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DTSTART;TZID=Europe/Rome:20131214T160000
DTEND;TZID=Europe/Rome:20131220T220000
DTSTAMP:20260629T213920
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20130627T210000
DTEND;TZID=Europe/Rome:20130629T210000
DTSTAMP:20260629T213920
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:20260629T213921
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:20260629T213921
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:20260629T213921
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
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20090528
DTEND;VALUE=DATE:20090529
DTSTAMP:20260629T213921
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
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