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:20080330T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20081026T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20090329T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20091025T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20100328T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20101031T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20110327T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20111030T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20120325T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20121028T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20130331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20131027T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20140330T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20141026T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20150329T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20151025T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20160327T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20161030T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20170326T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20171029T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20180325T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20181028T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20190331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20191027T010000 END:STANDARD 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 END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20211105T080000 DTEND;TZID=Europe/Rome:20220420T170000 DTSTAMP:20260513T032807 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:20260513T032807 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:20260513T032807 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:20260513T032807 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:20260513T032807 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:20260513T032807 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 BEGIN:VEVENT DTSTART;VALUE=DATE:20200130 DTEND;VALUE=DATE:20200131 DTSTAMP:20260513T032807 CREATED:20201022T132419Z LAST-MODIFIED:20210114T170012Z UID:4341-1580342400-1580428799@www.fondazionemorra.org SUMMARY:ECONOMIES OF LIVING Video art from Croatia DESCRIPTION:January 30th 2020\nSTARTING PROJECTIONS at 6:00 p.m.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Naples \nCurated by Adriana Rispoli and Karla Pudar\nThere will be present the artists Marko Markovic and Igor Grubic \nThrough the work of 6 artists\, the screening Economies of Living presents an insight into the production of video art Made in Croatia around the theme of the economy and intrinsically to the medium itself of moving images. The word ecomony – from the Greek oikos / home and nomos / law – is addressed in the six works exhibited in different meanings relating to both the more intimate and collective spheres\, in a micro dimension of the everyday and macro in an urban public scenario. \nFrom a cinematographic approach to graphic animation passing through performative documentation to animation\, Ecomonies of Living returns the energy of visual experiments of an extremely prolific artistic area of ​​Eastern Europe. \nEconomies of Living\, curated by Adriana Rispoli and Karla Pudar\, is the second collaboration of the Morra Foundation of Naples with the Domino Project in Zagreb after Smashing the Myth in 2018 and is supported by the City of Zagreb. \n  \nPROGRAM\nMilijana Babić\nWorking day\nVideo documentation of perfromance\, 2011 \nThe action Working Day problematises the situation in which most freelance artist in Croatia find themselves in when it comes to bare existence\, and questions the status of freelance artists in our society.The project title ironically highlights insufficiency of our profession\, within which survival is not possible\, due to the fact that our work is hardly paid for and contemporary art market does not exist. In other words\, work and payment do not come in the same package.With a symbolical act of digging through garbage containers\, in search for refundable litter\, wearing a shirt with the logo of the Croatian Freelance Artists Association\, this work aims to add freelance artists onto the growing list of the socially endangered – next to homeless\, pensioners\, unemployed… \nMilijana Babić  is an artist from Rijeka\, Croatia\, working with installations\, performances and artistic actions. She holds a BA in fine arts from the Durban Institute of Technology\, Republic of South Africa\, and an MA from the Academy of Fine Arts and Design\, Ljubljana\, Slovenia. She is a long-term collaborator of the City of Women festival in Ljubljana. Between 2007-2014 she worked as an associate at the Academy of Applied Arts in Rijeka. She is a member of the artists association Delta 5 in Rijeka. Her work has been exhibited internationally.\n  \nDrako Fritz\nZagreb Confidential – Imaginary Futures\nExperimental film\, 13′ 30”\, 2015 \nThe video explores visions of the future depicted through urban development. In its essence\, it can be regarded as a form of a time structure and as such it questions not only the vision of future on a realistic example of New Zagreb but it also questions the structure of film as such. \nDarko Fritz is an artist\, independent curator\, researcher and graphic designer. He was born in 1966\, in Croatia\, and currently he lives and works in Amsterdam\, Zagreb and Korčula. His work fills the gap between contemporary art practices and media art culture. He is founder and programmer of the Grey Area – space of contemporary and media art since 2006.\n  \nIgor Grubić\nHow Steel Was Tempered\n2D animation\, 12’40”\, DCP\, 2018 \nA father takes his son to an abandoned factory where he once worked. The building has long been reduced to a crumbling symbol of the new system. Nonetheless\, the space will briefly be brought to life by recorded scenes of workers solidarity\, inspiring a small gesture of defiance. That symbolic act will turn into a moment of catharsis and re-establish the relationship between the father and son. The film was presented in the Croatian Pavillion at Venice Biennale 2018. \nIgor Grubić has been active as an multimedia artist in Zagreb since the early ’90s\, making photography\, video\, and site-specific actions. His interventions into public space\, along with video works explore past and present political situations while cutting through the fabric of reality. Grubić has participated in numerous major international exhibitions including\, Manifesta 4 (Frankfurt\, 2002); Manifesta 9 (Genk\, 2012); MuMOK (Vienna\, 2009); 11. Istanbul Biennial (2009); 4. Fotofestival Mannheim Ludwigshafen\, Heidelberg (2011); East Side Stories\, Palais de Tokyo (Paris\, 2012); Gwangju Biennale (2014); Zero Tolerance\, MOMA PS1 (New York 2014); Degrees of Freedom\, MAMbo (Bologna\, 2015); Heavenly creatures\, MG+MSUM (Ljubljana\, 2018); The Value of Freedom\, Belvedere 21 (Vienna\, 2018). He represented Croatia at the 58th Venice Biennale.\n  \nAna Hušman\nLunch\nVideo kolor PAL\, 4:3\, 16mm transferred to BETA\, 16’40’’\, 2008 \nThe rules of correct behaviour found in books of etiquette present themselves as aiding communiction and helping people understand each other. They also claim to help us engage socially with greater ease and self confidence. These rules are learnt from birth which is the only way for us to completely internalise them. Their model is found in western civilisations\, and compliance with them makes it easy to discern who is civilised and who is not. the film deals with customs of eating and drinking – specifically with the lunch situation\, as communal eating is the central site of showing others our breading and finesse. \nAna Hušman’s practice disassembles the structures and textures of cinematic elements through film\, installation\, books\, sound\, image and text. Hušman experiments with the possibilities of animation\, documentary and fictional cinematic methods\, and the possibilities of the recorded voice and its articulation. Her working process questions and plays with the positions of the amateur and the professional subject of performativity\, the medium itself\, and the structures that dictate and produce patterns of behavior. She is a lecturer at the Department of Animation and New Media at the Academy of Fine Art in Zagreb\, cofounder of the documentary film organization RESTART where she has been holding film education programs for children and young people for many years.\n  \nMarko Marković\nSharpening\nVideo documentation of perfromance\, 12′ 04”\, 2012 \nSharpening performance took place on 44 Wall Street on the first police block barricade of Security zone at Financial district\, NYC. In performance artist is sharpening two knifes one against the other giving the clear massage. In this performance artist has brought the weapons in security zone at the Wall street. The act of creating such a performance counter defensive field confronting to “their” defensive field (barricades)\, mounted to protect the security zone. This type of protection from a higher ones creates a general threat and restricts freedom of speech\, movement and action. Two months after the performance in August of the same year at Time Square in New York City police shoot and kill a man with 12 bullets. A man was killed because he possessed a weapon\, a knife. \nMarko Markovic was born in 1983 in Osijek\, Croatia\, lives in Vienna. He graduated painting at Art Academy in Split in 2007 in the class of prof. Gorki Žuvela. He also does researches in different media: video\, installation\, ambient\, performance and happening. In these works he often animates and includes audience and/or other participants as the expression medium. He is the founder and member of a flexible formation Adistia\, a group of people that operates in performance activities\, as an art group\, art community\, or organization. He participated in numerous exhibitions\, workshops and festivals in Croatia and abroad.\n  \nRenata Poljak\nPorvenir\nOne channel video installation\, 12′\, 16:9\, 2019 \nDreaming of better lands\, from generation to generation\, because of poverty\, hunger and wars\, we voyage across the seas. Geography is destiny. Do our bodies retain the memories of our grandfathers; are memories of running away in search of better lands imprinted on our bodies? Porvenir means Future in Spanish. Porvenir is the only town in Tierra del Fuego\, at the bottom of the world\, founded by Croatian immigrants at the beginning of the 20th century. \nRenata Poljak is a visual artist coming from Split\, Croatia\, currently living in Paris. Her body of work is composed of different medias: photos\, neon\, installation\, videos and film. Her practice explores the politic upheaval and violence that the Balkan region has undergone since the early 1990s\, and the ramifications of those changes in the lives of émigrés throughout Western Europe. In 2002 she was on ArtsLink award as visiting artist in San Francisco Art Institute\, in Museum Quartier\, Vienna in 2004 and in 2008 she has been selected for Art In General residency program in New York and in ArtOmi for 2010. Renata’s work has been exhibited wildly\, on solo or group shows\, biennales and film festivals. She received several awards among witch the Golden Black Box Award for Best Short Film at the Black Box Festival in Berlin 2006 and in the spring of 2010 a selection of her videos and film work were exhibited in Centre Georges Pompidou\, Paris.\n\n \n \n \n \n \n \n Dalla proiezione: How Steel was Tempered\, Igor Grubic\, Economies of Living\, Museo Nitsch Napoli\, 2020 Courtesy Fondazione Morra\n \n \n \n \n \n Dalla proiezione: PORVENIR\, Renata Poljak\, Economies of Living\, Museo Nitsch Napoli\, 2020\nCourtesy Fondazione Morra\n \n \n \n \n \n Dalla proiezione: Lunch\, Ana Husman\, Economies of Living\, Museo Nitsch Napoli\, 2020\nCourtesy Fondazione Morra\n \n \n \n \n \n Dalla proiezione: How Steel was Tempered\, Igor Grubic\, Economies of Living\, Museo Nitsch Napoli\, 2020\nCourtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/economies-of-living-video-art-from-croatia/ 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/Sharpening-Invitation.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190627T210000 DTEND;TZID=Europe/Rome:20190629T210000 DTSTAMP:20260513T032807 CREATED:20201022T152825Z LAST-MODIFIED:20210115T140145Z UID:4354-1561669200-1561842000@www.fondazionemorra.org SUMMARY:INDEPENDENT FILM SHOW 19th Edition DESCRIPTION:June 27th – June 29th 2019\nSTARTING PROJECTIONS at 9:30 p.m.\nMuseo Hermann Nitsch (Belvedere)\nVico Lungo Pontecorvo 29/d Napoli \nCurated by Raffaella Morra and Sabina Maselli \nIndependent Film Show 19 edition\, 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\, is built around the researches of filmmakers totally free to experiment the ways and the approaches generating complex images that share an accentuated propensity to creative genius. This intense search mode is the result of ingenious choices to instil an alternative way of seeing and to evaluate the intricate codes flowing on the screen and into the mind. The experimental film causes powerful synaesthesia in our sensory receptors and for this reason the Independent Film Show events are admired\, perceived\, and can envelope us… until meditation. The immersive possibility to establish direct contact with the independent filmmaking ideas is the intention of Independent Film Show: unusual perceptual experiences await the audience that for three days proceed for unexplored territories\, enjoying the old and new photochemical practices and the digital media innovations.\nAs the stars show themselves when the sun is set\, so the powerful forces of these films are revealed when the body and the mind cross the threshold of the slightly perceptible\, honing the ways of observation and going beyond the limits of the visible.\nDo not look away\, what we are looking at now will be different next time\, we are going to witness something really alive and spontaneous… \nOn Thursday June 27th in the selection Intuitive imagination curated by Raffaella Morra a sequence of different solicitations leads the observation toward an innovative movement to vary and broaden the world’s views\, slipping out of the stable sensory boundaries: Insolite by Maya Schweizer mingle together a series of images from today and 1944’s last eruption of Mount Vesuvius; in Prádelna (Wash house) by Alexandra Moralesová the material shot during the rehearsals of the play Marat/Sade is used as a pretext to examine the mechanism of theatre and its power of purification; Georgy Bagdasarov’s Fran explores the decomposing 16mm film as the protagonist dissolves in the landscape; Stefano Canapa’s Kairos is a poetic dance film set against a Mediterranean background where film\, nature and body are brought together to produce an interconnected material choreography; in Osmosis by Bradley Eros the elemental\, the ephemeral & the constructed compose a performance for triple images; in this three-screen projection From end to end by Peter Conrad Beyer the structural opposition of images from nature and from civilization engenders a process of comparison and visual unification in an apocalyptic atmosphere inclining towards the chaotic.\nSome exercises of different nature for two slide projectors\, two shutters\, two performers\, optical toys\, one voice and one audience: the performance There must be some way out of here by Alexandra Moralesová and Georgy Bagdasarov is inspired by the reflections of human knowledge on vision and moving image. Human vision is located in one’s physical body\, but it leads the human out of itself and connects to the outside world. The moving image is a construct that requires to be deconstructed and rebuilt again\, if only for the pleasure it provides. \nOn Friday June 28th the program Film is ritual curated by Sabina Maselli samples a small selection of 16mm films from Australian filmmakers working in experimental form and using hand processed techniques\, all members of the Melbourne based film lab Artist Film Workshop. Film is ritual suggests the very hands on approach to making films (layering\, masking\, repetition) seeps into the film itself\, leaving a personal and physical mark on each of them. An alchemical solution – a merging of chemicals and spirit.\n‘satellite’by Sabina Maselli with live sound by Erkki Veltheim is a ritual in film that performs the fracturing of the self and its dispersal into the surrounds by the act of spinning and altering time. This ritual is concerned with the nature of time\, memory and magic. Through the act of repetition (both the camera and the body)\, an animist transformation can occur – a merging of the female and celestial body. The double film is accompanied by a live soundtrack by Erkki Veltheim composed of a single fragment of a woman’s voice that is replicated and modulated\, circling around the image at different speeds.\nAs Italian premier Nervous Magic Lantern: Chaos is Order Misunderstood by Ken and Flo Jacobs with live audio performance by Michael J. Schumacher. Nervous Magic Lantern is a projection device invented by Ken Jacobs in 2000\, and with assistance of his wife Flo (Florence) they has given public performances since then: with simple mechanics that could be invented centuries before film it creates an illusion of deep even more pronounced when seen with a single eye. \nOn Saturday June 29th in the program Mystical spaces curated by Raffaella Morra the films operate as machines to alter the space-time and transfer the viewer into an experience full of fantastic dynamics; these journeys are unearthly accesses to mystical places emanating an animistic essence of cosmos\, as a spiritual power that can influence our well-being: in Alétheia by Enrico Mandirola the Colombian mountainpeaks designed a new fragmented horizon; in The Quilpo dreams Waterflows Pablo Mazzolo filmed the sacred Sanctuary of the Comechingón in Argentina; TÅKE by Inger Lise Hansen observes the spectacle of fog through several different film and video formats; HERMAN(N) is about a street in Berlin with a reputation of a dangerous place\, yet Deborah S. Phillips sees it as an inviting place through the golden light of late summer; Not (a) part by Vicky Smith is conceived in relation to the rapid decline of bees through a high recurrence to handmade film; Bradley Eros and Jeanne Liotta’s Dervish Machine is the site to experience impermanence\, …and to revel in the unfixed image.\nIn Your Eyes Are Spectral Machines Luis Macías materializes the simple illusion of moving image by handling objects in front of the projectors’ light\, a cosmic creation in the center of the screen haloed by undulations of pulsating light. The movement produced by Macías is an alchemic combination of multiple planes of light\, retouched tweaked through focus and fades of 16mm projectors and slide-projectors\, creating fleeting forms of shifting visions. URL:https://www.fondazionemorra.org/en/evento/independent-film-show-19th-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/2020/10/1_maya_insolite.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190322T080000 DTEND;TZID=Europe/Rome:20190322T170000 DTSTAMP:20260513T032807 CREATED:20191109T182608Z LAST-MODIFIED:20210115T152244Z UID:4366-1553241600-1553274000@www.fondazionemorra.org SUMMARY:Teatro delle Bambole - PFERD PERSON _ The irreplaceable frenzy of the verb “Study on the eternity of the body” DESCRIPTION:March 22nd 2019\nSTART: 9:00 p.m.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nResearch project: “The language of insects [Epilogue] – Box 9: Cimicidae”. \nScore by Andrea Cramarossa \nWith Silvia Cuccovillo and Federico Gobbi \nMother’s Home: Teatro delle Bambole \nOur race is made to govern the world. Our race is the only possible race of the human race to which the faculty of free will has been given. Let’s go\, quickly\, towards the dictatorship of this verb. \nThe idea of ​​staging “Pferd Person” starts from the awareness of his loneliness and the state of outcast. Two actors on stage\, a man and a woman\, will face the panic that springs from the vision of emptiness. Nothingness reigns in the material and immaterial substance that builds society and the two want to take their place in the Olympus of power\, in the immanent which is the mirror of a totalizing non-difference in the perception of things. \nTeatro delle Bambole in Naples with the epilogue of the five-year project “The language of insects” (2012-2017). \nTeatro delle Bambole inspired to work on the sound of Gisela Rhomert (Method of Lichtenberger® Institut für angewandte Stimmphysiologie) and the Orgien-Mysterien-Theater of the Austrian artist Hermann Nitsch\, one of the leaders of Aktionismus Wiener. \nThe founder and creator is the actor and director Andrea Cramarossa that after five years of intense personal studies in particular voice search\, the sound and voice applied to the singing and talked (on the relationship between sound and the body\, voice and person\, music and character)\, theorizes on an experimental approach dramatic art through the use and knowledge of the sound. \n\n \n \n \n \n \n \n Teatro delle Bambole\, Pferd Person\, Museo Hermann Nitsch\, Napoli 2019 © photo Andrea Cramarossa Courtesy Fondazione Morra\n \n \n \n \n \n Teatro delle Bambole\, Pferd Person\, Museo Hermann Nitsch\, Napoli 2019 © photo Andrea Cramarossa Courtesy Fondazione Morra\n \n \n \n \n \n Teatro delle Bambole\, Pferd Person\, Museo Hermann Nitsch\, Napoli 2019 © photo Andrea Cramarossa Courtesy Fondazione Morra\n \n \n \n \n \n Teatro delle Bambole\, Pferd Person\, Museo Hermann Nitsch\, Napoli 2019 URL:https://www.fondazionemorra.org/en/evento/teatro-delle-bambole-pferd-person-_-the-irreplaceable-frenzy-of-the-verb-study-on-the-eternity-of-the-body/ CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/LocandinaMorraL.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20181218 DTEND;VALUE=DATE:20181219 DTSTAMP:20260513T032807 CREATED:20201112T164217Z LAST-MODIFIED:20210115T171724Z UID:4433-1545091200-1545177599@www.fondazionemorra.org SUMMARY:Mario Costa - L'uomo fuori di sé DESCRIPTION:December 18th 2018\nSTART: 5:30 p.m.\nSala conferenze del Museo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nA conference starting from a book.\nSpeaking: Mario Costa\, Vincenzo Cuomo\, Maria D’Ambrosio\, Matteo D’Ambrosio e Filippo Fimiani. \n  \nThe Hermann Nitsch Museum will host Mario Costa. L’uomo fuori di sé (The man outside himself)\, a conference with philosopher Mario Costa and experts from different esthetic fields.\nThis event will be an opportunity to discuss the essays presented by Mario Costa to International debates on the aesthetic-anthropological impact of new technologies.\nWith reference to his recent books\, and those dedicated to him\, the author and the experts will reflect on the new theoretical thought created by Costa\, already in the early Eighties of the last century\, focusing on concepts such as “communication aesthetics”\, “technological sublime”\, “communication block”\, “aesthetics of flux” and now\, “technological outsourcing”. \nIn particular\, the event will be centered on these recent books: \nMario Costa\, L’uomo fuori di sé. La fotografia\, il fonografo e il telefono nella Parigi del XIX secolo\, Mimesis\, Milano 2018\nMario Costa\, Artmedia. L’oggetto estetico dell’avvenire. Storia di un progetto scientifico\, Kaiak Edizioni\, Tricarico 2017\nAA.VV.\, Arti e tecniche nel Novecento. Studi per Mario Costa\, Kaiak Edizioni\, Tricarico 2017\nMario Costa\, Technology\, communication and aesthetics of de sublime\, in AA.VV.\, Viva Voce. Conversations with italian philosophers\, State University of New York\, 2017 \nMario Costa (Torre del Greco 1936) is a philosopher and an innovator of the aesthetic studies. His books Il sublime tecnologico (1990/1998)\, L’estetica dei media (1990/1999)\, La disumanizzazione tecnologica (2007)\, Dopo la tecnica (2015)\, known in Italy and abroad\, launched an international debate on the transformations produced by new technologies in Art and Aesthetic\, and opened the path to a philosophy of the technique completely unnoticed in Italy. Professor of Aesthetics at University of Salerno\, where in 1985 he founded and directed “Artmedia”\, a permanent Laboratory on the relation between techno-science\, philosophy and aesthetic. In the same years\, he also taught at “L’Orientale” University of Naples and at “Sophia-Antipolis” University of Nizza. \n  \nBOOK SYNOPSYS\nMario Costa\nL’uomo fuori di sé. La fotografia\, il fonografo e il telefono nella Parigi del XIX secolo\n(The man outside himself.Photography\, phonograph and telephone in Paris at the XIX Century)\nMimesis\, Milan 2018\nThe book focus on the aesthetic-anthropological effects produced\, at the XIX Century\, by the first technologies of image and sound\, that are photography\, phonograph and telephone\, considering Paris the preferred place of observation. Moving on a double level of historical explorations and theory\, Costa sheds light on our origin and the path we are following.\nMario Costa\nArtmedia. L’oggetto estetico dell’avvenire. Storia di un progetto scientifico\n(Artmedia. Future aesthetic object. History of a scientific project)\nKaiak Edizioni\, Tricarico 2017\nThis book traces the history of “ARTMEDIA”\, Permanent Media and Communication Aesthetics Laboratory/Seminary created by Costa at University of Salerno. From 1985 to 2009\, ten international conferences on “Artmedia” took place in Salerno\, Naples and Paris\, involving artists and theorists from all over the world.\nVincenzo Cuomo and Igor Pelgreffi (curated by)\nArti e tecniche nel Novecento. Studi per Mario Costa\n(Arts and techniques in the Twentieth. Studies for Mario Costa)\nKaiak Edizioni\, Tricarico 2017\nAn hommage to Mario Costa with essays by Roberto Barbanti\, Maurizio Bolognini\, Vincenzo Cuomo\, Matteo D’Ambrosio\, Diana Danelli\, Paolo D’Angelo\, Alice de Carvalho Lino\, Derrick de Kerckhove\, Roberto Diodato\, Filippo Fimiani\, Fred Forest\, Fabio Galadini\, Dario Giugliano\, Giuseppe O Longo\, Aldo Marroni and Carla Subrizi. And a drawing by Gianfranco Baruchello.\nMario Costa\nTechnology\, communication and aesthetics of de sublime\, in AA. VV. Viva Voce. Conversations with Italian philosophers\nState University of New York\, 2017\nThis is a long interview with Mario Costa\, within a collective volume in English that includes other twenty-two interviews\, in which Costa exposes the principles of his aesthetics and philosophy of technology.\nThe book aims to allow the major Italian philosophers to expose\, through a series of questions and answers\, the fundamental lines of their thought. URL:https://www.fondazionemorra.org/en/evento/mario-costa-luomo-fuori-di-se/ 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/2020/11/Mario-Costa_Luomo-fuori-di-se_copertina_2018_Mimesis.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20181123T160000 DTEND;TZID=Europe/Rome:20181123T210000 DTSTAMP:20260513T032807 CREATED:20201113T112107Z LAST-MODIFIED:20210115T172407Z UID:4440-1542988800-1543006800@www.fondazionemorra.org SUMMARY:SMASHING THE MYTH - Performing art from Croatia DESCRIPTION:November 23rd 2018\nOPENING from 4:00 p.m. to 11:oo p.m.\nMuseo Hermann Nitsch \nScala Filangieri\nQuartiere Intelligente  \n  \nCurated by Adriana Rispoli and Zvonimir Dobrović. \nEvent organized by Quartiere Intelligente and Domino Project in partnership with Museo Hermann Nitsch\nWith the support of Ministero della Cultura della Repubblica di Croazia. \nWe thank for the collaboration DeA Capital for the Ex Olivetti Consortium of Pozzuoli\, Ciro Esposito e Alessandra Gigante. \nSMASH! this is the fil rouge of the exhibited works and the intentions of its organizers. With a positive meaning\, Smashing the Myth celebrates destruction as a semantic act for the construction of new realities\, for overcoming limits and categorizations\, and for the breaking down of physical and identity boundaries. Performance as a preferred artistic expression contains the characteristics of dissolution of language and of osmosis between different forms of art and\, on this occasion\, it is presented trough its innumerable methods: from intervention in urban space to the direct involvement of the body\, from symbolic action to audio visual synaesthetics\, finding in the first experiments of video performance in Eastern Europe a sort of generational baptism. Smashing the myth presents a cross-section of Croatian art today somehow iconoclastic and provocative that gives back a strong and combative image of a generation of artists who\, on the one hand proudly affirms their roots\, on the other hand rightfully claims an idea of ​​art free from the dark economy and from the dominance of capital. Constantly questioning the value and the power of art in society\, it is also evident in their artistic research the direct comparison with the history of art in a wide sense: from the Russian utopia of the early twentieth century to the bitter irony on the contemporary art market today\, passing through the breakdown of barriers between art and life. \nARTISTS: Igor Grubić\, Bruno Isaković\, Sanja Iveković\, Siniša Labrović\, Alen Sinkauz – Nenad Sinkauz\, Sandra Sterle. \n  \nPROGRAM \nMUSEO HERMANN NITSCH\nVico Lungo Pontecorvo 29/d\, Napoli \nFrom h. 4:00 p.m. to 9:00 p.m. \nIgor Grubić | Smash the Myth\nBruno Isaković | Fade Into\nSanja Iveković | Inter nos\nDalle 19.00 alle 21.00 \nSiniša Labrović | Artist Index \nIgor Grubić: Smash the Myth\nPhoto and banner from the public intervention at Ex Olivetti Factory\nMUSEO HERMANN NITSCH \nWhatever could be the chosen medium or the modality of intervention up to including the personal style of life\, Igor Grubic consistently applies a political vision to his way of living and therefore to make art. Smash the Myth is in some way a tautology with which Grubic declares\, paraphrasing the radical ideology of the Russian poet of the revolution Vladimir Mayakovsky\, that the NON-POLITICAL art does not exist because any artistic expression\, or even a simple thought\, can only be a political gesture and must reflect the responsibility that artist has toward society. The choice to expose yourself to an audience – and to choose to which kind of audience to be exposed\, including that of the mere art market – is itself a political act. The Smash the Myth series consists of micro-interventions in urban spaces where Grubic\, in a temporary and sometimes illegal way\, affixes a banner to iconic places in various cities. Started in the mid-90s with the project Micro-museum of Revolutionary Heritage\, the series has touched several cities such as Berlin at the Soviet War Memorial in Treptower Park and Dresden in front of the Academy of Fine Arts\, and now arrives in Naples in the mythical Olivetti factory. Founded in 1955 on a project by the rationalist architect Luigi Cosenza\, the former Olivetti Factory is a symbol of the humanistic vision of an enlightened industrialist whose business mission was directly linked to the well-being of its workers. With a socialist setting ante litteram for Italy\, Adriano Olivetti\, in Pozzuoli as in the other Italian locations of his factories\, had wanted for his employees a place in symbiosis with nature and equipped with all the necessary services deeply convinced that work is a social redemption tool. Within this small eden for workers\, Grubic has chosen to affix his “motto” on what had once been the library place par excellence for the enrichment of the spirit. \nIgor Grubić (Zagreb Croatia 1969) is known for his political and moral activism and for his operations in public spaces\, often born in a mysterious atmosphere of anonymity\, which aim to generate new meanings such as the 366 series Liberation Rituals (2008) or Black Peristyle (1998). Active since the 90s his work includes performance\, photography and video and since 2000 he starts working as a film producer.\nHis works have been exhibited in numerous exhibitions and international institutions including Manifesta 4 (Frankfurt); Tirana Biennial 2; 11.Istanbul Biennial; 4.Fotofestival (Mannheim); Manifesta 9 (Genk); Gwangju Biennale 20th Anniversary Special Project; ‘East Side Stories’ Palais de Tokyo (Paris); Thessaloniki biennale 5- Ident-alter-ity; ‘The Value of Freedom’\, Belvedere 21 (Vienna); ‘Zero Tolerance’\, Moma PS1 (NY). In Italy\, among others\, he participated in Present Future at Artissima in 2001 and at Il Piedistallo vuoto and Gradi di Libertà exhibitions respectively at the Museo Civico Archeologico and at Mambo in Bologna in 2014 and 2015. He took part at the video program Q.I. VEDO at Quartiere Intelligente in 2016 with the film Monument.\nHe will represent Croatia at the next 58th Venice Biennale.\nBruno Isaković: Fade Into\nMUSEO HERMANN NITSCH \nFade Into is a durational performance series responding to permanent collections and exhibitions in museums and galleries. Artist selects an artwork and through durational performance builds a live installation around its specific political and artistic relevance. During five hours of this performance a whole range of readings of the chosen artwork and their connotations become a canvas on which the performer projects his voice and body. The building elements of this intervention are charged with textual references questioning the specific artwork’s medium\, context\, content and history and its different particularities. By reading these textual references aloud to the museum visitors\, artist fills the space with intangible perspectives as well as corporeal aspects which are attached to the selected work of art and its context. Physical contours and boundaries between corporeal and intangible are gradually blurred as the performer’s body fades into a color that dominates the space. This happens through slow\, meticulous and repetitive movements with which the artists paints his whole body over a period of a couple of hours before the movements subside and we are left with the sculptural stillness of the performer. Embodiment of all hinted and expressed meanings emerges as a live installationthat offers a paradigm shift to museum visitors in relation to a particular space and work in the musem.\nThis work has been performed in Reina Sofia in Madrid\, Museum of Modern Art Bologna\, Zagreb Contemporary Art Museum and Glucksmann Gallery in Dublin always using a different artwork as the focal point. \nBruno Isaković is a Zagreb based performer and choreographer living. He graduated with a degree in contemporary dance from Amsterdam School of the Arts in 2009. From 2011 to 2015 he was a member of Contemporary Dance Studio\, the oldest Croatian contemporary dance company. He is also the Founder and Artistic director of Sounded Bodies Festival in Zagreb dedicated to exploration of relationships between voice and movement\, sound and body. Isaković regularly teaches workshops and dance classes. (Bilgi University of Performing Arts – Istanbul\, Contemporary dance department at The Academy of Dramatic Art – Zagreb\, TSEKH Summer School – Moscow\, etc.) He has received various scholarships\, as well as Jury Award and Best Solo Dance at Solo Dance International Festival in Budapest and Croatian national award 2016 as a best choreographer for his show Denuded.\n  \nSanja Iveković: Inter nos (1978)\nVideo\, 60 minutes\, black and white\, sound\nCourtesy MSU\, Zagreb\nMUSEO HERMANN NITSCH \nOne of the early works of Sanja Iveković\, and the first one in which she included video-camera recording of the performans\, called Inter nos emphasizes the technically established interaction with audience. This participative work consists of two rooms connected by two closed TV circuits without an audio link and an entrance space where a direct transmission takes place for the audience. “During the entire action I am shut in a room\, thus being invisible to the audience. Visitors enter the second room one at a time. A private dialogue develops between us\, as I interfere with the visitor’s screen image\, which provokes his or her individual reaction. Concurrently\, the audience receives only the participant’s image.” (Sanja Iveković)\nThis form of relationship between artist and audience\, angle of viewing as well as an interaction between object and observer played great roll in her works. \nSanja Iveković (b. 1949\, Zagreb) has been reworking the construction of media images to reveal and subvert the constellations of power they conceal and use them for her own purposes since her first appearance in the context of “New Art Practice” in Yugoslavia in the early 1970s. Iveković is primarily concerned with the exploration of images relating to women. The artist has extended her feminist image and media critique to an analysis of the institutional conditions and rituals of the art world. Her performances from this period actively involve the audience as a real presence and absence. Iveković was among the first artists in Yugoslavia to combine performance and video art. In the 1990s her work became more politically orientated and she also initiated important projects as a political activist. Iveković has shown in numerous international exhibitions\, among them the three most recent Documentas in Kassel\, Tate London and MOMA.\n  \nSiniša Labrović: Artist Index\nMUSEO HERMANN NITSCH \nThis performance comes at the right moment as it leans upon the ongoing discussion about the systems of art market(ing)\, or if we allow ourselves a bit of spice\, the myths of art markets. This discussionhas been persistently present for a long time but only since recently has it been possible for work to be auctioned\, shredded to everyone’s surprise and immediately revalued to be worth double. That is the surprising\, even creative\, element of the arts market – we knew it had the power to absorb\, but no one expected this level of suction strength. Therefore\, it seems that to have a gallerist\, to be offered\, namely to have one’s work offered at one of the important art fairs is a condition for survival and success in the contemporary art scene. The performance celebrates those who have made it\, those who have a name\, those who are indexed. Simultaneously\, this performance weeps for those who stayed behind and who form the sea of no-names. Sorrow for the ones left behind mixes well with grains of envy of the others. \nSiniša Labrović is multimedia artist from Sinj\, a small town in Croatia. He has been creating work since 2000 and his emergence in Croatian arts landscape has been explosive\, to say the least. His work has been engaging the imagination of the audience\, media andt hewhole artisticcommunity in Croatia since the very start. Siniša’s work can be described as political\, raw\, direct\, humorous and brilliant in its simplicity – but most of all it has always been daring. His performances dealt with and tackled pedophilia\, corruption\, abuse of political power or mythologie of nationalism\, as well as genuinly philosophical questions of purpose\, (in)significance of human experiences or social responsability. But whatever the subject of the work may have been\, it was made stronger and appealing by anunpretentious commons se that communicated and resonated with the public even beyond what contemporary performance art formats often manage to do. In 2005 he attracted the attention of world media (Reuters\, BBC\, Ansa\, New York Post\, The Guardian\, The New York Times\, NBC\, ABC) with his work „Flock.org“ in which sheep were the actual contestants in a reality show. His works are in the collections of Museum of Contemporary Art Zagreb\, Fine Arts Gallery Split\, Museum of Modern Art Dubrovnik and numerous private collections. In 2009 he exhibited at the 11th Istanbul Biennial and in 2012 he represented Croatia on 13th VeniceArchitectureBiennale\, titled CommonGround\, together with Pula Group\, Hrvoslava Brkušić\, Igor Bezinović and Boris Cvjetanović.\n  \nSCALA FILANGIERI | QUARTIERE INTELLIGENTE\nScala Montesanto 3\, Napoli\nFrom h. 9:15 p.m. to 9:30 p.m. \nSandra Sterle | Visiting Reality \nThe project Visiting Reality first started in Belgrade in 2012. It continued in Paris in the same year. The concept starts from the idea that the national identity is the myth that constructs the contemporary world to such an extent that people actually start to believe that that’s what they are. We all are aware that history is more complex and the pure fact that we identify with certain people just because of borders that surround the piece of land can also be taken as a simplifying joke. The fact is that during her life as an artist she expected to expand and envision the complexity of the self and the contemporary world. Instead\, the artist happens to be surrounded by a concept of decay from within the social and political environment that she lives in. This performance in a way compares the national mythology of two countries by using national symbols constructed from the cheap touristic souvenirs\, that often even end up being quite similar. By smashing them on stage and creating sort of dust from these objects\, forming an abstract reality of sorts\, one is finally able to start “reading” beyond the “material” as it comes closer to complexity that our lives are made of. The performance of course utilizes the idea of destruction as a manner to create\, instead of the more traditional principle of construction\, putting these two forces under examination. \nSandra Sterle is an artist from Split who works with film\, installation\, interventions\, photographyand performance. She is professor of performance art and video at the Arts Academy in Split\, Croatia. She graduated from the Sculpture Department of the Academy of Visual Art in Zagreb and continuedher studies at Department of Film and Video at Kunstakademie inDusseldorf\, 1995-96 ( with prof. Nan Hoover). Her works were exhibited and performed in numerous international art institutions like: Museum of Contemporary Art\, Zagreb; Kunsthalle Fridericanum\, Kassel; Museum Ludwig\, Aachen; Museum voorModerne Kunst\,Arnhem; Gate Foundation\, Amsterdam; W139 Gallery\, Amsterdam;Museo de Arte& Disegno Contemporaneo\, Costa Rica; MuseoNational Centro de Arte Reina Sofia\, Madrid; Instytut SztukiWyspa\,Gdansk; Berlin Academy\, Berlin; Museet for Samtidskunst\, Roskilde;Fundacio Antoni Tapies\, Barcelona; Location 1 Gallery New York;Artist Space\, New York; etc. Her works are part of several public archives and collections of MMSU\, Rijeka\, Art Gallery\, Split and private collections.\n  \nQUARTIERE INTELLIGENTE\nScala Montesanto 3\, Napoli\nFrom h.9:30 p.m. to 10:30 p.m. \nAlen Sinkauz e Nenad Sinkauz\nVideo by Ivan Marusic Klif\nAudio-visual performance \nThe performing style of Alen and Nenad Sinkauz draws the audience immediately into their skilled improvisational technique that is a well developed process of instantly creating unexpected compositions. The sound and visual elements of their concerts are further defined by the very architecture and acoustic characteristics of the space in which they play as these condition the outcome of each performance. Due to a complex processing of main sources of sound like guitars\, bass\, different objects\, microphones and pick-ups\, in addition to “field recording”\, the amplifier system as well as the resonance quality of the space both become a significant part of the complete sound image. This performance is a synergy\, in every sense of this word\, between all elements that are brought together not only on stage but everywhere in the space. The music material that is being created by this continuous build up and upgrade of sounds generates the familiarity of industrial\, techno and noise\, but is at the same time wrapped in an abstract atmosphere which over time takes on unassuming and always different forms. This performance plays with our expectations and trust as it allows us to follow the sounds that we may find recognizable but also lets us discover the unexpected on our own before picking us up again and taking us deeper into the very structure of sound. \nAlen Sinkauz and Nenad Sinkauz are originally from Pula in Istria and have graduated and post-graduated studies in musical philology and ethnomusicology in Padova\, Italy. As composers and performers over the last 20 years they took part in various musical\, theatre\, contemporary dance\, multidisciplinary\, radiophonic\, sound art and film projects. Their artistic work\, especially when playing live\, is mostly oriented towards exploring unconventional musical forms\, improvised and creative music.\nThey composed the score for the highly acclaimed feature film Zvizdan/The High Sun directed by Dalibor Matanić (The jury prize “Un certain regard” at Cannes Film Festival\, 2015) and for the Croatian-Norvegian film Goran directed by Nevio Marasović (Golden Arena award for the best soundtrack at Pula Film Festival\, 2017). In the past two years they have been responsible for soundtracks to half a dozen Croatian and international films including composing music for short animated movies “Technement” by BrankoFarac and “Kako se kaliočelik / How steel was tempered” by Igor Grubić.\nIn 2002 Sinkauz brothers founded a band East Rodeo which involves an international group of jazz and rock musicians bringing together avant-rock\, electronic\, noise and improvised music and they released three albums featuring internationally acclaimed musicians such as Marc Ribot\, Greg Cohen and Warren Ellis. In 2010 Sinkauz brothers started the international festival of experimental and improvised music in Pula\, called Audioart which takes place annually.\nThey played and presented their works at countless festivals\, galleries\, clubs and different venues across the USA\, Europe and Japan.\n  \n\n \n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 \n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/smashing-the-myth-performing-art-from-croatia/ 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/2020/11/Smashing-the-Myth-invito.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180622T140000 DTEND;TZID=Europe/Rome:20180706T190000 DTSTAMP:20260513T032807 CREATED:20201113T162635Z LAST-MODIFIED:20201216T165934Z UID:4460-1529676000-1530903600@www.fondazionemorra.org SUMMARY:Jeanne Liotta - Break the sky DESCRIPTION:June 22nd – July 6th\, 2018\nOPENING JUNE 22nd h. 2:00 p.m.\nCapriata del Museo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nJeanne Liotta’s video-installation In This Immense Space Hidden Things Appear Before Us and works on paper are showed at Museo Nitsch’s roof room (in collaboration with Microscope Gallery New York). \nIn This Immense Space Hidden Things Appear Before Us\, 2018\, live feed augmented reality video installation that like Yoko Ono’s 1966 Sky TV – to which the work pays homage – brings a live feed of the sky outside into the roof room. Liotta’s appropriation and use of new technologies allow for her piece to extend beyond the limits of the visible sky. Video imagery shot in real time by smartphones installed onto the building’s roof are superimposed with computer generated renditions of the actual planets\, stars\, constellations and other celestial bodies as well as space stations\, “junk”\, and other known objects in Earth’s orbit. \nThe live video feeds on view during the Museo afternoon hours – from early afternoon daylight to evening darkness – facilitate the experience of our movement on Earth\, especially as shown in relation to other planets and star systems: our location in Napoli rotating at approximately 750 mph on a planet orbiting the sun at 67\,000 mph in a solar system circling the galaxy at 483\,000 mph\, etc. \nAlso on view are selections from two related watercolor and ink on paper series and a series of photograms by the artist. \nThe Bruno Studies watercolors are based on the silhouette of the statue of Giordano Bruno that stands in Rome’s Piazza Campo de’ Fiori\, where in 1600 he was burned at the stake for refusing to revoke what were considered heretical views such as insisting that our sun is just one of many and the universe is infinite\, and often incorporate text of his writings in De l’Infinito\, Universo e Mondi (1584). \nThe Nightly Studies – a watercolor\, gansai and sumi ink on paper series – find Liotta making her own chartings of the observable sky at night from various locations around the globe during her research. The artist’s detailed\, multi-layered use of shades of blue along with her minimal and gestural application of black ink on the page draw visual connections between the human and the cosmic scales: splatters of ink form the Milky Way\, a tiny dot of paint a distant galaxy. \nThe series of photograms Articuli made by hand in the artist’s darkroom are inspired by the imagery and texture of the Copernican diagrams (woodcuts) of the Italian philosopher and former Dominican friar Giordano Bruno. Among his ideas were that the sun is a star\, that other stars have similar solar systems to ours\, and that the universe is infinite. Additional info about Bruno’s articuli: 42 iconographic woodcuts accompanied Giordano Bruno’s 1588 printed monograph Articuli centum et sexaginta Adversus Matematicos (One hundred and sixty articles against mathematicians). The diagrams are not strict representations of celestial mechanics but descriptive and imagistic tools for a heliocentric world picture\, which Bruno imagined not as singular but as a multi-dimensional space of infinite possibilities. \nJeanne Liotta makes films\, videos\, including video-projections\, works on paper\, and photographic works with thematics often located at the intersection of art\, science\, natural philosophy\, and ephemerality. Her most known 16mm film of the night skies\, Observando El Cielo\, received numerous awards including the Tiger Award at the Rotterdam International Film Festival\, and was voted among the top films of the decade by The Film Society of Lincoln Center. In 2013 Anthology Film Archives presented The Real World at Last Becomes a Myth\, a complete retrospective of her works in film and video\, and in 2014 she received a commission to work with NOAA climate scientists in Boulder\, CO to create 360-degree media work for Science on a Sphere. Her “one-cut” collages The Tiffany One-Cuts culled from pages of the New York Times were incorporated into installations by artist Nancy Shavers at Derek Eller Gallery (2016) and Padiglione USA/La Biennale di Venezia (2017).\nhttp://www.jeanneliotta.net/ \n\n \n \n \n \n \n \n Installation view\, Break the sky\, Museo Hermann Nitsch\, Napoli 2018 \nJeanne Liotta \nCourtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/jeanne-liotta-break-the-sky/ 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/2020/11/INDEPENDENT-FILM-SHOW-18th-Edition-cartolina-LIOTTA_page-0001.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180621T203000 DTEND;TZID=Europe/Rome:20180623T203000 DTSTAMP:20260513T032807 CREATED:20181113T165513Z LAST-MODIFIED:20210305T144113Z UID:4464-1529613000-1529785800@www.fondazionemorra.org SUMMARY:INDEPENDENT FILM SHOW 18th Edition DESCRIPTION:June 21st\, 2018\nVigna San Martino\nCorso Vittorio Emanuele 340\, Napoli \nJune 22nd and 23rd\, 2018\nBelvedere Museo Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nINDEPENDENT-FILM-SHOW-18th-Edition-PROGRAM-2018 \nIndependent Film Show 18th edition\, an international show dedicated to experimental film\, coordinated by Raffaella Morra\, organised by E-M ARTS associazione culturale\, increases the sensorial experiences of its guests who for three days can participate at 16mm films screening (many are Italian premiere)\, at a concert by Bernhard Schreiner\, and the expanded cinema performances by Jeanne Liotta\, Canecapovolto\, Bea Haut\, and Helga Fanderl starting June Thursday 21st at the Vigna San Martino\, Friday 22nd and Saturday 23rd 2018 at the Museo Nitsch. \nFrom June 22nd to July 6th Jeanne Liotta’s video-installation In This Immense Space Hidden Things Appear Before Us and works on paper are shown at Museo Nitsch’s roof room (in collaboration with Microscope Gallery New York). \nOn 21st June\, summer solstice offers the chance to perform the first program at the precious Vigna San Martino and grants a selected audience to participate\, only on invitation\, to long projection night and live expanded cinema performances until sunrise. \nJeanne Liotta intersects art\, science and natural philosophy in a comprehensive science project\, following Ralph Waldo Emerson’s theories: projected and modified by the artist\, Affect Theory (2013)\, composed of two films in planetary and satellite position\, and Path of Totality\, realized after the total solar eclipse of August 2017\, transport us within a celestial alignment. \nShaped on a philosophical confraternity model in Catania on 1992\, Canecapovolto experiments with the “cognitive dissonance”\, circuit bending and radio drama\, collages on paper… its identity and its message is found among the grey areas between hearing and vision: the HD video Nembutal (2015) is prelude to NAGNAGNAG performance which uses the circuit bending\, or the modification of musical circuits\, children toys\, etc. and the short-circuit as expressive procedure to suggest chaos! Music and noise suddenly become categories with unstable boundaries. It is a point of no return. Circuit bending is to Music as Found footage is to Cinema. \nFree your perceptions curated by Raffaella Morra\, is a mind journey or a deep study of the film apparatus and their possible representations produced by interaction with the observer\, who participates in an adventure of perception free from preconceptions and classifications. \nThese ten films and videos explore knowledge’s boundaries: Christin Turner’s HD video Vesuvius at Home (2017) reveals a symbiosis between cinema\, memory and the spiral of time\, and Bernhard Schreiner’s Victory to Loss Ratio (2013-14) tries to get images and sounds synchronized in our mind; in Heat Shimmer (1978) Arthur and Corinne Cantrill transform the landscape of central Australia into varying degrees of shimmers; in Sphinx on the Seine (2009) Paul Clipson meditates on a series of brief and enigmatic images from around the world. In My Moon Her World (1995) Vicky Smith combines animation with live action treated – pixellated\, refilmed\, in slow motion\, and in Réminiscences (2001-2020) by Olivier Fouchard the pictures shot at Auvergne during the spring 2001 take on the appearance of dreaming things with unreal colors and the addition of found footage; Anja Dornieden & Juan David González Monroy’s Comfort Stations (2018) is a psychological test found by chance and without known authors; Christopher Becks and Emmanuel Lefrant’s film I don’t think I can see an island (2016) is a symbolically authentic non-Euclidean adventure; Take-Off (2006) is a collaborative project originated from the work-in-progress between Katherine Liberovskaya and the composer Al Margolis who activate a relation between images\, sounds and editing processes; Semiconductor’s Heliocentric (2009) uses time-lapse photography and astronomical tracking to plot the sun’s trajectory through a series of landscapes. It is usually almost impossible to visualize how the earth moves around the sun\, even though we know it is true\, instead we ‘see’ the sun moving around us. \nBea Haut is an artist and film-maker in an expanded form\, multimedia and often reactive to the environment\, her works allude to perception of inter-related moments\, spaces and actions in-between. On Friday\, June 22nd for the program Matters of Being Bea Haut selects eleven films by UK film-makers who try to penetrate the enigmatic film materiality\, evoking an interactive zone between object and subject in which arises an entanglement of aliveness\, existence and event. \nWilliam Raban’s Cripps at Acme (1981) is a documentation of a performance by Steve Cripps\, a wildly misbehaved\, and perhaps genuinely unhinged artist of that time. John Smith’s The Hut (1973) is an experiment with visual rhythms which animates still photographs of a decaying building. Through rhythmic intercutting\, Tanya Syed’s film Chameleon (1990) moves silently towards a point of confrontation with the outside world\, shockingly emphasized by the film’s only sound. Inger-Lise Hansen’s Talking to a Stone (1993) creates a fragile and illusionistic balance between the forces of creation and destruction in time. Bill Leslie’s 9 Objects (2016) is part of a project with a deceptively simple title\, ‘what happens to sculpture when it is filmed and photographed?’ which explores in practice the potential relationships between sculptural objects and different representational media. Two films by Laura Hindmarsh: Self Registration (2015) is the act of self-alignment using hand contact printing and Finding Focus (2016) shot at Lake George in Australia to give solutions to the myths which surround the lake’s sudden fluctuation in volume. In Button Box Blast (2016) Mary Stark films an explosion of a box of buttons in a random pattern of optical lights and sounds. Jenny Baines’s two films\, both double 16mm projection\, document two short performances: Untitled (Insertional) (2014) 2 bolex\, a rope\, two artists and a tree\, and Untitled (# 1 25/25 x 10/4) (2016) run around to a tree repeatedly whilst tied to it. Vicky Smith’s Small Things Moving in Unison (2018) confronts the purely plastic problems that persist in the manually made film\, of registering marks in the same place over a series of frames. \nTo deepen the dynamics of film creation\, in the program Mattering and Uttering Bea Haut reveals her film work by selecting ten b/w films: working with 16mm film in a materialistic and do-it-yourself way allows a responsivity to concurbetween the artist and her materials. This becomes an entanglement of thinking\, being and doing\, activating an agency in both the self and the material. The program starts with Pending (2016)\, a 100ft length of film (30.48-meter) is formed by the audience into a ‘live loop’ before being taken up and played out by the projector\, thus creating an empathy between spectators and artist. \nOn Saturday June 23rd the beautiful sunset from the Belvedere Museo Nitsch is the ideal set for the concert The magnetism of knowing and not knowing by Bernhard Schreiner: a performance in which the sound structures are developed live on the basis of ‘instant composition’ (call it improvisation if you wish)\, using a concert zither\, effect- and loop-pedals\, software (for live-input-processing) and a lot of small parts to interfere with the strings of the zither (mallets\, brushes\, metal springs\, slide\, bow\, etc.). \n“…Once a satisfying self-mixing structure is developed\, it might be left alone for some time (or not)\, possibly allowing myself to step back and listen to the evolving self-mixing transformations. I might get back to further interfere with the setup\, overdub\, etc. or even restart the concert from zero (or not).” (Bernhard Schreiner) \nHelga Fanderl continues to innovate Super 8mm film techniques and since the mid-80s has realized over six hundred films\, each lasting about three minutes\, and edited in-camera. Her films arise from intense observation and honed improvisatory approach that depends on rapid reactions and split-second timing. \nConstellations is a temporary montage of twenty-four films (1992-2016) exemplifying some aspects of Helga Fanderl’s poetic that evoke correspondences and contrasts\, thus experiencing an intense form of microcosm and in the silent flow of the frames we may float in a limbo of mental associations without time and space. \n“…Handling the projector\, changing one or more reels\, focusing and framing the images\, introducing my programs and talking about my filmmaking – all this creates a live event and a unique performance corresponding to the poetics of my filmmaking”. (Helga Fanderl) URL:https://www.fondazionemorra.org/en/evento/independent-film-show-18th-edition/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch,Vigna San Martino ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/INDEPENDENT-FILM-SHOW-18th-Edition.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20171124T210000 DTEND;TZID=Europe/Rome:20171124T230000 DTSTAMP:20260513T032807 CREATED:20201117T105336Z LAST-MODIFIED:20201216T184942Z UID:4499-1511557200-1511564400@www.fondazionemorra.org SUMMARY:La Digestion - musica ascoltata raramente II Edizione DESCRIPTION:November 24th\, 2017\nOPENING DOORS AT 8:00 p.m. STARTING AT 9:00 p.m.\nChiesa di San Giuseppe alle Scalze\nSalita Pontecorvo 65\, Napoli \nFrancisco Meirino [CH] + Kanaka [IT] \nLa Digestion- musica ascoltata raramente is pleased to announce the opening of the second season\, after the first year’s success characterised by innovation and experimentation. The festival\, a result of the synergy between the cultural no profit associations Phonurgia and E-M Arts and the Fondazione Morra\, gives attention to the most innovative languages of contemporary sound art focusing\, for this edition\, on the relation amid sound and space. During the six events of the festival\, that occur between November 2017 and June 2018\, some Neapolitan locations\, among the oldest\, hidden and unconventional places\, will be rediscovered and reinterpreted through the sound-works of international artists\, thus becoming a performing scene to establish contact with the local and the international music culture\, between listeners and architectural environments. \nFrom the psycho-acoustics by Florian Hecker to the sound sculpture by Thomas Koner\, from OtomoYoshihide’s detournement of turntables to electroacoustics objects by David Toop\, and to audio environment/performance by Pierre Berthet and Rye Nakajima planned in the mysterious Cimitero delle Fontanelle\, La Digestion second edition takes a course in the contemporary experimentation by exploring the power of sound\, that becomes concrete\, physical and sensitive. Significant for the incisiveness of the festival\, for the willingness to establish solid relations with the city’s cultural life\, is the patronage granted by the Comune di Napoli\, as well as the partnership with the Goethe Institut and with the Pro Helvetia Swiss Foundation for culture. \nAfter the incredible preview by master William Basinski in the reopened Chiesa di San Potito\, the official launch of the second exciting edition is Friday\, November 24th with the powerful electronic textures by swiss musician Francisco Meirino and the futuristic audio-video by italian Kanaka\, set in the suggestive Chiesa San Giuseppe alleScalze in Montesanto district\, thanks to the collaboration of Associazione Le Scalze. \nA video-mapping work and an immersive sound landscape by Kanaka group revive the wonderful architecture of the church\, and to follow Francisco Meirino proposes a powerful and dynamic quadriphonic live set that combines sound impact and incredible richness of detail. \nThe poetry of the swiss composer is\, in fact\, absolutely original: particularly concerned with the malfunctions of electronic equipment\, Meirino operates a special recording and composition work of the sounds generated by these desuete machines\, highlighting the collapse of a world only apparently dominated by technological efficiency. Thanks to its originality and its incredible handling and composition of the most diverse soundtracks\, Francisco Meirino is one of the most important sound artists of the experimental music landscape\, appreciated in festivals all over the world. \nLa Digestion second edition has among its many aims the dedication to offer the public the opportunity to approach a kind of music rarely heard\, and not only through performance evenings but also through meetings devoted to engaged listening and conferences with theorists and specialists of this language. Artists in mini-residence have also the chance to wander among the historic stones of Naples\, in order to familiarize with the Neapolitan structures and\, thus\, create a specific setting for audio performance. Workshops\, labos and radio interviews will also be elements of a one-year work that aims to mark new pathways into city’s cultural life.\nThis innovative and multidisciplinary format would offer unique sound experiences\, plunging into a search for a “concrete music” that\, recognised in international context\, has trouble to establish itself in the city. The invitation is to tune into a music to be heard with body and mind\, a music to be entertained with astonishment\, a music to be digested URL:https://www.fondazionemorra.org/en/evento/la-digestion-musica-ascoltata-raramente-ii-edizione-3/ LOCATION:Chiesa San Giuseppe delle Scalze\, Salita Pontecorvo\, 65\, Napoli\, Italia CATEGORIES:Casa Morra,Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/24-11-2017-la-digestion_LOCANDINA-MEIRINO-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20170705T190000 DTEND;TZID=Europe/Rome:20170722T190000 DTSTAMP:20260513T032807 CREATED:20201117T124340Z LAST-MODIFIED:20201216T190640Z UID:4507-1499281200-1500750000@www.fondazionemorra.org SUMMARY:Hamza Halloubi - How Far is Far? DESCRIPTION:July 5th  –  July 22nd 2017\nOPENING JULY 5th h. 7:00 p.m.\nSala Conferenze del Museo Hermann Nitsch \nVico Lungo Pontecorvo 29/d\, Napoli \nCurated by Alessandra Troncone \nThe opening of the solo exhibition How Far is Far? by Hamza Halloubi\, curated by Alessandra Troncone\, will take place at the Hermann Nitsch Museum in Naples at 7.00 pm on Wednesday\, 5th July 2017. The exhibition has been organized in conjunction with a residency by the artist at Casa Morra in Naples and will present a selection of videos for the first time in Italy. \nThe work of Hamza Halloubi (born in Tangier\, 1982\, currently living in Brussels) encompasses both personal and historical narration using video as a fluid medium\, able to condense reality into images and stories that fluctuate between the factual and the poetic. In his works\, highly complex topics such as exile\, the silences of history\, and the relationship between art and politics are addressed from a personal point of view. Their concreteness can be felt\, but never occupies the foreground.  A constant in his work is the feeling that something is missing\, producing an atmosphere of suspension as the artist’s voice guides us through stories where private memories\, historical events\, and existential questions flow together into one narrative. \nThe exhibition has been conceived specifically for the spaces within the Museo Hermann Nitsch and will contain older as well as more recent videos. The entire project is built up around the polarity between static elements and movement\, between horizontality and verticality\, to create one whole and new narrative. The videos will include To Leave (2011)\, a powerful image of a departure filmed in Tangier\, the artist’s hometown\, and Letter to Aura (2012)\, also shot in Morocco; here\, a wall seen from a window is the starting point for a reflection on emigration and limitations placed on free movement. \nHamza Halloubi (Tangier\, 1982) studied at La Cambre in Brussels\, where he currently lives. He took part in a residency programme at the Rijksakademie van beeldendekunsten in Amsterdam (2015-2017). He has also held solo exhibitions at the Museum De Pont in Tilburg\, the c-o-m-p-o-s-i-t-e in Brussels\, KIOSK in Ghent\, and the BOZAR- Palais des Beaux-Arts in Brussels\, among other venues. He has participated in many group exhibitions\, such as the Marrakech Biennale 5 (2014)\, the Thessaloniki Biennial (2015)\, the Close-Up exhibition at the EYE Filmmuseum in Amsterdam (2016)\, and the exhibition In the Belly of the Whale at the Witte de With in Rotterdam (2016)\, among others.\n  URL:https://www.fondazionemorra.org/en/evento/hamza-halloubi-how-far-is-far/ 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/2020/11/Hamza-Halloubi.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20170622T200000 DTEND;TZID=Europe/Rome:20170624T200000 DTSTAMP:20260513T032807 CREATED:20201117T151406Z LAST-MODIFIED:20201216T205706Z UID:4515-1498161600-1498334400@www.fondazionemorra.org SUMMARY:INDEPENDENT FILM SHOW 17th Edition DESCRIPTION:June 22nd  – June 24th\, 2017\nSTARTING PROJECTIONS AT 8:00 p.m.\nMuseo Hermann Nitsch \nVico Lungo Pontecorvo 29/d\, Napoli \nINDEPENDENT FILM SHOW 17th edition\, an international show dedicated to independent experimental cinema\, coordinated by Raffaella Morra\, organised by E-M ARTS associazione culturale\, takes place on June Thursday 22nd\, Friday 23rd and Saturday 24th 2017 at the Museo Nitsch programming the screening of three 16mm films programs and three expanded cinema performances. Since 2001\, the Independent Film Show projects the most progressive film experiences\, acting as a cultural propeller for the development of mentalities sensitive to complex perceptual phenomena\, beyond the rigid visual and auditory rules.\nINDEPENDENT FILM SHOW 17th edition’s characteristics are the inventive technique of photographic impression and shooting\, the handcrafted film manuality amplified by Do It Yourself\, the experimentation of new natural organic development agents\, the frames’ rhythm and\, if essential\, the inclusion of audio tracks. The collision between image and perceptual sensation may appear accidental\, but the film-makers invited at IFS apply a resistance to linear perception\, each orienting their own visual understanding in different directions.\nIn the program Innovative paths in the un-known\, Raffaella Morra has selected seven films combined by a strong attraction for the film emulsion and for the alchemic transformations\, in particular unusual chemical processes that inscribe images on film emulsion. Two films made by pioneers of experimental cinema: Two Pictures is a tactile and textured work of cinematic abstraction by Rose Lowder and Carl E. Brown; In the Shadow of Marcus Mountain by Robert Schaller is shot entirely with a homemade pinhole camera and edited largely in-camera through the use of a rhythmic score.\nAmong the recent film investigations\, that attempt to penetrate the enigmatic film materiality and the different emotional states: Dan Browne’s Waterfilm is a complex relation between sound\, image\, and editing processes connected to issues of memory’s legitimacy; Julie Murray’s ELEMENTs is an exploration of a location visited by incidental shadowy figures\, related one to another through the rhythm of their gestures; in Rhus Typhina by Alexandra Moralesová & Georgy Bagdasarov a plant is the main protagonist and acts as film development agent; Sandy Ding’s River in Castle offers repeated references to magic\, often comparing his films to initiation rituals; Josh Lewis’s Doubt # 2 explores boundaries of manual knowledge\, bodily struggle and persistent enigma of material.\nIn cooperation with La Digestion – rarely heard music festival\, Hangjun Lee’s 16mm films are accompanied by Chulki Hong and Will Guthrie’s four-tone sound improvisation. In The Cracked Share\, audience is overwhelmed by a strange array of chemical distorted images coupled with assaultive flicker lights\, a wave of explosive colours and unknown shapes intersected by Hong and Guthrie’s improvisation noise. Phantom Schoolgirl Army investigates the material conditions of photography (photographic plate\, magnesium) and its “conventions” (visuality of portraits\, functions of flash)\, aesthetically reconstructing the dialectic of stillness and motion embedded in the cinema. \nOn Friday\, June 23rd will be screen Nicolas Rey’s Differently\, Molussia\, adapted from the book Die molussische Katakombe by German philosopher Günther Anders\, written between 1932 and 1936\, a book which the filmmaker never read. Hand processed\, out-of-date film stock in nine chapter-titled segments is separated into reels and randomized during projection. The film recounts stories and allegorical thoughts by political prisoners in an imaginary fascist state called Molussia. The film’s nine sections ruminate on capitalism\, imperialism\, and resistance. \nIn the expanded cinema performance Scarface by Greg Pope the manipulation of 16mm projection\, slide projection\, contact microphones and guitar pick-ups are combined in the architectural space. Improvisation and randomness are also factors in a dynamic process where we witness the destructive treatment of analogue film with a death cult magic lantern show. \nOn Saturday\, June 24th A Bright Darkness includes three films and the expanded cinema performance by Anja Dornieden and Juan David González Monroy\, who go by the moniker Ojoboca. They use film manipulation processes and suggestive techniques to create Horrorism a simulated method of inner and outer transformation. In an interview\, Juan David González Monroy explains: “…Basically\, cinema is a machine that talks to you\, tells you a story. Given the dynamics of the cinema\, the machine is programmed by the filmmakers to personally talk to each individual member of the audience. We started thinking about cinema this way by accident\, but since this is what cinema in essence does\, we thought we would focus on that aspect of it. Of course\, the machine might be insane\, it might be lying\, it might be trying to convince you of different ways to view the world\, or it might just be trying to entertain you by telling you a good story”. \n  \n  URL:https://www.fondazionemorra.org/en/evento/independent-film-show-17th-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/2020/11/locandina-2017.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20170405 DTEND;VALUE=DATE:20170406 DTSTAMP:20260513T032807 CREATED:20201119T114041Z LAST-MODIFIED:20210223T101759Z UID:4510-1491350400-1491436799@www.fondazionemorra.org SUMMARY:Perspectives on Portraits and Place: The films of Adele Friedman DESCRIPTION:April 5th\, 2017\nSTARTING PROJECTIONS AT 7:30 p.m.\nMuseo Hermann Nitsch \nVico Lungo Pontecorvo 29/d\, Napoli \n“For more than three decades\, Chicago filmmaker Adele Friedman has been forging and refining an original vision with her silent portraits in which wide-angle cinematography and obsessive panning spread out the spaces of apartments and gardens\, creating a sensuous panorama of the ordinary.”  Fred Camper \nTonight’s program spans 38 years\, beginning with an early portrait from 1979. Included in the show are portraits and films of place: nature\, gardens\, architecture\, rivers.\nThese films are perspectives\, as seen by the filmmaker and presented to the viewer.\nCompositions of space between people\, objects\, interiors and exteriors\, all within the film frame\, are a critical element of what one is seeing in film. These compositions change constantly with movement\, both of the subjects and by the filmmaker\, allowing for interpretation and reinterpretation.\nThe portrait films are about cultural people and how their lives are informed by their interiors and artistic tastes. They surround themselves with what moves them. People do not leave their culture at the museum or the office; they bring it home and live with it. It is part and parcel of the daily fabric of their lives.\nAlso included in this program is an early dreamscape which explores the structural narrative of dreams and the subconscious.\nFriedman chooses to work in 16mm because of the delicate\, soft quality of light revealed through film\, conveying the layers and nuances of value and color. The films are silent\, urging the viewer to focus entirely on the projected image. \nAdele Friedman received her M.F.A. and her graduate degree in Art History from the School of the Art Institute of Chicago. Her films are distributed by Light Cone in Paris\, and she has exhibited internationally over the past 33 years\, including E-M Arts in Napoli as part of the Fôret exhibition; Scratch Projection in Paris; Oesterreichisches Filmmuseum\, Vienna\, Austria; Munich Stadtmuseum-Filmmuseum\, Germany; Frankfurt Deutsches Filmmuseum Kommunales Kino\, Germany; Arsenal\, Kino der Freunde der Deutschen Kinemathek\, Berlin; Fylkingen\, Turbidus Film\, Stockholm\, Sweden; Innocent Eyes and Lenses Film Festival\, Tokyo\, Japan; Big as Life: An American History of 8mm Film\, The Museum of Modern Art\, New York; The 26th New York International Film Festival; Millennium Film Workshop\, New York; The Onion City Experimental Film and Video Festival\, Chicago; The Museum of Contemporary Art\, Chicago; among many other exhibitions. This is her first one-person show in Italy.\n\n \n \n \n \n \n \n Adele Friedman\, Red Cloud\, 2017\nCourtesy Fondazione Morra\n \n \n \n \n \n Adele Friedman\, Untitled 1982\nCourtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/perspectives-on-portraits-and-place-the-films-of-adele-friedman/ 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/2020/11/INVITO_OK_page-0001.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20160623T210000 DTEND;TZID=Europe/Rome:20160625T210000 DTSTAMP:20260513T032807 CREATED:20201120T103530Z LAST-MODIFIED:20201216T214155Z UID:4528-1466715600-1466888400@www.fondazionemorra.org SUMMARY:INDEPENDENT FILM SHOW 16th Edition DESCRIPTION:June 23rd – June 25th\, 2016\nSTARTING PROJECTIONS AT 9:00 p.m.\nBelvedere del Museo Hermann Nitsch \nVico Lungo Pontecorvo 29/d\, Napoli \nINDEPENDENT FILM SHOW 16th edition\, an international show dedicated to independent experimental cinema\, coordinated by Raffaella Morra\, takes place on June Thursday 23rd\, Friday 24th and Saturday 25th 2016 programming the screening of three 16mm films and video programs and three live expanded cinema performances at the Museo Nitsch Belvedere. \nA resistance to fixity of classification and genre is expressed during three days of Independent Film Show 16th edition that endorsees the blending of practises\, the unfinished\, the mistake\, the chance of discovery; for this cinema\, there is no exact definition\, nor a nomenclature\, however the method continues to be handmade\, the favourite material is 16mm film and\, when possible\, the share of the creative act of live expanded cinema performances. The physical mechanisms of film construction\, such as the different photographic impression techniques\, the chemical transformations of film and the metamorphosis process of light\, remain the investigation fulcrum around which to build your own journey. An experience of disorientation can assault the inexperienced or occasional viewer\, which penetrates in a territory characterized by unexpected. There is no single answer\, nor the illusion of verisimilitude to trust\, instead\, it is necessary to allow a whirlwind of sensations that stimulate an unusual perceptual activity\, imprinted in memory. \nThe concrete materiality of the film strips and the mechanics of projection are firmly in the hands of the film-makers\, that control the minute details of creation and\, with the closure of large companies\, such as Kodak\, the incipit is Do It Yourself\, furthermore appropriating of the production stages. A significant impulse to collaboration and inventive between artisanal film labs has significantly expanded the experimental possibilities of film-makers. Independent Film Show 16th edition is an exploration between the experiences of these laboratories: Explorative Journey program selected by Raffaella Morra is a brief excursus on recent films made at the Etna and the Abominable in France\, the Filmwerkplatts in Rotterdam and Nanolab in Australia. \nKarel Doing\, founder of Studio één Lab in 1990 and currently with Bea Haut Film in Process (in Naples two IFS editions\, with live performances titled Four Eyes\, 2006 and Darkloupe\, 2012)\, selects Cinematica Erratica program\, a celebration of sabotaged film language\, that embrace wrong shots\, techniques and sounds that normally would be seen as inaccurate and faulty. Absurdism is used as a strong antidote against existing codes of conduct\, absence is used to evoke a renewed sense of wonder\, and by colliding the natural with the technological\, borders are blurred. \nHand and Machine presents six 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. In particular\, they created Chromaflex\, a new photo-chemical technique which allows selectively controlled negative and positive colour and black and white images on the same strip of film. What is more\, the technique allows these selection decisions to be made in full light. \nOn Thursday\, June 23rd (11:00am-03:00pm) and Friday June 24th (hours 03:00-08:00pm)\, the Chromaflex method will be argument of the workshop\, organized in collaboration with ARK-FILM lab TerzoPianoAutogestito (at Palazzo Gravina / registration required). \nIn live expanded cinema performances\, the knowledge of projective apparatus\, the environment\, the improvisation and the chance comprehend in a dynamic process\, triggered by public participation: on Thursday June 23rd Portraits by 70FTP (Andrea Saggiomo)\, on Friday June 24th Palindrome Series and Pattern/Chaos by Karel Doing\, on Saturday June 25th Dot Matrix and Inside the Machine by Richard Tuohy. URL:https://www.fondazionemorra.org/en/evento/independent-film-show-16th-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/2020/11/23_06_2016_indipendent_Film_Show_15_edition.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20160528T210000 DTEND;TZID=Europe/Rome:20160528T230000 DTSTAMP:20260513T032807 CREATED:20201120T145244Z LAST-MODIFIED:20210305T115125Z UID:4520-1464469200-1464476400@www.fondazionemorra.org SUMMARY:Peter Cramer e Jack Waters - Spaghetti Wrestling DESCRIPTION:May 28th\, 2016\nSTARTING PROJECTIONS h. 9:00 p.m.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nExpanded cinema performance \nA site-specific redaction of Satyricum II\, the 2007 performance/Installation at New York City’s notorious gay night club The Cock. Uncredited photos of this bacchanal appear in Slava Mogutin’s book NYC Go-Go. The original iteration was created by the Inbred Hybrid Collective with the oversight of the group’s members Waters and Cramer.\nIn keeping with the original spirit of the first manifestation this will be an immersive interactive\, atmospheric live action led by Cramer and Waters with Geoffrey Hendricks\, Sur Rodney (Sur) and friends. \n“Moving image\, electronic and acoustic sounds\, and instrumentation merge with live and recorded vocals will incorporate the resonance of the surrounding environment in bodily responses to the architecture of our interior and exterior worlds. We welcome and encourage active participation leaving the option for non passive voyeuristic engagement. Surprises abound in the strong element of physical action and body contact between the performers and whoever else wishes to join.” \nJack Waters and Peter Cramer \nJack Waters and Peter Cramer Performers\, film-makers\, choreographers and activists for the recognition of minority rights\, creators in 1996 of The Greenthumb Garden Le Petit Versailles community garden in New York’s East Village and of the non-profit organization Allied Productions\, Inc.\, as well as from 1983 to 1990 of the ABC No Rio arts center\, Peter Cramer and Jack Waters experiment with and combine multiple forms of art\, to involve and develop a process of creation as the essence of experiences rather than the product as an end result.\nResidents of the Lower East Side since 1981\, Peter Cramer and Jack Waters have made films and performances\, taught youth and children by engaging themselves and other artists\, and coordinated meetings\, screenings and events\, developing neighborhood activism and collective cooperation. Through music\, art\, and performance they create alternative forms of collaboration to turn rubble into creation and stimulate cultural change to alter society.\nPeter Cramer and Jack Waters in the early 1980s created POOL (Performance On One Leg)\, a dance/performance collective active in house music nightclubs such as the well-known Pyramid Club\, exploring contact and other improvisational behaviors combined with theatrical forms\, ritual\, activism\, and group dynamics; exemplifying the marathon Seven Days of Creation\, (with Carl George and Brad Taylor\, members of Colab)\, seven days\, 24 hours of performances with different artists atABC No Rio\, building-residence-laboratory of art\, sociality and cultural education.\nThey currently collaborate with the Inbred Hybrid Collective\, whose intent is to stimulate an awareness of the external factors that affect human existence and through provocative artistic interventions invite the public to reflect on the influence that this immersion has had on them.\nTogether and individually they have shown film works at the Whitney Museum of American Art\, The New Museum\, Anthology Film Archives\, London Film Makers Cooperative\, Center for Contemporary Culture Barcelona (CCCB)\, and MIX NYC.\nTheir films are distributed by the New York Film Makers Cooperative\, among others.\nEvents include: 2015’s Sun Screen Boulevard In The Sand is a performance/walk on Fire Island organized by Visual AIDS in partnership with Fire Island Artist Residency (FIAR) and New York Performance Artists Collective (NYPAC)\nhttps://www.visualaids.org/events/detail/jack-waters-peter-cramer-artist-lecture-series-fire-island-artist-residency\nhttps://www.visualaids.org/events/detail/fire-island-performance-jack-waters-peter-cramer\nIn 2014 the group show Ephemera as Evidence at La MaMa’s The Club\, and in 2013 NOT OVER: 25 Years of Visual AIDS at La Galleria\, and Not only this\, but ‘New Language Beckons Us’ at Fales Library and Special Collections\, New York University.\nIn Europe\, we can mention: in 2008 Triple Threat at FRISE in Hamburg\, Germany; in 2006 and 2013 the residency at the Emily Harvey Foundation in Venice for the project Pestilence\, a primordial\, post-apocalyptic work that fuses together the technologies of science and art\, exploring culture from its origins as a single-celled life form to the terminal end of society in the digital age of information overload.\nhttp://alliedproductions.org/pestilence-workshops-and-showings/\nIn 2015\, the film Jason and Shirley\, co-written and co-produced by Stephen Winter and Jack Waters\, in which he appears as the lead\, was screened to critical and audience acclaim at Anthology Film Archives\, MoMa\, BAM (Brooklyn Academy of Music) CineFest\, and BFI Flare London.\nhttp://www.jasonandshirleyfilm.com/\n\n \n \n \n \n \n \n Jack Waters and Peter Cramer\, Sunscreen Test Boulevard In The Sand © photo Sam Draxler URL:https://www.fondazionemorra.org/en/evento/peter-cramer-e-jack-waters-spaghetti-wrestling/ 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/2020/11/INVITO-2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20160219T183000 DTEND;TZID=Europe/Rome:20160319T183000 DTSTAMP:20260513T032807 CREATED:20201120T151351Z LAST-MODIFIED:20201216T213652Z UID:4525-1455906600-1458412200@www.fondazionemorra.org SUMMARY:Ekrem Yalcindag - The Language of Diversity DESCRIPTION:February 19th – March 19th\, 2016\nOPENING FEBRUARY 19th\, h. 6:30 p.m.\nMuseo Hermann Nitsch \nVico Lungo Pontecorvo 29/d\, Napoli \nMorra Foundation of Naples is proud to host in the rooms of Nitsch Museum Library\, the first Italian exhibition of the Turkish artist Ekrem Yalçındağ. \nThe eighteen artworks diversify in shape and color and represent what most put in contact the Oriental tradition to the Occidental tradition\, not just decorations but explosion of colors achieved by a meticulous research of the particulars. \n“…he demands the language of the multiplicity. the smallest particles are always those he elaborates on the biggest canvases. he treats these elements as molecules\, atoms. he creates structures that look like molecular structures. anyway his work has a lot to do with the building of structures that intertwine\, that usually go through the enormous surfaces of his works. they make us think in some way to physics models\, almost utopic of the world’s creation process. they suggest fertilization processes. it is know that he studied the shape of flowers and leaves and that those experiences reveal in the order of his artworks. universes of colors shaped by light gradations give to the surfaces\, that he makes\, a chromatic excess. he visualizes the growth of creation and nonetheless\, they miss the dimension in space of speed\, of time and waste of space. i believe is absolutely positive the affinity of his works to the op-art. these artists had his same problems with the non-figurative artistic expression. create concentric circles represent an architype problem for artists. the target of the archer of blind Buddhist monks indicates the street even to ekrem. many times we talked about space\, of the prospective reproduction of space with the figurative painting\, that has to be passed by the abstractive painting and about the space rendered non-figurative from the oriental carpets and ornaments. I think that ekrem yalncindag’s artworks contain this power. his works instill something of the liberty painters artworks. the fourth dimension moves the third one to the background\, that is objectively inexplicable.” \nHermann Nitsch\, Prinzendorf\, January 2016 \n\n \n \n \n \n \n \n Installation View\, The Language of Diversity\, Museo Hermann Nitsch\, Napoli 2016\n \n \n \n \n \n Installation View\, The Language of Diversity\, Museo Hermann Nitsch\, Napoli 2016 Ekrem Yalçındağ Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, The Language of Diversity\, Museo Hermann Nitsch\, Napoli 2016 Ekrem Yalçındağ Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, The Language of Diversity\, Museo Hermann Nitsch\, Napoli 2016 Ekrem Yalçındağ Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/ekrem-yalcindag-the-language-of-diversity/ 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/2020/11/Opening_Ekrem_YalcA_ndag.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20150625T210000 DTEND;TZID=Europe/Rome:20150627T210000 DTSTAMP:20260513T032807 CREATED:20201122T124908Z LAST-MODIFIED:20201216T220203Z UID:4531-1435266000-1435438800@www.fondazionemorra.org SUMMARY:INDEPENDENT FILM SHOW 15th Edition DESCRIPTION:June 25th – June 27th\, 2015\nSTARTING PROJECTIONS AT h. 9:00 p.m.\nBelvedere del Museo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nINDEPENDENT FILM SHOW 15th edition\, an international show dedicated to independent experimental cinema\, coordinated by Raffaella Morra\, takes place on June Thursday 25th\, Friday 26th and Saturday 27th 2015 programming the screening of three films/video programs and four live expanded cinema performances at the Museo Nitsch Belvedere. \n PROGRAMS and LIVE EXPANDED CINEMA PERFORMANCES \n\nThursday 25th June at 9:00pm\nTHE BLEEPING LIGHT: explorative sensorium in experimental film & video selected by Sally Golding \nThe Bleeping Light represents an array of contemporary film\, video\, live audiovisual and sound artists who delve into cracked phenomenal and psychological perceptions\, synaesthetic slippage and hacked technologies to produce works which inhabit a space between waveform and frame. \nAppropriated for single channel presentation many of these works exist in an environment\, which challenges the flat confines of the screen\, and have their origins and inspirations in sound art and performance. From this perspective springs a narrowing of apparatus and bodily intervention – a disavowal for projection-beam-screen-emulsion/pixel-frame/scan line – and an affirmation of electrical-chemical nervous systems. This is cinema which speaks directly to the viewer’s synapses\, and which seeks to reorganise these ‘printed signals’ into energy-sound-light-colour-form. \nIncluded are audiovisual works by sound artists who explore the role of a ‘seeing ear’\, and sonic explorations by filmmakers who by the act of performance and intervention derive a sonorous space. These experimental film works locate a ‘liveness’ in close quarters with sound art in performance and arrive at trance like state of neural reflux. \nSally Golding \nThursday 25th June at 10:30pm\nLive Expanded Cinema Set by Sally Golding \nSally Golding is a multimedia artist combining film projection\, lighting and sonic composition to create expanded cinema performances and participatory installations. Golding’s audiovisual performance work focuses on the experience of the audience\, pushing the boundaries of visual and auditory perception through the breakdown of the cinematic system into flicker\, waveforms and colour fields; while her installations have harnessed the presence of the audience themselves by incorporating their reflected image into projections within immersive spaces. \nGolding’s performances are overdriven audiovisual transmissions of light\, form\, colour and sound. Using hacked devices such as sewing machine motors and laboratory strobe lights\, Golding generates throbbing\, hallucinogenic visual distortions\, which are also outputted as sonic signals. Cacophonic in form and content\, performances transcend chaos and enter a hypnotic zone. \nFriday 26th June at 9:00pm\nVisual Insights selected by Raffaella Morra \nVisual Insights is pervaded by an emphasis to the filmic composition. A particular fondness for ‘light moving in time’\, achieved through many technical possibilities (etching and painting directly on film\, or solarize and chemical treatments\, or the three-colour separation in print)\, highlights a particular exploration of filmic apparatus that encourages personal visual constructions\, retrieving a perceptual innocence not subordinate from rationality. A sequence of different stimuli educates the insight through an innovative movement to transform the optic and expand our ability to visualize the world. \nFriday 26th June at 10:30pm\nLive Expanded Cinema\nZzurfreiheit by Lionel Palun\, Julien Bibard\, Jean-Philippe Saulou \nIconoclastic trio\, which originates by light beams of the 16mm projector and video\, Zzurfreiheit is working to make you travel through the unsuspected virtues of bright and acoustic feedbacks. Developing a poetic of moment and immediacy\, these three stakeholders generate conflicts of perceptions\, with severe contemplative consequences for your brain. The main visual material – points\, lines\, plants and landscapes – created on 16mm film by Julien Bibard\, is reinterpreted in feedback by digital video and audio treatments by Lionel Palun. Mechanical sounds of 16mm projector serve meanwhile as raw materials for the delicate and impulsive sound alterations by Jean-Philippe Saulou. Finally\, this hypnotic and autophage trip\, through a landscape of the unstable space-time coordinates\, will perhaps make you forget\, for those who has still doubt\, that cinema is only occurring on a screen. \nSaturday 27th June at 9:00pm\nLive Expanded Cinema\nScoreline by Greg Pope\nScoreline is a solo film-sound performance.\nIdea: The film projector as an instrument with the potential for visual and sonic broadcasting\, an exploration of cinematic apparatus\, ignoring traditional strategies to create a dynamic live event.\nOutcome : Texture and noise. A choreography of creation through destruction\, amongst other things… \nSaturday 27th June at 10:00pm\nFilm doubled forever changes selected by Greg Pope \nProjectors invade the auditorium to reveal six amazing double screen works – two seminal classics and four from the British new analogue wave…. Interaction\, juxtaposition\, synchronization and repetition drive these films. The action here is not just happening on the filmstrips – it also belongs in the moment of projecting. \nGreg Pope \nSaturday 27th June at 11:00pm\nLive Expanded Cinema\nSKELETON by Greg Pope & SULT (Jacob Felix Heule\, Guro Skumsnes Moe\, Håvard Skaset)\nSKELETON is a 40 minute live performance piece by sound trio SULT and live cinema artist Greg Pope. \nA darkened room – our cinema cave – our shelter and religion. Ghosts dancing in the flame\, images are cast and wood splits. Sound and light waves vibrate and refract. The skeleton is animated; a shadow play\, acoustic and amplified instruments\, synthesized sound and the magic lantern. An investigation in four movements. URL:https://www.fondazionemorra.org/en/evento/independent-film-show-15th-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/2020/11/23_06_2016_indipendent_Film_Show_15_edition.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20140626T210000 DTEND;TZID=Europe/Rome:20140628T210000 DTSTAMP:20260513T032807 CREATED:20201217T190117Z LAST-MODIFIED:20201217T190531Z UID:4554-1403816400-1403989200@www.fondazionemorra.org SUMMARY:INDEPENDENT FILM SHOW 14th Edition DESCRIPTION:June 26th – June 28th\, 2014\nSTARTING PROJECTIONS JUNE 26th h. 9:00 p.m.\nMuseo Hermann Nitsch (Belvedere)\nVico Lungo Pontecorvo 29/d\, Napoli \nINDEPENDENT FILM SHOW 14th edition\, an international show dedicated to independent experimental cinema coordinated by Raffaella Morra\, takes place Thursday 26\, Friday 27 and Saturday 28 June programming the screening of three films/video programs and three expanded cinema performances at the Museo Nitsch Belvedere \nThe Independent Film Show focuses on imaginative renewal states that increase the watching ability: a physical and mental activity fundamental to decode the subtle lines that uphold the unity of the world. Annually takes shape a familiar club for film-lovers where meet the most progressive and unexpected artistic expressions\, contrary to the expensive ideological gaps of the big festivals and against the unmotivated advances of mass culture. The Independent Film Show is a cultural propeller\, engaged not to dominant profit but in favour of a mentality aware of the limits to detect those phenomena today only perceptible beyond the human visible and audible. The territory of the experimental cinema is full of misconceptions and generalizations and in particular the barricades of exclusion and the strict rules avoid to reveal and analyse the perceptual connections and the unexpected solutions inherent in these independent works. The exclusion of the forced passive spectator (typical in standardized vision) highlights and emphasizes a direct communication able to cause an intense vibration for generating reflection and progress. An alternative immersion gives the opportunity to socialize and discuss with the film/video-makers\, taking an additional step towards the new space of intuition. \nReading carefully this 14th edition\, the return of friends that in the various editions have already shown the exceptional nature of their filmic works emphasizes how close is the relation between the film/video-makers involved in the Independent Film Show. The only restriction is to participate with films/video rarely or never shown in Italy and to create performative strategies that surround the participants\, infusing new configurations in an unforgettable sensual experience. \nPROGRAMS and EXPANDED CINEMA PERFORMANCES \nThursday June 26 at 21:00 Cornerstone selected by Gaëlle Rouard \nThe program Cornerstone selected by Gaëlle Rouard\, as indicated in the title\, is a splendid overview in the history of experimental cinema\, with a common denominator: any semblance of cinematic storytelling is littered in a thousand splinters and returned in a unique communication form\, using the most unforeseeable manipulations and filmic methodologies. In Outer Space by Peter Tscherkassky\, the constant layering of images exposes the viewer to a complex vision’s activity and explores the limits of physical and intellectual mechanisms; Spacy by Takashi Ito is made with 700 photos re-photographed frame by frame according to strict rules of motion in the physical space\, with the intent to lead in confusion the watching act. For William Moritz “…the most unique thing that cinema could do is present a visual spectacle comparable to auditory music\, with fluid\, dynamic imagery rhythmically paced by editing\, dissolving\, superimposition\, segmented screen\, contrasts of positive and negative\, color ambiance and other cinematic devices”; Lapis by James Whitney\, a classic in Absolute Film which he defined “a space-time mandala”\, is related to the neural activity of visual and auditory system realizing a wonderful synesthetic example; in Déjeuner du matin by Patrick Bokanowski his optical experiments with light\, reflection and refraction transform the everyday images into fluids and deformable objects of art\, employing the film material as a traditional pictorial canvas; for Stadt in flammen by the collective SCHMELZDAHIN the found footage film Ville en flamme is subjected to biological degradation by microbes and bacteria\, nearly liquefying\, to promote a dissolution of images and show the material vacuity to the process of time. \nThursday June 26 at 22:30 Juke Film Boxe by Gaëlle Rouard \nFor the second time\, with a new filmic configuration and the last film in world premiere\, Juke Film Boxe by Gaëlle Rouard is a fantastic opportunity to participate in the direct intervention on the filmic projection; a continuous flow that involves in a whole the film-maker\, the projectors\, the environment and the spectators. A narrative pretext is the thin substrate for a cosmic journey in the film art; the frames\, expertly hand-processed through colored filters\, mirrors and prisms\, create an overlapping world\, accompanied by a strong feeling of the unknown that can possibly lead to new scenarios and meanings. \nFriday June 27 at 21:00 Intuition spaces selected by Emmanuel Lefrant and Raffaella Morra \nThe program Intuition spaces selected by Emmanuel Lefrant and Raffaella Morra focuses on the development process of substances in perpetual metamorphosis. Little Girl by Bruce Baillie records distilled moments of natural beauty in a perfectly simple lyrical portrait without any additions or cuts; Distorted Movi Sion by Yo Ota reflects on the structure of the cinematic vision as type of visual experience and visible knowledge; an adventure of the mind in The Or Cloud by Fred Worden and a metaphysical journey realized through personal mental scenarios in Into Daylight by SJ. Ramir; Another Void by Paul Clipson is the result of a continue practice with Super 8mm film to produce a description of the world through gesture and repetition; in Photuris by Peter Miller the fireflies movement is recorded on film\, forming abstract swirls of light. \nFriday June 27 at 22:30 expanded cinema performances by Les Nominoë \nFrom Nominoë collective (Nicolas Berthelot\, Alexis Constantin\, Emmanuel Lefrant\, Stéphane Courcy di Rosa) the two expanded cinema performances Atomic Light (at first world vision) and Cortex (with the dancer Stéphane Mensah) connect the materiality of film support and the projective diffusion to an unconventional temporal and spatial fruition. Nominoë cinema strays from the usual modes of film production with emphasis on collective improvisation of a visual and sound situation. \nSaturday June 28 at 21:00 Signal Selections from Screen Compositions selected by Katherine Liberovskaya \nScreen Compositions is an a yearly screening event that takes place since 2005 at Experimental Intermedia\, NYC\, founded and curated by Katherine Liberovskaya. It is dedicated to intersections of moving image with sonic art in the form of screen works representing dynamic two-way collaborations between video/film artists and sound/music artists with no live or performance component. The selection for the Independent Film Show focuses on the manipulation of analog signal and explores the qualities and possibilities offered by technological apparatus. Decay Hatching by LoVid (Tali Hinkis and Kyle Lapidus) highlights the fragility of the technology; 33 by E.S.P. TV (Victoria Keddie and Scott Kiernan) documents the ephemeral artistic practices; in Light Field II Richard Garet draws attention to the processes of perception and cognition by activating sensory\, physical\, and psychological phenomena reflecting on the nature and experience of time; Frogfields by Katherine Liberovskaya is an exploration of the video voltage controlled by audio elaborated by a synthesizer. \nSaturday June 28 at 22:30 Live video by Katherine Liberovskaya and Live mixing of audio pieces by Phill Niblock\nSaturday June 28 at 23:00 Live music and film/video by Phill Niblock \nTwo performative moments with Katherine Liberovskaya and Phill Niblock: in the first live set Niblock mixes between audio pieces based on diverse field recordings which are very different from his music compositions and Liberovskaya mixes video from a vast personal database of clips shot over the past fifteen years. \nThe second event is an intense performance by Phill Niblock\, minimalist composer and film-maker whose Intermedia Art actively contributed to transform the way to perceive the sounds and the flowing of time. His sound compositions are thick loud drones of music filled with microtones of instrumental timbres which generate many other tones in the performance space. The spectator is immersed in this environment up to lose the perception of the passing of time. His filmic pieces\, far from a documental development\, show the rituals of daily work\, often hand-made and continuously. The thick correspondences between sounds and images act in a slow flow\, evoking antagonistic feelings of movement and immobility\, and with a proper preparation leads to a state of trance where the free associations live. \n\n \n \n \n \n \n \n INDEPENDENT FILM SHOW 14th Edition\, Museo Hermann Nitsch\, Napoli 2014 Courtesy Fondazione Morra\n \n \n \n \n \n INDEPENDENT FILM SHOW 14th Edition\, Museo Hermann Nitsch\, Napoli 2014 Courtesy Fondazione Morra\n \n \n \n \n \n INDEPENDENT FILM SHOW 14th Edition\, Museo Hermann Nitsch\, Napoli 2014 Courtesy Fondazione Morra\n \n \n \n \n \n INDEPENDENT FILM SHOW 14th Edition\, Museo Hermann Nitsch\, Napoli 2014 Courtesy Fondazione Morra\n \n \n \n \n \n INDEPENDENT FILM SHOW 14th Edition\, Museo Hermann Nitsch\, Napoli 2014 Courtesy Fondazione Morra\n \n \n \n \n \n INDEPENDENT FILM SHOW 14th Edition\, Museo Hermann Nitsch\, Napoli 2014 Courtesy Fondazione Morra\n \n \n \n \n \n INDEPENDENT FILM SHOW 14th Edition\, Museo Hermann Nitsch\, Napoli 2014 Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/independent-film-show-14th-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/2020/12/loc-2014-e1608231577677.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20131214T160000 DTEND;TZID=Europe/Rome:20131220T220000 DTSTAMP:20260513T032807 CREATED:20201217T211342Z LAST-MODIFIED:20201217T212741Z UID:4586-1387036800-1387576800@www.fondazionemorra.org SUMMARY:Notte D’Arte - Gruppo 63/50 anni: i poeti leggono i poeti DESCRIPTION:December 14th – December 20th\, 2013\nOPENING DECEMBER 14th h. 4:00 p.m.\nMuseo Hermann Nitsch \nVico Lungo Pontecorvo 29/d\, Napoli \nthe Fondazione Morra presents Gruppo 63/50 anni: i poeti leggono i poeti\, an event dedicated to the sperimental and visual poetry of Gruppo 63. The showing of artists’ film\, curated by Giuseppe Morra and Tommaso Ottonieri\, will follow it. \nIn the 1963 poets\, writers\, reviewers\, academics and musicians and also visual artists met in Palermo\, Sicily\, animated by rejection of cultural world of their historical contest\, moved by desire to experiment new expression forms\, against and distant from common language scheme. The intention of Gruppo 63\, the name of artists’ group\, was to create a new “territory” with new words\, new forms\, new sounds\, to abandon a narrow – minded past\, made by compromises\, egoism\, ignorance and suppression\, and to produce a new idea of world with new energies. \nAll along\, Naples as a capital city protagonist of the artistic avant-garde\, celebrates the anniversary of Gruppo 63 to seal the international manifestations about it\, with this event organized by Fondazione Morra during Notte D’Arte. The event bases his concept on the connection between word and moving picture: some poets that belong to Gruppo 63 (like N. Balestrini) and younger but linked to it will read poetries and some visual artists – filmmakers will use the picture show to impress their broken up visions. It is important to remember that in 1967 in Naples gave birth to the experience of Cooperativa Cinema Indipendente because of Gruppo 63’s innovations. \nThe event will conclude will a debate\, in which speakers will be artists and theorists founders of the movement. In the end Lino Guanciale\, a talented actor\, will act a monologue (1963) written by G. Manganelli\, an unclassifiable author\, member of that unique artistic season. \nPrograms: \n04:00 pm: Showing Film d’artista: a partire dal Gruppo 63\, curated by Paolo Bertetto\, picture shows of G. Baruchello\, A. Grifi\, U. Nespolo\, A. Leonardi\, M. Schifano\, L.M. Patella\, T. De Bernardi. Mario Franco will introduce the showing’s sequence. \n06:15 pm: Introduction-debate on the Gruppo 63 – L’antologia edited by Nanni Balestrini and Alfredo Giuliani. Critica e teoria edited by Renato Barilli and Angelo Guglielmi\, ed. Bompiani\, Il romanzo sperimentale: Palermo 1965/Gruppo 63 edited by Nanni Balestrini\, follow up Col senno di poi edited by Andrea Cortellessa\, ed. L’Orma – Fuori Formato; special insert for the 50 years of Gruppo 63 in Alfabeta2 (November – Dicember). \nParticipants: Nanni Balestrini\, Andrea Cortellessa\, Angelo Gugliemi\, Mario Franco\, Tommaso Ottonieri\, Andrea Viliani. \n07:45 pm: I poeti leggono i poeti. Reading and homage of Mariano Baino\, Bruno Galluccio\, Giovanna Marmo\, Tommaso Ottonieri\, Gilda Policastro\, Gian Paolo Renello\, Federico Sanguineti\, with Nanni Balestrini (texts by N. Balestrini\, C. Costa\, A. Giuliani\, G. Niccolai\, E. Pagliarani\, A. Porta\, A. Rosselli\, E. Sanguineti\, A. Spatola\, P. Vicinelli). \n09:30 pm: Iperipotesi of Giorgio Manganelli: interpreted by Lino Guanciale. \n10:00 pm: Showing Film d’artista: a partire dal gruppo 63: \nGianfranco Baruchello\, Alberto Grifi\, Verifica incerta (1964\, 30’) \nAlfredo Leonardi\, Living and Glorious (1965\, 21’) \nUgo Nespolo\, La galante avventura del cavaliere dal lieto volto (1966-67\, 9’) \nUgo Nespolo\, Buongiorno Michelangelo (1969\, 11’) \nMario Schifano\, Reflex (1964\, 8’) \nMario Schifano\, Vietnam (1967\, 3’) \nAlberto Grifi\, Dodici ore No stop (1967\, extract 15’) \nLuca Maria Patella\, Terra animata (1967\, 7’) \nTonino De Bernardi\, A Patrizia: l’irrealtà ideale\, l’oggetto d’amore (1970\, extract 12’) \nThe Show will continue with the following integration: Baruchello\, Tre lettere a Raymond Roussel (1969\, 28’)\, L.M. Patella\, SKPM2 (1968\, 23’)\, Vedo\, Vado! (1969\, 15’)\, T. De Bernardi\, Il mostro verde (1967\, 28’) and the entire projection of A Patrizia (1970\, 59’) URL:https://www.fondazionemorra.org/en/evento/notte-darte-gruppo-63-50-anni-i-poeti-leggono-i-poeti/ 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/2020/12/i__id220_crop3_2c_t1386696733__1x.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20130627T210000 DTEND;TZID=Europe/Rome:20130629T210000 DTSTAMP:20260513T032807 CREATED:20201217T222444Z LAST-MODIFIED:20201217T223047Z UID:4623-1372366800-1372539600@www.fondazionemorra.org SUMMARY:INDEPENDENT FILM SHOW 13th Edition DESCRIPTION:June 27th – June 29th\, 2013\nSTARTING PROJECTIONS JUNE 27th h. 9:00 p.m.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nINDEPENDENT FILM SHOW 13th edition\, an international show dedicated to experimental cinema\, anticipates the annual event on Thursday 27\, Friday 28 and Saturday 29 June\, planning the three programs and the two expanded cinema performances on the Museo Nitsch’s belvedere. \nThe Independent Film Show focuses on the multiple processes that film/video-makers create to give structure to the intense relationships that exist between the devices used for projection and the interpretative participation of the audience. Past editions have often highlighted the special capabilities of experimental cinema\, which does not impose a standardised view\, but requires the spectator to watch with conscious application\, in order to appreciate the intricate formal representations\, the complex social codes\, and extensive cognitive aspirations that extend beyond the screen. The immersive possibility of establishing direct contact with independent cinematic philosophies and highlighting the alternatives and innovations that subvert the logic of the standard production is the key to the approach required to access these complex visual patterns. The interference of the lights of the milieu\, the position of the projectors\, the reflective quality of the screen\, the line of vision and its position within the field of vision contribute to the creation of the film\, and it is at the moment that the viewer becomes aware of the solidity of the photons\, which impress upon his gaze and envelop the body\, that the cognitive process able to form complex mental structures is activated. \nTo Lacrimosa by Inal Sherip goes the frères Lumière award for the defense of European traditions through the filmic arts. This award is conferred by the European Academy of Arts\, an organization involved in the promotion of artists living in Belgium\, thus highlighting the fundamental role of the Independent Film Show as an active platform for presentation and discussion with the protagonists of today’s experimental cinema. \nThe Keyboard and the Co-op is a programme on sound\, with the music and film selected by Guy Sherwin. Many of these films were shot at the London Film-Makers’ Cooperative\, founded in 1966 on the lines of the New York Co-op (1962) by Jonas Mekas\, including a laboratory for the development and production of film (built by Le Grice). The ability to print their own films\, together with the possibility of seeing the results immediately\, favoured the creation of several films. The double projection of the film Love Story 2 (1971) in 16mm\, by Malcolm Le Grice\, one of the founders of the cooperative and teacher at that time of William Raban\, Gill Eatherley and Annabel Nicolson\, equates the wavelengths of light with those of sound in a complex temporal dimension. Matchbox\, by Wojciech Bruszewski (1975) has a simple\, but profoundly musical structure that recalls the first works of Steve Reich\, and consists of two short shots artfully mounted to create a subtle drifting in time. The physical property of light\, subject to meaningful transformation\, acquires a substantial concreteness in the performance\, on an abandoned piano outside the LFMC\, Annabel Nicolson\, documented in Piano Film (1976). In the film A Piece for Sunlight\, Piano and 45 Fingers (1979) by Jenny Okun\, the sunlight that falls on the piano determines which notes are played. The three films by Guy Sherwin\, Night Train that converts the lights of a landscape into sounds\, Notes\, that uses the camera as a kind of plectrum making the strings of an open piano vibrate\, and Da Capo…\, that juxtaposes two sets of variations – a replicated train journey and different interpretations of a Bach prelude on the piano – show the intensity of the relationship between image and sound in live footage. The other two films in the programme\, Stretto\, by Barbara Meter\, and Stationary Music by Jayne Parker\, both of 2005\, play respectively with the music of John Cage and Stefan Wolpe.\nThe second programme\, Light\, Colour\, Action! edited by Lynn Loo is a celebration of colour wholly in 16mm film\, this art is characterised by the shooting techniques\, darkroom work\, manipulation of material\, and attention to the projective event conceived by the film-makers to show that there is still much to discover in the area of film material. Deep Red (2012)\, by Esther Urslus is an investigation of cumulative colour\, made by hand and using a technique of DIY screen-printing mixed on film. Trama (1980)\, by Christian Lebrat\, uses various stripes of colour that dance with alternating broad and close movements to the sound of traditional music from Burundi\, completely different from the movie but not contradictory. The film Colour Separation (1974 – 1976)\, by Chris Welsby\, is based on the process of the separation of colours\, and resembles a moving impressionist painting in which time has a role in the construction of the image. The two films Bouquets 26-27 (2003) and Voileiers et Coquelicots (2001) by Rose Lowder mix plants\, animals and the manual activities of the places shot\, illustrating how it takes very little to show the world in a different way. The double projection of Autumn Fog (2011) by Lynn Loo captures the variations in the autumn colours in her London garden and exposes the film to various light sources causing gaseous fluctuations in the colours. Still Life (1976) by Jenny Okun reflects on the mutability of colour and the intangibleness of photographic truth\, challenging the impossibility of transforming an image from negative to positive colour in the same film. Hand Grenade (1971) by Gill Eatherley is the result of a laborious but traditional film-making process in which each frame was exposed for several minutes with the shutter of the camera open while Eatherley draws several objects in space\, including his own body\, using a single torch at low voltage. Island Fuse (1971) by Arthur and Corinne Cantrills focuses on the interaction of projective elements\, the camera and its various mechanisms\, filters\, projector\, and film.\nThe performance Live Cinema Program by Guy Sherwin and Lynn Loo focuses on film as matter and projection as a process; mechanical irregularities and unwanted glow intersect with the sounds produced by light using microphones that capture the oscillations in the projection beam and the optical sounds generated by graphic images or real footage. Up to six 16mm projectors are used as musical instruments\, leaving ample scope for improvisation and communication between the performers\, and the two films Vowels & Consonants and Bay Bridge from Embarcadero include the participation of the musician Mario Gabola in a feed-back of vibrations and reverberations which bounce back in a new form.\nThe third programme\, Chute\, Gravité\, Cosmos! Selected by Emmanuel Lefrant addresses the problem of gravity\, the attractive energy between bodies which regulates falling\, balance\, and the cosmos\, harnessing man to the weight of things; only art can inject an existential breath to lighten these forces of attraction. Dog Star Man: Part II (1963)\, by Stan Brakhage\, is about the ability to see as a child\, looking with an untutored eye\, with a simpler\, less cultured and more sensitive perception. Terminal City (1982) by Chris Gallagher shows the demolition of the Devonshire Hotel in slow motion as it disappears in a thick cloud of dust absorbed by an invisible force. On the Logic of Dubious Historical Accounts 1969-1972 (2008) by Peter Miller and Alexander Stewart consists of documentation from the twelve Hasselblad cameras dropped by astronauts on the lunar surface so as to reduce weight for the return to Earth. Solar Sight (2011) is the transcendental vision of an alchemic journey on the role of man in the cosmos\, created by Larry Jordan through the animation of real images accompanied by the resounding music of John Davis. Stan VanDerBeek\, pioneer of the expanded cinema and computer graphics in the film Poemfield # 5: Free Fall (1971) mixes found footage images of paratroopers with the text of the poem Free Fall\, making use of the capabilities of the first computers and the optical printer. The three films All Over (2001) by Emmanuel Lefrant\, Cosmos Spiritus / Nûr Version 1 (2005) by Olivier Fouchard\, and Remains to be seen (1989 – ’94) by Phil Solomon are made by painting on the film itself and alternating images with unexpected mounting techniques\, also here demonstrating that only art can elevate the soul of human beings beyond their material condition.\nFor the first time in Italy\, (like many of the films and videos in the programme)\, Juke Film Boxing by Gaëlle Rouard\, film-maker alchemist specialising in the precipitation of silver on film\, shows her films manipulating the two 16mm projectors live. Gaëlle Rouard acts directly on the projection of the film\, slowing down the flow of the film and bringing the shutter into play\, using the sound button and numerous other things which are not seen in performance. These minute actions suggest that the work is as precise as that of a musician who knows how to place a given note at a given time: here it is the particular image of the projector illuminated at a particular time\, that creates the effect of a visual score that must have been rehearsed many times and is a source of admiration for so much hard work. The speed of ‘touch’ causes reflections and it models\, by intrigue\, the infinitude of minute perceptions in combinations that are always unstable. The film proceeds following the irregularities and the dissonances of forces and lights; the image works amid illumination and disappearance\, and in switching on the light\, the graininess of the image assumes a marked significance\, so that the lines of a face and those of a cloud have never been so close in nature. Manipulation rather than editing\, double projection rather than superimposition reveal a poetics of gesture on a material as uncertain and fragile as film. \nPROGRAM \nThursday\, June 27 21:00 Lacrimosa di Inal Sherip – Premio les frères Lumière assegnato da European Academy of Arts \nThursday\, June 27 21:30 The Keyboard and the Co-op selezionati da Guy Sherwin \nFriday\, June 28 21:00 Light\, Colour\, Action! selezionati da Lynn Loo \nFriday\, June 28 23:00 Live Cinema program di Guy Sherwin & Lynn Loo \nSaturday\, June 29 21:00 Chute\, Gravité\, Cosmos! selezionati da Emmanuel Lefrant \nSaturday\, June 29 23:00 Juke Film Boxe di Gaëlle Rouard \n\n \n \n \n \n \n \n INDEPENDENT FILM SHOW 13th Edition\, Museo Hermann Nitsch\, Napoli 2013Courtesy Fondazione Morra\n \n \n \n \n \n INDEPENDENT FILM SHOW 13th Edition\, Museo Hermann Nitsch\, Napoli 2013Courtesy Fondazione Morra\n \n \n \n \n \n INDEPENDENT FILM SHOW 13th Edition\, Museo Hermann Nitsch\, Napoli 2013Courtesy Fondazione Morra\n \n \n \n \n \n INDEPENDENT FILM SHOW 13th Edition\, Museo Hermann Nitsch\, Napoli 2013Courtesy Fondazione Morra\n \n \n \n \n \n INDEPENDENT FILM SHOW 13th Edition\, Museo Hermann Nitsch\, Napoli 2013Courtesy Fondazione Morra\n \n \n \n \n \n INDEPENDENT FILM SHOW 13th Edition\, Museo Hermann Nitsch\, Napoli 2013Courtesy Fondazione Morra\n \n \n \n \n \n INDEPENDENT FILM SHOW 13th Edition\, Museo Hermann Nitsch\, Napoli 2013Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/independent-film-show-13th-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/2020/12/indep-2013_2nd-day.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20130322T190000 DTEND;TZID=Europe/Rome:20130430T190000 DTSTAMP:20260513T032807 CREATED:20201217T233737Z LAST-MODIFIED:20201217T234426Z UID:4684-1363978800-1367348400@www.fondazionemorra.org SUMMARY:Carlos Martiel - Punto di Fuga DESCRIPTION:March 22nd – April 30th\, 2013 \nOPENING h. 7:00 p.m.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nThe Nitsch Museum of Naples will inaugurate Vanishing Point\, the performance and the first European solo show of the Cuban artist Carlos Martiel\, curated by Eugenio Viola. \nThe “vanishing point” and the perspective elaboration thus implied are the expression of the will to give the world a geometrical order produced by a western episteme aiming to rationalize it through logic mathematics terms. They both belong to a doctrine based on the anthropocentric concept of man as measure of the world\, thus represented by Leonardo da Vinci in the Homo Vitruvianus that becomes the extreme visualization of the Neoplatonic correspondence between macrocosm and microcosm. \nStarting from these considerations and dealing with a topical theme of western culture and history of art\, Carlos Martiel reverses the iconic outcome of the given image by using his body\, he shows the deviation from the model\, from the platonic essence aiming at the original pureness as well as the classic eidos in order to restore a version which is controversially multicultural and hybrid. \nThe artist’s body turns into a landscape to be crossed and covered\, his skin becomes a painting to be personalized and comprehended\, his appendixes are branches with specific signs of belonging just hanging on them: the meeting place for several different codes. Action is an effort of junction which is translated into a geometrical-performative tension\, into grief and nearly mantric ecstasy of a body declined into its unshakable alterity. \nIn Carlos Martiel’s work\, the context of belonging and the awareness of his own body are always shown as being the mutable outcome of complex processes of attribution. The street and the public place are his favourite field for acting and operating since they are granted by continuous ways of repossession. \nThe Cuban artist is focused on specific episodes aiming to intensify the perception of social inequalities by driving the public to adopt an ideological position which comprises signs of a determined situation and precise context. \nAs it often happens in the magmatic continent of South America\, Martiel’s actions are bound to a strong expressive vividness\, they assume denouncing overtones and a taste of rebellion\, they recall unpleasant situations which are worrying signs of the deep existential discomforts fought by contemporary society. \nHis harsh and dramatic works are characterized by a disturbing beauty and a nearly cathartic strength which drive them beyond the contextual or sociological remark. His works\, originated from a specific geopolitical localization\, proceed inductively from the particular to the general since they refer\, against our will\, to global problems. \nEugenio Viola \nThanks to Ana Pedroso\, contemporaneacubaproject\, Philipp Dür\, SaBuLee \nCarlos Martiel (La Habana\, Cuba\, 1989)\, lives and works between Buenos Aires and La Habana where he attended the academic chair of “Arte de Conducta” of Tania Bruguera (2008-09). He made several performances and took part in many exhibitions in Latin America like at Centro de Arte Contemporáneo Wifredo Lam (La Habana\, Cuba\, 2012); Haus Der Kunst (Vallarta\, Mexico\, 2012); Espacio Quina (Belo Horizonte\, Brasil\, 2012); Museo d’Arte Moderno dì Buenos Aires (MAMbA\, Argentina\, 2012); Centro de Arte Contemporáneo de Quito (CAC\,Ecuador\, 2012). He also attended the XI Bienal de la Habana (2012)\, the 135.aktion by Hermann Nitsch (I.S.A.\, La Habana\, 2012)\, VI Liverpool Biennial (2010) and XXXI Biennial of Pontevedra (Galizia\, 2010).\n\n \n \n \n \n \n \n Performance Punto di Fuga\, Museo Hermann Nitsch\, Napoli 2013 Carlos Martiel \n \n \n \n \n \n Performance Punto di Fuga\, Museo Hermann Nitsch\, Napoli 2013 Carlos Martiel © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Performance Punto di Fuga\, Museo Hermann Nitsch\, Napoli 2013 Carlos Martiel © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Performance Punto di Fuga\, Museo Hermann Nitsch\, Napoli 2013 Carlos Martiel © photo Amedeo Benestante Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/carlos-martiel-punto-di-fuga/ 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/2020/12/carlos-martiel-punto-di-fuga.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20120622 DTEND;VALUE=DATE:20120623 DTSTAMP:20260513T032807 CREATED:20210223T133929Z LAST-MODIFIED:20210223T141630Z UID:5058-1340323200-1340409599@www.fondazionemorra.org SUMMARY:Doris von Drathen. Dal silenzio etico di John Cage al punto zero della gravitazione nell'arte attuale DESCRIPTION:22 giugno 2012\nSTART 6:00 P.M.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nIntroduce Giuseppe Morra \nIn occasione del centenario della nascita di John Cage il Museo Nitsch\, in collaborazione con Fondazione Morra e Fondazione Alario per Elea-Velia\, ospiterà una riflessione della storica dell’arte e critica d’arte indipendente Doris von Drathen. \nA proposito dell’incontro è la stessa autrice a dichiarare:\n“Il punto zero di silenzio che non vuol dire assenza di rumore\, ma piuttosto l’essere in ascolto dell’altro\, del mondo che ci circonda\, questa categoria mi sembra avere una corrispondenza spaziale: il punto zero spaziale\, il punto della nostra gravitazione\, quel punto altamente individuale e universale al tempo stesso\, definisce anch’esso una posizione etica. Nel senso che\, nel momento in cui sono consapevole di questo punto\, posso aprire la percezione della mia esistenza nello spazio\, posso rendermi conto della mia responsabilità nell’occupare quella posizione\, posso rendermi conto del mio ruolo di essere un essere umano che parla e agisce in modo indipendente\, in modo autonomo.\nNella mia conferenza si tenterà di dare testimonianza\, sempre partendo da Cage e le sue idee\, di una nuova coscienza nell’arte contemporanea: mi pare che da qualche anno\, fare scultura\, fare pittura\, voglia dire sentirsi iscritti nella libertà di un contesto cosmico\, di un’autonomia che parte da un essere nello spazio assoluto. Questi artisti non sono numerosi\, ma forse sono i migliori del nostro tempo\, qualcuno conosciuti come Richard Serra\, Beuys\, Rebecca Horn\, Anthony Mc Call\, Pat Steir\, Max Neuhaus; altri meno come Paul Wallach o Fabienne Verdier. Tutti però vivono le forze telluriche come un’energia suprema\, quella del silenzio interiore in dialogo con l’altro.” \nDoris von Drathen is an independent art historian and art critic\, born in Hamburg and based in Paris since 1990. After studying Roman literature and art history in Paris\, Zaragoza\, Florence and Hamburg\, she worked for ten years as an art critic in radio and television and contributed to Artforum as a correspondent. Since the mid – 1980s she has regularly published monographic essays in Kunstorum International\, Künstel Kritisches Lexikon der Gegenwartskunst (Critical Encyclopaedia of Contemporary Art\, Munich) and internationally in catalogues on major contemporary artists.Her specialisation is a monographic approach to art that goes beyond current aesthetic categories\, introducing the notion of “the other” into the analysis of an art object and developing an “ethical iconology”\, as she terms her method. She has held visiting positions at the Ecole nationale supérieure des beaux – arts in Paris\, at the Kunsthochschule in Berlin\, at the Rijksakademie van beeldende Kunsten in Amsterdam\, at the Academy of Lisbon and the Universities of Cádiz and Sevilla. \nTra le sue molteplici pubblicazioni nel testo “VORTICE DEL SILENZIO\, Proposta per una critica d’arte al di là delle categorie estetiche” l’autrice intraprende una lettura di 24 artisti contemporanei in modo da illustrare l’inadeguatezza delle attuali categorie estetiche pur introducendo e sviluppando una più completa “iconologia etica” attraverso la quale osserva il discorso dell’opera d’arte.\nDoris von Drathen desidera liberarsi della tirannia delle restrizioni estetiche che abbiamo usato per descrivere l’arte\, e vuole piuttosto fare delle opere d’arte un evento in cui l’incontro tra l’arte e lo spettatore diventa un discorso etico che informa e si impegna.\nLa sua selezione è molto utile a tale scopo\, ma è anche un gesto completamente postmoderno\, dove l’incontro con l’altro diventa il dominio dell’etica\, facendo dell’arte stessa un’esperienza innegabilmente etica. URL:https://www.fondazionemorra.org/en/evento/doris-von-drathen-dal-silenzio-etico-di-john-cage-al-punto-zero-della-gravitazione-nellarte-attuale/ 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/2021/02/dal-silenzio-di-cage-02.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20110510T180000 DTEND;TZID=Europe/Rome:20110610T180000 DTSTAMP:20260513T032807 CREATED:20210219T151046Z LAST-MODIFIED:20210219T154829Z UID:4963-1305050400-1307728800@www.fondazionemorra.org SUMMARY:Jean Toche. Guerriglia dell’arte in America DESCRIPTION:10 maggio – 10 giugno 2011\nOPENING 10 MAGGIO ORE 18:00 \nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nA cura di Manuela Gandini \nDi origine belga\, trasferitosi negli anni Sessanta nella Staten Island benpensante\, Jean Toche (1938) è come una macchina celibe che vive e dialoga con una macchina fotografica e un gatto. E’ una figura solitaria\, un monaco anarchico che\, avido di notizie\, scava quotidianamente tra le parole del New York Times o del Time per trovare nessi\, bugie\, paradossi sulla costruzione della paura\, il terrorismo\, la caccia al petrolio e il sistema dell’arte. Poi ritaglia frammenti di articoli e li assembla con considerazioni proprie\, non risparmiando critiche caustiche a ogni forma di potere. Il suo lavoro è durissimo. A seconda della notizia scelta\, Toche si ritrae attraverso l’autoscatto\, in uno dei momenti della propria giornata. Il suo linguaggio è politico e ironico e l’immagine è trattata con photoshop. Il suo volto\, deformato dalle notizie\, alle volte diventa metallico\, altre volte si allunga o si allarga cambiando colore\, posizione\, espressione: paura\, rabbia\, foga\, relax\, indignazione\, euforia. Nonostante abbia volontariamente deciso di sparire dal palcoscenico dell’arte\, usando solo la mail-art e rifiutando mostre in musei e gallerie con una ferma determinazione antieconomica\, il suo lavoro è entrato nella storia già da quasi mezzo secolo. Vicino al Fluxus\, senza mai farne parte\, nel 1968\, con Poppy Johnson e Jon Hendricks\, fonda la GAAG\, Guerrilla Action Art Group. Le azioni di disturbo messe in atto al Metropolitan Museum di New York – come lo spargimento di scarafaggi su una bella tavola imbandita a una cena ufficiale\, le lettere scritte al presidente Nixon o la messa in scena del rapporto tra critico e artista denudato sulla porta del Met -procurano a Toche pestaggi e arresti. Poi il silenzio. La sua casa è attualmente recintata e controllata elettronicamente come un bunker e la sua vita scorre\, a dispetto di persecuzioni e minacce\, nella convinzione che la propria azione quotidiana\, di uomo solo contro i poteri\, andrà a incidere nel mondo come la goccia che erode il monte. \nCatalogo “Intolerance” Edizioni Mudima 2010 con testi di Achille Bonito Oliva\, Jon Hendricks\, Manuela Gandini\, Gianluca Ranzi. \nPresentazione della rivista Alfabeta2 \ncon interventi di Andrea De Rosa\, Manuela Gandini\, Renato Nicolini\, Stefania Zuliani. \nDalla Triennale di Milano in videoconferenza Umberto Eco\, Nanni Balestrini\, Gino Di Maggio. \nModera Andrea Cortellessa. \n\n \n \n \n \n \n \n Installation View\, Jean Toche. Guerriglia dell’arte in America\, Museo Nitsch\, Napoli\, 2011 photo Cinzia Infantino © Fondazione Morra\n \n \n \n \n \n Installation View\, Jean Toche. Guerriglia dell’arte in America\, Museo Nitsch\, Napoli\, 2011 photo Cinzia Infantino © Fondazione Morra\n \n \n \n \n \n Installation View\, Jean Toche. Guerriglia dell’arte in America\, Museo Nitsch\, Napoli\, 2011 photo Cinzia Infantino © Fondazione Morra\n \n \n \n \n \n Magazine Alfabeta2 presentation\, Jean Toche. Guerriglia dell’arte in America\, Museo Nitsch\, Napoli\, 2011 photo Cinzia Infantino © Fondazione Morra\n \n \n\n  URL:https://www.fondazionemorra.org/en/evento/jean-toche-guerriglia-dellarte-in-america/ 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/2021/02/retro-copia.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20090528 DTEND;VALUE=DATE:20090529 DTSTAMP:20260513T032807 CREATED:20210224T151525Z LAST-MODIFIED:20210224T152724Z UID:5219-1243468800-1243555199@www.fondazionemorra.org SUMMARY:Piero Mottola. Concert with a view DESCRIPTION:May 28th 2009\nSTART 8:00 p.m.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nDIFFERING PACES \nemotional promenade for voice and instruments\, 2009 (duration 11’) \ndouble bass\, Massimo Ceccarelli \ncello\, Silvano Fusco \nsoprano sax\, Massimiliano Fuschetto \nsoprano\, Keiko Morikawa \nIMPROVISATION ON THE ACOUSTIC HEAVENS (dedicated to Hermann Nitsch) \nfor E. 10 electronic keyboard and emotional sampler\, 2005/2009 (duration 30’) \nperformed in real time by Piero Mottola \n  \nIs it possible to generate a composition which is aesthetically significant and emotionally profound without the expressive involvement of an inspired musician? Is it possible to generate an acoustic composition in expressive abstinence\, using only a system of ten emotional parameters? Is it possible to arrive at music starting from the inner experience undergone by each of us with all the sonorous qualities reality possesses before it is set in the sphere of a music codified by a system\, culturally produced and commonly heard? \nDiffering Paces\, composed for the Morra Foundation of Naples\, is one possible\, unusual musical composition designed to give an answer to these questions. \nEmotional Distances is a compositional system based on ten emotions. It was created by measuring the emotional activation of a representative sampling of natural\, artificial\, human\, and animal sounds. For each stimulus we first determine which emotion receives the highest score\, and then determine its distance from the other nine emotions by evaluating the statistical distribution of the choices. Summing the information accumulated for each stimulus allows us to construct a space in which to locate the ten emotions according to their distances: 1=maximum emotional proximity; 9=maximum emotional contrast. Emotional Distances is a system which makes it possible to construct a large number of emotional structures of varying levels by using figurative and abstract sounds\, acoustic instruments\, colours\, and images. It also allows us to organise unusual\, enigmatic\, and captivating aggregations of timbre. \nDiffering Paces is an emotional promenade with three relational levels and a building crescendo of contrasting emotions. The algorithm created defines a progressively increasing contrast among emotions as well as among rhythmic evolutions. The timbres employed are the result of a spectral analysis of emotional sounds. Each sound evolves according to an experimentally derived algorithm and is representative of one of the 10 emotions. The numerical evolution assigned to each sound is given an acoustic form by considering the acoustic extensions of the instruments employed. \nThe E.10 Emotional Sampler is an 88-key MIDI keyboard divided into 10 emotional zones (FE fear\, AN anguish\, AG agitation\, AR anger\, SA sadness\, EX excitement\, AW awe\, PL pleasure\, JO joy\, CA calm). Audio files containing experimentally derived emotional sequences are assigned to each zone. In addition to triggering the files\, each zone can also perform real-time modifications. The E10 Emotional Sampler can produce multiple emotional promenades which are complex\, unpredictable\, enigmatic\, and emotionally significant. Improvisation on the Acoustic Heavens combines an abstract electronic composition for 7 spatialized emotional pathways of increasing emotional contrast (from minimal to maximal)\, with the combinatorial potential of the E.10 Emotional Sampler. The Sampler is programmed by the performer in real time to produce emotional algorithms for the piano. \n  \nConcert with a view\, Museo Hermann Nitsch\, Napoli\, 2009 © photo Gianclaudio Orabona Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/piero-mottola-concerto-con-vista/ 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/2021/02/020-Fronte.jpg END:VEVENT END:VCALENDAR