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 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TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20160327T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20161030T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20170326T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20171029T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20180325T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20181028T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20190331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20191027T010000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180621T203000 DTEND;TZID=Europe/Rome:20180623T203000 DTSTAMP:20260513T042858 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:20260513T042858 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:20260513T042858 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:20260513T042858 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:20260513T042858 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:20260513T042858 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:20260513T042858 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:20260513T042858 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:20260513T042858 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:20260513T042858 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:20260513T042858 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:20260513T042858 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:20260513T042858 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:20260513T042858 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:20260513T042858 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:20260513T042858 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