BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Fondazione Morra - ECPv6.15.20//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Fondazione Morra X-ORIGINAL-URL:https://www.fondazionemorra.org/en/ X-WR-CALDESC:Events for Fondazione Morra REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:Europe/Rome BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20190331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20191027T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20200329T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20201025T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20210328T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20211031T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20220327T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20221030T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20230326T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20231029T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20240331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20241027T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20250330T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20251026T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20260329T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20261025T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20270328T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20271031T010000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20260418T100000 DTEND;TZID=Europe/Rome:20260418T210000 DTSTAMP:20260513T012408 CREATED:20260409T131531Z LAST-MODIFIED:20260409T131531Z UID:15291-1776506400-1776546000@www.fondazionemorra.org SUMMARY:INSIDE THE ACT OF SEEING DESCRIPTION:INSIDE THE ACT OF SEEING:\nA FOCUS ON LARGE FORMAT PHOTOGRAPHY\nwith Alys Tomlinson \n18 April 2026\nLaboratorio Diorama / Museo Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nh 10 am – 6 pm workshop\ninfo and submissions: info.laboratoriodiorama@gmail.com\n(max. 10 participants)\nThe workshop will be held in English \nh 7 – 9 pm screening of the documentary Mother Vera\nfree entry with limited capacity \nOn April 18th Laboratorio Diorama will host an exclusive\, one-day intensive workshop led by award-winning photographer Alys Tomlinson. This session is a deep dive into the meditative and rigorous world of large-format photography. Participants will explore the entire creative process with the artist during a portrait session — from the initial composition to the technical precision required for the final shot. \nWorkshop will be held in English and divided into two moments: Alys will open the day by sharing her professional experience and the process behind her projects. This session offers a unique insight into how she identifies themes\, develops long-term series\, and maintains a distinct visual voice. During the second part of the day participants will have the opportunity to be guided by the artist in the making of a large-format shoot. Following the session\, the photographs taken will be developed in the darkroom. \nFrom 7 pm the documentary Mother Vera (2024) directed by Alys Tomlinson with Cécile Embleton will be projected in the Capriata Room of Museo Nitsch. \nHow to Join \nThis is an intimate learning experience with a maximum of 10 participants.\nParticipation fee: 50€\nFor detailed information and submissions\, please contact:\n📧 info.laboratoriodiorama@gmail.com \nWorkshop Schedule\n10 AM – 12 PM: welcome\, artist talk (with visuals) + Q&A\n12 – 1 PM: break for lunch (packed lunch)\n1PM – 5 PM: large format practical workshop (with focus on portraiture)\n5 PM – 6 PM: developing negatives in the darkroom \nSpecial Evening Screening\nFollowing the workshop\, we invite you to a special screening of the film “Mother Vera”.\nTime: 7 PM – 9:00 PM\nAccess: Free entry (limited capacity). \nAlys Tomlinson is a photographic artist based in London. She works mostly in black and white analogue on a large format camera\, exploring themes of faith\, ritual and identity.\nAlys grew up in Brighton and studied English Literature and Communications at the University of Leeds. After graduating\, she moved to New York for a year and was given her first commission for Time Out\, before returning to London to study photography at Central Saint Martins College of Art and Design. She later completed an MA in Anthropology of Travel\, Tourism and Pilgrimage (Distinction) at SOAS\, University of London\, which tied in with her long-term\, personal project about pilgrimage.\nHer book Ex-Voto was published by GOST Books in 2019 and Lost Summer was self-published in 2020. Alys recently finished work on a feature-length documentary film Mother Vera co-directed with Cécile Embleton. Her latest project Gli Isolani (The Islanders) was published by GOST Books in 2022. She combines commissioned work for editorial\, design and advertising clients with personal work\, which she publishes and exhibits.\nAlys’s work is collected privately and is in the following collections: National Portrait Gallery (London)\, The Rencontres d’Arles Collection\, The Bodleian Library\, AmberSide Collection. \nMother Vera (2024)\, 91 minutes\, black and white\, co-directed with Cécile Embleton.\nIn the striking silence of an Orthodox monastery in Belarus\, a nun walks quickly toward the place of prayer. Hidden in the folds of her black habit\, she kneels and lets out a deep breath\, opening the story of an unexpected path—where coming to terms with a dark past turns into a search for her own identity.\nCécile Embleton and Alys Tomlinson follow her with a quiet\, attentive gaze\, observing her daily life and slowly revealing the more intimate and hidden parts of her story.\nShot in refined black and white\, with a precise and balanced form\, Mother Vera traces a unique and unexpected female portrait\, touching on universal themes of redemption and the search for freedom. URL:https://www.fondazionemorra.org/en/evento/inside-the-act-of-seeing/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2026/04/ws-alys-tomlinson.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20251128T190000 DTEND;TZID=Europe/Rome:20251128T230000 DTSTAMP:20260513T012408 CREATED:20251118T103909Z LAST-MODIFIED:20251118T103909Z UID:14431-1764356400-1764370800@www.fondazionemorra.org SUMMARY:ARTAUD chez NITSCH DESCRIPTION:ARTAUD chez NITSCH\nwith Gérard Pape \nFriday 28th November 2025\nMuseo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, 80135 Napoli \nat 7:00pm\n“Action Music Theater Today: Artaud chez Nitsch“\nGérard Pape in conversation with Leopoldo Siano \nat 8:00pm\nARTAUD LE MÔMO (2020-2025)\nworld premier \ntext by Antonin Artaud\nperformance by Gérard Pape (voice\, sounds\, actions) \nRitual acts of speech and sound for electro-fried voice\, lightly tortured double bass\, and freshly frozen eight channel sounds \nfree entrance with limited capacity \nGerard Pape (born in New York in 1955 into an Italian-American family from Sala Consilina) is a \ncomposer and Lacanian psychoanalyst. He has lived in Paris since 1991. He was director of the Ateliers UPIC/ CCMIX (Centre de Création Musical Iannis Xenakis) from 1991 to 2007\, a computer music center founded by the composer-architect Iannis Xenakis. In 2008 he founded and is the director of CLSI (Circle for the Liberation of Sound and Image) in Paris\, which is an ensemble of computers and acoustical instruments that also produces concerts and festivals. Desire\, excess\, the body and jouissance have long been central to his research on new forms of opera/music theater. \nHe is author of books as MusiPoeSci. Writings about music\, edited by Leopoldo Siano (Éditions Michel De Maule 2015) and Iannis Xenakis and the Ethics of Absolute Originality (Uteurp 2023). Since 2000\, Gérard Pape has composed several works inspired by Antonin Artaud’s concept of total theater or ‘theater of cruelty‘\, including the opera Les Cenci (2000-2005)\, Artaud Variations (2022-2025) and Artaud le Mômo (2020-2025). The conversation and concert on November 28th at the Museo Hermann Nitsch in Naples will be dedicated to an imaginary encounter between Artaud and Nitsch. (Hermann Nitsch considered Artaud a sort of ‘spiritual brother‘.) The program includes the world premiere of the new version of Artaud le Mômo\, a music theater piece based on Antonin Artaud‘s text of the same name\, which features “ritual acts of speech and sound for electro-fried voice\, lightly tortured double bass\, and freshly frozen eight channel sounds“. URL:https://www.fondazionemorra.org/en/evento/artaud-chez-nitsch/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2025/11/artaud_nitsch.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20250925T183000 DTEND;TZID=Europe/Rome:20260117T140000 DTSTAMP:20260513T012408 CREATED:20250924T095724Z LAST-MODIFIED:20251203T143139Z UID:14322-1758825000-1768658400@www.fondazionemorra.org SUMMARY:Les donnés mon alchive - LO SCRIPTORIUM DELL’ADEPTO DESCRIPTION:Les donnés mon alchive\nLO SCRIPTORIUM DELL’ADEPTO\n(Eau et Gaz)\nby Luca Maria Patella e Rosa Foschi \nRe-opening of the environment\ncurated by Raffaella Morra · Loredana Troise · Diana del Franco \nfrom Thursday 25 September at 6:30pm to Saturday 8 November 2025\nExtended to Sturday 17 January 2026 \nBiblioteca per le Arti Contemporanee Fondazione Morra\nVico Lungo Pontecorvo 29/d -80135 Naples \nwith a collective poetry workshop by Francesca Boemia Stefanelli\nSaturday 4 October 2025 from 10:00am to 1:00pm and from 3:00pm to 6:00pm\nFor info and registration (free) biblioteca@fondazionemorra.org \nThis Project has benefited from the Contribution of the Regione Campania in support of interventions and activities aimed for the development\, promotion and enhancement of local interest’s Libraries. Financial year 2025 \nIn 2013\, Luca Maria Patella and Rosa Foschi designed Les donnés mon alchive Lo Scriptorium dell’Adepto\, an environment at the Biblioteca per le Arti Contemporanee Fondazione Morra\, meticulously conceived as “psychological-work ‘in action’ “\, set up according to Duchampian conceptual rhythms that are able to expand connections by supporting the layers of Culture involved in the dense linguistic-visual machinery. \nToday\, it reopens to scholars and visitors\, among correspondence\, volumes\, menabò\, book-objects\, magazines\, gazzette\, the signs of a versatile poetics mediated through engravings\, films\, installations\, monumental works\, photographs\, literary texts\, videos and visual poems. \nLes donnés mon alchive lo Scriptorium dell’Adepto\, accessible through microscopic openings (fish eye)\, is a secret and precious Wunderkammer around which the curators\, to celebrate its restoration\, have created delicate atmospheres inspired by the four volumes published by Edizioni Morra\, Io son Dolce Sirena (poems from 2000 and 2002)\, Romanzo ferroviario (1974-2003)\, Patella Ressemble à Patella (2007)\, Dichiarazioni Noètiche +Imàgines and Romanzino of the volume Stazione di Vita (2003-2011)\, following their traces\, linked by a chromatic reference\, attributable to Lüscher’s theory of Psychic Colors and Jung’s four psychological functions\, also used for the Porta dei 4 Colori (Door of  the 4 Colors) that marks the entrance to the Scriptorium. \nIt will be possible to consult the L. M. R. Patella Fondo of the Fondazione Morra which consists of approximately 1.320 bibliographic units. \nhttps://lucapatella.altervista.org/ \nhttps://www.fondazionemorra.org/it/archivi/luca-maria-patella URL:https://www.fondazionemorra.org/en/evento/les-donnes-mon-alchive-lo-scriptorium-delladepto/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2025/09/patella_2025.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20250911T180000 DTEND;TZID=Europe/Rome:20260117T140000 DTSTAMP:20260513T012408 CREATED:20251130T111231Z LAST-MODIFIED:20251130T111338Z UID:14473-1757613600-1768658400@www.fondazionemorra.org SUMMARY:Shards of Brightness Independent Film Show DESCRIPTION:SHARDS OF BRIGHTNESS INDEPENDENT FILM SHOW\nphotographs by BIAGIO IPPOLITO and video documents by ANDREA DE CUNZO LAMENDOLA \ncurated by Raffaella Morra and Loredana Troise\nTemporary gallery of the Museo Hermann Nitsch\nThursday\, September 11\, 2025 – Saturday\, November 8\, 2025 \nEXTENDED to Saturday 17 January 2026 \nShards of Brightness Independent Film Show\, curated by Raffaella Morra and Loredana Troise\, is a project designed to update memories through the photographs of Biagio Ippolito and the video documents of Andrea De Cunzo Lamendola extracted from the editions of the INDEPENDENT FILM SHOW. A very careful selection from an unusual and exclusive archive of about two thousand photographs by Biagio Ippolito: they are poetic shots taken by adjusting the shutter speed to fractions of a second to fix a unique moment\, such as the filmmaker’s particular gestures as he brushes against the film\, the projectionist behind the 16mm projectors\, the colors of the sunset and Vesuvius. The individual photos and the large canvases of the photographic sequences involve the visitor in a process of deciphering and recognition; those who participated in previous editions can activate their synapses and return to memories and sensations\, while those who did not directly experience those emotions can view Andrea De Cunzo Lamendola’s video documents. From 2012 to 2015\, with a determined and courteous approach\, Andrea De Cunzo Lamendola filmed while camouflaged among the audience\, and then masterfully edited the expanded cinema performances by Karel Doing\, Sally Golding\, Les Nominoë\, Katherine Liberovskaya and Phill Niblock\, Lynn Loo & Guy Sherwin\, Lionel Palun\, Greg Pope and SULT\, Gaëlle Rouard\, Spatial (Matt Spendlove). \nBiagio Ippolito’s photographs evoke research\, movement\, and harmonious excursion of an intense and unprecedented photographic voyage that traces the temporal parabola of the INDEPENDENT FILM SHOW. Structured according to a long-meditated exhibition itinerary\, the planimetric design created with the videos by Andrea De Cunzo Lamendola and the photos by Biagio Ippolito combines the dynamic and rhythmic visuality of a perceptive climate made up of chromatic rebounds and collisions. \nThe 19 single photos\, the 3 analog photos and the 10 large canvases with the photographic sequences from the IFS editions\, together with the expanded performances\, make up the unprecedented photographic exhibition by Biagio Ippolito and the video documents by Andrea De Cunzo Lamendola\, connected to an idea of storytelling that is enriched by the narrative intertwining of the extraordinary video documents amid surprising resonances and asynchronous times\,  pointing the way to a nuanced figuration of thought. URL:https://www.fondazionemorra.org/en/evento/shards-of-brightness-independent-film-show/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2025/11/biagio_indep.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20250515T080000 DTEND;TZID=Europe/Rome:20250518T170000 DTSTAMP:20260513T012408 CREATED:20250213T002407Z LAST-MODIFIED:20250429T103518Z UID:13753-1747296000-1747587600@www.fondazionemorra.org SUMMARY:OEDIPUS. THE INSATIABILITY OF BODIES DESCRIPTION:OEDIPAL SCHOOL OF PERFORMING ARTS\nOEDIPUS. THE INSATIABILITY OF BODIES.\nAntonin Artaud | Hermann Nitsch \nWorkshop on performing arts (BODY-ART-SOUND) led by Andrea Cramarossa – Teatro delle Bambole\, intended for performers\, dancers\, musicians\, singers\, directors\, Italian and foreign actors (the hosting will be multilingual). \nFrom 15 to 18 May 2025\nNaples (Nitsch Museum) \nIn the hypothesis of pre-disposition of a creative body\, it is necessary to “make oneself empty”\, clear the field of thoughts\, memories\, pressures. From a perspective of performative creation (mixture of body\, art and sound) the performer’s body becomes a place of myth\, a place where to unravel the narration of an existence that is not only present but past and future at the same time. The space becomes that of Sophocles’ Oedipus; the narration that of his family; from here\, it becomes possible and\, therefore\, an opportunity\, to grasp the presence of a polysemic and polyphonic body\, finally\, multiform\, starting from a genealogy of bodies conceived by Artaud. Dissociating oneself from one’s body\, that is\, making oneself empty\, will become a metaphor for being totally oneself\, within a personal rhythmic incidence and in a mysticism of colors that is the primordial gesture of creation. (Andrea Cramarossa) \nInfo: \nTeatro delle Bambole\ninfo@teatrodellebambole.it\n+39 347 3003359 \nMuseo Hermann Nitsch\ninfo@museonitsch.org\n+39 081 5641655 \nCasa del Contemporaneo\ninfo@casadelcontemporaneo.it\n+39 345 4679142 \nThe workshop on the performing arts is organized by the Morra Foundation – Hermann Nitsch Museum and Teatro delle Bambole in collaboration with Casa del Contemporaneo. URL:https://www.fondazionemorra.org/en/evento/oedipus-the-insatiability-of-bodies/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2025/02/workshop-edipo.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20241107T193000 DTEND;TZID=Europe/Rome:20241107T233000 DTSTAMP:20260513T012408 CREATED:20241103T111848Z LAST-MODIFIED:20241103T111848Z UID:13403-1731007800-1731022200@www.fondazionemorra.org SUMMARY:Homage to Phill Niblock (1933-2024) DESCRIPTION:A HOMAGE TO PHILL NIBLOCK (1933-2024) \nANNA CLEMENTI and KATHERINE LIBEROVSKAYA Zound Delta performance\nDAVIDE AIDEN CAPOBIANCO PN90 (Phill Niblock in 90 notes and facts) performance\nASPEC(T) aka MARIO GABOLA and SEC_ WORK performance \nPHILL NIBLOCK The Movement of People Working China 88 e Vlada BC videoprojection \non Thursday 7 November 2024 at 7:30pm\nfree admission up to the capacity of the hall\nMuseo Hermann Nitsch vico Lungo Pontecorvo 29D Napoli \nPhill Niblock (1933-2024) was an intermedia artist using music\, film\, photography\, video and computers. He was born in Indiana in 1933. Since the mid-60’s he created music and intermedia performances which have been shown at numerous venues around the world. He made thick\, loud drones of music\, filled with microtones of instrumental timbres generating many other tones in the performance space. He said: “What I am doing with my music is to produce something without rhythm or melody\, by using many microtones that cause movements very\, very slowly.” Simultaneously\, he presented films/videos looking at the movement of people working (1973-1991). Since 1985\, he had been the director of the Experimental Intermedia Foundation in New York – where he was an artist/member since 1968. He was the producer of Music and Intermedia presentations at EI since 1973 and the curator of EI’s XI Records label. Phill Niblock’s music is available on the XI\, Moikai\, Mode\, Matiere Memoire\, Room 40\, and Touch labels. DVDs of films and music are available on the Extreme label and Von Archive. He had been Professor of film\, video and photography at The College of Staten Island\, the City University of New York. In 2014\, he was the recipient of the prestigious John Cage Award from the Foundation for Contemporary Arts. \nwww.experimentalintermedia.org \nKatherine Liberovskaya is a Canadian intermedia artist based in NYC. Involved in experimental video since the 80’s\, she has produced numerous single-channel video art pieces\, video installations and video performances\, as well as works in other media\, that have been shown around the world. Since 2001 her work predominantly focuses on the intersection of moving image with sound/music in various both ephemeral and fixed forms (projections\, installations\, performances)\, notably through collaborations with many composers and sound artists in improvised live video+sound concert situations where her live visuals seek to create improvisatory “music” for the eyes. For over 22 years she collaborated with composer/intermedia artist Phill Niblock on various live\, video and installation projects. Other frequent collaborators include Dafna Naphtali\, Keiko Uenishi\, Shelley Hirsch\, Barbara Held\, Mia Zabelka\, Al Margolis (IF\,BWANA)\, David Watson\, among many others. In addition to her art work she curates events in experimental video/film\, sound/music and A/V performance\, notably the yearly Screen Compositions evenings at EI NYC since 2005 and\, since 2006 the OptoSonic Tea salons (co-curated with Ursula Scherrer) in NYC and various nomadic locations in North America and Europe as well as on-line during the Covid pandemic. In 2014 she completed a PhD in art practice entitled “Improvisatory Live Visuals: Playing Images Like a Musical Instrument” at the Université du Québec à Montréal (UQAM). She is currently the artistic director of Experimental Intermedia NYC. \nwww.facebook.com/liberovskaya \nItalian-Swedish singer Anna Clementi grew up in Rome\, where she first studied the flute. There she also completed acting training before moving to Berlin and meeting the composer Dieter Schnebel\, with whom she studied experimental vocal music and experimental music theater at Hochschule der Künste (now UdK Berlin). This resulted in several years of collaboration; for example\, Clementi participated for a long time in the group Die Maulwerker\, founded by Schnebel. She received her first singing lessons in Rome with Michael Aspinall. In Berlin she studied belcanto with Mieko Kanesugi and jazz singing with Kara Johnstad. Anna Clementi sees herself as an “actress of the voice” rather than exclusively as a singer. In this way she also articulates the diversity of her artistic expression\, with which she is always searching for new connections between voice\, gesture\, language\, dance and theater. In Berlin\, for example\, she performed in the group Theater Ikaro and attended various dance schools\, where she dedicated herself to contemporary dance and contact improvisation. Anna Clementi has performed at the most important festivals and has premiered numerous works. Many world premieres have been composed especially for her and some of them have been developed together with her. She has worked with composers such as Laura Bianchini\, Emanuele Casale\, Martin Daske\, Fast Forward\, Jürgen Grözinger\, Michael Hirsch\, Rupert Huber\, Christian Kesten\, Alexander Kolkowski\, Olga Neuwirth\, Phill Niblock\, Daniel Ott\, Josef Anton Riedl\, Rainer Rubbert\, Nicola Sani\, Iris ter Schiphorst\, Dieter Schnebel\, Laurie Schwartz\, Stepha Schweiger\, Charlotte Seither\, Elliott Sharp\, Roberta Vacca and many others. Clementi loves the combination of play\, lightness and irony and is constantly looking for new ways of expression\, which she can unfold with her versatile voice. \nwww.annaclementi.com \nIn 2022-2023 Phill Niblock made Zound Delta for Anna Clementi: a composition for voice and electronics (voice and field recordings) accompanied by Katherine Liberovskaya doing live video was premiered in Berlin in spring 2023. And then a CD was published on Karlrecords and launched again in Berlin in spring 2024 with Anna performing live and Thomas Stern on electronics and a video by Liberovskaya. \nDavide Aiden Capobianco is an Italian composer specializing in contemporary concert music and electroacoustic works for solo performers and ensembles. His compositions explore the human experience\, pushing musical boundaries to create compelling narratives. Since 2022\, he has been a member of the New York Composer Circle (NYCC)\, dividing his time between Italy and the USA. He works on various projects\, including piano tuning\, technician services\, music instruction\, arranging\, orchestrating\, and score engraving. He also assists composers in realizing their visions\, such as supporting Phill Niblock in completing his compositions. \nPN90 (Phill Niblock in 90 notes and facts) is inspired by Phill Niblock’s life and musical legacy\, spanning from his birth in 1933 to his passing in 2024. It blends sound and visual elements to create an immersive experience for the audience. The structure revolves around Phill’s 90 years\, with each oboe note recorded and looped through Max/MSP\, representing a year of his life. As the piece progresses\, these notes accumulate into a wall of sound\, aiming to reach 95dB or beyond\, reflecting Phill’s pioneering approach to music. Projected visuals and text will highlight key moments from Phill’s life\, offering a multi-sensory tribute that deepens understanding of his artistic journey\, with material drawn from *Phill Niblock: Working Title* and *Phill Niblock: Nothing but Working.* To ensure accuracy\, I have collaborated closely with Phill’s partner\, Katherine Liberovskaya\, and his biographer\, Guy De Bièvre\, who authored one of the books. \nhttps://www.davideaiden.com \nMario Gabola and SEC_ aka Aspec(t) can be recognised by their original mix of electro-acoustic improvisation\, powerful and visceral noise\, and power electronics. They have played in Europe\, the US and Russia\, and are also relentless concert organisers in Naples and all over Campania\, which has allowed them to build a wide network of relationships and collaborations. \nSEC_ uses a Revox tape recorder to manipulate and mix different sound sources\, creating live collages. Mario Gabola makes the saxophone interact with acoustic extensions and a self-built photosensitive system\, generating and controlling feedback; the result is an inextricable forest of frenetic sonorities\, rhythmic structures\, explosions of noise and ancestral cries. \nAs a duo\, they have released one LP\, three CDs (two of them in collaboration with Swiss composer/performer Dave Phillips and Polish drummer Andrzej Zaleski)\, several CDr’s and audiocassettes. They also worked with filmmaker 70fps\, and created the music for a super8mm film “Napoli Film” by Finnish Seppo Renvall. Together and separately they have collaborated with musicians Jerome Noetinger\, Dave Phillips\, Arnaud Riviere\, Andy Guhl\, Rudolf Eb.er\, Agostino Di Scipio\, Kamilya Jubran\, Olivier Di Placido\, Scott Sinclair\, Andy Bolus\, Jean Philippe Gross\, C_C and others. \nMario Gabola and SEC_ met Phill Niblock separately on several occasions and then together in 2016 they were guests to play at his loft in New York. Phill Niblock‘s familiar welcome and help were also crucial to the duo's successful US tour that year. \nAspec(t) will perform a live audio tribute to Phill Niblock and his vocation as a connector between communities and generations of musicians\, experimenters and performers from different backgrounds\, before the advent of social-media and after\, without being dazzled by it and always preferring people-to-people contact. \nwww.viande.it/ \nwww.toxorecords.com/aspec(t) URL:https://www.fondazionemorra.org/en/evento/homage-to-phill-niblock-1933-2024/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2024/11/omaggio-niblock.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20241001T190000 DTEND;TZID=Europe/Rome:20250301T180000 DTSTAMP:20260513T012408 CREATED:20241120T101856Z LAST-MODIFIED:20241120T101856Z UID:13450-1727809200-1740852000@www.fondazionemorra.org SUMMARY:Wiener Aktionismus DESCRIPTION:Archivi Casa Morra \nWiener Aktionismus \nCurated by Giuseppe Morra \n1 October 2024 – 1 March 2025 \n3 – D A Y S  R E P E R T O R Y \nFriday 27 September – 7pm – Archivi Casa Morra\ninterventions by Giuseppe Morra\, Julia Moebus-Puck e Leopoldo Siano \nSaturday 28 September – 7pm – Museo Hermann Nitsch\ninterventions by Giuseppe Morra e Leopoldo Siano \nSunday 29 September – 8pm – Vigna San Martino\ninterventions by Giuseppe Morra e Leopoldo Siano \nThree days of events to inaugurate the two-year period 2024-2026 exhibitions at Casa Morra and Museo Hermann Nitsch celebrating the history of Wiener Aktionismus and the 50 years of friendship (1974-2024) between Hermann Nitsch and Giuseppe Morra. \nThe works at Casa Morra testify to the tendencies and poetics of a philosophy without preconceived structures\, with a revolutionary function of life – the psyche and the unconscious\, the mind and the body – and a renewed interest in the primitive\, which is capable of perceiving the human as a temporal fragment of a continuum with the community\, the natural environment\, and the entire universe\, employing rituals and ceremonies such as sacrifices\, initiations\, flaying\, and tattoos\, using the body as a vehicle to connect with that which has existence. The traditional two-dimensionality of the canvas as a support for the medium of painting is surpassed in favour of the physicality of the artist’s body as he paints\, through action; experiences of sensory reality are extended to include objects and pictorial substance that aspire to transcend pictorial abstraction through actions that investigate the possibilities of an active body. \nAs with the poets Friedrich Achleitner\, Konrad Bayer\, Gerhard Rühm\, and Oswald Wiener of the Wiener Gruppe (1952–1964)\, so too with Wiener Aktionismus (Viennese Actionism\, 1960–1970) represented by Günter Brus\, Hermann Nitsch\, Rudolf Schwarzkogler\, and Otto Mühl. Although they had no stylistic manifesto\, their works are connected – through a close reading – to texts and statements expressed in both individual and collective actions\, as well as in paintings\, drawings\, photographs\, and films. These artists responded directly to the academicism\, backwardness\, and closed-mindedness of the official culture prevalent in Austria (and not only in Austria)\, which persisted well beyond the historical period in question. The Viennese Actionists\, each following their own path\, applied the terminology of psychoanalysis to art\, adopting terms such as abolition\, purification\, psychic hygiene\, abreaction\, and catharsis. Self-harm and bodily humiliation became methods of confronting obsessions\, neuroses\, and trauma\, serving as a means of liberation from the supremacy of power and hierarchical structures. \nA history of connections and separations under the cipher of the body\, gesture\, action\, and intellectual commitment\, for a shared experience that springs from the effects\, even beyond the perception of the performative moment\, re-emerging in the memory with photos\, films and videos\, relics\, and objects. From Dadaism to Futurism\, from Surrealism to Duchamp\, from Cage to Klein\, Pollock\, and Shimamoto; from Kaprow\, to Beuys\,… Art has changed\, and the body has become a substantial element of the artistic process in which any ordinary situation can generate a creative event. \nA galaxy whose planets are the artists who\, through their power\, inspire the audience to think\, meditate\, and construct bold ideas for the near future. URL:https://www.fondazionemorra.org/en/evento/wiener-aktionismus/ LOCATION:Casa Morra e Museo Hermann Nitsch\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra,Museo Nitsch,Vigna San Martino ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2024/11/azionismo-viennese-50anni.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20240905T080000 DTEND;TZID=Europe/Rome:20240908T170000 DTSTAMP:20260513T012408 CREATED:20240617T133958Z LAST-MODIFIED:20240617T133958Z UID:13038-1725523200-1725814800@www.fondazionemorra.org SUMMARY:The Inebriation of Being residential workshop DESCRIPTION:THE INEBRIATION OF BEING\nresidential workshop inspired by the three books of the “Feasts” and the “Monastic Rules” by Hermann Nitsch \nheald by theatrum phonosophicum (Leopoldo Siano & Shushan Hyusnunts) \n5th-8th September 2024\, Nitsch Museum\, Naples \nHarmating\, Asolo and Cuma\, written in the 1970s and courageously published (in German) by Peppe Morra in precious editions\, represent a “secret part” of Nitschʼs work. Never translated and little known even in the German-speaking world\, even for connoisseurs of the Viennese masterʼs oeuvre they have always remained on the margins compared to his other scores and theoretical-poetical writings. Harmating\, Asolo and Cuma\, despite their conceptual and utopian dimension\, were conceived by the author to be performed in three specific places (Harmating in Bavaria\, Asolo in Veneto and Cuma in Campania)\, but they remained unrealised. Yet they still are a treasure chest that reveals fundamental and radical aspects of Nitsch’s poetic-philosophical-musical thought. These three books\, together with the Ordensregeln (“Rules of the Order”\, of monastic and anarchist inspiration)\, are the attempt to extend the principles of his Orgien Mysterien Theater to everyday life\, transfiguring the latter into a total work of art. \nIn this four-day theoretical-practical workshop\, Hermann Nitsch’s “philosophy of being” will be explored in depth\, cultivating it practically through a ritual composition of each day with readings\, listening\, meditations\, walks\, contemplative observations of the landscape\, poetic acts that intensify the feeling of being. In the spirit of Hermann Nitsch\, philosophy is understood as a practical technique of being\, and art as an exercise in perception and sensation. \nPurposes\n– to become familiar with the “philosophy of being” and the poetic-musical-contemplative dimension of Hermann Nitschʼs work\n– acquire greater awareness of the space in which everything happens\n– exercise perception through the interaction of all five senses\n– practice deep and prolonged listening as a creative activity\n– open up to “total listening”: to sound and silence\, outside and inside oneself\, to the landscape\n– learn the basic principles of ‘sound actionism’\n– intensify the feeling of being through listening rituals\, poetic acts and walks\n– root yourself in the present\, drinking from its sacred springs \nWho is the workshop for?\nThe residential workshop is intended for Italian and foreign performers\, researchers\, musicians\, dancers\, singers\, directors\, actors\, thinkers. It will be multilingual.\nThe workshop has a limited number of places (numerus clausus).\nParticipants will receive a certificate of participation. \nDates / Place / Timetable / Conditions\nThe workshop will take place from 5 to 8 September in Naples at the Sala Capriata of the Hermann Nitsch Museum (Vico Lungo Pontecorvo 29/d\, https://www.museonitsch.org/en/) at the following times:\nfrom 10am to 1pm and from 4pm to 7pm. \nDepending on the kairós\, morning and night walks in the surrounding area will be possible. \nThe workshop is conceived strictly offline\, there will be no use of telephones or internet connections during the work. \nHow to apply / Deadline\nIt is essential to send your application briefly explaining your background and interests to:\nphonosophianova@gmail.com\nYou can submit your application from 21 June to 15 August 2024. \nCost and registration methods\nThe participation fee is 200.00 euros \nEarly bird price: The participation fee will have a discounted cost of 150.00 euros for those who send their application by 15 July 2024. \nResults of the selection\nSelected participants will be contacted by the organizational secretariat on\n– 22 July 2024 (for applications received before 15 July 2024)\n– 22 August 2024 (for applications received after 15 July 2024) \nRegistration is completed upon receipt of the copy of the bank transfer of the 50% deposit\, within five days following communication of the outcome of the selections.\nAfter this date the candidacy lapses. Please note that the deposit is non-refundable. \nPayment can only be made by bank transfer.\nAll other expenses (travel\, food\, accommodation) have to be covered by the participants. \nTHEATRUM PHONOSOPHICUM\nThe theatrum phonosophicum is the “theater” of phonosophia (understood as “knowledge through sound”)\, a research and life project that encourages the creation of experiential spaces in which ancient knowledge of Tradition is combined with experimental practices (“lecture-performance”\, installations\, sound art\, acousmatics\, deep listening etc.). A knowledge that is therefore not only bookish\, but experienced through all senses. Hence the aspiration to the synthesis of the arts\, to the Gesamtkunstwerk (from ancient Greek theater to Richard Wagner and the avant-gardes). Core of the theatrum phonosophicum is listening\, understood as Seinserfahrung (“experience of being”) and the anthropological engagement with Sound\, with sounds in space\, i.d. with soundscape and acoustic archetypes. \nFor more informations: https://theatrumphonosophicum.art/ \nBIOGRAPHICAL NOTES\nLeopoldo Siano (born 12th August 1982) is a philosopher of music and sound actionist. Early on he moved to Germany. From 2012 to 2022 he taught at the University of the Cologne (in the same Musicological Institute where Marius Schneider\, one of his great inspirations\, taught between 1950s and 1970s). Here\, Siano is also co-organizer of the Raum-Musik acousmatic concert series. He is author and editor of several books (on Karlheinz Stockhausen\, Hermann Nitsch\, François Bayle\, etc.). His latest volume has been published in 2021 by the publisher Königshausen & Neumann (Würzburg): Musica Cosmogonica: von der Barockzeit bis heute (Cosmogonic Music: From the Baroque Era till Today). Together with Shushan Hyusnunts\, he is the creator of the theatrum phonosophicum and the homonymous multisensorial series which started in the autumn of 2022 at the “Ground Floor” of the State Philharmonia of Armenia in Yerevan.\nSince spring 2023\, he is living in Naples as “researcher in residence” at the Hermann Nitsch Museum Archive Laboratory for Contemporary Arts (Morra Foundation).\nShushan Hyusnunts (born 3th February 1989 in Yerevan) is a musicologist and sound performer. After completing her musicological studies at the Komitas State Conservatory in Armenia\, 2012 she moved to Germany. In 2016 she graduated (Master of Arts) at the University of Cologne with a thesis on the philosophy of sound in Giacinto Scelsiʼs orchestral works. At the same university she also held courses about Horatiu Radulescu\, Dmitri Shostakovich as well as about traditional Armenian music. She continued her teaching activities at the Yerevan Conservatory\, where she taught history of Western music. The core of her work is the research and life project theatrum phonosophicum\, together with Leopoldo Siano\, and the homonymous multisensorial series which started in the autumn of 2022 at the “Ground Floor” of the State Philharmonia of Armenia in Yerevan.\nSince spring 2023\, she is living in Naples as “researcher in residence” at the Hermann Nitsch Museum Archive Laboratory for Contemporary Arts (Morra Foundation). URL:https://www.fondazionemorra.org/en/evento/the-inebriation-of-being-residential-workshop/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2024/06/ebbrezza-essere.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20240531T183000 DTEND;TZID=Europe/Rome:20240713T183000 DTSTAMP:20260513T012408 CREATED:20240528T104223Z LAST-MODIFIED:20240528T104333Z UID:12971-1717180200-1720895400@www.fondazionemorra.org SUMMARY:Matteo Fraterno THE MATTER of MYTH. Prologue DESCRIPTION:MATTEO FRATERNO \nTHE MATTER of MYTH. Prologue\nΗ ΥΛΗ του ΜΥΘΟΥ. Πρόλογος \nCurated by Federico Decandia \nFriday 31 May 2024 \n6\,30 p.m. \nArchive Laboratory for Contemporary Arts Hermann Nitsch Museum\nVico Lungo Pontecorvo 29/d \nTHE MATTER of MYTH. Prologue by Matteo Fraterno\, curated by Federico Decandia\, is the photographic documentation of the artist’s residency at the Epigraphic Museum in Athens in September 2023\, which saw the production of a series of frottages made on the epigraphs preserved in the museum’s courtyard. THE MATTER of MYTH is articulated in three distinct moments: the Documentary Prologue follows the workshop conducted by the artist on 18 May 2024 at the Archaeological Park of Grumentum (Potenza) and introduces the exhibition scheduled for autumn 2024 at the Epigraphic Museum of Athens. \nThe constituent nucleus of Prologue\, set up in the underground spaces of the Hermann Nitsch Museum from 31 May to 13 July\, is the photographic documentation by Zafiro Vlachou that records the artist’s processual attitude of retaining that memory of contact that in frottage\, considered in its technical autonomy\, is continually deferred. It is Fraterno who stops at this threshold: ‘Approaching the surface I felt a sort of vertigo\, an involvement such that I no longer had any awareness of the discontinuity between my body and the material. It happened with the walls of the Ucciardone\, with the Pikionis paths at the Acropolis and\, if possible\, more intensely with the epigraphs. I chose to work exclusively on the stone inscriptions located in the courtyard of the Museum because it is with exposure to the sun\, wind and rain that the material of the myth restores its most intimate vividness’ (M. Fraterno). \nFraterno’s is therefore not a scientific sampling but a need to revive that unactual force of the imprint that consists precisely in ‘resurrecting the question of contact in the visible’ (G. Didi-Huberman). The presuppositions of the Athens residency of September 2023 can be found in two parallel researches just preceding it: the first is thematic in nature and stems from the long wave of a prophetic experience of voluntary confinement in the Fondazione Morra Library at the beginning of 2020 (Esperienze/L’infinito intrattenimento\, 2020) [ENG. Experiences/Infinite Entertainment\, 2020]: on that occasion\, Fraterno had rendered iconographically the dreams induced by the daily exercise of reading\, a modus operandi that also accompanied him in 2023 in the production of a series of drawings inspired by epitaphs – from Seikilos to Dick Higgins – spanning the entire history of Western civilisation. The second research is rather of a technical nature and refers to the incorporation of frottage into his artistic grammar. For Fraterno\, frottage initially takes the form of a pretext for approaching the pure matter of interdiction; it is what allows him firstly to have a tactile experience of the ‘skin’ of the walls of Palermo’s Ucciardone prison (La Materia dell’Ucciardone\, 2022) [ENG. The Matter of Ucciardone\, 2022]. This work\, part of a triptych of works focusing on the forms of imprisonment\, was intended to investigate the global immune obsession exacerbated by the post-pandemic legacy. In his work\, Fraterno indicates as an antidote to civil melancholy\, the bodily approximation to the material of Pentelic marble: not the concept nor the imaginative abstraction\, but the pure contact that precedes and guarantees integral openness to the other. URL:https://www.fondazionemorra.org/en/evento/12971/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2024/05/materia-mito.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20240510T080000 DTEND;TZID=Europe/Rome:20240519T170000 DTSTAMP:20260513T012408 CREATED:20240102T095609Z LAST-MODIFIED:20240327T222324Z UID:12595-1715328000-1716138000@www.fondazionemorra.org SUMMARY:IN THE SONG FOR LOVE – Rite of Repair DESCRIPTION:Naples / Caggiano (SA)\nMay\, 10/19 2024 \nIN THE SONG FOR LOVE – Rite of Repair\nThe shapes and colors of the Song of Creatures.\nSaint Francis of Assisi and Hermann Nitsch.\nWorkshop on performing arts held by Andrea Cramarossa \nThrough the Natural Elements and the Practice of Silence developed during twenty years of research in the Doll Theater\, one accesses the precious source of Sound which dwells\, in primordial and cosmic form\, within each living being and\, consequently\, in each thing that makes up the “surrounding”. The proposed practice is the one that leads the human being directly to the heart of the sense of forgiveness\, to the immense discovery of Total Love that reflects itself in Total Art\, where even Death becomes sister and vital essence of prosperity and unavoidable access to the sacredness of the Divine Body. \nImmersing ourselves in the texts “Canticle of Creatures” by St. Francis of Assisi and “Essere” by Hermann Nitsch\, we will discover a way to reach ecstasy through the contemplation of Nature\, or new ecstatic energy under the power of the performer which becomes his performative movement. \nAndrea Cramarossa \nPurposes \n\nContact your body and your sound through the practice of the ritual.\nContact your body and your sound through the practice of prayer.\nTake possession of the “sense of the sacred” starting from the “sacred everyday life”.\nMake your own body sacred.\nMake your own sound sacred.\nMake the place sacred through the practice of sacrifice.\nIdentify the Source of Love within yourself.\nDetermine Love by purging it of any misunderstanding and interpretation aimed at feeding one’s ego.\nLove and hubris\, when loving means defacing the other from oneself.\nObservation of the dynamics that lead to the commercialization of Love.\nLove in Art.\nDiscover the Divine Body.\n\nGoals \n\nTo study the text “Canticle of the Creatures” by Saint Francis of Assisi.\nStudying the art and philosophical text “Being” by Hermann Nitsch.\nLet yourself be enveloped by the singing of animals to listen to the meaning of forgiveness.\nLet yourself be enveloped by the singing of the plants to listen to the meaning of forgiveness.\nAssimilate the sense of the sacred in theatrical practice.\nTheatrical practice as a purification practice.\nDiscover the Practice of Silence and the Practice of Purification.\nThe Purification of a Sacred Space.\nTrue Listening: main characteristic for fully experiencing Dramatic Art.\nAnthropology of Learning the Theatrical Art: “learning to learn” through prayer.\nWhat is Lay Prayer.\n\n  \nWho is the Masterclass for?\nInternational residential workshop on the performing arts and theatrical acting through the sound-body relationship\, from the “Canticle of the Creatures” by Saint Francis of Assisi and the philosophical text “Essere” by Hermann Nitsch conducted by Andrea Cramarossa – Teatro delle Bambole\, intended for performers\, dancers\, musicians\, singers\, directors\, Italian and foreign actors (the hosting will be multilingual).\nThe workshop is also open to student actors with even occasional and not in-depth but heartfelt and participatory experience in dramatic art.\nAt the end of the journey there will be a double opening of the work to the public.\nThe workshop has a limited number of places.\nAll participants will receive a certificate of participation. \nBiographical notes\nAndrea Cramarossa is a poet\, director and actor who\, after years of intense personal studies in the field of vocal research\, sound and voice applied to singing and speaking\, theorize\, on an experimental basis\, an approach to dramatic art through the use and knowledge of sound.\nHe is the first to take advantage of listening to the sound of the human voice in order to arrive at dramatic art by structuring a real acting model that is inspired by the work on sound by Gisela Rhomert and by Hermann Nitsch’s Theater of Orgies and Mysteries.\nCramarossa regularly holds workshops on voice and acting in Italy and abroad. He receives numerous awards in the artistic field including: “Young Oscar – European Personality” and the “Aligi D’Oro” Prize for Dramatic Art. With his artistic work “L’URLO” (The Scream) he received the first prize in 2013 at the FAP – Festival of Performing Arts. In 2003 he founded the theater research group Teatro delle Bambole. \nFor more info: www.teatrodellebambole.it \nDates / Timetables / Where \nThe first part of the workshop will take place from Friday 10 to Wednesday 15 May 2024 in Naples at the Sala Capriata of the Hermann Nitsch Museum Museum (Vico Lungo Pontecorvo 29/d) with the following times:\nfrom 10am to 1pm and from 4pm to 7pm.\nThe move from Naples to Caggiano (or Polla) is scheduled for Thursday 16 May.\nThe second part of the workshop will take place from Friday 17 to Sunday 19 May 2024 in Caggiano. \nAudience presentations on Saturday 18 May (at 9 pm) and Sunday 19 May (at 6 pm) in Caggiano. \nHow to apply / Deadline\nIt is essential to send your application accompanied by an artistic curriculum to info@teatrodellebambole.it\nYou can send your application from January 1\, 2024 to April 21\, 2024. \nAttendance fee: 260\,00 euros \nEARLY BIRD PRICE 240\,00 euros: Special reduced fee sending the application by 1 March 2024. \nSelection Result\nThe selected participants will be contacted by the organizational secretariat on \n\nMarch 10\, 2024 (applications received by 1 March)\nApril 28\, 2024 (applications received after 1 March)\n\nThe registration is completed upon receipt of the copy of the deposit of  50%\, within five days following the communication of the selections.\nAfter this date the candidacy expires. Please note that the deposit is non-refundable. \nPayment is only allowed by bank transfer. \nThe attendances are responsible for organizing and paying their own travel\, accommodation\, meals costs.\nFor the stay in Caggiano (SA)\, the organization will provide participants with accommodation at a subsidized cost (double rooms) at the Hotel Belvedere in Polla (SA). \nInfo: \nMuseo Hermann Nitsch – info@museonitsch.org – +39 081 5641655 \nCasa del Contemporaneo – info@casadelcontemporaneo.it – +39 345 4679142 \nTeatro delle Bambole – info@teatrodellebambole.it – +39 347 3003359 \nThe workshop on the performing arts IN THE SONG FOR LOVE is organized by the Morra Foundation – Hermann Nitsch Museum and Teatro delle Bambole in collaboration with Casa del Contemporaneo. URL:https://www.fondazionemorra.org/en/evento/in-the-song-for-love-rite-of-repair/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2023/12/incantoamore.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20240413T193000 DTEND;TZID=Europe/Rome:20240413T223000 DTSTAMP:20260513T012408 CREATED:20240406T110353Z LAST-MODIFIED:20240406T120050Z UID:12851-1713036600-1713047400@www.fondazionemorra.org SUMMARY:Flora Yin Wong Sara Persico DESCRIPTION:FLORA YIN WONG\nSARA PERSICO \non Saturday 13 April 2024\ntalk starts at 7:30pm\nperformance starts at 9:00pm \nMuseo Hermann Nitsch \nTickets available at RA TICKETS https://it.ra.co/events/1886258\nLIMITED HALL CAPACITY \nThanks to the efficient mediation of Diana Del Franco\, a dynamic synergy has been set up between the independent cultural platform AKHET\, the Fondazione Morra and the cultural association E-M ARTS\, with the intention of hosting some of the most influential artists on the international sound scene for short stays and\, if possible\, to begin a constructive dialogue with the autonomous music communities in the region Campania: the first event/experience is on Saturday 13 April 2024 with the performances by Flora Yin Wong and Sara Persico at the Museo Hermann Nitsch\, located in the Montesanto district.\nWith the hope of capturing the energetic forces of the Museo and the emotional impulses triggered by crossing the rooms saturated with Maestro Hermann Nitsch’s powerful Total Works\, the hypothesis of absorbing an indelible perceptive experience in the memory is highly probable. An approach that does not exclude but incorporates and amalgamates the different characteristics and genres in a connective weave where subjective interpretation and imagination are the tools to intercept and decipher the vibrations. \n“the gesamtkunstwerk comes about in the orgien mysterien theater only because in it the most varied artistic forms are reduced to a pure abreactive phenomenon. word\, painting\, music become a liturgical action.\neverything is pervaded by a synthetic sacramental atmosphere. it redeems me and erects the o. m. theater.\nperhaps from a european mysticism of the senses\, from the recognition of the sudden reaction\, from the propensity to excess that is conditioned in us in an almost physiological way\, it will turn into a kind of oriental-asian mysticism of peace\, which\, however\, is not affected by the narcotically estranged and world-denying attitude of the latter; instead\, it must be a new mysticism understood as an intense and harmonious affirmation of life.\nto the concept of the human is connected an intensification in an apollonian sense\, a liberation from pure animality.”\nHermann Nitsch Orgien Mysterien Theater\, 1962 \nFlora Yin Wong mixes sounds recorded with her phone during her travels and various traditional musical instruments\, such as Tibetan bells\, yangquin and kemence\, to create innovative electronic audio segments\, echoes of sinister melodies\, arcane rhythms\, and mysterious noises. Flora crystallises a feeling of essence of those journeys and sounds that emerge from memory refracting like light hitting the surface of a mirror sphere.\nSara Persico channels her energy through voice and electronic sounds towards a hybrid universe beyond convention\, immersing us in multiple instrumental possibilities following the inspirations of total electronic improvisation. An intricate network of tunnels and passages\, in constant transformation with a distinctive touch that reveals her profound knowledge of composition and acoustic coherence. \nBIO NOTES \nFLORA YIN WONG (London\, 1988) Chinese-Malaysian origin\, writer\, producer and DJ\, founder of the label Doyennee\, Junior Editor for Dazed Digital magazine and writes for AnOtherMag.com\, Soho House Magazine\, INDIE/Material Girl and Ocularsound.com\nThe album Holy Palm is a hallucinatory sound collage of real and abstract journeys combining the sounds of insects in Balinese nature\, the rhythms of Tokyo dance clubs and the rumours of an abandoned Arctic settlement. Produced in tandem with the album Holy Palm (2020)\, Liturgy is a book that blurs the boundaries between fantasy\, diary and vision of the territories traversed by the protagonist: a blurry world\, a miscellany of hazy memories\, Cantonese fairy tales\, divinations from the reading hexagrams\, stories of parallel universes and ancient rituals.\nIn The Sacrifice (2022)\, an old book titled The Mabinogion\, which collects manuscript fragments of oral histories of Celtic mythology from the 12th-13th centuries\, acts as a guide. During an artist’s residency in an isolated cabin in North Wales\, Yin Wong focuses on acoustic ecology and the relation between listener and environment; she captures her own landscape with a tape recorder\, interweaving these recordings with adaptations of Welsh myths and the sounds produced by singer Rachel Lyn\, in a dreamlike interplay of tonal contrasts and natural and created reverberations.\nThe evocative album Cold Reading (2023) still expresses the characteristic instrumental narrative and describes the consequences of her exotic spiritual journeys: with a sense of disassociation\, Flora Yin Wong rereads Giuseppe Tartini’s (1692-1770) Violin Sonata in G minor\, known as the Devil’s Trill\, a notoriously challenging composition that attempted to perform music heard in a dream. \nSARA PERSICO (1993\, Naples) sound artist\, improviser\, DJ\, performer and video maker\, with deep roots in the sound underground of her city\, she honed her musical skills in challenging contexts while pursuing her composition studies at the Conservatory of Naples and in 2018 her master’s degree in Bologna. A founder and performer in several Italian and foreign musical groups\, in 2018 she participated at Temp Studio in Lisbon with the performance 7 Survival Techniques for voice\, electronics and video-projections\, and then collaborated with Francesca Grilli for the performance GOLD presented at the Santarcangelo Festival; in 2019 she performed on tour in Poland and Germany with the musician Ignacio Cordoba and released the album. Since 2021 she has been residing in Berlin after being selected for Amplify Berlin residency under the guidance of cellist Lucy Railton; here she finds an ideal atmosphere to activate international connections.\nThrough deep research into the matter of sound and following a multiplicity of practices\, such as improvisation and composition\, in the EP Boundary (2023) Sara challenges limits and definitions by boldly overcoming them in an evocative atmosphere of a subterranean world stratified by geological eras. The sound dimension is shaped by an unusual impulsive vocal practice mixed with pulsations and sound frequencies\, Sara performs with sound transformations and alters the nature of noises to create an elaborate inner landscape.\nSara Persico has performed at International events such as Geografie del Suono\, Bologna Jazz Festival\, Napoli Teatro Festival\, Damas Lisboa\, MultiMadeira\, O Salgado Faz Anos Fest\, CTM\, Documenta fifteen\, Club Mutante and Ballroom Blitz Beirut. URL:https://www.fondazionemorra.org/en/evento/flora-yin-wong-sara-persico/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2024/04/flora-sara.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20231020T193000 DTEND;TZID=Europe/Rome:20231020T223000 DTSTAMP:20260513T012408 CREATED:20231018T084025Z LAST-MODIFIED:20231018T084025Z UID:12431-1697830200-1697841000@www.fondazionemorra.org SUMMARY:Jeanne Liotta - Eternal Returns DESCRIPTION:JEANNE LIOTTA \nETERNAL RETURNS\nLand of Enchantment 1994\, Super 8mm\, color\, silent\, 3 min.\nCrosswalk 2010\, video\, color & b/w\, sound\, 18 min. 45 sec.\nSoon It Would Be Too Hot 2014\, HD video\, color\, sound by Zach Layton\, 7 min.\nObservando El Cielo 2007\, 16mm\, color\, sound by Peggy Ahwesh\, 19 min. \nEXPANDED FILM PERFOMANCE\nPath of Totality 2017\, 16mm film loop\, concrete and transparent objects\, +/- 30 min. \nfriday 20 october 2023 at 19:30\nMuseo Hermann Nitsch vico lungo Pontecorvo 29/d Napoli \nOn a European tour\, for an exceptional chance return in Naples Jeanne Liotta\, New York-based artist intersecting art\, science\, & natural philosophy in her Science Project. “Working with film has something of a scientific base in and of itself – you have that chemical aspect\, you’ve got the optical aspect\, so you’re really dealing with perception\, ultimately\, which I could call science\, in a way; it’s some science and philosophy. I use the term ‘natural philosophy’ a lot because that’s what we used to call it before we had this term ‘science’. It was everyone’s job – it was like citizen science. Each person has the responsibility or the opportunity as a human being to discover what their world is made of and what they think about it\, to observe and take notes and reflect upon – that’s our job as human beings somehow\, that’s what I feel like I’m doing when I make things. It’s just my thinking.” \nIn 2010 for Independent Film Show 10 edition\, we got to know the ‘naturalistic’ films observing the movements of the Earth\, and then in 2018 for IFS18 edition we immersed ourselves in the expanded film performance at the Vigna San Martino and in the live feed augmented reality video installation In This Immense Space Hidden Things Appear Before Us\, video imagery shot in real time by smartphones installed onto the Museo Nitsch’s roof are superimposed with computer generated SkyView renditions of the actual planets\, constellations\, space stations\, and ‘junk’\, passing the Earth’s orbit; in the exhibition Break the sky the Bruno Studies watercolors based on the silhouette of the Bruno’s statue in Campo de’ Fiori\, the inks and the Nightly Studies watercolors and inks that draw the maps of the night skies observed in the locations around the world during her film research\, and the Articuli photograms\, hand-printed in the darkroom\, inspired by the Copernican diagrams woodcuts of the philosopher Dominican friar G. Bruno. \nOn Friday 20 October 2023 at 19:30 are scheduled the four films and the expanded film performance: \nLAND OF ENCHANTMENT (1994\, Super 8mm\, color\, silent\, 3 min.) First encounter with the New Mexico landscape with Super 8mm kodachrome camera roll\, with a compass. A mystical land where the compass can’t find north. Lost in the moment. \nCROSSWALK (2010\, video\, color & b/w\, sound\, 18 min. 45 sec.) Set in New York’s Losaida\, Crosswalk’s directness – embodied in handheld shots and the grainy tactility of Super 8mm – respects its subject. The camera follows a Good Friday procession on the Lower East Side. Through crowded streets\, the Christ figure falls the requisite three times as ‘soldiers’ lash him into line. Sensitized to her material’s connotations\, Liotta avoids messages. The religious pun of the title extends easily to the cultural and racial cross-sections of the environment; to the aural juncture of police sirens\, traffic\, hip-hop\, and a voice-over religious text; to the reenactment of a biblical event amid storefronts\, banks\, and vehicles. \nSOON IT WOULD BE TOO HOT (2014\, HD video\, color\, sound by Zach Layton\, 7 min.) Taking its title from the first line of James G. Ballard 1962 climate-fiction novel The Drowned World which vividly describes a dystopic future Earth\, Soon It Would Be Too Hot utilizes original imagery\, sound and the most current CO2 data visualizations to consider the ongoing state of melting Arctic sea ice due to the warming of air and oceans fundamentally caused by our carbon emissions. It was commissioned for a unique science/art collaborative think tank for projection on NOAA’s Science on a Sphere\, a 360 global platform for earth science education. Premiered at the Fiske Planetarium\, Boulder CO. \nOBSERVANDO EL CIELO (2007\, 16mm\, color\, sound by Peggy Ahwesh\, 19 min.) Liotta filmed the sky over a period of seven years from remote sites and draw inspiration from the writings and Copernican diagrams by cosmologist and philosopher Giordano Bruno as well as current augmented reality ‘stargazing’ smartphone apps for the identification of celestial objects. Although created 500 years apart\, Liotta asserts that in essence both approaches serve to allow us to visualize our location in space and consider our existence within the wider universe. \nPATH OF TOTALITY (2017\, 16mm film loop\, concrete and transparent objects\, sounds by Eric Baus\, Phil Cordelli\, and Oren Silverman\, +/- 30 min.) Inspired by the total solar eclipse of August 2017\, visual concepts of light latency\, peripheral vision\, and the cosmic imagination are activated through the use of simple objects and external water lenses. \nJeanne Liotta (1960\, New York USA) makes films\, videos\, and other ephemera including installation\, film performance\, works on paper\, and photography. Her works encompass a constellation of mediums and her investigations of the ephemeral and the real in cinematic time is often located at a lively intersection of art\, science\, and natural philosophy. Observando El Cielo was voted one of the top films of the decade by The Film Society of Lincoln Center\, took the Tiger Award for Short Film at Rotterdam International Film Festival\, and was listed in Artforum 2007 Top Ten Films. \nFor 17 years she was the creative force behind Firefly Cinema\, a community garden microcinema curated from the 16mm collection at The New York Public Library; she wrote a short monograph on the Films of Joseph Cornell published by SF Cinematheque for “Navigating the Imagination Cornell retrospective” at SFMOMA\, from her research on The Joseph Cornell Film Collection at Anthology Film Archives\, New York. \nLiotta has more recently published an essay in Millennium Film Journal\, titled “Enter Germs\, Enter the World: Hand Processing Artists Films in the AIDS Era”. Currently she is a Professor at the University of Colorado Boulder where she directs the graduate program in Film and has been mentoring graduate students in the Bard MFA program NY for many years. Her films are distributed by Light Cone\, Paris and her work is represented by Microscope Gallery\, NYC \nhttp://www.jeanneliotta.net/ URL:https://www.fondazionemorra.org/en/evento/jeanne-liotta-eternal-returns/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2023/10/eternalreturns-web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20230509T100000 DTEND;TZID=Europe/Rome:20230521T190000 DTSTAMP:20260513T012408 CREATED:20230104T142643Z LAST-MODIFIED:20230104T143302Z UID:11336-1683626400-1684695600@www.fondazionemorra.org SUMMARY:OEDIPUS. BODY OF BLOOD | Process II - PENTESILEA | Teatro delle Bambole DESCRIPTION:  \nFondazione Morra and Teatro delle Bambole\nin collaboration with Casa del Contemporaneo\npresent \n  \nOEDIPUS. BODY OF BLOOD\nProcess II – PENTESILEA \nInternational Masterclass on the relationship between sound and body\nfrom Kleist’s “Penthesilea” in Hermann Nitsch’s reinterpretation\nheld by Andrea Cramarossa \n  \n“… She loved him so much that she could\, at the same time\, have eaten him out of love.”\nThese words\, so close to myth\, relate Penthesilea to mythic elements. One associates\, these words\, with the meal of the totem\, the meal of God in the Eucharist\, the flesh of God\, the host. Eating the body of the beloved means complete identification with it. Maximum love: ecstatic transgressive love leads to the concept of laceration.\nPerhaps\, the only word that remains after Penthesilea’s sacrifice is\, in fact\, an ancient and guttural verse or song\, a deep song related to the primordial scream\, that of birth that carries within itself the dazzling and clear sense of death\, that of the myth that\, absolutely\, holds within itself the entire meaning of human existence.\nAndrea Cramarossa \n  \nPurposes\n– Get in touch with your own body through the practice of the ritual.\n– Get in touch with your own sound through the practice of the ritual.\n– Take possession of the “sense of the sacred” starting from the “sacred everyday”.\n– Make your own body sacred.\n– Make your own sound sacred.\n– Make the place sacred through the practice of sacrifice. \nGoals\n– To Study the text “King Oedipus/Pentesilea” by Hermann Nitsch to reach an immersive ritual practice.\n– To get involved by the myth of Oedipus to consolidate a collective and community narrative practice of the myth itself.\n– – To reach a possible “place” where the actor consider the sacredness of his being on stage with the surroundings\n– To Assimilate the sense of the sacred in theatrical practice.\n– To Learn the mechanism of regression (loss of one’s structural bonds – physical and mental prison) to identify the primordial physical impulses (Dionysian process).\n– Learn the mechanism of the sublimation of these impulses to make a mystical artistic creation of self-awareness.\n– Considering the artistic act of sacrifice as a need for transgression.\n– Considering the artistic act of love as a need for sublimation. \nWho is the Masterclass for?\nThe Masterclass is aimed at actors and actresses\, dancers\, musicians\, singers\, directors and directors of all ages and of all nationalities (held multilingual); also open to pupils with experience\, even occasional and not in-depth\, but felt and participated in the dramatic art and to anyone who wants to probe the relationships between sound and body through the text on Kleist’s “Penthesilea” in Hermann Nitsch’s “Oedipus Rex.”\nThe relationship with the body provides for the possibility of considering it in its nakedness.\nAt the end of the itinerary\, a double opening of the work to the audience is foreseen.\nAll participants will receive a certificate of participation.\nThe Masteclass is limited to a maximum of 20 participants. \nBiographical notes\nAndrea Cramarossa is a poet\, director and actor who\, after years of intense personal studies in the field of vocal research\, sound and voice applied to singing and speaking\, theorize\, on an experimental basis\, an approach to dramatic art through the use and knowledge of sound.\nHe is the first to take advantage of listening to the sound of the human voice in order to arrive at dramatic art by structuring a real acting model that is inspired by the work on sound by Gisela Rhomert and by Hermann Nitsch’s Theater of Orgies and Mysteries. \nCramarossa regularly holds workshops on voice and acting in Italy and abroad. He receives numerous awards in the artistic field including: “Young Oscar – European Personality” and the “Aligi D’Oro” Prize for Dramatic Art. With his artistic work “L’URLO” (The Scream) he received the first prize in 2013 at the FAP – Festival of Performing Arts. In 2003 he founded the theater research group Teatro delle Bambole. \nFor more info: www.teatrodellebambole.it \nDates & Timetables\nThe Masterclass will take place every day\nfrom 9 to 21 May 2023\nfrom 10 to 13 and from 16 to 19\nTotal: 72 hours \nAudience presentations on Saturday 20 May (at 9 pm) and Sunday 21 May (at 6 pm). \nWhere\nThe Masterclass will take place in Naples (ITALY):\nMuseo Hermann Nitsch\nNaples – Vico Lungo Pontecorvo 29 / d \nHow to apply / Deadline\nIt is essential to send your application accompanied by an artistic curriculum to info@teatrodellebambole.it\nYou can send your application from January 1\, 2023 to April 15\, 2023. \nAttendance fee: 280\,00 euros\nEARLY BIRD PRICE 250\,00 euros: Special reduced fee sending the application by 1 March 2023. \nSelection Result\nThe selected participants will be contacted by the organizational secretariat on\n– March 15\, 2023 (applications received by 1 March)\n– April 20\, 2023 (applications received after 1 March) \nThe registration is completed upon receipt of the copy of the deposit of 50%\, within five days following the communication of the selections.\nAfter this date the candidacy expires. Please note that the deposit is non-refundable\nPayment is only allowed by bank transfer.\nThe attendances are responsible for organizing and paying their own travel\, accommodation\, meals costs. \nDuring the Masterclass\, compliance with the measures envisaged for the containment of Covid-19 will be guaranteed. \nInfo:\nMuseo Hermann Nitsch – info@museonitsch.org – +39 081 5641655\nCasa del Contemporaneo – info@casadelcontemporaneo.it – +39 345 4679142 \nOEDIPUS. BODY OF BLOOD | Process II – PENTESILEA International Masterclass is organized by Fondazione Morra – Hermann Nitsch Museum and Teatro delle Bambole in collaboration with Casa del Contemporaneo. URL:https://www.fondazionemorra.org/en/evento/oedipus-body-of-blood-process-ii-pentesilea-teatro-delle-bambole/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/png:https://www.fondazionemorra.org/wp-content/uploads/2023/01/01_sito_Teatro-delle-Bambole_2023.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20221224T100000 DTEND;TZID=Europe/Rome:20230101T190000 DTSTAMP:20260513T012408 CREATED:20221219T104652Z LAST-MODIFIED:20230111T062117Z UID:11197-1671876000-1672599600@www.fondazionemorra.org SUMMARY:CASA MORRA AND THE HERMANN NITSCH MUSEUM WISH YOU HAPPY HOLIDAYS DESCRIPTION:CASA MORRA – ARCHIVI D’ARTE CONTEMPORANEA \nSalita San Raffaele 20/C Napoli \nwe are open\nTue-Fri 10am-6pm\nSat 10am-2pm \nCasa Morra will remain closed\nDecember 24\, 25\, 26 and 31\, 2022 and January 1\, 2023 \ncasamorra@fondazionemorra.org | www.casamorra.org \n  \n\n \n \n \n \n \n \n\nMUSEO HERMANN NITSCH\nVico Lungo Pontecorvo 29/c\, Napoli \nwe are open\nTue-Fri 10am-7pm\nSat 10am-2pm \nThe Museum will remain closed\nDecember 24\, 25\, 26 and 31\, 2022 and January 1\, 2023 \ninfo@museonitsch.org | www.museonitsch.org URL:https://www.fondazionemorra.org/en/evento/casa-morra-e-il-museo-hermann-nitsch-vi-augurano-buone-feste/ CATEGORIES:Casa Morra,Museo Nitsch END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20221022T180000 DTEND;TZID=Europe/Rome:20221022T180000 DTSTAMP:20260513T012408 CREATED:20221003T105539Z LAST-MODIFIED:20221017T101114Z UID:10243-1666461600-1666461600@www.fondazionemorra.org SUMMARY:HERMANN NITSCH - BAYREUTH WALKÜRE E RELITTI 158.aktion DESCRIPTION:In conjunction with the Nitsch Museum in Mistelbach and the Nitsch Foundation\, with the support of the Goethe-Institut Neapel\, The Museo Archivio Laboratorio per le Arti Contemporanee Hermann Nitsch Napoli\, true to its vocation\, is updating its exhibition space for the two-year period 2022-2024 to present Hermann Nitsch – BAYREUTH WALKÜRE E RELITTI 158.aktion. The exhibition opens on Saturday 22 October at 6 pm.\, offering the public a hitherto unseen dialogue between a wide selection of works from the malaktion walküre and the relics of the last action\, directed by Hermann Nitsch in Naples. \nThe first set of works on show in the Museum’s ground-floor rooms come from Nitsch’s pictorial action in the form of a scenic event at the concert performance of Richard Wagner’s The Valkyrie at the Bayreuth Festival in the summer of 2021. \n“I wish to put on a painting action where the colours of the poured and smeared paint\, spanning the whole spectrum of the rainbow\, attempt to compete in a positive sense with the blazing colouration of Wagnerian music. The events of the actual act of painting are to be like music. Sounds turn into colours. The painter is stirred and aroused\, vents himself in the painting process. He is the first actor. He feels the very substance of the paint\, the fluidness\, the slithery slim\, the pulp of the thick paint\,” Hermann Nitsch wrote on that occasion (Wien\, 1938 – Mistelbach\, 2022). “I have enthusiastically loved Wagner’s work. The gesamtkunstwerk was his priority. It is experienced through all the senses. He was always my teacher\, and still is today.” \n“The total work of art in Nitsch’s interpretation – Lorenzo Mango writes in a composite essay accompanying the exhibition- is redolent of Wagner’s memory but goes beyond it. In the Orgies Mysteries Theatre\, it is determined by experience\, contact with the vital in its most absolute and primal form\, the senses\, and the sensuality of theatre”. Thus\, Nitsch does not merely set the stage for The Valkyrie; rather\, he sets in motion\, as the action unfolds\, a process of intensification and expansion of the sensory experience that lies at the heart of the Orgies Mysteries Theater. The Bayreuth experience will be reproduced through video projections\, documentary\, and photographic material\, together with a selection of Nitsch’s drawings. \n“I wish to put on a painting action where the colours of the poured and smeared paint\, spanning the whole spectrum of the rainbow\, attempt to compete in a positive sense with the blazing colouration of wagnerian music. The events of the actual act of painting are to be like music. Sounds turn into colours.” \nIn dialogue with the large paintings\, the relics and documents from the 158.aktion (2020) – the last one to be led by Nitsch – will be on show to the public for the first time. In this action\, the Austrian master acknowledged the primary importance in terms of dynamism and intensity of the “Sinfonia Napoli” – an integral part of the event\, performed by the Orchestra Scarlatti under the baton of Andrea Cusumano – through which\, in September 2020\, he wished to celebrate both Giuseppe Morra and the city of Naples on the occasion of the twelfth anniversary of his Neapolitan Museum-Workshop. URL:https://www.fondazionemorra.org/en/evento/hermann-nitsch-bayreuth-walkure-e-relitti-158-aktion/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/09/Fondazione-Morra-BAYREUTH-WALKÜRE-E-RELITTI.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220730T043000 DTEND;TZID=Europe/Rome:20220731T030000 DTSTAMP:20260513T012408 CREATED:20220713T133030Z LAST-MODIFIED:20220713T133711Z UID:9033-1659155400-1659236400@www.fondazionemorra.org SUMMARY:Hermann Nitsch\, 160.aktion - das 6-tage-spiel DESCRIPTION:30 – 31 July 2022\nAtelier Hermann Nitsch\nPrinzendorf an der Zaya\, Austria \nDas 6-tage-spiel 2022 – 2. Fassung (the 6-day play – 2nd version) \nthe 6-day play of the o. m. theatre is a work in progress. everything i’ve ever done\, my action painting\, all my performance actions\, my music\, they were all precursors for a never-to-be completed work. in 1998 i succeeded in staging a possible version of the 6-day play in the orgies mysteries theatre at prinzendorf. in 2022 i wish to stage another version of the 6-day play. the music\, extended into organ sounds and escalating into music of the spheres\, is becoming all the more essential. \nHermann Nitsch \n24 years after the first staging of the 6-day play (1998)\, this summer the total work of art is to once again be condensed into a concentrated interplay of all its components. It was the cherished wish of Hermann Nitsch (*29 August 1938 in Vienna; Ϯ 18 April 2022 in Mistelbach) that his 6-day play be performed this year in the new version. The performances of the 1st and 2nd days are to take place on 30 and 31 July 2022. Rita Nitsch is fulfilling the wish of the artist posthumously\, supported by the core team of Andrea Cusumano (musical direction)\, Leonhard Kopp and Frank Gassner. The other four days will be staged in the coming years. \nThe Orgies Mysteries Theatre \nHermann Nitsch’s idea for an action performance lasting six days and six nights goes back to the year 1957. At the time working with the medium of literature\, the artist\, influenced by the attempts of Richard Wagner and Alexander Scriabin to realise a total work of art\, imagined his own action theatre\, oriented on synaesthetic experience engrossing all five senses: the Orgies Mysteries Theatre. \nThe length is an analogy to the story of creation and is conceived as an extension of all monumental works of art. Thus\, all the performed actions of the o. m. theatre ever since the early 1960s need to be understood as part realisations of the 6-day play. \nThe Orgies Mysteries Theatre is an artistic undertaking. Besides the visual form\, the music plays a crucial role. The play’s course follows a symphonic concept. The arena for the action is the castle grounds in Prinzendorf\, encompassing all its rooms and spaces as well as the surrounding countryside of Lower Austria’s Weinviertel. \nTicketing information is available at http://www.nitsch-foundation.com/the-6-day-play-2022 \nA booklet of the 6-day play can be downloaded at \nhttps://www.nitsch-foundation.com/wp-content/uploads/2022/04/6TS_2022_July_30-31_web.pdf URL:https://www.fondazionemorra.org/en/evento/hermann-nitsch-160-aktion-das-6-tage-spiel/ LOCATION:Atelier Hermann Nitsch\, Schlossstraße 1\, Prinzendorf\, 2185\, Austria CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/07/HN_6ts_A1_riden.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220620T100000 DTEND;TZID=Europe/Rome:20220702T190000 DTSTAMP:20260513T012408 CREATED:20220502T102813Z LAST-MODIFIED:20220502T104654Z UID:7842-1655719200-1656788400@www.fondazionemorra.org SUMMARY:CALL International Masterclass Oedipus. Body of Blood. – Melpignano (LE) DESCRIPTION:CALL FOR MASTERCLASS\nOpen call from 28th february to 2nd june 2022 \n20th june – 2nd july 2022\nEx Convento degli Agostiniani\nViale Michele de Pietro 10\, Lecce \nInternational Residential Masterclass on the relationship between sound and body\, from the King Oedipus by Hermann Nitsch \nheld by Andrea Cramarossa \n“The torment that Oedipus carries from his birth\, not knowing anything about himself\, will lead him towards horror\, towards the inaudible. With a very strong light\, in Nitsch’s Oedipus\, the sense of the sacred is achieved through the sacrifice of all the elements that led the hero into the ecstasy of knowledge\, a disturbing\, troublesome\, lacerating ecstasy.” \nAndrea Cramarossa \nPurposes \n\nGet in touch with your own body through the practice of the ritual.\nGet in touch with your own sound through the practice of the ritual.\nTake possession of the “sense of the sacred” starting from the “sacred everyday”.\nMake your own body sacred.\nMake your own sound sacred.\nMake the place sacred through the practice of sacrifice.\n\nGoals \n\nTo Study the text “King Oedipus” by Hermann Nitsch[1] to reach an immersive ritual practice.\nTo get involved by the myth of Oedipus to consolidate a collective and community narrative practice of the myth itself.\nTo reach a possible “place” where the actor consider the sacredness of his being on stage with the surroundings\nTo Assimilate the sense of the sacred in theatrical practice.\nTo Learn the mechanism of regression (loss of one’s structural bonds – physical and mental prison) to identify the primordial physical impulses (Dionysian process).\nLearn the mechanism of the sublimation of these impulses to make a mystical artistic creation of self-awareness.\n\nWho is the Masterclass for? \nThe Masterclass is aimed at actors and actresses\, dancers\, musicians\, singers\, directors and directors of all ages and of all nationalities (held multilingual); also open to pupils with experience\, even occasional and not in-depth\, but felt and participated in the dramatic art. \nThe relationship with the body provides for the possibility of considering it in its nakedness. \nAt the end of the itinerary\, a double opening of the work to the audience is foreseen. \nAll participants will receive a certificate of participation. \nThe Masterclass is limited to a maximum of 20 participants. \nBiographical notes \nAndrea Cramarossa is a poet\, director and actor who\, after years of intense personal studies in the field of vocal research\, sound and voice applied to singing and speaking\, theorize\, on an experimental basis\, an approach to dramatic art through the use and knowledge of sound. \nHe is the first to take advantage of listening to the sound of the human voice in order to arrive at dramatic art by structuring a real acting model that is inspired by the work on sound by Gisela Rhomert and by Hermann Nitsch’s Theater of Orgies and Mysteries. \nCramarossa regularly holds workshops on voice and acting in Italy and abroad. He receives numerous awards in the artistic field including: “Young Oscar – European Personality” and the “Aligi D’Oro” Prize for Dramatic Art. With his artistic work “L’URLO” (The Scream) he received the first prize in 2013 at the FAP – Festival of Performing Arts. In 2003 he founded the theater research group Teatro delle Bambole. \nFor more info: www.teatrodellebambole.it \nDates & Timetables \nThe Masterclass will take place:\nfrom Monday 20 June to Saturday 2 July (with a break on Sunday 26 June)\nHours: to be agreed\nProposal / hypothesis: from 10 to 13 and from 16 to 19. \nWhere \nThe Masterclass will take place in Melpignano (LE): \nEx Convento degli Agostiniani \n_____________________ \nHow to apply / Deadline \nIt is essential to send your application accompanied by an artistic curriculum to info@teatrodellebambole.it \nYou can send your application from February 28\, 2022 to June 02\, 2022. \nAttendance fee: 280\,00 euros \nEARLY BIRD PRICE 250\,00 euros: Special reduced fee sending the application by April 10\, 2022. \nSelection Result \nThe selected participants will be contacted by the organizational secretariat on \n\nApril 20\, 2022 (applications received by April 10)\nJune 12\, 2022 (applications received after April 10)\n\nThe registration is completed upon receipt of the copy of the deposit of  50%\, within five days following the communication of the selections. \nAfter this date the candidacy expires. Please note that the deposit is non-refundable \nPayment is only allowed by bank transfer.The attendances are responsible for organizing and paying their own travel\, accommodation\, meals costs. \nAffiliated accommodations are available. \nDuring the Masterclass\, compliance with the measures envisaged for the containment of Covid-19 will be guaranteed. \nInfo: \nOfficine Theatrikés Salento Ellàda – Cell.: 388 1814359 – officinetse@gmail.com \nTeatro delle Bambole – Cell.: 347 3003359 – info@teatrodellebambole.it \nOEDIPUS. BODY OF BLOOD. – INTERNATIONAL MASTERCLASS is organized by OTSE – Officine Theatrikés Salento Ellàda  and Teatro delle Bambole\, in collaboration with Fondazione Morra – Hermann Nitsch Museum and Casa del Contemporaneo\, with the support of Ministero della Cultura\, Regione Puglia and Comune di Melpignano. \n[1] Hermann Nitsch\, EDIPO RE. Una teoria di rappresentazione del dramma 1964\, Edizioni Morra\, Naples\, 2001. URL:https://www.fondazionemorra.org/en/evento/call-masterclass-internazionale-edipo-corpo-di-sangue-melpignano-le/ LOCATION:Ex Convento degli Agostiniani\, Viale Michele de Pietro 10\, Lecce\, 73100\, Italy CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/05/EventoFacebookEDIPO-002.jpg ORGANIZER;CN="Teatro delle Bambole":MAILTO:info@teatrodellebambole.it END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220616T210000 DTEND;TZID=Europe/Rome:20220618T210000 DTSTAMP:20260513T012408 CREATED:20220606T111625Z LAST-MODIFIED:20220705T131519Z UID:8358-1655413200-1655586000@www.fondazionemorra.org SUMMARY:INDEPENDENT FILM SHOW 22nd Edition DESCRIPTION:16th – 18th June 2022\nSTART 9.00 p.m.\nFondazione Morra – Museo Nitsch (Belvedere)\nVico Lungo Pontecorvo 29/d\, Naples \nIndependent Film Show 22 edition is among the most innovative international reviews of experimental film\, from 2001 coordinated by Raffaella Morra and organised by E-M ARTS and Fondazione Morra\, in collaboration with Goethe-Institut Neapel. This Independent Film Show 22 edition is enriched with an immersive and educational section by planning the lesson Photographic darkroom works by Telemach Wiesinger (Museo Hermann Nitsch on the 16.06 at 6:30pm) and in collaboration with Centro di Fotografia Indipendente the workshops Phytography by Karel Doing (Vigna San Martino on the 17.06 at 11:00am) and Neither Black nor White: simple tinting and toning in 16mm by Richard Tuohy and Dianna Barrie (Centro di Fotografia Indipendente on the 19.06 at 10:30am). \nThe ‘here-and-now’ of the Independent Film Show testifies the fulfillment of a passion – the investigation of the experimental film\, and the sharing of the resulting observations. Beyond the specific systems and conventions\, this art form is autonomous – each filmmaker employs his/her own creative genius experimenting methods and skills often handcrafted – and grants an unusual perceptive experience: the immersion in the frame’s substance through an encounter between participant and filmmaker\, including the projector machines as irreplaceable tools. The celluloid substrate is not simply the vector of photographic images but a territory of imagination and innovation. \nIndependent Film Show emerges as revealing refuge for cinephiles\, where a love for experimental film and pushing audio-visual experiences are shared and a mutual relationship is established. It is not only watching films and videos\, but it is also inherently a way to talk and then spread the discourses. The certainty of multiple alternative visions resurfaces in these new contexts\, resistant to capitalist consumption and in search of a revisiting of society\, maybe starting to understand diversity as encounter with another organism. \non June Thursday 16 \n«ON N’ENCHAÎNE PAS LES VOLCANS» Films selection by JASMINE CLOTILDE PISAPIA \nIn her essay «On n’enchaîne pas les volcans» (One does not chain down volcanoes)\, poet and essayist Annie Le Brun invokes the Marquis de Sade’s fascination for volcanoes as a crucial philosophical motif. “Never before\,” she tells us\, “had the feeling of catastrophe been so splendidly formulated\, including in its erotic implications\, through this grandiose polarity: between desire and the forces of nature.” Volcanoes do not appear merely as images or ideas. Their forms emerge from the movements of matter and the depths of the imagination. Indeed\, one of Sade’s characters – the famous chemist Almani – paused in admiration before the breast of Etna as it expelled its flames: “I desired to be this famous volcano.” If volcanoes are possessed by burning telluric energy\, they also possess bodies and minds. They provide scabrous explosions\, scatological resonances – their calamity is scandalous. The films in this program explore multiple facets of these terrifying\, sensual eruptions. At times\, the camera captures the spectacular event. At other moments\, images quiver with the tension of anticipation\, devotion\, latency\, silence\, and the risk of annihilation. What are these images’ relationships to the sensible world? What has the reality of contemporary crises robbed from our imaginative potential\, from our capacity to invent distorted perspectives? \nWith the generous collaboration of Emmanuel Lefrant\, André Habib\, Pierre-Luc Vaillancourt and the Institut pour la Coordination et la Propagation des Cinémas Exploratoires/ICPCE \nTHOMAS BARTELS Selected 35mm film works presented by Telemach Wiesinger (screened digitally) \nThomas Bartels is a German artist and film maker. His works often involve vivid mechanics and craft. His 35mm analogue films are created at his own trick table and film laboratory. \nTelemach Wiesinger presents three films by his fellow artist\, including a surprise from their collaboration. \nThomas Bartels combines two commonly separate forms of artistic expression: film and sculpture. Kinetic objects become actors in his films and films are part of his sculptures. Yes\, the objects themselves become cinematic in their constant movements\, with their changes in shadow and light: they are ‘cinematographic sculptures’. The mysterious poetry of its mechanics and the clearly composed structures of light and shadow become a thoroughly self-deprecating image of the passing time\, a reflection of our own memories and possibilities (Anne Mueller von der Haegen). \nTELEMACH WIESINGER and his FILM POEM TOUR live in Italy \nTelemach Wiesinger is a narrator. Film camera and image projectors are his tools. His film works are at once visual poems\, travelogues and anthropological studies. The images of his associative and rhythmically edited sequences\, collected on 16mm film\, create a fascinating kaleidoscope of Europe. \nLocations are to be discovered as only the cinematographic gaze can find them. “Black on white” with virtuoso analogue film tools\, the FILM POEM gives things new life. Positive meets negative\, flowing multiple projections show images in dialogue. Pantomimic improvised little scenes marked by affectionate humour awaken further associations. \nWith his equipment consisting of different projectors\, Telemach Wiesinger offers a live performance full of surprises\, characterised by a joy of experimentation. Instead of the anonymous\, always the same reproduction of a picture-sound preserved\, the Cinema Expanded performances create a lively encounter between artist and audience – including words during the reel change. With his FILM POEM TOUR\, Telemach Wiesinger is on the road at international film festivals\, in art museums or galleries and even at special ‘outdoor’ locations as well as in excellent art house cinemas. Always new and always different: Manege frei für Illusionen! Clear the ring for Illusions! Campo libero alle Illusioni! \non June Friday 17 \nTHE CITY BRIDGES ARE OPEN AGAIN Recent films by MASHA GODOVANNAYA \nIn Masha Godovannaya’s experimental films\, intimacy is associated with an activist fervour\, while a well-targeted irony at the level of editing and gesture nevertheless affords space to an uncompromising empathy with the small and vulnerable. Masha’s overwhelmingly personal view highlights the structural and political place of sensuous imagery and reveals the absurdity and machismo in the self-representation of political ideologies. Her feminist\, queer and decolonial methodology is not just an idea that permeates the filmmaker’s work\, but a method that forms the basis for editing heterogeneous materials\, from film fragments and found video footage to her own material and the films of other filmmakers that have been reinterpreted through editing. Defragmentation\, layering\, interspersing and analytically separating images as well as collective collaborative laboring with other artists comprises a queer strategy where “decolonising vision means changing the entire order of things”. This approach to cinema is intertwined with the practice of living and is open to collectivity and transformation (Katerina Beloglazova). \nBIOSPHERE BIOSCOPE by KAREL DOING \nThe technological inventions that have enabled cinema go by a number of inventive names such as Fantascope\, Mimoscope\, Omniscope and Tachyscope. These devices are now relegated to museums and private collection including the portable viewing device called Bioscope. The term bioscope has survived as a name for the movie theatre\, a place where life is recreated in front of the eyes of an enchanted audience. This new way of ‘seeing life’ is a very human affair\, intricately related to the growth of cities\, transportation\, and mechanization. In the present\, the infamous era of climate emergency and species extinction\, the term bioscope appears increasingly sinister. Where is actually the aliveness that this venue should present? Is it even possible to present life by means of technology? This programme engages with aspects of life that are rarely presented as meaningful in the context of cinema: plants\, mushrooms\, microbes\, and algae. Beyond these impactful and often overlooked creatures a number of better-known animals also appear on screen as creators of a strange form of music. Ideally\, such a focus beyond the human revitalizes the human participants in this great tragedy as well\, bringing people together to more fully appreciate their inclusion in the biosphere. \non June Saturday 18 \nIT GOES WITHOUT SAYING by GREG POPE \nIt Goes Without Saying is a film/sound/performance piece based on a text/poem of the same title. Images in color and black+white are super-imposed from two 16mm projectors. \n…I always felt it was incredibly exciting and profitable to look back in order to move forward. From the very beginning of my interest in moving image\, I was immersed in the work of early pioneers\, especially Méliès and his contemporaries – who seemed to find a natural link (which I also believe in) between film and alchemy\, the occult\, magic\, hallucination and trickery. I also started to look further into pre-cinematic technologies\, the magic lantern methods of creating movement and also Javanese shadow puppets\, which were integrated into much of my work with Loophole Cinema in the 1990s – and still form a cornerstone of what I create now. In the blind rush into a digital utopia\, there is still an amazing amount of unexplored territory left behind\, and this is the landscape where I like to wander and wonder (Greg Pope). \nHAND AND MACHINE Handmade 16mm films by RICHARD TUOHY and DIANNA BARRIE \nCinema was the first inescapably mechanical art. But in this post-mechanical age\, the traditional apparatus of cinema has all too rapidly been deemed obsolete and primitive. Yet the handing over of industrial machinery to anti-industrial users represents one of the prime creative opportunities for re-appraising and re-interpreting the nature of ourselves as transformed by the age of machines. Post mechanical age\, the humanness of the machine can be made evident. Post mechanical age\, machine craft is the new hand craft. This program presents five recent film works from Australian DIY cine experimentalists Richard Tuohy and Dianna Barrie exploring the primitive apparatus of cinema and the relation between hand and machine. \nProgramme \nThe information on the films\, the videos and the expanded cinema performances are available on www.em-arts.org \n\n \n \n \n \n \n \n Independent Film Show 22nd edition\, Museo Hermann Nitsch\, Naples\, 2022 photo Stefania Catapano\n \n \n \n \n \n Karel Doing\, Independent Film Show 22nd edition\, Museo Hermann Nitsch\, Naples\, 2022 photo Stefania Catapano\n \n \n \n \n \n Independent Film Show 22nd edition\, Museo Hermann Nitsch\, Naples\, 2022 photo Stefania Catapano URL:https://www.fondazionemorra.org/en/evento/independent-film-show-22nd-edition/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/06/Locandina-independent-2022_page-0001.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220521T210000 DTEND;TZID=Europe/Rome:20220522T210000 DTSTAMP:20260513T012408 CREATED:20220516T151616Z LAST-MODIFIED:20220607T085457Z UID:8011-1653166800-1653253200@www.fondazionemorra.org SUMMARY:Internation Masterclass Oedipus. Body of Blood - Closing event DESCRIPTION:21st may 2022\, 9.00 p.m.\n22nd may 2022\, 6.00 p.m.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, 80135 Naples \nClosing event of Masterclass on the relationship between sound and body “OEDIPUS. BODY OF BLOOD” \nheld by Andrea Cramarossa \nfrom the “EDIPO RE. Una teoria di rappresentazione del dramma 1964”\n(Edizioni Morra\, Naples\, 2001) by Hermann Nitsch \nThe return to the public of the Masterclass OEDIPUS. BLOOD BODY.\, focused on the relationship between sound and body\, held by Andrea Cramarossa\, includes a double opening that will take place at the Hermann Nitsch Museum in Naples on Saturday 21 May (at 9 p.m.) and Sunday 22 May (at 6 p.m.). The work is developed from “EDIPO RE. Una teoria di rappresentazione del dramma 1964” by Hermann Nitsch (Edizioni Morra\, Naples\, 2001). \n“The torment that Oedipus carries from his birth\, not knowing anything about himself\, will lead him towards horror\, towards the inaudible. With a very strong light\, in Nitsch’s Oedipus\, the sense of the sacred is achieved through the sacrifice of all the elements that led the hero into the ecstasy of knowledge\, a disturbing\, troublesome\, lacerating ecstasy.” \nAndrea Cramarossa \nAndrea Cramarossa is a poet\, director and actor who\, after years of intense personal studies in the field of vocal research\, sound and voice applied to singing and speaking\, theorize\, on an experimental basis\, an approach to dramatic art through the use and knowledge of sound. He is the first to take advantage of listening to the sound of the human voice in order to arrive at dramatic art by structuring a real acting model that is inspired by the work on sound by Gisela Rhomert and by Hermann Nitsch’s Theater of Orgies and Mysteries. Cramarossa regularly holds workshops on voice and acting in Italy and abroad. He receives numerous awards in the artistic field including: “Young Oscar – European Personality” and the “Aligi D’Oro” Prize for Dramatic Art. With his artistic work “L’URLO” (The Scream) he received the first prize in 2013 at the FAP – Festival of Performing Arts. In 2003 he founded the theater research group Teatro delle Bambole. \nMasterclass is organized by Fondazione Morra – Hermann Nitsch Museum and Teatro delle Bambole in collaboration with Casa del Contemporaneo.\n \nFree entry sending an email to: info@museonitsch.org \n\n \n \n \n \n \n \n Masterclass Oedipus. Body of Blood\, Museo Hermann Nitsch\, Naples\, 2022 © photo Fabio Donato Courtesy Fondazione Morra\n \n \n \n \n \n Masterclass Oedipus. Body of Blood\, Museo Hermann Nitsch\, Naples\, 2022 © photo Fabio Donato Courtesy Fondazione Morra\n \n \n \n \n \n Masterclass Oedipus. Body of Blood\, Museo Hermann Nitsch\, Naples\, 2022 © photo Fabio Donato Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/masterclass-internazionale-edipo-corpo-di-sangue-evento-conclusivo/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/png:https://www.fondazionemorra.org/wp-content/uploads/2022/05/Tavola-disegno-1-copia.png ORGANIZER;CN="Teatro delle Bambole":MAILTO:info@teatrodellebambole.it END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220303T180000 DTEND;TZID=Europe/Rome:20220430T180000 DTSTAMP:20260513T012408 CREATED:20220223T091841Z LAST-MODIFIED:20220427T083227Z UID:7515-1646330400-1651341600@www.fondazionemorra.org SUMMARY:UNDERNEATH THE ARCHES - Jumana Manna\, Depositions DESCRIPTION:03rd march2022\nSTART 6.00 p.m.\nVideo screening\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/D\, Naples \n05th march – 15th may 2022\nOPENING 05th MARCH 11:30 a.m. \nAcquedotto Augusteo del Serino\nVia Arena Sanità 5\, Naples \nCurated by Chiara Pirozzi e Alessandra Troncone \nUnderneath the Arches\, a contemporary art programme that takes place at the archaeological site holding the remains of the Acquedotto Augusteo del Serino in the area Borgo Vergini – Rione Sanità in Naples\, is pleased to announce its fourth exhibition. Under the artistic direction of Chiara Pirozzi and Alessandra Troncone\, and in collaboration with Associazione VerginiSanità\, Underneath the Arches is presenting a site-specific work by Jumana Manna\, titled Depositions. \nIn her work\, Jumana Manna explores how power is articulated\, focusing on the body\, land and materiality in relation to colonial legacies and histories of place. Through sculpture\, filmmaking\, and occasional writing\, Manna questions the paradoxes of preservation practices\, particularly within the fields of archaeology\, science and law. Her practice considers the tension between the modernist traditions of categorization and conservation and the unruly potential of ruination as an integral part of life and its regeneration. \nFor the exhibition at the Augusteo del Serino Aqueduct\, Jumana Manna has made a series of small ceramic sculptures to respond to the tradition\, familiar in the Middle East and beyond\, of leaving uneaten / old bread out in public spaces. These sculptures mimic the practice of offering to an unknown receiver\, an act that rids the giver of the sin of uneaten food; or wasted life. This meaning of “offering” is intertwined with the ritual that ancient Mediterranean civilizations had of making votive gifts to the gods – especially to female deities – in the form of clay loaves and buns\, later found as grave goods. Some of these examples are on display at the National Archaeological Museum of Naples and other museums in the Campania region\, such as the Archaeological Park of Paestum and the Archaeological Museum of Eboli. The sculptures created by the artist are part of an installation conceived especially for the site\, which mixes references to archaeology and inspiration coming from the street. \nDepositions will be preceded by the screening of Jumana Manna’s film A Magical Substance Flows Into Me (2016) in the frame of a public event organized in collaboration with Fondazione Morra and hosted by Hermann Nitsch Museum in Naples on Thursday the 3rd of March\, at 6  pm. \nUnderneath the Arches aims to activate a dialogue between archaeology and contemporary art\, and to establish a relationship between local material and immaterial culture and the artistic research of international artists. Its main objective is to promote both existing cultural heritage and new production in contemporary art. In the fascinating space of the ancient Roman aqueduct\, discovered in 2011 and located underneath a historical building called Palazzo Peschici Maresca\, international artists are invited to create temporary and site-specific installations in dialogue with the space itself and the surrounding area. Previous exhibitions include works by Arturo Hernández Alcázar (Mexico City\, 1978)\, Hera Büyüktaşçıyan (Istanbul\, 1984) and Adrian Melis (Havana\, 1985). \nThis project is kindly supported by Fondazione Morra\, and carried out under the Matronage of Madre Museum / Fondazione Donnaregina per le arti contemporanee of Naples\, and under the patronage of the Academy of Fine Arts in Naples. Thanks to MANN – Museo Archeologico Nazionale di Napoli. \nARTIST BIOGRAPHY \nJumana Manna (Princeton\, 1987) is a Palestinian visual artist and filmmaker based in Berlin. Recent solo exhibitions include: Jumana Manna / MATRIX 278\, Berkeley Museum of Art\, San Francisco; Sketch and Bread\, Balade Charlottenburg\, Villa Oppenheim\, Berlin; Thirty Plumbers in the Belly\, M HKA – Museum of Contemporary Art\, Antwerp (all 2021); Wild Relatives\, Tensta Kunsthall\, Stockholm (2020); Jumana Manna\, Tabakalera\, San Sebastian (2019); Wild Relatives\, Douglas Hyde Gallery\, Dublin (2018); A Magical Substance Flows Into Me in Mercer Union\, Toronto (2017)\, Malmö Kunsthall\, Malmö (2016)\, and Chisenhale Gallery\, London (2015); Wild Relatives\, Jeu de Paume’s Satellite 10 program at MABA and CAPC musée d’art contemporain de Bordeaux (2017); and Menace of Origins\, SculptureCenter\, New York (2014). She has participated in numerous group exhibitions and festivals\, including Toronto Biennial of Art (2019); 11th Taipei Biennial (2018); Nordic Pavilion\, 57th Venice Biennale (2017); Liverpool Biennial (2016); Marrakech Biennale 6 (2016); 54th and 56th Vienna International Film Festivals (2016 and 2018); 66th and 68th Berlinale (2016 and 2018); and CPH:DOX\, Copenhagen (2018)\, where Wild Relatives (2018) won the New:Visions award. \n  \nTHE AUGUSTAN AQUEDUCT IN NAPLES \nDiscovered in 2011\, the tract of a Roman aqueduct found underneath Palazzo Peschici Maresca in Naples\, owned by the Arciconfraternita dei Pellegrini\, is an archaeological find that is key to tracing the entire trajectory of the ancient construction. The aqueduct was built in 10 AC and was an extraordinary work of hydraulic engineering at the time. It was more than 100 km long and supplied water to the most important cities in Campania\, such as Neapolis\, Pompeii and Herculaneum. Over the centuries\, its bridge-arches were buried due to the rise of the ground level. They were then used as foundations for new constructions\, as the city expanded beyond the walls of ancient Neapolis\, leading to the rise of the Vergini-Sanità area. The spaces outlined by the old arches\, now underground\, served as wine cellars\, as a bomb shelter during the Second World War\, and as a dump. \nOpened in 2015\, the archaeological site is currently managed by Associazione VerginiSanità. In collaboration with the Arciconfraternita and other cultural associations in the area\, it is working on a whole project for its restoration\, promotion and reception\, titled AquaAugusta. In 2017\, the site was included in EXTRAMANN\, a collaborative project between the MANN Museo Archeologico Nazionale di Napoli and other institutions devoted to promoting cultural heritage. \nINFO \naquaugusta.contemporaryart@gmail.com \nwww.verginisanita.it/aquaugusta URL:https://www.fondazionemorra.org/en/evento/underneath-the-arches-jumana-manna-depositions/ LOCATION:Acquedotto Augusteo del Serino\, Via Arena Sanità 5\, Napoli\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/02/JUMANA-MANNA_INVITATION-CARD_DEF1.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20211217T190000 DTEND;TZID=Europe/Rome:20211219T190000 DTSTAMP:20260513T012408 CREATED:20220113T171253Z LAST-MODIFIED:20220210T101617Z UID:7298-1639767600-1639940400@www.fondazionemorra.org SUMMARY:Open Systems DESCRIPTION:17th december 2021\nSTART 7:00 p.m.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Naples\n \nCurated by Ambra Viviani\, David Richter\, Jacob Ott and Lukas Treiber \nw/ Samara Behringer\, bod [包家巷]\, Andrea Bolognino\, Leonardo Bürgi\, Federico del Vecchio\, Antonio della Corte\, Giorgia Garzilli\, Boris Kurdi\, Angela Melito\, Effe Minelli\, Raffaela Naldi Rossano\, Michael Rey Von\, Isabel Schulte\, Anton Steenbock\, Gabriel Stöckli & more. \nHow can self-referential closure create openness? It is not a matter of adaptation\, nor is it a matter of metabolism. It is a peculiar constraint on autonomy arising from the fact that the system would simply cease to exist in any\, even the most favorable environment\, if it did not equip the momentary elements that compose it with the capacity for connection\, that is\, with meaning\, and thus reproduce them. Different structures may exist to accomplish this\, but only ones that can withstand the radical trend toward immediate (and not merely gradual\, entropic) dissolution of the elements. The point of departure must be the difference between system and environment. System are oriented by their environment not just occasionally and adaptively\, but structurally\, and they cannot exist without an environment. They constitute and maintain themselves by creating and maintaining a difference from their environment\, and they use their boundaries (contorni) to regulate this difference\, Without difference from an environment\, there would not even be self-reference\, because difference is the functional premise of self-referential operations. In this sense boundary maintenance is system maintenance. But boundaries do not mark a break in connections\, as one cannot state that internal interdependencies are greater than system/environment interdependencies. The concept of boundaries means\, however\, that processes which cross them have different conditions for their continuance after they cross the contorno. \n\n \n \n \n \n \n \n Installation view. Isabell Schulte\, part VIII (2021)\, Antonio Della Corte\, Where living forms can exist (2021)\, Angela Melito\, Hela havet stormar (il gioco delle sedie) (2021)\, Open Systems\, Museo Hermann Nitsch\, Naples\, 2021 © Danilo Donzelli Photography\n \n \n \n \n \n Installation view. Andrea Bolognino\, Engramma (2021)\, Samara Behringer\, Untitled (2021)\, Open Systems\, Museo Hermann Nitsch\, Naples\, 2021 © Danilo Donzelli Photography\n \n \n \n \n \n Installation view. Jacob Ott\, Questo è per Pina (2021)\, Antonio Della Corte\, Untitled 8 (2020)\, Leonardo Bürgi\, Drylands (2021)\, Raffaela Naldi Rossano\, Skin 01\, Skin 02\, Skin 03 (2019)\, Open Systems\, Museo Hermann Nitsch\, Naples\, 2021 © Danilo Donzelli Photography\n \n \n \n \n \n Installation view. Isabell Schulte\, part VIII (2021)\, Antonio Della Corte\, Where living forms can exist (2021)\, Angela Melito\, Hela havet stormar (il gioco delle sedie) (2021)\, Open Systems\, Museo Hermann Nitsch\, Naples\, 2021 © Danilo Donzelli Photography\n \n \n \n \n \n Installation view. Federico Del Vecchio\, Fetichisme and lemon soda (2018)\, Open Systems\, Museo Hermann Nitsch\, Naples\, 2021 © Danilo Donzelli Photography URL:https://www.fondazionemorra.org/en/evento/open-systems/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/01/OPEN_SYSTEM_digital1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20211211T170000 DTEND;TZID=Europe/Rome:20220115T170000 DTSTAMP:20260513T012408 CREATED:20211130T141432Z LAST-MODIFIED:20220107T142253Z UID:7156-1639242000-1642266000@www.fondazionemorra.org SUMMARY:Libero De Cunzo. Dea Adventus DESCRIPTION:13th december 2021 – 31st january 2022\nOPENING 11th december 5.00 p.m.\nFondazione Morra Biblioteca per le Arti Contemporanee\nVico Lungo Pontecorvo 29/d\, Naples\n \nCurated by Loredana Troise and Raffaella Morra \nBright\, sharp and soft; these words aptly describe Libero De Cunzo’s new solo exhibition\, DEA ADVENTUS\, curated by Raffaella Morra and Loredana Troise at the Fondazione Morra Biblioteca per le Arti Contemporanee (the Hermann Nitsch Museum Library) from 13th December 2021 to 31st January 2022. It denotes an interval amid the earthquake that is the world. Armed with his iPhone\, Libero De Cunzo directs his gaze towards\, and distils the syllables of a dialectic that spans the themes of recovery\, division\, and rediscovery – penetrating the geological folds of places and capturing their textual noema as a meditative act and cognitive phenomenon in his most personal mode of perceiving. \nStarting from cuts\, fractions and sections\, De Cunzo looks at the world through a recherche in which the underlying question regards the status of the things that have been recovered and then revealed in the memory: dreamlike rhythms\, wonder\, nostalgia\, and pain are vestiges of experience that are not lost but remain engraved on the heart. Narrated through a dense geology of reflections that have constantly driven the artist to ask questions\, illuminated by his conscience\, these unseen photographs\, divided across three partiture – DEVOTIONS-EMOTIONS-ADMIRATIONS – qualify as a neuralgic/humoral spot on the margin of the retina\, which thus becomes an observatory and a window through which knowledge and the ability to decant “in full Gratitude of the Wonder that is always ready to appear” can enter. An attribute that is both formal and ideological\, grounded in a vision oriented towards dialogue as a rhetorical device. \nThe logical-expressive structure of the narrative\, proceeding in an increasingly vertiginous and only apparently rarefied investigation of reality\, demands a particularly discerning viewer\, ready to take up the challenge of interpretation through a laborious but rewarding hermeneutic circle. In his hallmark style\, in the three visual chapters of DEA ADVENTUS\, Libero De Cunzo expresses himself through writing with light\, projecting his poetic message\, an expression of\, and emotional contact with\, signs and motifs: a remarkable and serendipitous sunset\, the glowing sun\, footprints in the sand\, a hand brushing against fabric\, votive candles – all these are striking encounters alternating between amazement and a rush of gratification\, solutions offered to our distracted memories\, illuminating with their immediacy\, a fleeting spark of reality. Libero De Cunzo’s photographs are explanatory visual items – reflections and vibrations guiding us on an enthralling journey where we are all called upon to ponder with a gaze that can slow down\, accelerate\, pause\, and begin again… \n“As it proceeds\, the gaze becomes an image and expresses the desire to identify with places. A search for an inner vision that seeks to go beyond the meanings of reality\, space\, and time\, recognizing within a time that moves from the subjective to the absolute in the instant in which the photo is taken\, holding the breath. A way of seeing in order to raise our ability to feel”.\nLibero De Cunzo\, A passo di Vigna\, 1998  \nLibero De Cunzo teaches Photographic Art at the Liceo Artistico Boccioni-Palizzi and Environmental and Landscape Photography at the Accademia di Belle Arti in Naples. An integral part of his research project is based on his teaching work\, which has always focused on developing a greater awareness of modes of seeing and knowledge of the language of photography. He has organized numerous initiatives on architecture\, the environment\, and landscape and worked with bodies and institutions such as the Ministry of Culture\, MAXXI\, the Faculty of Architecture in Naples\, the Institut François Grenoble\, and Suor Orsola Benincasa University. He has exhibited in several venues in Italy and abroad\, starting with the Trismegisto exhibition featuring leading contemporary artists curated and staged by Lucio Amelio in 1993. For De Cunzo\, the central role of photography in art as an ethical journey is clearly manifest. He has exhibited monographic works in the following exhibitions. L’Italia nel paesaggio (1999); Le stanze dell’Arte (2002); Living Theatre\, labirinti dell’immaginario (2003); Città architettura edilizia pubblica\, Napoli e il Piano Ina-Casa (2006); il Paesaggio degli Dei e il lavoro degli Uomini (2012)\, La rosa dei 20 (2017)\, RE/GARDER Vibrazioni e corrispondenze (2018)\, Procida/Giardino Segreto (2021). Tra i titoli pubblicati: I Casali (1981); Spaccanapoli (1993); Infiniti possibili: Ravello (1994); Grotta del Sole (1994); Lontano dall’Isola Azzurra (1994); Zone – Napoli/Parigi (1994); Tra luce e luce (1995); La trama vivente della storia (1996); A passo di Vigna (1998); I valori del paesaggio e la fotografia sensibile (1998); L’Italia nel Paesaggio (1999); Imago vocis\, vocis imago (2003); Croniconiche. Luci e ombre\, parole e memorie dalle metropoli (2006); Zenit. Sguardo meridiano. Viaggio nel cratere dell’Alta Irpinia (2009); Procida\, il giardino segreto (2009); Salerno. Glocal City (2010); Il Paesaggio degli Dei e il lavoro degli Uomini (2012). \nFree admission – COVID-19 Green Pass required \nFondazione Morra Biblioteca per le Arti Contemporanee \nVico Lungo Pontecorvo 29/d 80135 Napoli\nTel.: +39 0815641655\nwww.fondazionemorra.org www.em-arts.org www.museonitsch.org \nMonday to Friday 10 am –7 pm Saturday 10 am – 2 pm URL:https://www.fondazionemorra.org/en/evento/libero-de-cunzo-dea-adventus/ LOCATION:Fondazione Morra Biblioteca per le Arti Contemporanee\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italy CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/11/invito-Libero-De-Cunzo-Dea-Adventus.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20211209T170000 DTEND;TZID=Europe/Rome:20211214T170000 DTSTAMP:20260513T012408 CREATED:20211213T165043Z LAST-MODIFIED:20211213T170127Z UID:7191-1639069200-1639501200@www.fondazionemorra.org SUMMARY:HUO RF…person\, action\, situation… DESCRIPTION:9th – 14th december 2021 \nMuseo Nitsch\nVico Lungo Pontecorvo 29/d\, Naples \n…person\, action\, situation… emerged as a series that looks at the concept of “shame” individually\, socially\, ecologically\, and politically and elaborates the concept as discussion/dialogue through portraits\, which I aim to expand into a broader perspective over time. As I looked at the concept of shame and thought about it\, I began to see concretely that it varied a lot according to daily habits\, professional practices\, city-space\, family\, society\, or physical/scientific/ecological awareness. I started exploring how the feeling of shame that one is trying to get rid of or formed as being unwanted is an individual struggle\, how shame surrounds the person\, how the society turns this feeling into an element of pressure\, how and to what extent the tradition takes place in these experiences\, at what stage the boundaries are noticed\, the problems that emerge when the limits are removed and at the end what was left from the confrontation area. As I opened up about the shame that we suppressed the most and buried deep\, I found in the answers to the three questions I asked for each work: why shame exists\, where it came from\, its source\, how solid but invisible veil it is. \nI asked the mentioned questions as follows: \n– Would you consider sharing something that you feel ashamed of if there’s any?\n– If you had such an experience\, do you still feel shame over it after you’ve shared it?\n– What are your common reactions when you come across something shameful? \nI am continuing this series\, which I started in a residency experience in 2019\, with different portraits accompanied by the same questions\, in Naples\, where I came through the residency program of Fondazione Morra*. I engrave the answers about shame from art professionals with\ndifferent experiences that allow me to connect with the city on copper sheets because of its temporality and conductive material. We can also physically touch these works that have turned into a place installation\, and we can form stronger bonds by talking about our shame. \n*The residency by Huo Rf and Cağrı Taşkın (Odviz collective) at Fondazione Morra in Autumn 2021 is part of the program of cultural\nexchanges Neapolitan Dialogues designed by Vittorio Urbani for Fondazione Morra.\n**With Turkey ONE Association’s kind support in partnership with Fondazione Morra. \n\n \n \n \n \n \n \n Installation View\, HUO RF…person\, action\, situation…\, Museo Nitsch\, Naples\, 2021 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, HUO RF…person\, action\, situation…\, Museo Nitsch\, Naples\, 2021 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, HUO RF…person\, action\, situation…\, Museo Nitsch\, Naples\, 2021 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, HUO RF…person\, action\, situation…\, Museo Nitsch\, Naples\, 2021 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, HUO RF…person\, action\, situation…\, Museo Nitsch\, Naples\, 2021 © photo Amedeo Benestante Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/huo-rfperson-action-situation/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/12/Hide-Huo-RF-...person-action-situation....jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20211110T180000 DTEND;TZID=Europe/Rome:20211110T180000 DTSTAMP:20260513T012408 CREATED:20211028T094810Z LAST-MODIFIED:20211102T140318Z UID:6968-1636567200-1636567200@www.fondazionemorra.org SUMMARY:Presentation of the book ALL BOOM ARTE DESCRIPTION:10th november 2021\nSTART 6.00 p.m.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nEuropean presentation tour of ALL BOOM ARTE. Italian Artist at AlbumArte 2011-2020 \nCurated by Cristina Cobianchi \nSpeakers: Elena Bellantoni\, Fabrizio Cicero\, Cristina Cobianchi\, Adriana Rispoli\nModerator: Vittorio Urbani \nOn Wednesday 10 November 2021\, at the Fondazione Morra\, at the Hermann Nitsch Museum of Naples\, AlbumArte\, independent space for contemporary art in Rome presents the editorial project “ALL BOOM ARTE. Italian artists at AlbumArte 2011 – 2020”\, curated by Cristina Cobianchi (Quodlibet editore\, 2021)\, realized thanks to the support of the Italian Council (VIII edition 2020)\, the program to promote Italian contemporary art in the world by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture. \nWithin the presentation of the volume\, will be presented two videos of two artists of AlbumArte: “CORPOMORTO” (2020\, 9’50”) by Elena Bellantoni and “Fronte Nazionale Naso Partenopeo” (2020\, 18’48”) by Anna Raimondo. \nThe artists and curators selected in these ten years of activity by AlbumArte\, have managed to build a community and to form a network of intellectual exchanges and opportunities for work\, connection and research and it is precisely on this community of young or emerging artists that the attention of the volume ALL BOOM ARTE is focused\, an aggregative phenomenon still in progress\, which has involved and continues to involve dozens of artists\, including many women artists and curators. \nA part of the volume is dedicated to 18 unpublished conversations between the artists and the curators of AlbumArte: Gianluca Brogna with Grossi Maglioni\, Benedetta Carpi De Resmini with Cosimo Veneziano\, Anna Cestelli Guidi with Iginio De Luca\, Daniela Cotimbo with Sonia Andresano\, Elisa Del Prete with Angelo Bellobono\, Raffaele Gavarro with Sandro Mele\, Silvano Manganaro with Zaelia Bishop\, Margherita Moscardini with Cristina Cobianchi\, Manuela Pacella with Elena Bellantoni\, Claudio Libero Pisano with Delphine Valli\, Adriana Polveroni with Francesco Jodice\, Marta Silvi with Dario Agati and Fabio Giorgi Alberti\, Marco Trulli with Anna Raimondo\, Paola Ugolini with Silvia Giambrone and Romina Bassu\, Vittorio Urbani with Flavio Favelli\, Saverio Verini with Sabrina Casadei and Alessandro Giannì.  \nThe volume\, of 484 pages\, double Italian-English version\, is divided into sections that illustrate the context of AlbumArte’s research from 2011 to 2020: the Italian artists abroad with AlbumArte (Anteprima 2011-2014); AlbumArte | VideoArtForum (2016\, in progress); The performances; the project Donne (non più) anonime – conversation on femicide\, together with the images and texts related to the exhibitions realized with all of them (2011-2020). \nCORPOMORTO (2020\, 9’50’’) \nThe work consists of a video and a large public art installation composed of a 43-metre-long polyurethane foam sign and 8 concrete objects with 20-metre-long lines each. I imagined working on the point of view from the sea by placing my work on the edge of the water visible from above. I decided to work on the concept of the dead body – a word borrowed from the language of the sea – producing floating letters in expanded polystyrene that become anchorage points for the concrete dead bodies thrown to the bottom of the sea in a bay near the Port of Tricase. \nI work by immersion\, with “CORPOMORTO” the immersion also takes place in a literal sense by throwing myself into the sea to construct my action. I am interested in the linguistic aspects of these maritime elements: the word dead-body which highlights with the presence of many dead bodies in our seas\, the word an-courage underlines the action of jumping\, the courage of approaching to reach dry land. \nThe language becomes a “lifesaver”\, a place on which to lean\, all the letters – which I throw into the water through a performative action – are an intense orange colour\, the same as the life jackets used at sea. \nThe dead bodies\, at the bottom of the sea\, bear the same writing as a reflection that emerges on the surface of the water: anchor /still dead body between sky and land courage from the play of words on the very object of “anchorage” a warning of a poetic-political nature emerges. (EB) \nFronte Nazionale Naso Partenopeo (2020\, 18’48’’) \nThe title of this work is inspired by an inscription read fleetingly by the artist on the walls of Naples\, where with irony\, someone had added to the acronym written with spray paint “Fronte Nazionale (National Front a far-right political group)\, the words “Naso Partenopeo” (Neapolitan Nose). The constitution of a utopian party\, the Fronte Nazionale Naso Partenopeo (Napolitan Nose National Front)\, takes shape through the interviews that the artist makes to Neapolitan citizens and activists\, in order to start a choral reflection on the daily micro-actions of social transformation and emancipation. A (non) party\, represented by a (non) flag together with different propaganda materials\, is at the center of a real electoral campaign organized by the artist\, presenting also a mobile electoral banquet\, similar to that of an old street vendor\, which will be used for future actions in the public space. The nose\, an element that defines the physiognomy of a person\, is here ironically used as a parameter of identity\, as a starting point for a series of political and social speculations carried out during the interviews\, with a recurring motto: use your eyes\, use your ears\, have a nose. The video was made on the occasion of the artist’s solo exhibition of the same title at AlbumArte in January 2020. \nThe cultural partners of the project ALL BOOM ARTE. Italian artists at AlbumArte 2011 – 2020 are: MAXXI – National Museum of XXI Century Arts\, Rome; Roma Capitale. Assessorato alla Crescita Culturale / Azienda Speciale Palaexpo\, Rome; National Gallery of Art\, Vilnius; Art House\, Shkodër; Bn Project\, Brussels; Dimora OZ\, Palermo; Golden Thread Gallery\, Belfast; LE 18\, Marrakech; PILOT\, Bratislava. \nFree admission subject to availability. COVID-19 Green Certification (Green Pass) required URL:https://www.fondazionemorra.org/en/evento/presentazione-libro-all-boom-arte/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/png:https://www.fondazionemorra.org/wp-content/uploads/2021/10/Invitation-Naples-LD.png ORGANIZER;CN="AlbumArte":MAILTO:info@albumarte.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20211105T080000 DTEND;TZID=Europe/Rome:20220420T170000 DTSTAMP:20260513T012408 CREATED:20211104T170752Z LAST-MODIFIED:20220519T132810Z UID:7019-1636099200-1650474000@www.fondazionemorra.org SUMMARY:International Masterclass Oedipus. Body of Blood - OPEN CALL DESCRIPTION:CALL FOR MASTERCLASS\nOpen call from 5th november 2021 to 20th april 2022. \n10 – 22 may 2022\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Naples \nInternational Residential Masterclass on the relationship between sound and body\, from the King Oedipus by Hermann Nitsch \nheld by Andrea Cramarossa. \n“The torment that Oedipus carries from his birth\, not knowing anything about himself\, will lead him towards horror\, towards the inaudible. With a very strong light\, in Nitsch’s Oedipus\, the sense of the sacred is achieved through the sacrifice of all the elements that led the hero into the ecstasy of knowledge\, a disturbing\, troublesome\, lacerating ecstasy.” \nAndrea Cramarossa \nPurposes \n\nGet in touch with your own body through the practice of the ritual.\nGet in touch with your own sound through the practice of the ritual.\nTake possession of the “sense of the sacred” starting from the “sacred everyday”.\nMake your own body sacred.\nMake your own sound sacred.\nMake the place sacred through the practice of sacrifice.\n\nGoals \n\nTo Study the text “King Oedipus” by Hermann Nitsch to reach an immersive ritual practice.\nTo get involved by the myth of Oedipus to consolidate a collective and community narrative practice of the myth itself.\nTo reach a possible “place” where the actor consider the sacredness of his being on stage with the surroundings\nTo Assimilate the sense of the sacred in theatrical practice.\nTo Learn the mechanism of regression (loss of one’s structural bonds – physical and mental prison) to identify the primordial physical impulses (Dionysian process).\nLearn the mechanism of the sublimation of these impulses to make a mystical artistic creation of self-awareness.\n\nWho is the Masterclass for? \nThe Masterclass is aimed at actors and actresses\, dancers\, musicians\, singers\, directors and directors of all ages and of all nationalities (held multilingual); also open to pupils with experience\, even occasional and not in-depth\, but felt and participated in the dramatic art. \nThe relationship with the body provides for the possibility of considering it in its nakedness. \nAt the end of the itinerary\, a double opening of the work to the audience is foreseen. \nAll participants will receive a certificate of participation. \nThe Masterclass is limited to a maximum of 20 participants. \nParticipants can be invited to take part as actors in the “Six Days Festival” scheduled for July 2022 at Prinzendorf Castle in Austria. \nBiographical notes \nAndrea Cramarossa is a poet\, director and actor who\, after years of intense personal studies in the field of vocal research\, sound and voice applied to singing and speaking\, theorize\, on an experimental basis\, an approach to dramatic art through the use and knowledge of sound. \nHe is the first to take advantage of listening to the sound of the human voice in order to arrive at dramatic art by structuring a real acting model that is inspired by the work on sound by Gisela Rhomert and by Hermann Nitsch’s Theater of Orgies and Mysteries. \nCramarossa regularly holds workshops on voice and acting in Italy and abroad. He receives numerous awards in the artistic field including: “Young Oscar – European Personality” and the “Aligi D’Oro” Prize for Dramatic Art. With his artistic work “L’URLO” (The Scream) he received the first prize in 2013 at the FAP – Festival of Performing Arts. In 2003 he founded the theater research group Teatro delle Bambole. \nFor more info: www.teatrodellebambole.it \nDates & Timetables \nThe Masterclass will take place every day \nfrom 10 to 22 May 2022 \nfrom 10 to 13 and from 16 to 19 \nTotal: 66 hours \nAudience presentations on Saturday 21 May at 9 pm and Sunday 22 May at 6 pm. \nWhere \nThe Masterclass will take place in Naples (ITALY): \nMuseo Hermann Nitsch\nNaples – Vico Lungo Pontecorvo 29 / d \n_____________________ \nHow to apply / Deadline \nIt is essential to send your application accompanied by an artistic curriculum to info@teatrodellebambole.it \nYou can send your application from November 5\, 2021 to April 20\, 2022. \nAttendance fee: 280\,00 euros \nSelection Result \nThe selected participants will be contacted by the organizational secretariat on April 27\, 2022 \nThe registration is completed upon receipt of the copy of the deposit of  50%\, within five days following the communication of the selections. \nAfter this date the candidacy expires. Please note that the deposit is non-refundable \nPayment is only allowed by bank transfer.\nThe attendances are responsible for organizing and paying their own travel\, accommodation\, meals costs. \nDuring the Masterclass\, compliance with the measures envisaged for the containment of Covid-19 will be guaranteed. \nInfo: \nMuseo Hermann Nitsch – info@museonitsch.org – +39 081 5641655 \nCasa del Contemporaneo – info@casadelcontemporaneo.it – +39 345 4679142 \nOEDIPUS. BODY OF BLOOD. – INTERNATIONAL MASTERCLASS is organized by Fondazione Morra – Hermann Nitsch Museum and Teatro delle Bambole in collaboration with Casa del Contemporaneo \nGerman version \nSpanish version \n\n \n \n \n \n \n \n Masterclass Oedipus. Body of Blood\, Museo Hermann Nitsch\, Naples\, 2022 photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Masterclass Oedipus. Body of Blood\, Museo Hermann Nitsch\, Naples\, 2022 photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Masterclass Oedipus. Body of Blood\, Museo Hermann Nitsch\, Naples\, 2022 photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Masterclass Oedipus. Body of Blood\, Museo Hermann Nitsch\, Naples\, 2022 photo Amedeo Benestante Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/masterclass-internazionale-edipo-corpo-di-sangue-open-call/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/png:https://www.fondazionemorra.org/wp-content/uploads/2021/11/tavola_disegno_1-1.png ORGANIZER;CN="Teatro delle Bambole":MAILTO:info@teatrodellebambole.it END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20211002T190000 DTEND;TZID=Europe/Rome:20211005T190000 DTSTAMP:20260513T012409 CREATED:20210928T100732Z LAST-MODIFIED:20211124T110251Z UID:6852-1633201200-1633460400@www.fondazionemorra.org SUMMARY:The art of remembering - Events DESCRIPTION:2nd october 2021\nSTART 7.00 p.m.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/D\, Napoli\n \nDivergent Senses II part\nvideo screening\nCurated by Raffaella Morra \n5th october 2021\nOPEN STUDIOS 5.00-7.00 p.m.\nCEREMONY 7.00-9.00 p.m.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/D\, Napoli \n“All that is solid melts into air\,\ndiffusing the labyrinth\,\na continuum of existence in the end\nAs travellers\, they do journey\,\nsearching for some sort of wonderland.\nWhat is it that connects us?\nA memory?\nWhat if we stop remembering?” \nThe rabbit hole presents “the art of remembering” a global residency program\, in collaboration with Fondazione Morra\, and E-M Arts\, to be held in Naples\, Italy from September 21 – October 5\, 2021. \n  \nMaayan Boni * Amaury Cambuzat * Laith Demashqieh * Matilde di Pietropaolo\nAinara Lopez * Olec Mun * Keri Rosebraugh * Mayke Verhoeven\ntheatrum phonosophicum (alias Leopoldo Siano & Shushan Hyusnunts) * Alejandro Zertuche \n10 candidates have been selected to spend 14 days together unravelling the question “what if we stop remembering?” The program\, designed as a dramaturgy of inner exploration\, projects Naples as wonderland\, in an environment that is created both as an immersive journey and international artist residency program. Artists will explore the subject on their own\, in a contemplative and inspiring environment\, equipped with their own studio space inside Museo Hermann Nitsch\, generously granted by Fondazione Morra\, as well as attend 5 experiential workshops introducing “the rabbit hole method™” at the Museo Hermann Nitsch\, among other public spaces and excursions around Naples. \nThe concept and program have been written and directed by the rabbit hole’s founder\, Samina Virani. The method is designed as a dramaturgy\, a labyrinth\, where each artist goes down the rabbit hole\, embarking on its mythological journey to discover a collective blank canvas. In the artistic direction of the program\, Samina Virani explains “the scripted elements of the residency are designed to allow the artists to delve into self-introspection\, a white canvas\, a formlessness where the secret gaze exists. Some could call it ‘remembering’.” \nsaturday october 2 – video screening \nDivergent Senses II part \nAs a puzzle without a clear matrix\, Divergent Senses video screenings are the separate components or hidden qualities of a unification. These videos are interpretive inferences rather than linear stories\, drawing imaginative connections between the onscreen event and emotional engagement. When information is missing and out of order\, the perceivers seek their causal relations; the salient information is omitted to arouse curiosity and enable the participants to understand their motivations of elaborate details\, and mentally construct a coherent description. \nThe program Divergent Senses II part \nAnouk De Clercq We’ll find you when the sun goes black 2021\, BE/NO\, video 16:9\, b/w\, sound\, 5 min. \nAlvise Renzini Ci sono gli spiriti (There are spirits) 2009\, Italia\, video\, color\, sound\, 6 min. 20 sec. \nJohanna Vaude Samouraï 2002\, France\, Super 8mm\, color and b/w\, sound\, 7 min. 23 sec. \nJeanne Liotta Dark Enough 2011\, USA\, 16mm\, b/w\, sound\, 6 min. 53 sec. \nPeter-Conrad Beyer Le Rêve 2020\, Germany\, Super 16mm & Video\, color and b/w\, sound\, 8 min. 21 sec. \nColectivo Los Ingrávidos Guerras Floridas 2021\, Mexico\, 16mm\, color\, sound\, 4 min. \nDeborah Stratman For the Time Being 2021\, USA\, HD video\, 6 min. 40 sec. \nScott Sinclair ベルガ / BERGA 2017\, Australia/Germany\, HD video\, color\, sound\, 6 min. 4 sec. \nTo participate to the video screening on October 2\, the reservation is required. Please send an email to info@museonitsch.org \ntuesday october 5 – the final response \nIn this process-based residency\, each artist will develop an answer to “the art of remembering”\, which will form a collective response on the final night of October 5th at Museo Hermann Nitsch. Essentially\, process\, which is “the art of remembering” will transform into ritual which is “the act of remembering”. \nCredits \nSamina Virani\, Founder and Artistic Director\, the rabbit hole\nRaffaella Morra\, Curatorial Lead Naples\, Fondazione Morra\, Director E-M Arts \nCarlos Calvo\, Creative Producer\, the rabbit hole\nDr. Don Rodrigues\, co-writer “the rabbit hole method”\, Professor English Literature\, University of Memphis\, and Harvard University \nAurora Arenare\, Assistant Producer\, the rabbit hole\nPol Vidas\, communications\, the rabbit hole pol@101010n.com \n\n \n \n \n \n \n \n Amaury Cambuzat\, The art of remembering\, Museo Hermann Nitsch\, Naples\, 2021 © photo Sabrina Cirillo\n \n \n \n \n \n Ainara Lopez\, The art of remembering\, Museo Hermann Nitsch\, Naples\, 2021 © photo Sabrina Cirillo\n \n \n \n \n \n The art of remembering\, Museo Hermann Nitsch\, Naples\, 2021 © photo Sabrina Cirillo URL:https://www.fondazionemorra.org/en/evento/the-art-of-remembering-incontri/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/09/the-art-of-remembering_-banner1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20210520T000000 DTEND;TZID=Europe/Rome:20210720T000000 DTSTAMP:20260513T012409 CREATED:20210520T130445Z LAST-MODIFIED:20211124T120624Z UID:6369-1621468800-1626739200@www.fondazionemorra.org SUMMARY:The art of remembering - Artist Residence DESCRIPTION:CALL ARTIST RESIDENCE\nOpen call from 20th may to 20th july 2021 \n21st september – 5th october 2021\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nFondazione Morra and “the rabbit hole” collective with E-M Arts association present the art of remembering\, a global residency program. \n3 applicants residing in Napoli or neighbouring Municipalities will join 7 candidates to spend 14 days at the artist-residence of Fondazione Morra and Museum Hermann Nitsch\, in the heart of Quartiere dell’arte\, exploring “the art of remembering.” \nWe are particularly interested in those applicants with a keen interest in voyaging\, journeys\, ports and waterways; as well as in ancient symbols\, scripts and codes through mediums such as poetry\, theatre\, sound\, mathematics and performance to apply. \nArtists will have the chance to explore the subject on their own\, in a contemplative and inspiring environment\, as well as collaborate and celebrate a meeting of the minds. \nAs part of the program\, artists will get to know Naples’ creative scenes\, encounter some of the city’s personalities\, and immerse in the waves of the city and the surrounding seas. \nThis residency program is set up as a mystical inquisition\, so we invite the curious-minded who have a particular interest in the sublime\, discovering new awake spaces\, and capturing the mysterious and magical white feather to apply. \nMethodology: \nEach artist will interrogate the subject of “remembering” immersing in The Rabbit Hole Method™\, a process of inquiry that extracts and distils from contemporary artistic practises\, philosophy\, mysticism\, mathematics and dance. It includes the teaching of Hazrat Inayat Khan\, Farid Ud-Din Attar\, Jorge Luis Borges\, Alejandro Jodorowsky\, Lewis Carroll\, among others. The rabbit hole seeks to stimulate new ideas about the self and the other\, and to challenge culturally constructed limits and borders. \nUnder careful advisory from Georgetown University\, and the MIT Senselab\, the program bases its principles on deconstruction\, and the reinvention of rituals and forms. We also work with Teatro de los Sentidos\, based in Barcelona\, an immersive theatre company that creates experiences deconstructing what has become our pre-supposed sensory mapping\, and instead discovering the magical silver thread that presents itself\, if one is open to remembering. \nArtists’ expectations: \nEach artist will be required to develop an answer to “the art of remembering” which will later be presented at Museum Hermann Nitsch. \nEach work will become part of the beginning of an archive that reflects The Rabbit Hole Method™ \nA final event at the end of the residency will invite locals to meet the artists\, introduce the methodology and involve local artistic communities through sensory immersion and play. \nAt the conclusion of the residency: \nEach artist will receive a master class certificate of The Rabbit Hole Method™ \nEach artists’ work will be communicated through the rabbit hole’s global channels. Each artist will establish a place in the rabbit hole collective. \nWho can apply: \nWith only 3 spaces to offer for this residency\, we will select candidates for both their artistic merit\, passion in the subject\, as well as how each contributes to an overall group synergy. \nArtists\, curators\, writers\, composers\, poets\, researchers\, musicians\, performers\, from all backgrounds are invited to the open call. \nTo apply\, send the following to info@fondazionemorra.org \n– statement about the project you wish to work on \n– statement in relation to “the art of remembering” (approx 400 words) \n– a response to the question below (approx 400 words) \n– your bio \n– your website \nDeadline July 20\, 2021 \nThe question: \nPlease read the following poem\, and answer the question \n“What is it that connects us? \nA memory? \nWhat if we stop remembering?” \n  \n \nFounded in New York in 2008\, the rabbit hole collective – comprised of a mischievous group of artists\, storytellers\, and visionaries – numbers 2000+ in 56 countries. \nThe collective seeks to stimulate new ideas about the self and other and to challenge culturally constructed limits and borders. a manifesto\, written by its founders\, bases its principles on deconstruction\, and the reinvention of rituals and forms. \nUnderneath a foundation of festivity and a celebration of disruption\, the rabbit hole has created provocative participatory shows at the chelsea art museum\, a time traveling double decker bus in new york city\, a catamaran in the mediterranean and a 21 day train journey across europe and the middle east\, among others venues. \nPress Release \n\n \n \n \n \n \n \n Labyrinth of mirrors in The art of remembering\, Naples\, 2021 © photo Imma Di Lillo\n \n \n \n \n \n The art of evoking in The art of remembering\, Museo Hermann Nitsch\, Naples\, 2021 © photo Imma Di Lillo\n \n \n \n \n \n Alper Akcay\, The Whirling Begins in The art of remembering Residency\, Museo Hermann Nitsch\, Naples\, 2021 © photo Sabrina Cirillo\n \n \n \n \n \n Body\, Time\, Space\, Access in The art of remembering\, Museo Hermann Nitsch\, Naples\, 2021 © photo Samina Virani URL:https://www.fondazionemorra.org/en/evento/the-art-of-remembering-residenza-dartista/ CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/05/image0.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20200925T100000 DTEND;TZID=Europe/Rome:20220924T000000 DTSTAMP:20260513T012409 CREATED:20200729T134242Z LAST-MODIFIED:20211014T150516Z UID:4720-1601028000-1663977600@www.fondazionemorra.org SUMMARY:Hermann Nitsch – Sinfonia Napoli 2020 DESCRIPTION:september 2020 – september 2022\nOPENING 25th SEPTEMBER 10.00 A.M.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Naples \nThe Nitsch Museum Naples gets a makeover for the two-year period of 2020 to 2022 with the project “Sinfonia Napoli 2020”. The opening will take place on the 25th of September\, presenting a new body of work including Action Relicts along with a new collection of paintings and drawings.\nFollowing the Government’s requirements for the containment of Covid-19\, our doors open to public from the morning on\, making it possible to enjoy without assemblage the rearrangement of the museum. Presenting works never seen before\, like Hermann Nitsch’s Action Relicts of 2018\, which were created for the museum’s tenth anniversary and his latest paintings realized in residency in Naples. This constellation of “vital seismographies” exemplifies Nitsch’s work as a persistent striving for the liberation of sensitivity from the discipline of an anaesthetizing civilization\, a practice affirming life through the continuous referencing of the olfactory\, tactile\, and visual correspondences of colour. From the “relicts” which\, despite their name\, testify to a promise of return – resurrection from dissolution – to painting and drawing which for Nitsch celebrate light as a condition for experiencing the world. The reopening of the museum\, was also celebrated by the musical composition “Sinfonia Napoli 2020”\, performed behind closed doors by the Nuova Orchestra Scarlatti\, under the baton of Andrea Cusumano\, (the recording will soon be available online).\n“Sinfonia Napoli 2020” seals the partnership\, dating back to 1974\, between Hermann Nitsch and Giuseppe Morra in the name of the creative force of art and the continuity of a project culminating in joyful celebrations for the twelve years of the Nitsch Museum. For the events the Fondazione Morra is again collaborating with Wine&Thecity Naples’ wine event\, that conjugates the promotion of wine culture and art. There will be a degustation of wines from the historical Company of Agro Pontino Casale del Giglio on the day of the opening starting from 17.00. \n \n  URL:https://www.fondazionemorra.org/en/evento/hermann-nitsch-sinfonia-napoli-2020-2/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/07/hermann-nitsch_resize.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20200702T210000 DTEND;TZID=Europe/Rome:20200704T210000 DTSTAMP:20260513T012409 CREATED:20201024T102428Z LAST-MODIFIED:20210115T134458Z UID:4332-1593723600-1593896400@www.fondazionemorra.org SUMMARY:INDEPENDENT FILM SHOW 20th Edition DESCRIPTION:July 2nd – July 4th 2020 \nSTARTING PROJECTIONS at 9:00 p.m.\nFondazione Morra – Museo Nitsch (Belvedere)\nVico Lungo Pontecorvo 29/d\, Napoli \nCurated by Raffaella Morra\, Emmanuel Lefrant\, Andrea Saggiomo and Botborg. \nIndependent Film Show 20 edition is among the most innovative international reviews of experimental film in Italy\, from 2001 coordinated by Raffaella Morra and organised by E-M ARTS associazione culturale\, in collaboration with Fondazione Morra. \nWe’re longing for emotional shocks\, we do not want to postpone this meeting between film-makers and users\, we want to live intensely these three days of Independent Film Show 20 edition and discover the solutions conceived to unhinge habits with direct and active participation. Without any gender division\, the Independent Film Show is free and does not pursue fashions\, routine\, commercial constraint\, requirement of numbers. These artists are skilled communicators of emotions\, of sensual affections\, of perceptual psychologies and\, through the creation of complex audio-visual strategies\, they devise mental exercises and investigative attitudes\, they intersect memories\, sensations\, synchronizations and synaesthesias\, they guide our understanding towards discovery of unusual cognitive mechanisms. They draw from their experiences\, introspections\, mental abilities and fragments of life; they ask users to reflect divergently\, to interpret these emotions as uncommon interferences\, outside of usual patterns. Since Independent Film Show first edition in 2001\, we learned how to activate these unusual connections\, without follow the intransigence of the categories\, the linearity of the narrations\, the rigidity of the pre-established functions. Independent Film Show’s attendees are used to activate a deep involvement\, which branches out in the mind like Escher’s interconnected geometries\, to sensually understand/interpret\, to be in tune. The creativity and the inventiveness are the common denominators of this film art\, created by simulating the movement of carefully selected images\, not using the habitual and the simplifications of automation. \nThe two programs Exposure to chance and Welcome Happy Coincidences by Raffaella Morra are an incitement to overcome the adversities in order to not succumb\, to seize the positive side in the randomness of life and to be able to see happy coincidences. These works are metaphysical paths that investigate the physicality of materials\, such as the lava sand and stone in Matteo Fraterno’s ΑΠΟΚΑΤΑΣΤΑΣΙ\, the natural phenomena like the wind in the videos Vent by Patrick Bergeron and Flatform’s Nothing can be done against the wind (this year invited to the Cannes Film Festival)\, and the clouds in Transformation by Telemach Wiesinger\, composing mosaics of places and axes of reference in continuous transformation; and even\, sharing fragments of life and human behaviours in Kengné Téguia’s Got ‘Til It’s Gone\, the multi-ethnic memories of alien territories in Giuseppe Boccassini’s Debris\, Julie Murray’s Orchard\, Fern Silva’s Tender Feet\, Malena Szlam’s Morfología de un Sueño\, Colectivo Los Ingrávidos’ Itzcóatl; and once again\, to catch the visual-aural haiku by Mahine Rouhi’s PTKHO\, Hugo Verlinde’s Bételgeuse\, Sandra Davis’ For A Young Filmmaker\, Billy Roisz’s brRRMMMWHEee II\, and the personal and historical memories in Nach Osten Schauen by Deborah Phillips\, and 14 Juillet by Olivier Fouchard\, with his words “…in order to wake up the sleepers and to tell them that the revolution is not only a party…”. \nSight of Sound is Mike Cooper’s program; for the past 50 years Mike Cooper has been a guitarist\, a folk-blues songwriter\, an explorer/experimenter of music genres from improvisation to electronic sound\, an author of essays and a historian of the Pacific music and musicians\, a visual artist and film/video-maker. Initially\, he shot Super 8mm films\, but as the medium became more difficult to buy and to get develop\, he firstly found a small video-camera that produced a two and a half pixel image\, and recently he updated to 10 megapixel Full HD Sanyo camera\, as he says “…small enough to be discrete and make hip-shots with”. Mike Cooper realized some short videos that share a degraded lo-fi quality he likes so much\, “light poems” as he defines them. “…I tend to wander around with my video-camera in my pocket and just shoot stuff with no particular intention and I edited it after into something”. \nLight Cone\, a live collection by Emmanuel Lefrant\, film-maker and director of this film/video propagator\, reflects the diversity of the distribution catalogue\, from 1982 to today\, and accounts the richness of this cinema that existed for more than a century on the edge of commercial circuits. Within there are represented all the great film movements of twentieth century’s avant-garde together up to the contemporary\, counting more than 5500 films\, made from 1900 to today by more than 800 artists and film/video-makers from all over the world. In this program there is Tönendes Abc (Abc In Sound) 1933 by Laszlo Moholy-Nagy\, missing for over 80 years\, and found by BFI curators embedded in a reel of 16mm film that also contained Oskar Fischinger’s Early Experiments In Hand Drawn Sound; and also some films and videos created between 2010-2019: Bea Haut’s Kitchen Beets\, Jérôme Cognet & Karen Luong’s Bruit Blanc\, Soetkin Verstegen’s Freeze Frame\, Kelly Egan’s ATHYRIUM FILIX-FEMINA\, Jürgen Reble’s Das Schöpfwerk\, Jacques Perconte’s Or / Or\, Hawick\, Jeremy Moss’ Camera Sick\, Rajee Samarasinghe’s The Exile/Pituvahalayā\, i Lucie Leszez’s Borgo\, Jerome Hiler’s Words of Mercury. \nSince 2009\, 70FPS is an expanded cinema project by Andrea Saggiomo\, in the context of which he improvised and collaborated with musicians and international artists including Andy Guhl and Seppo Renvall\, Riojim\, Gaelle Rouard\, Cogne et Foutre\, Botborg and others. Ancora no! (2018) is a super 8mm film on which he printed by hand (with rayogram technique) insects and leaves together with other film clippings. The film does not present a linear continuity of frames; when projected (at variable speed) these images come to life\, they enter in relation to each other\, they produce noise\, transforming themselves into a film through the gaze. There is no movie before someone projects it and someone else looks at it and listens to it. Transparent Nature (just finished and premiered at IFS20) is described as “…transparent nature of the film material being hard tested by the will to look inside memories\, deep inside the primordial broth from which everything originated and within which\, like it or not\, we are still immersed”. \nBig Screen Brutals by Botborg is a celebration of six ‘brutal’ videos from current artists using a maximalist aesthetic in video art\, digital art\, electronic music\, and noise. Expect glitchy\, psychedelic\, violent\, and quite beautiful combinations sound and vision. These are electro-shamanic short circuits that lead to a new state of surreality: in Der Kleine Kreis’ Clairvoyant the reduced quasi-geometric forms move over the screen in aleatoric patterns and form a synesthetic connection with the sound\, UCNV’s Crashed Universal is made with a precise research of the way of digital media\, in Krushers of False Mechaniks (2D version) by The Superusers a light source becomes incandescent\, change colors regularly before transforming into an intense explosion of wild collapsing patterns\, Guillaume Vallée’s Tzara I is a hybrid film/video created from an obscure 16mm found footage documentary\, inspired by Tristan Tzara’s creative process\, in Anulus Pexie by Norihiro Sekitani & Sgure the colorful the collages are distorted examination of elements of the human body\, Kokofreakbean said that to produce God Knox: “… I used After Effects\, Maya\, Photoshop\, Reaktor\, Premiere\, jenkem\, dwarf callus shavings and elbow grease to conceive and carry out this self-insemination”. \nBotborg is an international audio-visual performance group that fuses and rewires raw electronic signals to create intensely visceral experiences of sound-color synaesthesia. Using a complex array of custom electronics\, Botborg create totally live multi-sensory assaults of interdependent color and rhythm\, pushing the limits of technology to invoke the maximum possible stimulation of their audience’s mind and body. Botborg’s performances are essentially practical demonstrations of their ‘meta-instrument’ known as the ‘Photosonicneurokineasthograph’. This is a complex feedback machine incorporating an entangled mix of new and old technologies that are altered and customized to the unique features of every venue. Although the human operators of Botborg are skilled manipulators of the system\, it is equally unpredictable and uncontrollable\, allowing Botborg to look and sound vastly different on every occasion. All demonstrations are completely improvised\, and no source material is used outside the Photosonicneurokineasthograph.\n\n  \n\n \n \n \n \n \n \n Tratto dal corto “Krushers of False Mechaniks” di Botborg\, \n \n \n \n \n \n Detained Angel\n \n \n \n \n \n Tratto dal corto “Got ‘Til It’s Gone”di Kengné Téguia\, Independent Film Show 20th edition\, 2020 \nMuseo Nitsch\, Napoli\n \n \n \n \n \n Tratto dal corto “ΑΠΟΚΑΤΑΣΤΑΣΙ”\, Independent Film Show 20th edition\, 2020 \nMuseo Nitsch\, Napoli URL:https://www.fondazionemorra.org/en/evento/independent-film-show-20th-edition/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/10/flex2013-03.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20200215T120000 DTEND;TZID=Europe/Rome:20200314T140000 DTSTAMP:20260513T012409 CREATED:20200729T145843Z LAST-MODIFIED:20210115T135644Z UID:4336-1581768000-1584194400@www.fondazionemorra.org SUMMARY:Matteo Fraterno - Esperienze / L’infinito intrattenimento DESCRIPTION:February 15th – March 14th 2020\nOPENING FEBRUARY 15th\, 12:00 a.m.\nFondazione Morra – Biblioteca per le Arti Contemporanee\nVico Lungo Pontecorvo 29/d\, Naples \nCurated by Loredana Troise and Pasquale Persico \nHow to dream inside a library? It is the question that echoes in the Biblioteca per le Arti Contemporanee of Fondazione Morra\, in the occasion of Esperienze / L’infinito intrattenimento\, by Matteo Fraterno. A path that reveals all the characteristics of a meticulous journey of contemporary archaeology\, where a whole series of objects and “installations“ taken from the experience of the artist and humanaelitterae\, seem to revive under the light of subtle visual poems. Every single object draws an ontological scenario\, whose evocative force is a narrative device that crosses the dense plots of travel literature. Esperienze / L’infinito intrattenimento is also the topographic indication of a specific place already explored by the artist – the archaeological site of Oropos\, where pilgrims stayed for the night in a state of mythical purifying incubation -\, which is now the ideal reference of a new adventure for knowledge\, stimulating model to transmit and propose again. Matteo Fraterno\, during his one-month residency in the library of the Fondazione Morra\, will give a new meaning to the time of reading\, searching in the past\, to trace an intellectual process increasingly open to the research\, to the excavation\, to the deepening\, to the reading and whispered\, declaimed\, participated rereading. Among the materials exhibited\, the symbols of an infinite mnestic cartography: a bedroll of sheepskin on which “to dream better”; the books Il bibliotecario di Leibniz by Sergio Givoneand L’Entretien infini by Maurice Blanchot\, from which takes the title this experience; some photos of the artist’s journeys; a green flowerpot that traces a symbolic continuity with the first experience of collaboration with Giuseppe Morra at Vigna San Martino in 1995; a yellow armchair that the artist refers chromatically to the book Non-functional thoughts (Ed.Morra) by Cesare Pietroiusti. Visions and devices that encourage the audience to a receptive look in an immersive space. \n\n \n \n \n \n \n \n Installation View (detail)\, Esperienze/ L’infinito Intrattenimento\, Biblioteca del Museo Nitsch\, Napoli\, \n© Photo Danilo Donzelli\nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View (detail)\, Esperienze/ L’infinito Intrattenimento\, Biblioteca del Museo Nitsch\, Napoli\, \n© Photo Danilo Donzelli\nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Esperienze/ L’infinito Intrattenimento\, Biblioteca del Museo Nitsch\, Napoli\, \n© Photo Danilo Donzelli\nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View (detail)\, Esperienze/ L’infinito Intrattenimento\, Biblioteca del Museo Nitsch\, Napoli\, \n© Photo Danilo Donzelli\nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View (detail)\, Esperienze/ L’infinito Intrattenimento\, Biblioteca del Museo Nitsch\, Napoli\, URL:https://www.fondazionemorra.org/en/evento/lorem-ipsum-dolor-sit-amet/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/07/matteo-fraterno-2020.jpg END:VEVENT END:VCALENDAR