora Vivenzio\, Huang Yuan\, Haoran Zhou.\nCesare Pietroiusti Born in Rome in 1955\, he began his artistic research in 1977\, when he started working in Sergio Lombardo’s Jartrakor Study Center\, actively participating in the definition of an ‘eventualist’ art. In the second half of the eighties\, together with Salvatore Falci\, Stefano Fontana\, Pino Modica and Domenico Nardone\, he gave life to the experience of the Gruppo di Piombino which saw\, about a decade before the birth of ‘relational’ art\, the involvement\, through an aesthetic stirring\, of an unconscious public. Since then he has founded and coordinated research centers and residency programs\, conferences and experimental laboratories. He has exhibited in private and public spaces\, either official or unofficial\, in Italy and abroad. In 1997 he published\, with the Edizioni Morra\, Non-functional Thoughts\, a collection of about one hundred apparently absurd ideas\, formulated as precise instructions for the realization of artistic projects. In the first decade of the 21st century his work focused on the theme of exchange and on the paradoxes that may lie within the western social system\, underlining in particular the peculiarity of the money-commodity economic relationship. Since 2004 he has distributed tens of thousands of autographed drawings for free\, sold stories\, ingested banknotes at the end of public auctions and then returned them to the rightful owner after their excretion\, organized gastronomic evenings where at the end of lunch the public was paid\, set up exhibitions where the works were sold in exchange for ideas and not for money. Among others\, he exhibited his works at: Art in General\, New York (2001); Ikon Gallery\, Birmingham (2007); Athens Biennial (2009); MAXXI\, Rome (2010); Moscow Museum of Modern Art (2011)\, Hayward Gallery\, London (2012)\, Sandretto Foundation\, Turin (2014)\, Bozar\, Brussels (2014)\, Maga\, Gallarate Museum (2016)\, Kunstverein Arnsberg (2016)\, and was co-curator of the exhibition “Sensibile Comune. The living works”\, GNAM\, Rome (2017). From 2004 to 2015 he was a Visual Arts visiting professor at the IUAV in Venice and\, from 2009 to 2016\, MFA Faculty at Lesley University\, Boston. Two years ago\, as a member of the collective “Lu Cafausu”\, he gave life to the Lac or Le Mon Foundation (San Cesario di Lecce).\n\n \n \n \n \n \n \n Scuola del disegno e della pittura in assenza di talento\, Casa Morra\, 2018 \n \n \n \n \n \n Scuola del disegno e della pittura in assenza di talento\, Casa Morra\, 2018 Cesare Pietroiusti © photo Jacopo Seri Courtesy Fondazione Morra\n \n \n \n \n \n Scuola del disegno e della pittura in assenza di talento\, Casa Morra\, 2018 Cesare Pietroiusti © photo Jacopo Seri Courtesy Fondazione Morra\n \n \n \n \n \n Scuola del disegno e della pittura in assenza di talento\, Casa Morra\, 2018 Cesare Pietroiusti © photo Jacopo Seri Courtesy Fondazione Morra\n \n \n \n \n \n Scuola del disegno e della pittura in assenza di talento\, Casa Morra\, 2018 Cesare Pietroiusti © photo Jacopo Seri Courtesy Fondazione Morra\n \n \n \n \n \n Scuola del disegno e della pittura in assenza di talento\, Casa Morra\, 2018 Cesare Pietroiusti © photo Jacopo Seri Courtesy Fondazione Morra\n \n \n\n  URL:https://www.fondazionemorra.org/en/evento/cesare-pietroiusti-scuola-del-disegno-e-della-pittura-in-assenza-di-talento/ 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/Cesare-Pietroiusti_ph-Ivo_Corra_2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180331T180000 DTEND;TZID=Europe/Rome:20180331T230000 DTSTAMP:20260602T215530 CREATED:20201116T145448Z LAST-MODIFIED:20210304T134342Z UID:4478-1522519200-1522537200@www.fondazionemorra.org SUMMARY:La Digestion - musica ascoltata raramente II Edizione DESCRIPTION:March 31st\, 2018\nh. 6:00 p.m.\nCimitero delle Fontanelle\nVia Fontanelle\, 80 – Napoli \nInstallation/performance by Rie Nakajima & Pierre Berthet [JP/BE] \nh. 9:00 p.m.\nChiesa di San Giuseppe delle Scalze\nSalita Pontecorvo\, 65 – Napoli \nMinor Tom (MichałLibera\, Hilary Jeffery\, Gianpaolo Peres) [PL/UK/IT] play Ted Hughes’ Snow\nDavid Toop [UK] \nContinue the journey through the most evocative places of the city of Naples for the fourth appointment of La Digestion – musica ascoltata raramente\, festival dedicated to the innovative languages ​​of contemporary sound art\, and realized by the synergy between the Phonurgia association\, the Morra Foundation and the EM Arts cultural association.\nThe day of March 31 will feature a double musical event that will animate\, in the afternoon\, the magical Cimitero delle Fontanelle\, in the Sanità district\, and in the evening the beautiful Church of San Giuseppe delle Scalze\, in Montesanto\, with the unmissable concert of David Toop\, member of the legendary Flying Lizards\, milestone of the most creative and eclectic European new wave\, and now a refined experimenter and sound theorist.\nThe “thread” of this imaginary and real journey will be the “sound objects”. Mysterious and organic objects used by Rye Nakajima and Pierre Berthet that\, between the tunnels and bones of the Cimitero delle Fontanelle\, will play Dead Plants / Living Objects\, sound installation and performance in which\, in between vibrations and evocations\, inorganic matter comes to life through the sound. In the evening will be the everyday objects to enliven the Chiesa delle Scalze\, transforming\, in the expert hands of David Toop\, into original and polysemic electroacoustic sound sources. The English master\, already partner of Brian Eno and collaborator of the biggest names of improvisation\, from Derek Bailey to Evan Parker\, from Hugh Davies to John Zorn\, has developed\, during his forty years of career\, a poetic and deep musical language\, made of found objects\, small instruments\, field recordings and transverse flute\, to transform listening into an event of inner discovery. Finally\, objects of a memory not too distant but full of nostalgia\, those of rural Calabria\, will be evoked by the words of the English poet Ted Hughes\, translated in music by the trio Minor Tom. The poetry “Snow”\, inspired by the songs of the swordfishermen documented by the ethnomusicologist Alan Lomax in 1954\, becomes the material for the composition of a “live” radio drama\, thanks to the work of Polish musician Michał Libera accompanied by trombonist Hilary Jeffery and by vocalist Gianpaolo Peres.\nThree variations of sound poetry\, three unique moments between musicality\, language and gesture\, able to creep in there where listening meets with the thought\, opening up new meanings and intense experiences.\nIt is the will of the festival to inscribe the performative moment in a more complete education and reflection activity\, that leaves lasting traces on the city’s territory. To this end on March 30th the artist David Toop will be protagonist of a live radio conversation (open to the audience) and in the afternoon will lead a workshop dedicated to listening entitled “Listening is Intimacy” at Casa Morra. The workshop\, whose cost is 10 euros\, is open to musicians of any instrument and level. For information and reservations: info.phonurgia@gmail.com\nThe event is organized thanks to the moral patronage of the City of Naples\, which has granted the use of the Fontanelle Cemetery\, and thanks to the collaboration with the Associazione Le Scalze\, which for years has been carrying out the activities of the Church of San Giuseppe delle Scalze in Montesanto. \nDavid Toop [UK]\nDavid Toop (born 1949\, Enfield) has been developing a practice that crosses boundaries of sound\, listening\, music and materials since 1970. This practice encompasses improvised music performance\, writing\, electronic sound\, field recording\, exhibition curating\, sound artinstallations and opera. It includes seven acclaimed books\, including Rap Attack (1984)\, Ocean of Sound (1995)\, Sinister Resonance (2010) and IntotheMaelstrom (2016)\, the latter a Guardian music book of the year\, shortlisted for the Penderyn Music Book Prize.\nBriefly a member of David Cunningham’s pop project The Flying Lizards in 1979\, he has released thirteen solo albums\, from New and Rediscovered Musical Instruments on Brian Eno’s Obscure label (1975) and Sound Body on David Sylvian’s Samadhisound label (2006) to Entities Inertias Faint Beingson Lawrence English’s ROOM40 (2016). His 1978 Amazonas recordings of Yanomami shamanism and ritual were released on Sub Rosa as Lost Shadows (2016).\nIn the early 1970s he performed with sound poet Bob Cobbing\, butoh dancer Mitsutaka Ishii\, artist Marie Yates\, poet/performer Carlyle Reedy and drummer Paul Burwell\, along with key figures in improvisation\, including Derek Bailey\, Evan Parker\, Georgie Born\, Hugh Davies\, John Stevens\, Lol Coxhill\, Frank Perry and John Zorn.In recent years he has returned to collaborative performance\, working with many artists and musicians including Rie Nakajima\, Akio Suzuki\, Aki Onda\, Max Eastley\, Tania Chen\, John Butcher\, Ken Ikeda\, Elaine Mitchener\, Henry Grimes\, Sharon Gal\, Camille Norment\, Sidsel Endresen\, Alasdair Roberts\, Thurston Moore\, Extended Organ (with Paul Mc Carthy and Tom Recchion) and a revived Alterations\, the iconoclastic improvising quartet with Steve Beresford\, Peter Cusack and Terry Day first formed in 1977. He has also made many collaborative records\, including Buried Dreams and Doll Creature with Max Eastley\, Breath Taking with Akio Suzuki\, Skin Tones with Ken Ikeda and co-productions (with Steve Beresford) for Frank Chickens\, the 49 Americans and Ivor Cutler.\nMajor sound art exhibitions he has curated include Sonic Boom at the Hayward Gallery\, London (2000) and Playing John Cage at the Arnolfini Gallery\, Bristol (2005-6). In 2008\, a DVD of the Belgian film – I Never Promised You a Rose Garden: A Portrait of David Toop Through His Records Collection – was released by Sub Rosa\, and in 2017 his autobiography – Flutter Echo: Living Within Sound – was published by Du Books in Japan. His most recent record release is Dirty Songs Play Dirty Songs\, released on Audika in October 2017.\nHe is currently Professor of Audio Culture and Improvisation at London College of Communication.\nhttps://davidtoopblog.com/\n \n  \nHilary Jeffery\, trombone\nGianpaolo Peres\, voice\nMichal Libera\, concept\, reading\nThe piece is a musical setting for Ted Hughes’ “Snow”. It is based on a single swordfisherman’s call of Vincenzo Puntillo recorded in 1954 by Alan Lomax in Scila (Calabria). I too don’t fully understand the connection.\nMichal Libera is a music curator and dramatist working on sound settings for more or less literary stories. Hilary Jeffery and Gianpaolo Peres started working together on Minor Tom in January 2016 in the wake of David Bowie’s departure. Their music plumbs the depths of blues and treads the lesser known path of dhrupad in a futuristic synthetic setting. Together with Michal Libera they have developed a new performance “Snow” for the occasion of  La Digestion Festival in Chiesa delle Scalze on 31 March 2018\, which will be their stage debut. Further performances as well as a release on Silent Records are planned for the near future.\nhttps://soundcloud.com/michal_libera\n \n  \nPierre Berthet & Rye Nakajima [BE/JP]\nArtists that move on the border between music\, installation and performance; their work will be organically implanted in the fascinating setting of the Fontanelle Cemetery\, in a game of resonance\, vibrations and evocations. Their project with the evocative title “Plantesmortes set objects vivants” is an attempt to relate to the soul of things by listening to their sound. Their work has been presented in festivals\, museums and art places all over the world.\nhttp://pierre.berthet.be URL:https://www.fondazionemorra.org/en/evento/la-digestion-musica-ascoltata-raramente-ii-edizione-2/ LOCATION:Chiesa San Giuseppe delle Scalze\, Salita Pontecorvo\, 65\, Napoli\, Italia CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/LA-DIGESTION-31-MARZO-2018-POSTER.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180301T183000 DTEND;TZID=Europe/Rome:20180330T183000 DTSTAMP:20260602T215530 CREATED:20210304T145251Z LAST-MODIFIED:20210304T145456Z UID:5572-1519929000-1522434600@www.fondazionemorra.org SUMMARY:The Yellow Truck DESCRIPTION:1st march – 30th march 2018\nOPENING 1st MARCH 6:30 p.m.\nArchivi Mario Franco c/o Casa Morra Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nCurated by Chiara Reale \nThe Yellow Truck\, a photographic exhibition by Robert Herman\, curated by Chiara Reale\, opens on Thursday 1st March 2018\, at 6:30pm\, at Casa Morra – Archivi Mario Franco together with the new film festival curated by Mario Franco entitled ‘Il Cinema allo Specchio’ focusing on ‘film talking about film’. \nRobert Herman is one of New York’s most important contemporary street photographers\, with photographs and publications on show in numerous key American and European art galleries. \nThis totally new exhibition\, ‘The Yellow Truck’\, brings together 20 photographs narrating the production phases of ‘Vigilante’\, a B Movie set and produced in New York in the 1980s. The shots on show in the exhibition are dedicated to the many professionals who work hard to ensure that the machine of cinema keeps rolling; people who never come to the fore but always\, and inevitably\, remain but rapidly scrolling names among the credits. \nThe short film ‘Story for Lisa’ 2 (USA\, 1979\, 16mm Colour/Black and White\, 14 mins)\, written and directed by the artist\, helps the viewer enter Herman’s world and gain a better understanding of what he means by ‘film making’. \nAs the curator of the exhibition\, Chiara Reale\, explains: ‘the narrative characteristics of Robert Herman’s photography are very close to those of the language of film\, a language that the artist began to learn from an early age. Herman grew up in Brooklyn amid the dusty armchairs and the smell of celluloid in his father’s small arthouse cinema where he began his education by watching the films of Antonioni\, Fellini\, and Rafelson. He enriched and later consolidated his studies at the New York University Film School\, where his experience would have a decisive impact on the development of his aesthetic code\, discernible in his photography to the present day. \nIn ‘The Yellow Van’\, the indissoluble link between cinema and the artist’s photography is addressed openly\, revealing the points of tension and the raw nerves in this relationship. The exhibition consists of shots taken by Robert Herman\, a street photographer who lives and works in New York\, during the production of Vigilante\, a B movie for which not all the people involved would end up being paid\, with backstage shots and stills that tell the story of an almost atavistic love for a world that was\, to cite Herman himself\, his ‘life and salvation\, with all its distortions’. \nHis goal to reveal the darker sides of the film ‘establishment’ is set in motion at the ‘Il Cinema allo Specchio’ film festival: 14 films will be screened every Wednesday and Thursday evening from March 1st to April 26th  starting on March 1st after the opening of the exhibition with Wim Wenders’ ‘Alice in the Cities’. Entry to the Archives and screenings is free and open until all places are taken. \nThe curator of the exhibition\, Mario Franco\, explains that the ‘so-called “metacinema” is cinema that shows and talks about itself and describes how its organisation\, the production processes\, and the economics of film actually work; it recounts the evolution of its history. It is a type of cinema that\, in appearance\, decides to uncover the deception\, to reveal the trick\, behind every film. Of course\, many great filmmakers have reflected on their work\, on beauty\, but also on the compromises and existential crises of their work. (Godard with Contempt\, Fellini with 81/2\, Truffaut with Day for Night). \nFilms set in the world of cinema also include works dedicated to its rudimentary beginnings as an industry (Nickelodeon) or those set in the Hollywood of the late 1920s\, when the first talkies came out\, and silent actors feared for their careers in one of the most significant moments in the history of film production\, at a time when expressive gesture was becoming obsolete in the face of the possibilities offered by sound. It is interesting to note how Singing in the rain (1952) exploits the potential of sound and Technicolor\, while The Artist resurrects black and white for a silent film that focuses entirely on the soundtrack\, even in 2011. But in homage to Herman’s photographs documenting a B movie whose workers and actors went unpaid\, and that was interrupted due to production problems\, here is a film\, The state of things\, where Wenders tells a similar story\, or Burton’s Ed Wood\, that tells the story of the strange career of the ‘worst director in the history of cinema’\, a grotesque hymn in praise of ugliness that invites us to reflect on film genres and sexual ambiguity and to abandon any prejudice as we ask ourselves what can legitimately be defined ‘art’. Another film dedicated to Robert Herman\, raised in the cinema run by his father\, is The last picture show by Peter Bogdanovich\, a young critic in the 1970s in love with the cinema and its legendary characters. It is also dedicated to the city of New York to which Herman devoted much of his photographic work. \nIn the tradition of our Archives\, which have the habit of showing films that are difficult to see elsewhere\, we will also show a hitherto unseen image of New York in a performance by Steve Reich\, a homage to its streets and the sounds of the Big Apple. Reich is one of the fathers of minimalism\, winner of the 2009 Pulitzer Prize and the 2014 Golden Lion at the Venice Music Biennale. Reich dedicates his music to Manhattan and then leads us to the rehearsals and finally to the theatre performance. This too is a metalinguistic discourse\, focused on the very act of composing: an ‘emotional’ point of view that ‘shows itself showing’ and ‘looks at itself looking’. Self-reflection\, that may be summarised in the idea that creation can question itself on the very nature of the creative act\, is typical of modernity\, perceived as an integral part of producing meaning in literature\, theatre\, painting\, and cinema. URL:https://www.fondazionemorra.org/en/evento/the-yellow-truck/ 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/invito-conferenza-stampa.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180203T210000 DTEND;TZID=Europe/Rome:20180203T230000 DTSTAMP:20260602T215530 CREATED:20201216T183003Z LAST-MODIFIED:20201216T183814Z UID:4495-1517691600-1517698800@www.fondazionemorra.org SUMMARY:La Digestion - musica ascoltata raramente II Edizione DESCRIPTION:February 3rd\, 2018\nSTART h. 9:00 p.m.\nCasa Morra Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nOtomo Yoshihide [JP] and Elio Martusciello [IT] \nAt 6:00 p.m. conversation with Prof. Carlo Serra (Università della Calabria) \nContinues the second edition of “La Digesiton – musica ascoltata raramente”\, a festival that explores the most innovative languages ​​of contemporary sound art\, result of the synergy betweenthe Phonurgia and EM-Arts associations and the Fondazione Morra.\nThe event of February 3 will constitute the attempt to establish a new format\, in which the musical moment will be accompanied by a theoretical one\, in the will to think of sound as a fundamental instrument of individual and social construction.\nThe protagonists of the day will be the performer Otomo Yoshihide\, the master Elio Martusciello and the philosopher of music Carlo Serra.\nThe afternoon conversation with the latter will be a reflection on the centrality of listening in the processes of contemporary subjectivation\, an argument that feeds on the practices of the two musicians who will perform in the evening in the splendid setting of Casa Morra.\nYoshihide explores the dimension of the production and transformation of live sound\, through the use of hacked and “played” turntables in an unconventional manner\, taking the risks of creating a sound whose nature is unpredictable\, Martusciello focuses on the relationship of sound with space\, time and the individual. As Martusciello himself explains: «To develop listening means to question oneself\, to deconstruct one’s listening perspective\, to widen one’s space-time horizon. The ear is configured as the sense of hospitality and acceptance\, an instrument of openness and transcendence ». Here is the practice of improvisation with its social implications\, its ability to produce community connects and participates in the philosophy of hospitality.\nTo think of sound as something not given\, but to create and discover continuously in community and which suggests union\, ultimately means thinking of oneself as essentially “in relation”. \nOtomo Yoshihide [Japan]\, one of the most important living improvisors\, collaborator among others of Luc Ferrari\, JimO’Rourke\, ButchMorris\, Ryuichi Sakamoto\, founder of the seminar projects of the 90s Ground Zero and ISO and the ONJO (Otomo New Jazz Orchestra) . He uses turntables as the main tools to eclipse sound materials in an eclectic and ultra-dynamic way\, as well as to produce sounds in an unconventional way. Taking advantage not only of vinyls\, but also of metal objects\, spring systems\, electrical short-circuits and feedback\, Otomo operates a detournement of the sound device that allows him to produce live manipulations\, montages\, cut-ups typical of concrete studio music ; an operation of hacking not only towards the instruments but towards the sound itself\, freed from the cages of the form and exploded in a thousand directions.\nAlso active as a composer of soundtracks and experimenter at 360 degrees\, his voice is unique in the international music scene\, capable of revolutionizing both concrete and electro-acoustic music\, as well as improvisation and free-jazz; among the initiators of the legendary Japanese noise movement\, it is also in that context a unique example of contamination between visceralness\, research\, extremism and elegance. \nLuc Ferrari said of him: “Finally\, men like Otomo Yoshihide … when I heard him the first time\, he was making music that was concrete\, but in real-time. – what we were doing in the studios 50 years ago “.\nhttp://otomoyoshihide.com/en/\n \n \nElio Martusciello (Napoli\, 1959) is a musician\, composer and teacher of electronic and electroacoustic music. Considered among the greatest Italian exponents of experimental music\, for years he has been directing his research to a careful analysis of sound and its relations with space\, time and the individual. He teaches electronic music at the San Pietro a Majella Conservatory of Naples.\nHe has presented works at GRM (Paris)\, at Synthèse (Bourges)\, at Henie Onstad Arts Center (Oslo)\, at PAN aroma (São Paolo do Brasil) and has collaborated with experimental musicians and composers such as: Alvin Curran\, Thomas Lehn\, Jerome Noetinger and various others.\n \nCarlo Serra (Milano\, 1959) Researcher at the University of Calabria\, where he teaches Aesthetics and Philosophy of Music\, he graduated in philosophy on the relationship of Giovanni Piana with a thesis on The conception of musical space in the thought of Jacques Chailley. From the year 2001 to the year 2008 he was Coordinator of the Permanent Seminar of Philosophy of Music. Also until 2008 he was the director of the series “Il Dodecaedro”\, with Giovanni Piana\, Paolo Spinicci and Elio Franzini. URL:https://www.fondazionemorra.org/en/evento/la-digestion-musica-ascoltata-raramente-ii-edizione-4/ LOCATION: Salita S. Raffaele\, 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/3-Febbraio-2018-otomo_hi.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20171129T190000 DTEND;TZID=Europe/Rome:20180222T190000 DTSTAMP:20260602T215530 CREATED:20201117T114521Z LAST-MODIFIED:20210223T141315Z UID:4481-1511982000-1519326000@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - ANAMORPHOSIS\, CONTAMINATIONS\, BETRAYALS DESCRIPTION:November 29th\, 2017 – February 22nd\, 2018\nSTARTS PROJECTIONS 7:00 p.m.\nArchivi Mario Franco c/o Casa Morra Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nFilm has always formed its language through a process of interrelationships with literature and pre-existing theatrical\, musical\, and pictorial forms in original and innovative ways. ‘Contamination’ between different expressive spheres must not allow us to forget that a film should be considered as a work in itself\, moving beyond the concept of ‘fidelity’ or ‘betrayal’ of the original work. Rather\, we can speak of an anamorphosis\, a distortion of perspective that modifies and allows a warped vision but brings innovative and often illuminating perceptions. (Like the new reading\, for example\, of Cortàzar’s story in Antonioni’s vision in Blow Up). Anamorphosis\, then\, is a conjugation of perspectives\, an exploration of semantics\, like Epstein’s film versions of Poe’s short stories\, the alleged duel between Mozart and Salieri as presented in Forman’s film\, Welles’ dizzying Baroque in Kafka’s ‘The Trial’\, etc….. \nDownload the program URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-anamorphosis-contaminations-betrayals/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/07/foto1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20171124T210000 DTEND;TZID=Europe/Rome:20171124T230000 DTSTAMP:20260602T215530 CREATED:20201117T105336Z LAST-MODIFIED:20201216T184942Z UID:4499-1511557200-1511564400@www.fondazionemorra.org SUMMARY:La Digestion - musica ascoltata raramente II Edizione DESCRIPTION:November 24th\, 2017\nOPENING DOORS AT 8:00 p.m. STARTING AT 9:00 p.m.\nChiesa di San Giuseppe alle Scalze\nSalita Pontecorvo 65\, Napoli \nFrancisco Meirino [CH] + Kanaka [IT] \nLa Digestion- musica ascoltata raramente is pleased to announce the opening of the second season\, after the first year’s success characterised by innovation and experimentation. The festival\, a result of the synergy between the cultural no profit associations Phonurgia and E-M Arts and the Fondazione Morra\, gives attention to the most innovative languages of contemporary sound art focusing\, for this edition\, on the relation amid sound and space. During the six events of the festival\, that occur between November 2017 and June 2018\, some Neapolitan locations\, among the oldest\, hidden and unconventional places\, will be rediscovered and reinterpreted through the sound-works of international artists\, thus becoming a performing scene to establish contact with the local and the international music culture\, between listeners and architectural environments. \nFrom the psycho-acoustics by Florian Hecker to the sound sculpture by Thomas Koner\, from OtomoYoshihide’s detournement of turntables to electroacoustics objects by David Toop\, and to audio environment/performance by Pierre Berthet and Rye Nakajima planned in the mysterious Cimitero delle Fontanelle\, La Digestion second edition takes a course in the contemporary experimentation by exploring the power of sound\, that becomes concrete\, physical and sensitive. Significant for the incisiveness of the festival\, for the willingness to establish solid relations with the city’s cultural life\, is the patronage granted by the Comune di Napoli\, as well as the partnership with the Goethe Institut and with the Pro Helvetia Swiss Foundation for culture. \nAfter the incredible preview by master William Basinski in the reopened Chiesa di San Potito\, the official launch of the second exciting edition is Friday\, November 24th with the powerful electronic textures by swiss musician Francisco Meirino and the futuristic audio-video by italian Kanaka\, set in the suggestive Chiesa San Giuseppe alleScalze in Montesanto district\, thanks to the collaboration of Associazione Le Scalze. \nA video-mapping work and an immersive sound landscape by Kanaka group revive the wonderful architecture of the church\, and to follow Francisco Meirino proposes a powerful and dynamic quadriphonic live set that combines sound impact and incredible richness of detail. \nThe poetry of the swiss composer is\, in fact\, absolutely original: particularly concerned with the malfunctions of electronic equipment\, Meirino operates a special recording and composition work of the sounds generated by these desuete machines\, highlighting the collapse of a world only apparently dominated by technological efficiency. Thanks to its originality and its incredible handling and composition of the most diverse soundtracks\, Francisco Meirino is one of the most important sound artists of the experimental music landscape\, appreciated in festivals all over the world. \nLa Digestion second edition has among its many aims the dedication to offer the public the opportunity to approach a kind of music rarely heard\, and not only through performance evenings but also through meetings devoted to engaged listening and conferences with theorists and specialists of this language. Artists in mini-residence have also the chance to wander among the historic stones of Naples\, in order to familiarize with the Neapolitan structures and\, thus\, create a specific setting for audio performance. Workshops\, labos and radio interviews will also be elements of a one-year work that aims to mark new pathways into city’s cultural life.\nThis innovative and multidisciplinary format would offer unique sound experiences\, plunging into a search for a “concrete music” that\, recognised in international context\, has trouble to establish itself in the city. The invitation is to tune into a music to be heard with body and mind\, a music to be entertained with astonishment\, a music to be digested URL:https://www.fondazionemorra.org/en/evento/la-digestion-musica-ascoltata-raramente-ii-edizione-3/ LOCATION:Chiesa San Giuseppe delle Scalze\, Salita Pontecorvo\, 65\, Napoli\, Italia CATEGORIES:Casa Morra,Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/24-11-2017-la-digestion_LOCANDINA-MEIRINO-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20171014T190000 DTEND;TZID=Europe/Rome:20171123T190000 DTSTAMP:20260602T215530 CREATED:20201117T120302Z LAST-MODIFIED:20210223T141245Z UID:4503-1508007600-1511463600@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Sogni Incubi Deliri DESCRIPTION:October 14th – November 23rd\, 2017\nSCREENINGS START AT 7:00 p.m.\nArchivio Mario Franco c/o Casa Morra Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Naples \nFondazione Donnaregina per le arti contemporanee\, as part of PROGETTO XXI (ed.2017\, realized within the framework of the project Itinerari del Contemporaneo – Confronti\, promoted and financed by Regione Campania) presents SOGNI INCUBI DELIRI\, the first film review from the Mario Franco Archives\, curated by Mario Franco\, and realized in collaboration with Fondazione Morra\, at the headquarters of Casa Morra – Archivio D’Arte Contemporanea in salita San Raffaele 20 c\, Naples. URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-sogni-incubi-deliri/ 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/Sogni-Incubi-Deliri-Rassegna-Cinematografica_-Archivi-Mario-Franco-L-age-d-or.jpg END:VEVENT END:VCALENDAR