BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Fondazione Morra - ECPv6.16.2//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Fondazione Morra
X-ORIGINAL-URL:https://www.fondazionemorra.org/en/
X-WR-CALDESC:Events for Fondazione Morra
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:Europe/Rome
BEGIN:DAYLIGHT
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:CEST
DTSTART:20210328T010000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:CET
DTSTART:20211031T010000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:CEST
DTSTART:20220327T010000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:CET
DTSTART:20221030T010000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:CEST
DTSTART:20230326T010000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:CET
DTSTART:20231029T010000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:CEST
DTSTART:20240331T010000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:CET
DTSTART:20241027T010000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:CEST
DTSTART:20250330T010000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:CET
DTSTART:20251026T010000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:CEST
DTSTART:20260329T010000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:CET
DTSTART:20261025T010000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:CEST
DTSTART:20270328T010000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:CET
DTSTART:20271031T010000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20260419T200000
DTEND;TZID=Europe/Rome:20260419T233000
DTSTAMP:20260515T204144
CREATED:20260407T144321Z
LAST-MODIFIED:20260407T144542Z
UID:15278-1776628800-1776641400@www.fondazionemorra.org
SUMMARY:OEDIPUS. SPHINX’S BODY. - Performance
DESCRIPTION:OEDIPAL SCHOOL OF PERFORMING ARTS:\nOEDIPUS. SPHINX’S BODY.\nAnatomical Table. Second room.\n– Performance –\nReference text: “Oedipus Borderline” by Vettor Pisani.\nSunday\, April 19\, 2026\, 8:00PM\nCaggiano (SA)\, Palazzo Morone – Vettor Pisani Museum. \nPerformance with: Ilaria Angelini\, Consiglia Aprovidolo\, Chiara Bianchi\, Emilia Brescia\, Francesco Giannini\, Federico Gobbi\, Fabio Guaricci\, Morena Rossi\, Maurizio Sarni. Concertmaster: Andrea Cramarossa / Teatro delle Bambole \nThe performance is organized by Teatro delle Bambole in collaboration with the Hermann Nitsch Museum\, the Morra Foundation – Casa Morra Archive\, and Palazzo Morone – Vettor Pisani Museum in Caggiano (SA)\, as a contribution to the development of Giuseppe Morra’s “Atlantide / New Atlantide” philosophy\, and in collaboration with Casa del Contemporaneo. \nMore informations: info@teatrodellebambole.it
URL:https://www.fondazionemorra.org/en/evento/oedipus-sphinxs-body-performance/
LOCATION:Fondazione Morra Caggiano\, Italy
CATEGORIES:Caggiano (SA)
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2026/04/edipo-atto-performativo.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20260418T100000
DTEND;TZID=Europe/Rome:20260418T210000
DTSTAMP:20260515T204144
CREATED:20260409T131531Z
LAST-MODIFIED:20260409T131531Z
UID:15291-1776506400-1776546000@www.fondazionemorra.org
SUMMARY:INSIDE THE ACT OF SEEING
DESCRIPTION:INSIDE THE ACT OF SEEING:\nA FOCUS ON LARGE FORMAT PHOTOGRAPHY\nwith Alys Tomlinson \n18 April 2026\nLaboratorio Diorama / Museo Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nh 10 am – 6 pm workshop\ninfo and submissions: info.laboratoriodiorama@gmail.com\n(max. 10 participants)\nThe workshop will be held in English \nh 7 – 9 pm screening of the documentary Mother Vera\nfree entry with limited capacity \nOn April 18th Laboratorio Diorama will host an exclusive\, one-day intensive workshop led by award-winning photographer Alys Tomlinson. This session is a deep dive into the meditative and rigorous world of large-format photography. Participants will explore the entire creative process with the artist during a portrait session — from the initial composition to the technical precision required for the final shot. \nWorkshop will be held in English and divided into two moments: Alys will open the day by sharing her professional experience and the process behind her projects. This session offers a unique insight into how she identifies themes\, develops long-term series\, and maintains a distinct visual voice. During the second part of the day participants will have the opportunity to be guided by the artist in the making of a large-format shoot. Following the session\, the photographs taken will be developed in the darkroom. \nFrom 7 pm the documentary Mother Vera (2024) directed by Alys Tomlinson with Cécile Embleton will be projected in the Capriata Room of Museo Nitsch. \nHow to Join \nThis is an intimate learning experience with a maximum of 10 participants.\nParticipation fee: 50€\nFor detailed information and submissions\, please contact:\n📧 info.laboratoriodiorama@gmail.com \nWorkshop Schedule\n10 AM – 12 PM: welcome\, artist talk (with visuals) + Q&A\n12 – 1 PM: break for lunch (packed lunch)\n1PM – 5 PM: large format practical workshop (with focus on portraiture)\n5 PM – 6 PM: developing negatives in the darkroom \nSpecial Evening Screening\nFollowing the workshop\, we invite you to a special screening of the film “Mother Vera”.\nTime: 7 PM – 9:00 PM\nAccess: Free entry (limited capacity). \nAlys Tomlinson is a photographic artist based in London. She works mostly in black and white analogue on a large format camera\, exploring themes of faith\, ritual and identity.\nAlys grew up in Brighton and studied English Literature and Communications at the University of Leeds. After graduating\, she moved to New York for a year and was given her first commission for Time Out\, before returning to London to study photography at Central Saint Martins College of Art and Design. She later completed an MA in Anthropology of Travel\, Tourism and Pilgrimage (Distinction) at SOAS\, University of London\, which tied in with her long-term\, personal project about pilgrimage.\nHer book Ex-Voto was published by GOST Books in 2019 and Lost Summer was self-published in 2020. Alys recently finished work on a feature-length documentary film Mother Vera co-directed with Cécile Embleton. Her latest project Gli Isolani (The Islanders) was published by GOST Books in 2022. She combines commissioned work for editorial\, design and advertising clients with personal work\, which she publishes and exhibits.\nAlys’s work is collected privately and is in the following collections: National Portrait Gallery (London)\, The Rencontres d’Arles Collection\, The Bodleian Library\, AmberSide Collection. \nMother Vera (2024)\, 91 minutes\, black and white\, co-directed with Cécile Embleton.\nIn the striking silence of an Orthodox monastery in Belarus\, a nun walks quickly toward the place of prayer. Hidden in the folds of her black habit\, she kneels and lets out a deep breath\, opening the story of an unexpected path—where coming to terms with a dark past turns into a search for her own identity.\nCécile Embleton and Alys Tomlinson follow her with a quiet\, attentive gaze\, observing her daily life and slowly revealing the more intimate and hidden parts of her story.\nShot in refined black and white\, with a precise and balanced form\, Mother Vera traces a unique and unexpected female portrait\, touching on universal themes of redemption and the search for freedom.
URL:https://www.fondazionemorra.org/en/evento/inside-the-act-of-seeing/
LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia
CATEGORIES:Museo Nitsch
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2026/04/ws-alys-tomlinson.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20260311T183000
DTEND;TZID=Europe/Rome:20260311T213000
DTSTAMP:20260515T204144
CREATED:20260308T155113Z
LAST-MODIFIED:20260308T155138Z
UID:15179-1773253800-1773264600@www.fondazionemorra.org
SUMMARY:Le Nemesiache Reclaiming Mythological Rituals
DESCRIPTION:BOOK LAUNCH \nLe Nemesiache\nReclaiming Mythological Rituals \nedited by Sonia D’Alto \nWednesday 11 March 2026 Archivi Mario Franco at 6:30pm \nThe Archivi Mario Franco / Casa Morra will host the book launch tour of the first international monograph on Le Nemesiache edited by Sonia D’Alto in collaboration with Marea Art Project\, winning project of the Italian Council 13 edition (2024) promoted by the MIC Direzione Generale Creatività Contemporanea\, published by Mousse Publishing. The result of Sonia D’Alto’s research through her frequent visit to the group and her study of Le Nemesiache Archive (formerly Le Tre Ghinee association) and Lina Mangiacapre private Archive (Posillipo)\, the book collects valuable documents\, photographs and unpublished posters on the exceptional procedural and collective nature of their work. \nThe presentation of the book is a dynamic and participatory dialogue with Gina Annunziata\, Sonia D’Alto\, Imma Tralli and Roberto Pontecorvo\, which recounts and explores the collaborative process behind the publication and the significant moments of the collective\, intertwined with contemporary reflections on ecological spirituality\, historical reconstruction of feminist solidarity networks\, transformative justice\, and queer artistic theories. This will be followed by a screening of Le Sibille (1977) on the origins of a myth identified as a vital presence in the archaeological landscape of Cuma\, where oral culture\, folklore\, nature and magic intertwine\, “… in the subculture of a type of divination that still survives among the elderly women of Naples…” (Lina Mangiacapre) \nArtists and pacifists\, feminists and activists Le Nemesiache have promoted experimental creative practices since 1970 rooted in mythology\, transcending the fixed coordinates of patriarchal culture. Art is action\, it is creative practice to be lived: there is no separation between knowledge\, between realization and sociality\, aesthetics and politics. Le Nemesiache participated in the change of society with demonstrations and public debates (abortion and the question of wages) and through painting and sculpture (Lina took the pseudonym of Nemesis and when she painted she used Malina\, the surname of Judith\, founder of the Living Theatre active in Italy in those years\, her sister Teresa the name of Niobe and Silvana Campese Medea)\, writing\, poetry and theatre as a practice of self-awareness (psycho-fable)\, performance\, cinema and photography. Le Nemesiache wanted to reclaim the freedom of expression and the cultural presence denied to women (men could not participate in their events unless accompanied by a woman)\, in 1976 they created the Rassegna di Cinema Femminista (Feminist Film Festival) as a counter-festival to the International Meetings of Sorrento\, made several films and awarded the Elvira Notari Award (1987-2002) as part of the Venice Film Biennale to the film featuring a female heroine\, and also published the magazine Manifesta (1988-2002) to welcome women’s reflections on culture. \nLe Sibille \n(1977\, S8mm>dvd\, 25 min.) directed by Lina Mangiacapre\, music and performances by Le Nemesiache\, produced by Cooperativa Le Tre Ghinee/Nemesiache \nLe Sibille (The Sibyls)\, Lina Mangiacapre’s third film\, recounts the historical and territorial expropriation of mythosophical knowledge reduced to legend: the music of the Sirens\, the word of the Sibyls\, the dance of the witches. Subversive ceremonies\, poetic rituals and stone liturgies converge with acts of reappropriation to bring to the surface the memory of “how progress kills civilization and how\, in this death\, women’s culture disappears”.
URL:https://www.fondazionemorra.org/en/evento/le-nemesiache-reclaiming-mythological-rituals/
LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136
CATEGORIES:Casa Morra
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2026/03/nemesiache_casamorra.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20251128T190000
DTEND;TZID=Europe/Rome:20251128T230000
DTSTAMP:20260515T204144
CREATED:20251118T103909Z
LAST-MODIFIED:20251118T103909Z
UID:14431-1764356400-1764370800@www.fondazionemorra.org
SUMMARY:ARTAUD chez NITSCH
DESCRIPTION:ARTAUD chez NITSCH\nwith Gérard Pape \nFriday 28th November 2025\nMuseo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, 80135 Napoli \nat 7:00pm\n“Action Music Theater Today: Artaud chez Nitsch“\nGérard Pape in conversation with Leopoldo Siano \nat 8:00pm\nARTAUD LE MÔMO (2020-2025)\nworld premier \ntext by Antonin Artaud\nperformance by Gérard Pape (voice\, sounds\, actions) \nRitual acts of speech and sound for electro-fried voice\, lightly tortured double bass\, and freshly frozen eight channel sounds \nfree entrance with limited capacity \nGerard Pape (born in New York in 1955 into an Italian-American family from Sala Consilina) is a \ncomposer and Lacanian psychoanalyst. He has lived in Paris since 1991. He was director of the Ateliers UPIC/ CCMIX (Centre de Création Musical Iannis Xenakis) from 1991 to 2007\, a computer music center founded by the composer-architect Iannis Xenakis. In 2008 he founded and is the director of CLSI (Circle for the Liberation of Sound and Image) in Paris\, which is an ensemble of computers and acoustical instruments that also produces concerts and festivals. Desire\, excess\, the body and jouissance have long been central to his research on new forms of opera/music theater. \nHe is author of books as MusiPoeSci. Writings about music\, edited by Leopoldo Siano (Éditions Michel De Maule 2015) and Iannis Xenakis and the Ethics of Absolute Originality (Uteurp 2023). Since 2000\, Gérard Pape has composed several works inspired by Antonin Artaud’s concept of total theater or ‘theater of cruelty‘\, including the opera Les Cenci (2000-2005)\, Artaud Variations (2022-2025) and Artaud le Mômo (2020-2025). The conversation and concert on November 28th at the Museo Hermann Nitsch in Naples will be dedicated to an imaginary encounter between Artaud and Nitsch. (Hermann Nitsch considered Artaud a sort of ‘spiritual brother‘.) The program includes the world premiere of the new version of Artaud le Mômo\, a music theater piece based on Antonin Artaud‘s text of the same name\, which features “ritual acts of speech and sound for electro-fried voice\, lightly tortured double bass\, and freshly frozen eight channel sounds“.
URL:https://www.fondazionemorra.org/en/evento/artaud-chez-nitsch/
LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia
CATEGORIES:Museo Nitsch
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2025/11/artaud_nitsch.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20250925T183000
DTEND;TZID=Europe/Rome:20260117T140000
DTSTAMP:20260515T204144
CREATED:20250924T095724Z
LAST-MODIFIED:20251203T143139Z
UID:14322-1758825000-1768658400@www.fondazionemorra.org
SUMMARY:Les donnés mon alchive - LO SCRIPTORIUM DELL’ADEPTO
DESCRIPTION:Les donnés mon alchive\nLO SCRIPTORIUM DELL’ADEPTO\n(Eau et Gaz)\nby Luca Maria Patella e Rosa Foschi \nRe-opening of the environment\ncurated by Raffaella Morra · Loredana Troise · Diana del Franco \nfrom Thursday 25 September at 6:30pm to Saturday 8 November 2025\nExtended to Sturday 17 January 2026 \nBiblioteca per le Arti Contemporanee Fondazione Morra\nVico Lungo Pontecorvo 29/d -80135 Naples \nwith a collective poetry workshop by Francesca Boemia Stefanelli\nSaturday 4 October 2025 from 10:00am to 1:00pm and from 3:00pm to 6:00pm\nFor info and registration (free) biblioteca@fondazionemorra.org \nThis Project has benefited from the Contribution of the Regione Campania in support of interventions and activities aimed for the development\, promotion and enhancement of local interest’s Libraries. Financial year 2025 \nIn 2013\, Luca Maria Patella and Rosa Foschi designed Les donnés mon alchive Lo Scriptorium dell’Adepto\, an environment at the Biblioteca per le Arti Contemporanee Fondazione Morra\, meticulously conceived as “psychological-work ‘in action’ “\, set up according to Duchampian conceptual rhythms that are able to expand connections by supporting the layers of Culture involved in the dense linguistic-visual machinery. \nToday\, it reopens to scholars and visitors\, among correspondence\, volumes\, menabò\, book-objects\, magazines\, gazzette\, the signs of a versatile poetics mediated through engravings\, films\, installations\, monumental works\, photographs\, literary texts\, videos and visual poems. \nLes donnés mon alchive lo Scriptorium dell’Adepto\, accessible through microscopic openings (fish eye)\, is a secret and precious Wunderkammer around which the curators\, to celebrate its restoration\, have created delicate atmospheres inspired by the four volumes published by Edizioni Morra\, Io son Dolce Sirena (poems from 2000 and 2002)\, Romanzo ferroviario (1974-2003)\, Patella Ressemble à Patella (2007)\, Dichiarazioni Noètiche +Imàgines and Romanzino of the volume Stazione di Vita (2003-2011)\, following their traces\, linked by a chromatic reference\, attributable to Lüscher’s theory of Psychic Colors and Jung’s four psychological functions\, also used for the Porta dei 4 Colori (Door of  the 4 Colors) that marks the entrance to the Scriptorium. \nIt will be possible to consult the L. M. R. Patella Fondo of the Fondazione Morra which consists of approximately 1.320 bibliographic units. \nhttps://lucapatella.altervista.org/ \nhttps://www.fondazionemorra.org/it/archivi/luca-maria-patella
URL:https://www.fondazionemorra.org/en/evento/les-donnes-mon-alchive-lo-scriptorium-delladepto/
LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia
CATEGORIES:Museo Nitsch
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2025/09/patella_2025.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20250911T180000
DTEND;TZID=Europe/Rome:20260117T140000
DTSTAMP:20260515T204144
CREATED:20251130T111231Z
LAST-MODIFIED:20251130T111338Z
UID:14473-1757613600-1768658400@www.fondazionemorra.org
SUMMARY:Shards of Brightness Independent Film Show
DESCRIPTION:SHARDS OF BRIGHTNESS INDEPENDENT FILM SHOW\nphotographs by BIAGIO IPPOLITO and video documents by ANDREA DE CUNZO LAMENDOLA \ncurated by Raffaella Morra and Loredana Troise\nTemporary gallery of the Museo Hermann Nitsch\nThursday\, September 11\, 2025 – Saturday\, November 8\, 2025 \nEXTENDED to Saturday 17 January 2026 \nShards of Brightness Independent Film Show\, curated by Raffaella Morra and Loredana Troise\, is a project designed to update memories through the photographs of Biagio Ippolito and the video documents of Andrea De Cunzo Lamendola extracted from the editions of the INDEPENDENT FILM SHOW. A very careful selection from an unusual and exclusive archive of about two thousand photographs by Biagio Ippolito: they are poetic shots taken by adjusting the shutter speed to fractions of a second to fix a unique moment\, such as the filmmaker’s particular gestures as he brushes against the film\, the projectionist behind the 16mm projectors\, the colors of the sunset and Vesuvius. The individual photos and the large canvases of the photographic sequences involve the visitor in a process of deciphering and recognition; those who participated in previous editions can activate their synapses and return to memories and sensations\, while those who did not directly experience those emotions can view Andrea De Cunzo Lamendola’s video documents. From 2012 to 2015\, with a determined and courteous approach\, Andrea De Cunzo Lamendola filmed while camouflaged among the audience\, and then masterfully edited the expanded cinema performances by Karel Doing\, Sally Golding\, Les Nominoë\, Katherine Liberovskaya and Phill Niblock\, Lynn Loo & Guy Sherwin\, Lionel Palun\, Greg Pope and SULT\, Gaëlle Rouard\, Spatial (Matt Spendlove). \nBiagio Ippolito’s photographs evoke research\, movement\, and harmonious excursion of an intense and unprecedented photographic voyage that traces the temporal parabola of the INDEPENDENT FILM SHOW. Structured according to a long-meditated exhibition itinerary\, the planimetric design created with the videos by Andrea De Cunzo Lamendola and the photos by Biagio Ippolito combines the dynamic and rhythmic visuality of a perceptive climate made up of chromatic rebounds and collisions. \nThe 19 single photos\, the 3 analog photos and the 10 large canvases with the photographic sequences from the IFS editions\, together with the expanded performances\, make up the unprecedented photographic exhibition by Biagio Ippolito and the video documents by Andrea De Cunzo Lamendola\, connected to an idea of storytelling that is enriched by the narrative intertwining of the extraordinary video documents amid surprising resonances and asynchronous times\,  pointing the way to a nuanced figuration of thought.
URL:https://www.fondazionemorra.org/en/evento/shards-of-brightness-independent-film-show/
LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia
CATEGORIES:Museo Nitsch
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2025/11/biagio_indep.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20250515T080000
DTEND;TZID=Europe/Rome:20250518T170000
DTSTAMP:20260515T204144
CREATED:20250213T002407Z
LAST-MODIFIED:20250429T103518Z
UID:13753-1747296000-1747587600@www.fondazionemorra.org
SUMMARY:OEDIPUS. THE INSATIABILITY OF BODIES
DESCRIPTION:OEDIPAL SCHOOL OF PERFORMING ARTS\nOEDIPUS. THE INSATIABILITY OF BODIES.\nAntonin Artaud | Hermann Nitsch \nWorkshop on performing arts (BODY-ART-SOUND) led by Andrea Cramarossa – Teatro delle Bambole\, intended for performers\, dancers\, musicians\, singers\, directors\, Italian and foreign actors (the hosting will be multilingual). \nFrom 15 to 18 May 2025\nNaples (Nitsch Museum) \nIn the hypothesis of pre-disposition of a creative body\, it is necessary to “make oneself empty”\, clear the field of thoughts\, memories\, pressures. From a perspective of performative creation (mixture of body\, art and sound) the performer’s body becomes a place of myth\, a place where to unravel the narration of an existence that is not only present but past and future at the same time. The space becomes that of Sophocles’ Oedipus; the narration that of his family; from here\, it becomes possible and\, therefore\, an opportunity\, to grasp the presence of a polysemic and polyphonic body\, finally\, multiform\, starting from a genealogy of bodies conceived by Artaud. Dissociating oneself from one’s body\, that is\, making oneself empty\, will become a metaphor for being totally oneself\, within a personal rhythmic incidence and in a mysticism of colors that is the primordial gesture of creation. (Andrea Cramarossa) \nInfo: \nTeatro delle Bambole\ninfo@teatrodellebambole.it\n+39 347 3003359 \nMuseo Hermann Nitsch\ninfo@museonitsch.org\n+39 081 5641655 \nCasa del Contemporaneo\ninfo@casadelcontemporaneo.it\n+39 345 4679142 \nThe workshop on the performing arts is organized by the Morra Foundation – Hermann Nitsch Museum and Teatro delle Bambole in collaboration with Casa del Contemporaneo.
URL:https://www.fondazionemorra.org/en/evento/oedipus-the-insatiability-of-bodies/
LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia
CATEGORIES:Museo Nitsch
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2025/02/workshop-edipo.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20241107T193000
DTEND;TZID=Europe/Rome:20241107T233000
DTSTAMP:20260515T204144
CREATED:20241103T111848Z
LAST-MODIFIED:20241103T111848Z
UID:13403-1731007800-1731022200@www.fondazionemorra.org
SUMMARY:Homage to Phill Niblock (1933-2024)
DESCRIPTION:A HOMAGE TO PHILL NIBLOCK (1933-2024) \nANNA CLEMENTI and KATHERINE LIBEROVSKAYA Zound Delta performance\nDAVIDE AIDEN CAPOBIANCO PN90 (Phill Niblock in 90 notes and facts) performance\nASPEC(T) aka MARIO GABOLA and SEC_ WORK performance \nPHILL NIBLOCK The Movement of People Working China 88 e Vlada BC videoprojection \non Thursday 7 November 2024 at 7:30pm\nfree admission up to the capacity of the hall\nMuseo Hermann Nitsch vico Lungo Pontecorvo 29D Napoli \nPhill Niblock (1933-2024) was an intermedia artist using music\, film\, photography\, video and computers. He was born in Indiana in 1933. Since the mid-60’s he created music and intermedia performances which have been shown at numerous venues around the world. He made thick\, loud drones of music\, filled with microtones of instrumental timbres generating many other tones in the performance space. He said: “What I am doing with my music is to produce something without rhythm or melody\, by using many microtones that cause movements very\, very slowly.” Simultaneously\, he presented films/videos looking at the movement of people working (1973-1991). Since 1985\, he had been the director of the Experimental Intermedia Foundation in New York – where he was an artist/member since 1968. He was the producer of Music and Intermedia presentations at EI since 1973 and the curator of EI’s XI Records label. Phill Niblock’s music is available on the XI\, Moikai\, Mode\, Matiere Memoire\, Room 40\, and Touch labels. DVDs of films and music are available on the Extreme label and Von Archive. He had been Professor of film\, video and photography at The College of Staten Island\, the City University of New York. In 2014\, he was the recipient of the prestigious John Cage Award from the Foundation for Contemporary Arts. \nwww.experimentalintermedia.org \nKatherine Liberovskaya is a Canadian intermedia artist based in NYC. Involved in experimental video since the 80’s\, she has produced numerous single-channel video art pieces\, video installations and video performances\, as well as works in other media\, that have been shown around the world. Since 2001 her work predominantly focuses on the intersection of moving image with sound/music in various both ephemeral and fixed forms (projections\, installations\, performances)\, notably through collaborations with many composers and sound artists in improvised live video+sound concert situations where her live visuals seek to create improvisatory “music” for the eyes. For over 22 years she collaborated with composer/intermedia artist Phill Niblock on various live\, video and installation projects. Other frequent collaborators include Dafna Naphtali\, Keiko Uenishi\, Shelley Hirsch\, Barbara Held\, Mia Zabelka\, Al Margolis (IF\,BWANA)\, David Watson\, among many others. In addition to her art work she curates events in experimental video/film\, sound/music and A/V performance\, notably the yearly Screen Compositions evenings at EI NYC since 2005 and\, since 2006 the OptoSonic Tea salons (co-curated with Ursula Scherrer) in NYC and various nomadic locations in North America and Europe as well as on-line during the Covid pandemic. In 2014 she completed a PhD in art practice entitled “Improvisatory Live Visuals: Playing Images Like a Musical Instrument” at the Université du Québec à Montréal (UQAM). She is currently the artistic director of Experimental Intermedia NYC. \nwww.facebook.com/liberovskaya \nItalian-Swedish singer Anna Clementi grew up in Rome\, where she first studied the flute. There she also completed acting training before moving to Berlin and meeting the composer Dieter Schnebel\, with whom she studied experimental vocal music and experimental music theater at Hochschule der Künste (now UdK Berlin). This resulted in several years of collaboration; for example\, Clementi participated for a long time in the group Die Maulwerker\, founded by Schnebel. She received her first singing lessons in Rome with Michael Aspinall. In Berlin she studied belcanto with Mieko Kanesugi and jazz singing with Kara Johnstad. Anna Clementi sees herself as an “actress of the voice” rather than exclusively as a singer. In this way she also articulates the diversity of her artistic expression\, with which she is always searching for new connections between voice\, gesture\, language\, dance and theater. In Berlin\, for example\, she performed in the group Theater Ikaro and attended various dance schools\, where she dedicated herself to contemporary dance and contact improvisation. Anna Clementi has performed at the most important festivals and has premiered numerous works. Many world premieres have been composed especially for her and some of them have been developed together with her. She has worked with composers such as Laura Bianchini\, Emanuele Casale\, Martin Daske\, Fast Forward\, Jürgen Grözinger\, Michael Hirsch\, Rupert Huber\, Christian Kesten\, Alexander Kolkowski\, Olga Neuwirth\, Phill Niblock\, Daniel Ott\, Josef Anton Riedl\, Rainer Rubbert\, Nicola Sani\, Iris ter Schiphorst\, Dieter Schnebel\, Laurie Schwartz\, Stepha Schweiger\, Charlotte Seither\, Elliott Sharp\, Roberta Vacca and many others. Clementi loves the combination of play\, lightness and irony and is constantly looking for new ways of expression\, which she can unfold with her versatile voice. \nwww.annaclementi.com \nIn 2022-2023 Phill Niblock made Zound Delta for Anna Clementi: a composition for voice and electronics (voice and field recordings) accompanied by Katherine Liberovskaya doing live video was premiered in Berlin in spring 2023. And then a CD was published on Karlrecords and launched again in Berlin in spring 2024 with Anna performing live and Thomas Stern on electronics and a video by Liberovskaya. \nDavide Aiden Capobianco is an Italian composer specializing in contemporary concert music and electroacoustic works for solo performers and ensembles. His compositions explore the human experience\, pushing musical boundaries to create compelling narratives. Since 2022\, he has been a member of the New York Composer Circle (NYCC)\, dividing his time between Italy and the USA. He works on various projects\, including piano tuning\, technician services\, music instruction\, arranging\, orchestrating\, and score engraving. He also assists composers in realizing their visions\, such as supporting Phill Niblock in completing his compositions. \nPN90 (Phill Niblock in 90 notes and facts) is inspired by Phill Niblock’s life and musical legacy\, spanning from his birth in 1933 to his passing in 2024. It blends sound and visual elements to create an immersive experience for the audience. The structure revolves around Phill’s 90 years\, with each oboe note recorded and looped through Max/MSP\, representing a year of his life. As the piece progresses\, these notes accumulate into a wall of sound\, aiming to reach 95dB or beyond\, reflecting Phill’s pioneering approach to music. Projected visuals and text will highlight key moments from Phill’s life\, offering a multi-sensory tribute that deepens understanding of his artistic journey\, with material drawn from *Phill Niblock: Working Title* and *Phill Niblock: Nothing but Working.* To ensure accuracy\, I have collaborated closely with Phill’s partner\, Katherine Liberovskaya\, and his biographer\, Guy De Bièvre\, who authored one of the books. \nhttps://www.davideaiden.com \nMario Gabola and SEC_ aka Aspec(t) can be recognised by their original mix of electro-acoustic improvisation\, powerful and visceral noise\, and power electronics. They have played in Europe\, the US and Russia\, and are also relentless concert organisers in Naples and all over Campania\, which has allowed them to build a wide network of relationships and collaborations. \nSEC_ uses a Revox tape recorder to manipulate and mix different sound sources\, creating live collages. Mario Gabola makes the saxophone interact with acoustic extensions and a self-built photosensitive system\, generating and controlling feedback; the result is an inextricable forest of frenetic sonorities\, rhythmic structures\, explosions of noise and ancestral cries. \nAs a duo\, they have released one LP\, three CDs (two of them in collaboration with Swiss composer/performer Dave Phillips and Polish drummer Andrzej Zaleski)\, several CDr’s and audiocassettes. They also worked with filmmaker 70fps\, and created the music for a super8mm film “Napoli Film” by Finnish Seppo Renvall. Together and separately they have collaborated with musicians Jerome Noetinger\, Dave Phillips\, Arnaud Riviere\, Andy Guhl\, Rudolf Eb.er\, Agostino Di Scipio\, Kamilya Jubran\, Olivier Di Placido\, Scott Sinclair\, Andy Bolus\, Jean Philippe Gross\, C_C and others. \nMario Gabola and SEC_ met Phill Niblock separately on several occasions and then together in 2016 they were guests to play at his loft in New York. Phill Niblock‘s familiar welcome and help were also crucial to the duo's successful US tour that year. \nAspec(t) will perform a live audio tribute to Phill Niblock and his vocation as a connector between communities and generations of musicians\, experimenters and performers from different backgrounds\, before the advent of social-media and after\, without being dazzled by it and always preferring people-to-people contact. \nwww.viande.it/ \nwww.toxorecords.com/aspec(t)
URL:https://www.fondazionemorra.org/en/evento/homage-to-phill-niblock-1933-2024/
LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia
CATEGORIES:Museo Nitsch
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2024/11/omaggio-niblock.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20241001T190000
DTEND;TZID=Europe/Rome:20250301T180000
DTSTAMP:20260515T204144
CREATED:20241120T101856Z
LAST-MODIFIED:20241120T101856Z
UID:13450-1727809200-1740852000@www.fondazionemorra.org
SUMMARY:Wiener Aktionismus
DESCRIPTION:Archivi Casa Morra \nWiener Aktionismus  \nCurated by Giuseppe Morra  \n1 October 2024 – 1 March 2025 \n3 – D A Y S  R E P E R T O R Y \nFriday 27 September – 7pm – Archivi Casa Morra\ninterventions by Giuseppe Morra\, Julia Moebus-Puck e Leopoldo Siano \nSaturday 28 September – 7pm – Museo Hermann Nitsch\ninterventions by Giuseppe Morra e Leopoldo Siano \nSunday 29 September – 8pm – Vigna San Martino\ninterventions by Giuseppe Morra e Leopoldo Siano \nThree days of events to inaugurate the two-year period 2024-2026 exhibitions at Casa Morra and Museo Hermann Nitsch celebrating the history of Wiener Aktionismus and the 50 years of friendship (1974-2024) between Hermann Nitsch and Giuseppe Morra. \nThe works at Casa Morra testify to the tendencies and poetics of a philosophy without preconceived structures\, with a revolutionary function of life – the psyche and the unconscious\, the mind and the body – and a renewed interest in the primitive\, which is capable of perceiving the human as a temporal fragment of a continuum with the community\, the natural environment\, and the entire universe\, employing rituals and ceremonies such as sacrifices\, initiations\, flaying\, and tattoos\, using the body as a vehicle to connect with that which has existence. The traditional two-dimensionality of the canvas as a support for the medium of painting is surpassed in favour of the physicality of the artist’s body as he paints\, through action; experiences of sensory reality are extended to include objects and pictorial substance that aspire to transcend pictorial abstraction through actions that investigate the possibilities of an active body. \nAs with the poets Friedrich Achleitner\, Konrad Bayer\, Gerhard Rühm\, and Oswald Wiener of the Wiener Gruppe (1952–1964)\, so too with Wiener Aktionismus (Viennese Actionism\, 1960–1970) represented by Günter Brus\, Hermann Nitsch\, Rudolf Schwarzkogler\, and Otto Mühl. Although they had no stylistic manifesto\, their works are connected – through a close reading – to texts and statements expressed in both individual and collective actions\, as well as in paintings\, drawings\, photographs\, and films. These artists responded directly to the academicism\, backwardness\, and closed-mindedness of the official culture prevalent in Austria (and not only in Austria)\, which persisted well beyond the historical period in question. The Viennese Actionists\, each following their own path\, applied the terminology of psychoanalysis to art\, adopting terms such as abolition\, purification\, psychic hygiene\, abreaction\, and catharsis. Self-harm and bodily humiliation became methods of confronting obsessions\, neuroses\, and trauma\, serving as a means of liberation from the supremacy of power and hierarchical structures. \nA history of connections and separations under the cipher of the body\, gesture\, action\, and intellectual commitment\, for a shared experience that springs from the effects\, even beyond the perception of the performative moment\, re-emerging in the memory with photos\, films and videos\, relics\, and objects. From Dadaism to Futurism\, from Surrealism to Duchamp\, from Cage to Klein\, Pollock\, and Shimamoto; from Kaprow\, to Beuys\,… Art has changed\, and the body has become a substantial element of the artistic process in which any ordinary situation can generate a creative event. \nA galaxy whose planets are the artists who\, through their power\, inspire the audience to think\, meditate\, and construct bold ideas for the near future.
URL:https://www.fondazionemorra.org/en/evento/wiener-aktionismus/
LOCATION:Casa Morra e Museo Hermann Nitsch\, Salita San Raffaele 20C\, Napoli\, 80136
CATEGORIES:Casa Morra,Museo Nitsch,Vigna San Martino
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2024/11/azionismo-viennese-50anni.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20240905T080000
DTEND;TZID=Europe/Rome:20240908T170000
DTSTAMP:20260515T204144
CREATED:20240617T133958Z
LAST-MODIFIED:20240617T133958Z
UID:13038-1725523200-1725814800@www.fondazionemorra.org
SUMMARY:The Inebriation of Being residential workshop
DESCRIPTION:THE INEBRIATION OF BEING\nresidential workshop inspired by the three books of the “Feasts” and the “Monastic Rules” by Hermann Nitsch \nheald by theatrum phonosophicum (Leopoldo Siano & Shushan Hyusnunts) \n5th-8th September 2024\, Nitsch Museum\, Naples \nHarmating\, Asolo and Cuma\, written in the 1970s and courageously published (in German) by Peppe Morra in precious editions\, represent a “secret part” of Nitschʼs work. Never translated and little known even in the German-speaking world\, even for connoisseurs of the Viennese masterʼs oeuvre they have always remained on the margins compared to his other scores and theoretical-poetical writings. Harmating\, Asolo and Cuma\, despite their conceptual and utopian dimension\, were conceived by the author to be performed in three specific places (Harmating in Bavaria\, Asolo in Veneto and Cuma in Campania)\, but they remained unrealised. Yet they still are a treasure chest that reveals fundamental and radical aspects of Nitsch’s poetic-philosophical-musical thought. These three books\, together with the Ordensregeln (“Rules of the Order”\, of monastic and anarchist inspiration)\, are the attempt to extend the principles of his Orgien Mysterien Theater to everyday life\, transfiguring the latter into a total work of art. \nIn this four-day theoretical-practical workshop\, Hermann Nitsch’s “philosophy of being” will be explored in depth\, cultivating it practically through a ritual composition of each day with readings\, listening\, meditations\, walks\, contemplative observations of the landscape\, poetic acts that intensify the feeling of being. In the spirit of Hermann Nitsch\, philosophy is understood as a practical technique of being\, and art as an exercise in perception and sensation. \nPurposes\n– to become familiar with the “philosophy of being” and the poetic-musical-contemplative dimension of Hermann Nitschʼs work\n– acquire greater awareness of the space in which everything happens\n– exercise perception through the interaction of all five senses\n– practice deep and prolonged listening as a creative activity\n– open up to “total listening”: to sound and silence\, outside and inside oneself\, to the landscape\n– learn the basic principles of ‘sound actionism’\n– intensify the feeling of being through listening rituals\, poetic acts and walks\n– root yourself in the present\, drinking from its sacred springs \nWho is the workshop for?\nThe residential workshop is intended for Italian and foreign performers\, researchers\, musicians\, dancers\, singers\, directors\, actors\, thinkers. It will be multilingual.\nThe workshop has a limited number of places (numerus clausus).\nParticipants will receive a certificate of participation. \nDates / Place / Timetable / Conditions\nThe workshop will take place from 5 to 8 September in Naples at the Sala Capriata of the Hermann Nitsch Museum (Vico Lungo Pontecorvo 29/d\, https://www.museonitsch.org/en/) at the following times:\nfrom 10am to 1pm and from 4pm to 7pm. \nDepending on the kairós\, morning and night walks in the surrounding area will be possible. \nThe workshop is conceived strictly offline\, there will be no use of telephones or internet connections during the work. \nHow to apply / Deadline\nIt is essential to send your application briefly explaining your background and interests to:\nphonosophianova@gmail.com\nYou can submit your application from 21 June to 15 August 2024. \nCost and registration methods\nThe participation fee is 200.00 euros \nEarly bird price: The participation fee will have a discounted cost of 150.00 euros for those who send their application by 15 July 2024. \nResults of the selection\nSelected participants will be contacted by the organizational secretariat on\n– 22 July 2024 (for applications received before 15 July 2024)\n– 22 August 2024 (for applications received after 15 July 2024) \nRegistration is completed upon receipt of the copy of the bank transfer of the 50% deposit\, within five days following communication of the outcome of the selections.\nAfter this date the candidacy lapses. Please note that the deposit is non-refundable. \nPayment can only be made by bank transfer.\nAll other expenses (travel\, food\, accommodation) have to be covered by the participants. \nTHEATRUM PHONOSOPHICUM\nThe theatrum phonosophicum is the “theater” of phonosophia (understood as “knowledge through sound”)\, a research and life project that encourages the creation of experiential spaces in which ancient knowledge of Tradition is combined with experimental practices (“lecture-performance”\, installations\, sound art\, acousmatics\, deep listening etc.). A knowledge that is therefore not only bookish\, but experienced through all senses. Hence the aspiration to the synthesis of the arts\, to the Gesamtkunstwerk (from ancient Greek theater to Richard Wagner and the avant-gardes). Core of the theatrum phonosophicum is listening\, understood as Seinserfahrung (“experience of being”) and the anthropological engagement with Sound\, with sounds in space\, i.d. with soundscape and acoustic archetypes. \nFor more informations: https://theatrumphonosophicum.art/ \nBIOGRAPHICAL NOTES\nLeopoldo Siano (born 12th August 1982) is a philosopher of music and sound actionist. Early on he moved to Germany. From 2012 to 2022 he taught at the University of the Cologne (in the same Musicological Institute where Marius Schneider\, one of his great inspirations\, taught between 1950s and 1970s). Here\, Siano is also co-organizer of the Raum-Musik acousmatic concert series. He is author and editor of several books (on Karlheinz Stockhausen\, Hermann Nitsch\, François Bayle\, etc.). His latest volume has been published in 2021 by the publisher Königshausen & Neumann (Würzburg): Musica Cosmogonica: von der Barockzeit bis heute (Cosmogonic Music: From the Baroque Era till Today). Together with Shushan Hyusnunts\, he is the creator of the theatrum phonosophicum and the homonymous multisensorial series which started in the autumn of 2022 at the “Ground Floor” of the State Philharmonia of Armenia in Yerevan.\nSince spring 2023\, he is living in Naples as “researcher in residence” at the Hermann Nitsch Museum Archive Laboratory for Contemporary Arts (Morra Foundation).\nShushan Hyusnunts (born 3th February 1989 in Yerevan) is a musicologist and sound performer. After completing her musicological studies at the Komitas State Conservatory in Armenia\, 2012 she moved to Germany. In 2016 she graduated (Master of Arts) at the University of Cologne with a thesis on the philosophy of sound in Giacinto Scelsiʼs orchestral works. At the same university she also held courses about Horatiu Radulescu\, Dmitri Shostakovich as well as about traditional Armenian music. She continued her teaching activities at the Yerevan Conservatory\, where she taught history of Western music. The core of her work is the research and life project theatrum phonosophicum\, together with Leopoldo Siano\, and the homonymous multisensorial series which started in the autumn of 2022 at the “Ground Floor” of the State Philharmonia of Armenia in Yerevan.\nSince spring 2023\, she is living in Naples as “researcher in residence” at the Hermann Nitsch Museum Archive Laboratory for Contemporary Arts (Morra Foundation).
URL:https://www.fondazionemorra.org/en/evento/the-inebriation-of-being-residential-workshop/
LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia
CATEGORIES:Museo Nitsch
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2024/06/ebbrezza-essere.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20240713T080000
DTEND;TZID=Europe/Rome:20240715T170000
DTSTAMP:20260515T204144
CREATED:20240705T113015Z
LAST-MODIFIED:20240705T113249Z
UID:13094-1720857600-1721062800@www.fondazionemorra.org
SUMMARY:Archive Living Theatre. Caggiano
DESCRIPTION:In Caggiano\, in the heart of Cilento\, the Morra Foundation inaugurates a major Living Theatre archive \nOn July 13\, 14\, and 15\, the Fondazione Morra (‘Morra Foundation’) – chaired by Teresa Carnevale and directed by Giuseppe Morra – will be inaugurating Living Theatre Archives. Caggiano at Palazzo Prospero Morone e Giuseppina Morone in Bonito Oliva\, via San Pietro\, Caggiano\, SA). The Cilento village will host the world’s leading collection of documentary material from the revolutionary American theatre company. This invaluable archive provides a comprehensive record of the artistic journey of Julian Beck\, Judith Malina\, and their group\, complementing the collections at Yale University and the Lincoln Center in New York. The Living Theatre Archives. Caggiano project has been realized in partnership with the Municipality of Caggiano\, the Campania Region\, and the University of Victoria (Canada). \nSince the late 1980s\, the Morra Foundation has acquired paintings\, drawings\, diaries\, costume designs\, stage designs\, and various writings produced during the Living Theatre’s numerous visits to Italy. The collection also includes autographed working notes\, reviews\, and photographs: a unique repertoire of 58\,812 pieces\, which will be showcased in an extraordinary exhibition in the charming centre of the Cilento Apennines. \nTo mark the inauguration of the exhibition spaces\, a three-day programme of events has been planned\, including conferences\, book presentations\, happenings\, concerts\, archive tours\, film screenings\, and concerts. The guests include Professor Lorenzo Mango from the Orientale University of Naples and Professor Cristina Valenti from the University of Bologna\, in conversation with Garrick Beck\, the heir of Julian Beck and Judith Malina (via streaming). There will also be contributions by Allan Antliff of the University of Victoria (Canada)\, who will present his book Radiant Anarchy – Reflections on the Living Theatre\, Professor Romano Gasparotti\, a scholar of aesthetics at the Academy of Fine Arts of Brera (Milan)\, American performer\, actor\, and musician Bibbe Hansen\, daughter of Al Hansen of the Fluxus group\, and Cathy Marchand\, a veteran of the Living Theatre. \nEvents include Alvin Curran’s performance\, Endangered Species. There will also be a concert by Girolamo De Simone\, Andrea Riccio with special guest Domenico Di Francia\, featuring music by John Cage\, Morton Feldman\, Giuseppe Chiari\, and Girolamo De Simone. Another highlight is Living Theatre Revisiting – Music and Event with a score by John Cage\, George Brecht\, and Al Hansen\, a piece created by Girolamo De Simone\, Francesco De Simone\, Domenico Di Francia\, and Andrea Riccio. The work is based on the programme of the famous Concert of New Music held in New York on March 14\, 1960\, updating the pieces and techniques at the heart of that historic event. \n“The Morra Foundation’s imitative in our area\,” Mayor Modesto Lamattina explains\, “is part of the innovative revitalisation of Caggiano’s historic centre\, a project launched around twenty years ago. Our aim has been to make the ancient village a replicable model of sustainable urban regeneration. This vision has transformed the village into a unique centre of the avant-garde\, countering the relentless process of depopulation by connecting the population with the village’s historical architecture\, forming connections to the rest of the world through art and high-profile events like those curated by the Morra Foundation”. \nThe Living Theatre archive contains materials from the group spanning the years 1969-2015. The collection started with material relating to the numerous events promoted and organised by the Morra Foundation since 1995\, when the company staged two performances at the Teatro Mercadante in Naples. In 2003\, the Foundation hosted the retrospective exhibition Living Theatre: Labirinti dell’Immaginario at Castel Sant’Elmo and premiered the play Enigmas. These initiatives continued until 2015\, focusing on the productions – and promotion – of the Living Theatre project. \nThe collection also boasts an extensive section dedicated to costumes and stage props from several historic productions\, notably The Yellow Methuselah\, The Archeology of Sleep\, Masse Mensch\, and Anarchia. In 1981\, the Living Theatre announced its desire to renew its artistic practice with the creation of a ‘rolled painting’ inspired by Wassily Kandinsky. This work\, seventy metres in length and five-and-a-half-metres tall\, was designed as a dynamic backdrop (to be unrolled using a lever mechanism) to the performance of The Yellow Methuselah. The work\, composed by Hanon Reznikov\, merges two politically charged plays: Back to Methuselah by George Bernard Shaw\, and The Yellow Sound\, a ‘stage composition’ by Kandinsky. The piece depicts the evolution of humanity through the eyes of an anarchist\, advocating for life and\, utopically\, immortality. \nTHE LIVING THEATRE CAGGIANO 2024 PROGRAMME OF EVENTS \nSATURDAY\, JULY 13\, 2024\nNorman Castle of Guiscardo\nVico Roma – 84030 Caggiano (SA) \n11:00 AM\nInstitutional Greetings:\nModesto Lamattina\, Mayor of Caggiano\nGiovanni Caggiano\, President of ASMEL\nPasquale Persico\, Economist\nTeresa Carnevale\, President of the Morra Foundation \n12:00 PM\nSpeeches by: \nGarrick Beck\, heir of Julian Beck and Judith Malina (Santa Fe\, New Mexico): The Way We Can Change the World is by Changing the Culture \nLorenzo Mango\, Full Professor of Performing Arts at the Orientale University of Naples: The Living Theatre: History and Archive \nCristina Valenti\, Professor at the Arts Department\, University of Bologna: The Heretical Legacy of the Living Theatre \n2:00 PM\nLight Lunch \n4:00 PM\nBook Presentation: Radiant Anarchy – Reflections on the Living Theatre by Allan Antliff\, Professor of Art History & Visual Studies at the University of Victoria (Canada). \n6:00 PM\nLiving Theatre Archives Caggiano\, Palazzo Prospero Morone e Giuseppina Morone in Bonito Oliva\, via San Pietro\, Caggiano (SA)\nGuided tour with Giuseppe Morra\, Director of the Living Theatre Archive\, Naples. \nScreening of films regarding the Living Theatre. Anthology curated by Mario Franco:\nParadise Now\, by Marty Topp\, 1969\, 47’\nFrankenstein\, 1967\, 31’46’’\nAntigone\, Interview with Julian Beck\, dir. Mario Franco\, 1980\, 20’\nReading at The Living Theatre\, Allen Ginsberg\, May 22nd\, 1990\, 80’. \n8:00 PM\nLiving Theatre Archives Caggiano\, Palazzo Prospero Morone e Giuseppina Morone in Bonito Oliva\, via San Pietro\, Caggiano (SA) \nPerformance: Endangered Species by Alvin Curran \n9:00 PM\nLight dinner \nSUNDAY\, JULY 14\, 2024\nNorman Castle of Guiscardo\nVico Roma – 84030 Caggiano (SA) \n11:00 AM\nConference with talks by \nRomano Gasparotti\, Professor of Aesthetics – Phenomenology of the Image at the Academy of Fine Arts of Brera in Milan. Theatre of the Unrepresentable: Art=Life Life=Art \nBibbe Hansen\, American actor\, performer\, and musician \nCathy Marchand\, Living Theatre actor: The Millennial Myth of Antigone \nGirolamo De Simone musician\, cultural agitator\, and prominent figure in the Italian avant-garde\, associated with frontier music \n2:00 PM\nLight Lunch \n8:00 PM\nPalazzo Abbamonte Via Abbamonte\, 16 – 84030 Caggiano (SA)\nConcert by Girolamo De Simone\, Andrea Riccio\, special guest Domenico Di Francia\, featuring music by John Cage\, Morton Feldman\, Giuseppe Chiari\, and Girolamo De Simone \nMONDAY\, JULY 15\, 2024\nLiving Theatre Archives Caggiano\nPalazzo Prospero Morone e Giuseppina Morone in Bonito Oliva\nvia San Pietro\, 84030 Caggiano (SA) \n11:00 AM\nLiving Theatre Music and Event\, score by John Cage\, George Brecht\, Al Hansen\nDrawing on the famous Concert of New Music programme presented in New York on March 14\, 1960\, Girolamo De Simone\, Francesco De Simone\, Domenico Di Francia\, and Andrea Riccio reinterpret some of the pieces and techniques central to this historic event. \nAl Hansen\, Bibbe’s Tao: “Another example is Al Hansen’s Bibbe’s Tao. I learned it in 1963 from Dick Higgins and Alison Knowles\, who described the piece as follows: each performer is given preferably red paper napkin. They can use it as they wish: tearing it\, folding it\, whatever. Since then\, I have included it in various Fluxus concerts\, and I have always been meticulous about getting red paper napkins. Recently\, in November 1992\, Dick Higgins told me that the piece was originally performed using props from the Living Theatre”. \nGeorge Brecht\, Candle-Piece for Radios: “There are approximately one-and-a-half times as many radios as there are artists. The radios are placed in the room and tuned to their lowest volume. Each radio station has a stack of instruction cards distributed from a main deck. The lights in the room are turned off. (Birthday) candles are lit and given out to the artists\, each of whom places a candle next to each stack of instruction cards. After that\, each artist stands by a radio. They perform the instructions on the top card\, put it at the bottom of the stack\, and move on to an unoccupied radio. Each performer proceeds in this way\, personally carrying out an instruction from the card and moving to another radio. They continue until they come across an unreadable card\, or the radio’s candle is completely extinguished. In either case\, they turn off the radio and\, when no more are available\, return to their starting point …” \nJohn Cage\, Imaginary Landscape No. 5: “This is a score for making a tape recording using any 42 phonograph records… Each graphic unit equals 3 inches of tape\, or 1/5 second. The numbers beneath the delineated areas refer to their amplitude… The rhythmic structure is 5 x 5. Major divisions are marked by vertical lines across the stave. Minor divisions are indicated by short vertical lines below the staves\, followed by a notation indicating the density of that particular structural segment. The fourth major structural division contains the sign M—> I\, which means ‘Mobility —> Immobility’. This refers to the composition method\, that uses I-Ching…” \nJohn Cage\, Suite for Toy Piano: “This Suite\, written for toy piano\, can also be played on a normal one. It was composed for choreography by Merce Cunningham called Diversion: the rhythmic structure\, at a tempo of 64 beats per minute\, is 7.7.6.6.4; and 15 x 15 when in 2/2 time. The orchestration rights for the piece belong to Lou Harrison\, who requested them”. \nBIOGRAPHIES  \nAllan Antliff (1957)\, is the Jeffrey Rubinoff Legacy Professor with the Department of Art History and Visual Studies at the University of Victoria\, Canada. He has published extensively on anarchism and its impact on the arts. Antliff is the director of the interdisciplinary journal Anarchist Developments in Cultural Studies and art editor for the British journal Anarchist Studies. His forthcoming book\, Aesthetics of Tension\, explores anarchist currents in contemporary art. \nGarrick Beck was born into Off-Broadway’s Living Theatre\, as the son of its founders\, Julian Beck and Judith Malina. As a child actor\, he participated in numerous productions and learned from his parents the importance of conveying social and political ideals through the arts. Free thinkers\, his parents encouraged him to “think for himself”. So Beck moved to the American West Coast and became a pioneer of the organic food movement\, sustainable forestry\, and the development of school gardening programmes for children. He drew on his theatrical background to help create and promote large participatory public events such as the Rainbow Gatherings\, Amsterdam Cannabis Cup\, the Concert for the Forest\, the Oregon Country Faire\, and the Vortex Festival\, among others. Today\, he is the President of the Board of Directors of the Living Theatre. Garrick Beck is a father of three and resides in Santa Fe\, New Mexico. \nAlvin Curran (Providence 1938)\, is an American composer and performer who co-founded the renowned free improvisation group Musica Elettronica Viva (MEV) with Frederic Rzewski and Richard Teitelbaum. Throughout his artistic career\, he has collaborated with figures such as Cornelius Cardew\, Giacinto Scelsi\, Franco Evangelisti\, Giuseppe Chiari\, and many other influential musicians active in Rome from the 1960s. Among them were Julian Beck and Judith Malina of the Living Theatre\, as well as composers such as Morton Feldman and Elliott Carter. \nGirolamo De Simone (Naples 1964) lives and works near Monte Somma\, close to Mount Vesuvius. He is a musician and cultural agitator who has encountered personalities such as John Cage\, Elliott Carter\, Michael Nyman. He has collaborated with Eugenio Fels\, Luciano Cilio\, Luc Ferrari\, Vittorio Rieti\, Pietro Grossi\, Luciano Chailly\, Giuseppe Chiari\, Daniele Lombardi\, Giancarlo Cardini\, Enrico Cocco\, and others. De Simone has performed in events with Tuxedomoon (Naples 2001)\, Michael Nyman (Capri 2005)\, and numerous other figures on the Italian and international music scene. \nFrancesco De Simone (Massa di Somma 1998)\, studied at the San Pietro a Majella Conservatoire\, where he earned a degree in Electronic Music (I). He has taught at the San Carlo Theatre in Naples and at the Liceo Musicale Munari. De Simone has taken part in numerous musical events as a composer and performer of electronic music. Among these\, he adapted G.B. Pergolesi’s opera La serva padrona into an electronic version at Vigliena for the Officine San Carlo. He has participated in various initiatives of the contemporary music Factory\, “Konsequenz”\, organised by the Fondazione Morra and the Archives of Contemporary Art at the Museo Casa Morra\, focusing on study and training encounters. He has also performed concerts for the Teatro Stabile di Innovazione “Galleria Toledo” in Naples. \nDomenico Di Francia (Pozzuoli 2003)\, studied at the Liceo Musicale Margherita di Savoia and at the San Pietro a Majella Conservatoire in Naples. He has worked with the contemporary music Factory\, “Konsequenz” and the Fondazione Morra\, participating in initiatives commemorating Luciano Cilio as a pianist and composer. Di Francia has performed at the Teatro Stabile d’Innovazione Galleria Toledo\, the Museo Nitsch – Fondazione Morra\, the Domus ARS Cultural Center\, the Città della Scienza for Usr Campania\, and at the Naples Lutheran Church for the Second Edition of the Festival Pianistico di Siti Reali. \nRomano Gasparotti\, is a philosopher\, essayist\, and occasional performer. He teaches Theoretical Philosophy\, Aesthetics\, and Theory of Dance. His notable publications include Le forme del fare (with M. Cacciari and M. Donà\, Liguori\, Naples 1987)\, Movimento e sostanza (Guerini\, Milan 1995)\, Socrates y Platon (Akal\, Madrid 1996)\, I miti della globalizzazione (Dedalo\, Bari 2003)\, Figurazioni del possibile (Cronopio\, Naples 2007)\, Filosofia dell’eros (Bollati Boringhieri\, Turin 2007)\, L’inganno di Proteo (Moretti&Vitali\, Bergamo 2010)\, Il quadro invisibile (Cronopio\, Naples 2015)\, L’opera oltre l’oggetto (Moretti&Vitali\, Bergamo 2015)\, Shozo Shimamoto e l’esperienza artistica quale esperienza poetica del pensare (Edizioni Morra\, Naples 2017)\, L’amentale (Cronopio\, Naples 2019)\, and La danza profonda (Edizioni Kaiak PJ\, Pompei 2024). \nBibbe Hansen is a visual and performance artist\, poet\, and musician. She is the daughter of Fluxus and Intermedia artist Al Hansen and the mother of pop musician Beck and visual artist Channing Hansen. From a tender age\, she took part in her father’s avant-garde performances (Happenings) at historic venues such as La Mama\, the Living Theater\, and Judson Church. At the age of 14\, she worked with Andy Warhol at the notorious Silver Factory. Following her father’s death\, she founded the Al Hansen Archive to carry on his work\, and she frequently lectures on Hansen while teaching and performing her own pieces. \nLorenzo Mango Has been a Full Professor of Performance Studies (Theatre\, music\, cinema\, television\, and media) at the Orientale University of Naples since 2005. Prior to this\, from 1992 to 2005\, he was Associate Professor in the same field at both the Orientale and the University of Salerno. Before becoming an Associate Professor\, he was a researcher at the University of Salerno from 1984 to 1992. He is a member of the Doctoral Board in Literary\, Linguistic\, and Comparative Studies at the Orientale University of Naples and held the position of Coordinator of the Doctoral Programme in the History of Modern and Contemporary Theatre at the same university. From 2017 to 2020\, he served as President of the Technical-Scientific Committee of the University Library System (SIBA) at the Orientale and was head of the Share project\, an interuniversity consortium that includes several universities in Southern Italy\, namely the Università “Federico II” di Napoli\, the Università “Parthenope” di Napoli\, the Università della Basilicata\, the Università del Sannio\, the Università di Salerno\, the Università “Vanvitelli” di Napoli\, as well as the Orientale di Napoli.\nProfessor Mango has been involved in various national and international academic committees\, also serving as a member of the Examining Board for National Scientific Qualifications in Theatre\, music\, cinema\, television\, and media in 2012. He is a former President of the Association of University Teachers of Theatre History (CUT\, Consulta Universitaria del Teatro). He currently directs the Theatre Department of the Hermann Nitsch Museum Laboratory for Contemporary Art in Naples and serves as a scientific consultant for the Naples Living Theatre Archive at the Morra Foundation.\nHe is co-director of the online journal Acting Archives Review. Rivista di studi sull’attore e la recitazione and a member of the scientific committee for journals such as Drammaturgia and Mimesis Journal. He is also a member of the editorial board of the Annali di Filologia romanza at the Orientale University of Naples and the European Journal of Theatre and Performance. He has led significant national research projects\, including the 2009 PRIN project Theories of Acting and the Birth of Directing: Archive and Critical Catalogue of Documentary Sources. He is currently the national head of the 2022 PRIN project Directing in Transition. A Study of Directing Processes in Italy from the 1990s. Digital Cataloguing of Documentary Material and Historical-Critical Analysis.\nHis scholarly interests focus primarily on modern and contemporary theatre\, especially on the renewal of stage language\, the relationship between visual arts and theatre\, and the complex dynamics between directing and dramaturgy. Over the years\, he has dedicated research to historiographical and methodological studies within these thematic areas. \nCathy Marchand\, a student of Jean Louis Barrault at the Théâtre d’Orsay\, began her artistic journey at an early age\, thanks to actor Pierre Clémenti\, who took her to Rome where she encountered Julian Beck and Judith Malina of the Living Theatre. Marchand initially aspired to perform Molière and Marivaux\, but during the political and utopian fervour of the time\, she saw in the Living Theatre a bridge between the stage and politics. She had key encounters with figures such as Pasolini\, Sergio Citti\, Gianmaria Volontè\, Fellini\, and Dino Risi. More recently\, she has worked on two films with musician Franco Battiato: MusiKanten\, alongside Alejandro Jodorowsky\, and Rien est comme il semble. Following Julian Beck’s death after the 1984 grand retrospective at the Joyce Theater in New York\, Marchand returned to Europe and pursued her career independently\, striving to pass on her experiences with the Living Theatre to younger generations. \nAndrea Riccio (Naples 2001) is a pianist and performer celebrated for his appearances at prestigious musical and artistic venues such as the Teatro San Carlo and the Sala Scarlatti in Naples\, the Festival dei due Mondi in Spoleto\, the Stiftung Mozarteum in Salzburg\, the Festival dell’Accademia Chigiana in Siena\, and Kunst.Fest.Wäring in Vienna. He explores formats that push the boundaries of the concert experience. For instance\, in Devi Morire\, alongside pianist Marino Formenti\, he performed continuously at the Museo Nitsch – Fondazione Morra for 12 hours. Riccio’s recitals are rich from the dramaturgical point of view\, featuring innovative interpretations ranging from classical repertoires to contemporary compositions. \nCristina Valenti\, formerly responsible for the course in Social Theatre and History of New Theatre at the University of Bologna\, has directed the Master’s programme in Performing Arts Entrepreneurship and overseen projects to reorganise and digitalise the Leo de Berardinis Archive and the Compagnia della Fortezza Archive. She is President of the Scenario Association and the artistic director of the Scenario Festival. Valenti is a scientific consultant for the Coordinamento Teatro Carcere Emilia-Romagna and edits the journal Quaderni di Teatro Carcere. Her publications include Storia del Living Theatre. Conversazioni con Judith Malina (2018\, new updated edition)\, reflecting her extensive involvement with the Living Theatre’s history and legacy.
URL:https://www.fondazionemorra.org/en/evento/archive-living-theatre-caggiano/
LOCATION:Fondazion Morra Caggiano\, Italy
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2024/07/living-caggiano.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20240531T183000
DTEND;TZID=Europe/Rome:20240713T183000
DTSTAMP:20260515T204144
CREATED:20240528T104223Z
LAST-MODIFIED:20240528T104333Z
UID:12971-1717180200-1720895400@www.fondazionemorra.org
SUMMARY:Matteo Fraterno THE MATTER of MYTH. Prologue
DESCRIPTION:MATTEO FRATERNO \nTHE MATTER of MYTH. Prologue\nΗ ΥΛΗ του ΜΥΘΟΥ. Πρόλογος \nCurated by Federico Decandia \nFriday 31 May 2024 \n6\,30 p.m. \nArchive Laboratory for Contemporary Arts Hermann Nitsch Museum\nVico Lungo Pontecorvo 29/d \nTHE MATTER of MYTH. Prologue by Matteo Fraterno\, curated by Federico Decandia\, is the photographic documentation of the artist’s residency at the Epigraphic Museum in Athens in September 2023\, which saw the production of a series of frottages made on the epigraphs preserved in the museum’s courtyard. THE MATTER of MYTH is articulated in three distinct moments: the Documentary Prologue follows the workshop conducted by the artist on 18 May 2024 at the Archaeological Park of Grumentum (Potenza) and introduces the exhibition scheduled for autumn 2024 at the Epigraphic Museum of Athens. \nThe constituent nucleus of Prologue\, set up in the underground spaces of the Hermann Nitsch Museum from 31 May to 13 July\, is the photographic documentation by Zafiro Vlachou that records the artist’s processual attitude of retaining that memory of contact that in frottage\, considered in its technical autonomy\, is continually deferred. It is Fraterno who stops at this threshold: ‘Approaching the surface I felt a sort of vertigo\, an involvement such that I no longer had any awareness of the discontinuity between my body and the material. It happened with the walls of the Ucciardone\, with the Pikionis paths at the Acropolis and\, if possible\, more intensely with the epigraphs. I chose to work exclusively on the stone inscriptions located in the courtyard of the Museum because it is with exposure to the sun\, wind and rain that the material of the myth restores its most intimate vividness’ (M. Fraterno). \nFraterno’s is therefore not a scientific sampling but a need to revive that unactual force of the imprint that consists precisely in ‘resurrecting the question of contact in the visible’ (G. Didi-Huberman). The presuppositions of the Athens residency of September 2023 can be found in two parallel researches just preceding it: the first is thematic in nature and stems from the long wave of a prophetic experience of voluntary confinement in the Fondazione Morra Library at the beginning of 2020 (Esperienze/L’infinito intrattenimento\, 2020) [ENG. Experiences/Infinite Entertainment\, 2020]: on that occasion\, Fraterno had rendered iconographically the dreams induced by the daily exercise of reading\, a modus operandi that also accompanied him in 2023 in the production of a series of drawings inspired by epitaphs – from Seikilos to Dick Higgins – spanning the entire history of Western civilisation. The second research is rather of a technical nature and refers to the incorporation of frottage into his artistic grammar. For Fraterno\, frottage initially takes the form of a pretext for approaching the pure matter of interdiction; it is what allows him firstly to have a tactile experience of the ‘skin’ of the walls of Palermo’s Ucciardone prison (La Materia dell’Ucciardone\, 2022) [ENG. The Matter of Ucciardone\, 2022]. This work\, part of a triptych of works focusing on the forms of imprisonment\, was intended to investigate the global immune obsession exacerbated by the post-pandemic legacy. In his work\, Fraterno indicates as an antidote to civil melancholy\, the bodily approximation to the material of Pentelic marble: not the concept nor the imaginative abstraction\, but the pure contact that precedes and guarantees integral openness to the other.
URL:https://www.fondazionemorra.org/en/evento/12971/
LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia
CATEGORIES:Museo Nitsch
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2024/05/materia-mito.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20240510T080000
DTEND;TZID=Europe/Rome:20240519T170000
DTSTAMP:20260515T204144
CREATED:20240102T095609Z
LAST-MODIFIED:20240327T222324Z
UID:12595-1715328000-1716138000@www.fondazionemorra.org
SUMMARY:IN THE SONG FOR LOVE – Rite of Repair
DESCRIPTION:Naples / Caggiano (SA)\nMay\, 10/19 2024 \nIN THE SONG FOR LOVE – Rite of Repair\nThe shapes and colors of the Song of Creatures.\nSaint Francis of Assisi and Hermann Nitsch.\nWorkshop on performing arts held by Andrea Cramarossa \nThrough the Natural Elements and the Practice of Silence developed during twenty years of research in the Doll Theater\, one accesses the precious source of Sound which dwells\, in primordial and cosmic form\, within each living being and\, consequently\, in each thing that makes up the “surrounding”. The proposed practice is the one that leads the human being directly to the heart of the sense of forgiveness\, to the immense discovery of Total Love that reflects itself in Total Art\, where even Death becomes sister and vital essence of prosperity and unavoidable access to the sacredness of the Divine Body. \nImmersing ourselves in the texts “Canticle of Creatures” by St. Francis of Assisi and “Essere” by Hermann Nitsch\, we will discover a way to reach ecstasy through the contemplation of Nature\, or new ecstatic energy under the power of the performer which becomes his performative movement. \nAndrea Cramarossa \nPurposes \n\nContact your body and your sound through the practice of the ritual.\nContact your body and your sound through the practice of prayer.\nTake possession of the “sense of the sacred” starting from the “sacred everyday life”.\nMake your own body sacred.\nMake your own sound sacred.\nMake the place sacred through the practice of sacrifice.\nIdentify the Source of Love within yourself.\nDetermine Love by purging it of any misunderstanding and interpretation aimed at feeding one’s ego.\nLove and hubris\, when loving means defacing the other from oneself.\nObservation of the dynamics that lead to the commercialization of Love.\nLove in Art.\nDiscover the Divine Body.\n\nGoals \n\nTo study the text “Canticle of the Creatures” by Saint Francis of Assisi.\nStudying the art and philosophical text “Being” by Hermann Nitsch.\nLet yourself be enveloped by the singing of animals to listen to the meaning of forgiveness.\nLet yourself be enveloped by the singing of the plants to listen to the meaning of forgiveness.\nAssimilate the sense of the sacred in theatrical practice.\nTheatrical practice as a purification practice.\nDiscover the Practice of Silence and the Practice of Purification.\nThe Purification of a Sacred Space.\nTrue Listening: main characteristic for fully experiencing Dramatic Art.\nAnthropology of Learning the Theatrical Art: “learning to learn” through prayer.\nWhat is Lay Prayer.\n\n  \nWho is the Masterclass for?\nInternational residential workshop on the performing arts and theatrical acting through the sound-body relationship\, from the “Canticle of the Creatures” by Saint Francis of Assisi and the philosophical text “Essere” by Hermann Nitsch conducted by Andrea Cramarossa – Teatro delle Bambole\, intended for performers\, dancers\, musicians\, singers\, directors\, Italian and foreign actors (the hosting will be multilingual).\nThe workshop is also open to student actors with even occasional and not in-depth but heartfelt and participatory experience in dramatic art.\nAt the end of the journey there will be a double opening of the work to the public.\nThe workshop has a limited number of places.\nAll participants will receive a certificate of participation. \nBiographical notes\nAndrea Cramarossa is a poet\, director and actor who\, after years of intense personal studies in the field of vocal research\, sound and voice applied to singing and speaking\, theorize\, on an experimental basis\, an approach to dramatic art through the use and knowledge of sound.\nHe is the first to take advantage of listening to the sound of the human voice in order to arrive at dramatic art by structuring a real acting model that is inspired by the work on sound by Gisela Rhomert and by Hermann Nitsch’s Theater of Orgies and Mysteries.\nCramarossa regularly holds workshops on voice and acting in Italy and abroad. He receives numerous awards in the artistic field including: “Young Oscar – European Personality” and the “Aligi D’Oro” Prize for Dramatic Art. With his artistic work “L’URLO” (The Scream) he received the first prize in 2013 at the FAP – Festival of Performing Arts. In 2003 he founded the theater research group Teatro delle Bambole. \nFor more info: www.teatrodellebambole.it \nDates / Timetables / Where \nThe first part of the workshop will take place from Friday 10 to Wednesday 15 May 2024 in Naples at the Sala Capriata of the Hermann Nitsch Museum Museum (Vico Lungo Pontecorvo 29/d) with the following times:\nfrom 10am to 1pm and from 4pm to 7pm.\nThe move from Naples to Caggiano (or Polla) is scheduled for Thursday 16 May.\nThe second part of the workshop will take place from Friday 17 to Sunday 19 May 2024 in Caggiano. \nAudience presentations on Saturday 18 May (at 9 pm) and Sunday 19 May (at 6 pm) in Caggiano. \nHow to apply / Deadline\nIt is essential to send your application accompanied by an artistic curriculum to info@teatrodellebambole.it\nYou can send your application from January 1\, 2024 to April 21\, 2024. \nAttendance fee: 260\,00 euros \nEARLY BIRD PRICE 240\,00 euros: Special reduced fee sending the application by 1 March 2024. \nSelection Result\nThe selected participants will be contacted by the organizational secretariat on \n\nMarch 10\, 2024 (applications received by 1 March)\nApril 28\, 2024 (applications received after 1 March)\n\nThe registration is completed upon receipt of the copy of the deposit of  50%\, within five days following the communication of the selections.\nAfter this date the candidacy expires. Please note that the deposit is non-refundable. \nPayment is only allowed by bank transfer. \nThe attendances are responsible for organizing and paying their own travel\, accommodation\, meals costs.\nFor the stay in Caggiano (SA)\, the organization will provide participants with accommodation at a subsidized cost (double rooms) at the Hotel Belvedere in Polla (SA). \nInfo: \nMuseo Hermann Nitsch – info@museonitsch.org – +39 081 5641655 \nCasa del Contemporaneo – info@casadelcontemporaneo.it – +39 345 4679142 \nTeatro delle Bambole – info@teatrodellebambole.it – +39 347 3003359 \nThe workshop on the performing arts IN THE SONG FOR LOVE is organized by the Morra Foundation – Hermann Nitsch Museum and Teatro delle Bambole in collaboration with Casa del Contemporaneo.
URL:https://www.fondazionemorra.org/en/evento/in-the-song-for-love-rite-of-repair/
LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia
CATEGORIES:Museo Nitsch
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2023/12/incantoamore.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20240413T193000
DTEND;TZID=Europe/Rome:20240413T223000
DTSTAMP:20260515T204144
CREATED:20240406T110353Z
LAST-MODIFIED:20240406T120050Z
UID:12851-1713036600-1713047400@www.fondazionemorra.org
SUMMARY:Flora Yin Wong Sara Persico
DESCRIPTION:FLORA YIN WONG\nSARA PERSICO \non Saturday 13 April 2024\ntalk starts at 7:30pm\nperformance starts at 9:00pm \nMuseo Hermann Nitsch \nTickets available at RA TICKETS https://it.ra.co/events/1886258\nLIMITED HALL CAPACITY \nThanks to the efficient mediation of Diana Del Franco\, a dynamic synergy has been set up between the independent cultural platform AKHET\, the Fondazione Morra and the cultural association E-M ARTS\, with the intention of hosting some of the most influential artists on the international sound scene for short stays and\, if possible\, to begin a constructive dialogue with the autonomous music communities in the region Campania: the first event/experience is on Saturday 13 April 2024 with the performances by Flora Yin Wong and Sara Persico at the Museo Hermann Nitsch\, located in the Montesanto district.\nWith the hope of capturing the energetic forces of the Museo and the emotional impulses triggered by crossing the rooms saturated with Maestro Hermann Nitsch’s powerful Total Works\, the hypothesis of absorbing an indelible perceptive experience in the memory is highly probable. An approach that does not exclude but incorporates and amalgamates the different characteristics and genres in a connective weave where subjective interpretation and imagination are the tools to intercept and decipher the vibrations. \n“the gesamtkunstwerk comes about in the orgien mysterien theater only because in it the most varied artistic forms are reduced to a pure abreactive phenomenon. word\, painting\, music become a liturgical action.\neverything is pervaded by a synthetic sacramental atmosphere. it redeems me and erects the o. m. theater.\nperhaps from a european mysticism of the senses\, from the recognition of the sudden reaction\, from the propensity to excess that is conditioned in us in an almost physiological way\, it will turn into a kind of oriental-asian mysticism of peace\, which\, however\, is not affected by the narcotically estranged and world-denying attitude of the latter; instead\, it must be a new mysticism understood as an intense and harmonious affirmation of life.\nto the concept of the human is connected an intensification in an apollonian sense\, a liberation from pure animality.”\nHermann Nitsch Orgien Mysterien Theater\, 1962 \nFlora Yin Wong mixes sounds recorded with her phone during her travels and various traditional musical instruments\, such as Tibetan bells\, yangquin and kemence\, to create innovative electronic audio segments\, echoes of sinister melodies\, arcane rhythms\, and mysterious noises. Flora crystallises a feeling of essence of those journeys and sounds that emerge from memory refracting like light hitting the surface of a mirror sphere.\nSara Persico channels her energy through voice and electronic sounds towards a hybrid universe beyond convention\, immersing us in multiple instrumental possibilities following the inspirations of total electronic improvisation. An intricate network of tunnels and passages\, in constant transformation with a distinctive touch that reveals her profound knowledge of composition and acoustic coherence. \nBIO NOTES \nFLORA YIN WONG (London\, 1988) Chinese-Malaysian origin\, writer\, producer and DJ\, founder of the label Doyennee\, Junior Editor for Dazed Digital magazine and writes for AnOtherMag.com\, Soho House Magazine\, INDIE/Material Girl and Ocularsound.com\nThe album Holy Palm is a hallucinatory sound collage of real and abstract journeys combining the sounds of insects in Balinese nature\, the rhythms of Tokyo dance clubs and the rumours of an abandoned Arctic settlement. Produced in tandem with the album Holy Palm (2020)\, Liturgy is a book that blurs the boundaries between fantasy\, diary and vision of the territories traversed by the protagonist: a blurry world\, a miscellany of hazy memories\, Cantonese fairy tales\, divinations from the reading hexagrams\, stories of parallel universes and ancient rituals.\nIn The Sacrifice (2022)\, an old book titled The Mabinogion\, which collects manuscript fragments of oral histories of Celtic mythology from the 12th-13th centuries\, acts as a guide. During an artist’s residency in an isolated cabin in North Wales\, Yin Wong focuses on acoustic ecology and the relation between listener and environment; she captures her own landscape with a tape recorder\, interweaving these recordings with adaptations of Welsh myths and the sounds produced by singer Rachel Lyn\, in a dreamlike interplay of tonal contrasts and natural and created reverberations.\nThe evocative album Cold Reading (2023) still expresses the characteristic instrumental narrative and describes the consequences of her exotic spiritual journeys: with a sense of disassociation\, Flora Yin Wong rereads Giuseppe Tartini’s (1692-1770) Violin Sonata in G minor\, known as the Devil’s Trill\, a notoriously challenging composition that attempted to perform music heard in a dream. \nSARA PERSICO (1993\, Naples) sound artist\, improviser\, DJ\, performer and video maker\, with deep roots in the sound underground of her city\, she honed her musical skills in challenging contexts while pursuing her composition studies at the Conservatory of Naples and in 2018 her master’s degree in Bologna. A founder and performer in several Italian and foreign musical groups\, in 2018 she participated at Temp Studio in Lisbon with the performance 7 Survival Techniques for voice\, electronics and video-projections\, and then collaborated with Francesca Grilli for the performance GOLD presented at the Santarcangelo Festival; in 2019 she performed on tour in Poland and Germany with the musician Ignacio Cordoba and released the album. Since 2021 she has been residing in Berlin after being selected for Amplify Berlin residency under the guidance of cellist Lucy Railton; here she finds an ideal atmosphere to activate international connections.\nThrough deep research into the matter of sound and following a multiplicity of practices\, such as improvisation and composition\, in the EP Boundary (2023) Sara challenges limits and definitions by boldly overcoming them in an evocative atmosphere of a subterranean world stratified by geological eras. The sound dimension is shaped by an unusual impulsive vocal practice mixed with pulsations and sound frequencies\, Sara performs with sound transformations and alters the nature of noises to create an elaborate inner landscape.\nSara Persico has performed at International events such as Geografie del Suono\, Bologna Jazz Festival\, Napoli Teatro Festival\, Damas Lisboa\, MultiMadeira\, O Salgado Faz Anos Fest\, CTM\, Documenta fifteen\, Club Mutante and Ballroom Blitz Beirut.
URL:https://www.fondazionemorra.org/en/evento/flora-yin-wong-sara-persico/
LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia
CATEGORIES:Museo Nitsch
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2024/04/flora-sara.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20240409T180000
DTEND;TZID=Europe/Rome:20240731T203000
DTSTAMP:20260515T204144
CREATED:20240328T100407Z
LAST-MODIFIED:20240328T102511Z
UID:12805-1712685600-1722457800@www.fondazionemorra.org
SUMMARY:Millenanni Terzo Anno Henri Chopin. Visiva Utopia
DESCRIPTION:Millenanni Terzo Anno\nHenri Chopin. Visiva Utopia \nCurated by Giovanni Fontana\, Giuseppe Morra e Patrizio Peterlini \n9 April – 31 July 2024 \nCasa Morra. Archivi d’Arte Contemporanea\nSalita San Raffaele 20/c\, 80136 Napoli \nOn the occasion of the Third Year of Millenanni\, Fondazione Donnaregina per le Arti Contemporanee\, in collaboration with Fondazione Morra\, in the context of Progetto XXI\, unveils on 9 April 2024 the exhibition Henri Chopin. Visiva Utopia (ENG “Henri Chopin. Visual Utopia”). \nAs an artist of remarkable experimentation in the field of the international neoavanguardia (New Vanguard)\, Henri Chopin (Paris\, 1922 – London\, 2008) ushers his path into the great cultural ferment of “concrete poetry”. In the landscape of verbo-visual research in the second post-war period\, Chopin fits fully as an important figure in relation to the specific movement of “sound poetry”\, and yet his career cannot be encompassed within a single experience. Audio-poèmes (Audio-poems)\, voice recordings of deformation and distortion of the voice through magnetophon\, dactylo-poèmes (Type-poems)\, typographic practice and exploration of the formal framework of the word\, but also performance art experiences\, editorial and pamphlet writing\, film directing\, theoretical and theatrical writing. Henri Chopin corrupts every prescriptive mode in his practice of life\, and proceeds in horizontal research as compared with the fields of lexicon\, acoustics and grammar\, breaking the automatic relationships between them. The word is at degree zero\, the voice restores its sonorous body\, favouring the signifier over the semantic. Sensoriality prevails upon the relational sense of the verb. \nThe exhibition is not exclusive to the observation of the artistry of Chopin\, but is organised as a symposium between converging\, but not standardised figures from the neo-avant-garde movements. Paul de Vree and Bernard Heidsieck\, close to Chopin and equally associated with the experience of the “poésie sonore”\, are present in the exhibition; together with them\, the most representative names of the season of visual poetry in Italy: Eugenio Miccini\, Lamberto Pignotti\, Arrigo Lora Totino\, Ugo Carrega\, Stelio Maria Martini\, Luigi Tola\, Rodolfo Vitone\, Michele Perfetti\, Luciano Caruso and Giovanni Fontana. Situated in a network of synaesthetic interchange between artists from the collective experiences of Gruppo 63\, Gruppo 70\, Gruppo Tool\, as well as deriving from the editorial framework of the publications Documento Sud and Linea Sud\, the extent of Chopin retains its distinctiveness. His investigation\, characterised by the phonetic dismantling of language\, emerges and enters into a dialogue of poietic and poetic confrontation with other artists. A section of documents\, curated by Domenico Mennillo\, presents\, as a corollary to the exhibition\, some materials contained in the Henri Chopin Archive housed in the Casa Morra spaces: invitations\, posters\, photographs\, letters and preparatory writings for texts and performances\, magnetic tapes\, records and audio cassettes. \nThe collaboration between Fondazione Morra and Henri Chopin has been well established since the 1980s\, and found its expression through productions of miscellaneous nature\, supporting Chopin in his research with regards to verbal-visual scores. Moreover\, through the publication of his works in Italian translation\, including “L’ultimo romanzo del mondo” (“The Last Novel of the World”) ([1961]\, Edizioni Morra\, Naples\, 1984)\, “La Conferenza di Yalta” (“The Conference of Yalta”) ([1984] Edizioni Morra\, Naples\, 1987) or “Il gambero cosmografico” (“The Cosmographic Lobster”) and “Il granchiolino innamorato” (“The Little Crab in love”) ([1965 and 1967]\, Edizioni Morra\, Naples\, 1994) published by the same Foundation\, the fellowship between Giuseppe Morra and Henri Chopin acquired further consistency. \nDuring the days of 9\, 10 and 11 April\, Henri Chopin. Visiva Utopia (ENG “Henri Chopin. Visual Utopia”) will be supported by the interventions of Giovanni Fontana and Patrizio Peterlini\, exhibition curators\, Angela Tecce\, President of Fondazione Donnaregina per le Arti Contemporanee\, Eva Elisa Fabbris\, Director of Museo Madre\, Cecilia Bello Minciacchi\, professor of Contemporary Italian Literature at the University of Rome “La Sapienza”\, Barbara Meazzi\, professor in 20th century Italian Literature and Civilisation at the University of Nice\, Domenico Mennillo\, scientific curator of the Archives at Fondazione Morra\, Girolamo De Simone\, musician and cultural agitator\, Domenico Napolitano (SEC_)\, sound artist\, Mario Franco\, film critic and creator of the homonymous archive within the Foundation\, and Barbara Anceschi\, Greek scholar and editorial director of Edizioni del Verri. In parallel\, the critical lectures will be accompanied by performances by the duo “Acchiappashpirt” (Jonida Prifti and Stefano Di Trapani)\, Umberto Petrin. \nFrom April to July\, a special program of twelve film screenings will be presented in the spaces of Archivio Mario Franco to interact with the historical period analyzed. \nThe intermedial artistic production of Henri Chopin triggers a further exploration of the avant-garde current related to visual poetry and the use of words in all its declinations. Fondazione Morra intends to position itself as a subject of connection\, stitching together parallel experiences and foreshadowing possible avenues of research for the future. \nProgetto XXI is the platform through which Fondazione Donnaregina per le Arti Contemporanee has aimed\, since 2012\, to explore on the one hand the emerging artistic production\, in its theoretical-practical realization\, and on the other hand the most seminal artistic practices of the last decades\, in their exemplary methodological proposal. The project thus contributes to the production and dissemination of alternative narratives and historiographies of the contemporary and to the definition of a regional contemporary arts system based on collaboration and interchange between public and private institutions operating in the Campania region. \nThe exhibition is funded as part of the project “Rilancio e sostegno della Fondazione Donnaregina- Sez. Progetto XXI” – POR FERS Campania 2014/2020 \n  \nHenri Chopin. Visiva Utopia\n(Henri Chopin. Visual Utopia)\nProgramme of events \nTuesday 9 April \n6 p.m. Henri Chopin. Visiva Utopia (ENG. Henri Chopin. Visual Utopia) \nInterventions by: Angela Tecce\, President Fondazione Donnaregina per le Arti Contemporanee\nEva Elisa Fabbris\, Director Museo Madre\nBarbara Anceschi\, Editorial director Edizioni del Verri\nGiovanni Fontana\, Director Fondazione Berardelli\nPatrizio Peterlini\, Director Fondazione Bonotto\nGiuseppe Morra\, Director Fondazione Morra \n8 p.m. VOCÈMI Dismisure foniche e lallazioni randagie per Henri Chopin \nPoietic performance by Giovanni Fontana \nWednesday 10 April \n6 p.m. Henri Chopin. Archivio visivo e performativo (ENG. Henri Chopin. Visual and performative archive) \nInterventions by: Domenico Mennillo\, Scientific curator Archivi Casa Morra\nDomenico Napolitano (SEC_)\, composer of concrete and electroacoustic music\nBarbara Meazzi\, Université Côte d’Azur – du son dans les oreilles: Henri Chopin e i tentacoli del Verbo  \n7 p.m. Secret Performance \nPerformance by duo Acchiappashpirt (Jonida Prifti and Stefano di Trapani) \n8 p.m. Liturgie du Souffle \nPerformance by Girolamo De Simone\, piano and electronics \nThursday 11 April \n6 p.m. Henri Chopin. Attuale Utopia (ENG. Henri Chopin. Current Utopia) \nInterventions by: Patrizio Peterlini – Henri Chopin: l’utopista del linguaggio\nCecilia Bello Minciacchi – La forza della voce. Chopin\, Vicinelli\, Balestrini\nGiancarlo Alfano – Sonorità\, visività\, cut-up: vie della poesia tra Henri Chopin e Nanni Balestrini\nStefania Zuliani \n8 p.m. LA VOCE IN SITUAZIONE Teoria e pratica della vocalità per testo e pianoforte jazz \nVoice streams: Giovanni Fontana\nPiano: Umberto Petrin \n6.30 p.m. La macchina fagocitante di Henri Chopin \nPerformance by Domenico Napolitano (SEC_)
URL:https://www.fondazionemorra.org/en/evento/millenanni-terzo-anno-henri-chopin-visiva-utopia/
LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136
CATEGORIES:Casa Morra
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2024/03/millenannichopin.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20231020T193000
DTEND;TZID=Europe/Rome:20231020T223000
DTSTAMP:20260515T204144
CREATED:20231018T084025Z
LAST-MODIFIED:20231018T084025Z
UID:12431-1697830200-1697841000@www.fondazionemorra.org
SUMMARY:Jeanne Liotta - Eternal Returns
DESCRIPTION:JEANNE LIOTTA \nETERNAL RETURNS\nLand of Enchantment 1994\, Super 8mm\, color\, silent\, 3 min.\nCrosswalk 2010\, video\, color & b/w\, sound\, 18 min. 45 sec.\nSoon It Would Be Too Hot 2014\, HD video\, color\, sound by Zach Layton\, 7 min.\nObservando El Cielo 2007\, 16mm\, color\, sound by Peggy Ahwesh\, 19 min. \nEXPANDED FILM PERFOMANCE\nPath of Totality 2017\, 16mm film loop\, concrete and transparent objects\, +/- 30 min. \nfriday 20 october 2023 at 19:30\nMuseo Hermann Nitsch vico lungo Pontecorvo 29/d Napoli \nOn a European tour\, for an exceptional chance return in Naples Jeanne Liotta\, New York-based artist intersecting art\, science\, & natural philosophy in her Science Project. “Working with film has something of a scientific base in and of itself – you have that chemical aspect\, you’ve got the optical aspect\, so you’re really dealing with perception\, ultimately\, which I could call science\, in a way; it’s some science and philosophy. I use the term ‘natural philosophy’ a lot because that’s what we used to call it before we had this term ‘science’. It was everyone’s job – it was like citizen science. Each person has the responsibility or the opportunity as a human being to discover what their world is made of and what they think about it\, to observe and take notes and reflect upon – that’s our job as human beings somehow\, that’s what I feel like I’m doing when I make things. It’s just my thinking.” \nIn 2010 for Independent Film Show 10 edition\, we got to know the ‘naturalistic’ films observing the movements of the Earth\, and then in 2018 for IFS18 edition we immersed ourselves in the expanded film performance at the Vigna San Martino and in the live feed augmented reality video installation In This Immense Space Hidden Things Appear Before Us\, video imagery shot in real time by smartphones installed onto the Museo Nitsch’s roof are superimposed with computer generated SkyView renditions of the actual planets\, constellations\, space stations\, and ‘junk’\, passing the Earth’s orbit; in the exhibition Break the sky the Bruno Studies watercolors based on the silhouette of the Bruno’s statue in Campo de’ Fiori\, the inks and the Nightly Studies watercolors and inks that draw the maps of the night skies observed in the locations around the world during her film research\, and the Articuli photograms\, hand-printed in the darkroom\, inspired by the Copernican diagrams woodcuts of the philosopher Dominican friar G. Bruno. \nOn Friday 20 October 2023 at 19:30 are scheduled the four films and the expanded film performance: \nLAND OF ENCHANTMENT (1994\, Super 8mm\, color\, silent\, 3 min.) First encounter with the New Mexico landscape with Super 8mm kodachrome camera roll\, with a compass. A mystical land where the compass can’t find north. Lost in the moment. \nCROSSWALK (2010\, video\, color & b/w\, sound\, 18 min. 45 sec.) Set in New York’s Losaida\, Crosswalk’s directness – embodied in handheld shots and the grainy tactility of Super 8mm – respects its subject. The camera follows a Good Friday procession on the Lower East Side. Through crowded streets\, the Christ figure falls the requisite three times as ‘soldiers’ lash him into line. Sensitized to her material’s connotations\, Liotta avoids messages. The religious pun of the title extends easily to the cultural and racial cross-sections of the environment; to the aural juncture of police sirens\, traffic\, hip-hop\, and a voice-over religious text; to the reenactment of a biblical event amid storefronts\, banks\, and vehicles. \nSOON IT WOULD BE TOO HOT (2014\, HD video\, color\, sound by Zach Layton\, 7 min.) Taking its title from the first line of James G. Ballard 1962 climate-fiction novel The Drowned World which vividly describes a dystopic future Earth\, Soon It Would Be Too Hot utilizes original imagery\, sound and the most current CO2 data visualizations to consider the ongoing state of melting Arctic sea ice due to the warming of air and oceans fundamentally caused by our carbon emissions. It was commissioned for a unique science/art collaborative think tank for projection on NOAA’s Science on a Sphere\, a 360 global platform for earth science education. Premiered at the Fiske Planetarium\, Boulder CO. \nOBSERVANDO EL CIELO (2007\, 16mm\, color\, sound by Peggy Ahwesh\, 19 min.) Liotta filmed the sky over a period of seven years from remote sites and draw inspiration from the writings and Copernican diagrams by cosmologist and philosopher Giordano Bruno as well as current augmented reality ‘stargazing’ smartphone apps for the identification of celestial objects. Although created 500 years apart\, Liotta asserts that in essence both approaches serve to allow us to visualize our location in space and consider our existence within the wider universe. \nPATH OF TOTALITY (2017\, 16mm film loop\, concrete and transparent objects\, sounds by Eric Baus\, Phil Cordelli\, and Oren Silverman\, +/- 30 min.) Inspired by the total solar eclipse of August 2017\, visual concepts of light latency\, peripheral vision\, and the cosmic imagination are activated through the use of simple objects and external water lenses. \nJeanne Liotta (1960\, New York USA) makes films\, videos\, and other ephemera including installation\, film performance\, works on paper\, and photography. Her works encompass a constellation of mediums and her investigations of the ephemeral and the real in cinematic time is often located at a lively intersection of art\, science\, and natural philosophy. Observando El Cielo was voted one of the top films of the decade by The Film Society of Lincoln Center\, took the Tiger Award for Short Film at Rotterdam International Film Festival\, and was listed in Artforum 2007 Top Ten Films. \nFor 17 years she was the creative force behind Firefly Cinema\, a community garden microcinema curated from the 16mm collection at The New York Public Library; she wrote a short monograph on the Films of Joseph Cornell published by SF Cinematheque for “Navigating the Imagination Cornell retrospective” at SFMOMA\, from her research on The Joseph Cornell Film Collection at Anthology Film Archives\, New York. \nLiotta has more recently published an essay in Millennium Film Journal\, titled “Enter Germs\, Enter the World: Hand Processing Artists Films in the AIDS Era”. Currently she is a Professor at the University of Colorado Boulder where she directs the graduate program in Film and has been mentoring graduate students in the Bard MFA program NY for many years. Her films are distributed by Light Cone\, Paris and her work is represented by Microscope Gallery\, NYC \nhttp://www.jeanneliotta.net/
URL:https://www.fondazionemorra.org/en/evento/jeanne-liotta-eternal-returns/
LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia
CATEGORIES:Museo Nitsch
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2023/10/eternalreturns-web.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20231019T190000
DTEND;TZID=Europe/Rome:20231115T190000
DTSTAMP:20260515T204144
CREATED:20231005T090743Z
LAST-MODIFIED:20231005T090743Z
UID:12412-1697742000-1700074800@www.fondazionemorra.org
SUMMARY:Our Truths Flow Together With the Waves ch.II
DESCRIPTION:Our Truths Flow Together With the Waves ch.II\nImagining – shaping feminist constellations\nCurated by Sara Guidi \nOctober 19 – November 15\, 2023\nArchivi Mario Franco – Casa Morra. Archivi d’Arte contemporanea\nSalita San Raffaele 20/c\, 80136 Napoli \nOpening October 19\, from 7pm \nThe project Our Truths Flow Together With the Waves ch.II\, curated by Sara Guidi\, will be inaugurated at Archivi Mario Franco – Casa Morra. Archivi d’Arte Contemporanea on Thursday October 19\, at 7pm. The first chapter of the project was hosted by the Italian Cultural Institute in Copenhagen\, in July 2023. \nOur Truths Flow Together With the Waves is the result of research on the artistic path of the Nemesiache\, a feminist group founded in Naples by Lina Mangiacapre (1946-2002) in 1970; the group’s commitment lasted about five decades. \nWhere do our memories lie? How to re-signify them\, internalize them? What kind of relationships can we establish within an archival realm? The curatorial project invites the audience to engage with selected archival material\, including written and audiovisual material\, photographs and costumes. \nOur Truths Flow Together With the Waves ch.II will be on display at Casa Morra until November 15\, during regular opening hours. \nWorkshop \nThe project includes a workshop curated by Mattias Gimigliano\, a performer and artist based in Berlin. The workshop\, titled In This Garden of Stars\, I Was\, I Can Be explores consciousness-raising practices\, focusing on vocal and physical exercises. \nThe project is open to all voices and bodies and takes place at Giardino Liberato di Materdei (Salita S. Raffaele\, 3 – Naples) on Saturday 21 and Sunday 22 of October. \nIn This Garden of Stars\, I Was\, I Can Be is free of charge but reservation is required\, info&subscription: mattiasgimigliano@gmail.com \nRead more on the workshop: here. \nOnline catalogue \nOur Truths Flow Together With the Waves comes with an online catalogue\, which focuses on the Nemesiache’s artistic path and explores ways to revive their methodologies and approaches in the present. \nMore info and subscription: here. \nThe newsletter program\, initiated in July 2023\, provides subscribers with interviews featuring some of the members of the Nemesiache\, along with critical content contributed by Giulia Damiani (performer\, curator\, writer and professor at the Rietveld Academie in Amsterdam – the first researcher to study the Nemesiache’s path)\, Sonia d’Alto (curator and researcher at the HFBK in Hamburg)\, and Sara Guidi (project’s curator). The newsletter also includes a performative guide on perception curated by Mattias Gimigliano. \nCritical content is collected by Nero Magazine and Reading Aloud. \nThe Nemesiache \nThe artistic-feminist group Nemesiache was founded in Napoli in 1970; the term “nemesiache” refers to Nemesis\, a mythological goddess in Greek mythology who enacts to restore harmony violated by egocentrism and hubris\, traits which characterize the patriarchal societies. The notion of justice claimed by the Nemsiache does not refer to social order or legal systems; instead it focuses on a dimension where women can explore and express their inner selves. Many of the activists of the group identified (and still identify) themselves by referring to women characters of mythology\, such as Daphne\, Echo\, Medea\, Nemesis\, Niobe… \nThe feminist struggle pursued by the Nemesiache is deeply connected with the city of Napoli\, its Mediterranean landscape and myths. The group combines the struggle for women’s liberation with the defense of the Neapolitan sea\, which is threatened by privatization\, pollution and urbanization. The Nemesiache’s exploration of pre-roman mythology arises from their interest in body language and transcend the oversimplified mind-body duality. Through gestures\, rituals\, music and dance\, the Nemesiache raised their own way to explore and affirm inner dimensions\, identities. \nThe group’s path is characterized by the affirmation of creativity as a form of political struggle; in that sense\, activism and artistic practices intersect\, rejecting professionalism and embracing multi and interdisciplinary approach across various media. \nWe are not interested in the crisis of male creativity\, we as Nemesiache know the our new dimension or\, let’s say or metaphysic\, turn everything down\, our creativity is our world that emerges\, explodes by turning down everything\, and discovers infinite\, fantastic unknown dimensions (The Nemesiache’s Manifesto\, written in 1970\, published two years later). \nPartners:  Trust nel nome della Donna\, Giardino Liberato di Materdei\, Reading Aloud\, Nero Magazine e ST:ART.
URL:https://www.fondazionemorra.org/en/evento/our-truths-flow-together-with-the-waves-ch-ii/
LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136
CATEGORIES:Casa Morra
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2023/10/nemesiache-event.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20230928T170000
DTEND;TZID=Europe/Rome:20240131T190000
DTSTAMP:20260515T204144
CREATED:20230910T113458Z
LAST-MODIFIED:20230910T114004Z
UID:12346-1695920400-1706727600@www.fondazionemorra.org
SUMMARY:The Intimate Resistance: 1971-2023 Mike Parr
DESCRIPTION:The Intimate Resistance: 1971-2023 Mike Parr \nCurated by: Eugenio Viola \n28 September 2023 \nCasa Morra.Archivi d’Arte Contemporanea\nSalita San Raffaele 20/C \nOn Thursday 28 September\, at 5 pm\, Casa Morra will inaugurate Mike Parr. The Intimate Resistance: 1971-2023\, a retrospective curated by Eugenio Viola and organised in collaboration with MAMBO – Museo de Arte Moderno di Bogotà (Colombia) presenting\, for the first time in Italy\, the work of Australian artist Mike Parr. \nOn the opening day\, the artist will present a long-durational performance specially conceived for this exhibition\, Painting Towards a Hole (2023)\, from 5:00 p.m. to 7:00 p.m. \nThe title of the exhibition\, The Intimate Resistance\, is borrowed from the book of the same name by the Catalan philosopher Josep Maria Esquirol (La resistencia intima\, 2015)\, a profound reflection on the human condition that becomes the hypertext for offering an open panorama of Mike Parr’s subversive and radical work. \nMike Parr (Sydney\, 1945\, where he lives and works) is internationally recognised as one of the founding fathers of performance art. Over the course of a career spanning more than 50 years\, the Australian artist has challenged the limits of this medium within the parameters of art history and theory\, confronting the concepts of space\, time\, resistance\, memory\, and the mechanics of representation. \nMike Parr is among the pioneers who shaped performance art in Europe and the Americas in the late 1960s and early 1970s. Moreover\, he is among the very few artists who still use performance as their preferred means of expression. \nParr has always used his body as subject\, object and medium to explore the physical and mental limits of his own being. His work is often connected to pain\, involves bodily fluids\, requires acts of extreme resistance and appears disturbing and visceral. For this reason\, his performances provoke complex reactions that emotionally and intellectually challenge the artist himself and\, in many cases\, the spectators. \nThe Intimate Resistance includes photos\, films\, videos\, single and multi-channel video installations\, engravings\, and rare archival materials. Parr’s research is represented through over 80 oeuvres produced in five decades: including the early “task performances”\, like Pushing a Movie Camera Over a Hill (1971)\, or Hold Your Breath for as Long as Possible/ Hold Your Finger in a Candle Flame for as Long as Possible (1972). Some of his most controversial pieces are included\, like Cathartic Action: Social Gestus No.5 (The “Armchop”) (1977). Also\, some works are presented for the first time\, like Falling Self-Portrait (2023). \nMontage in Space & Time (1971-2023) offers an extraordinary overview of Parr’s radical work\, condensed into a synchronised four-channel video installation. A combination of videos\, almost a retrospective within a retrospective\, which seamlessly re-proposes his most daring and challenging actions\, presented in a deliberately episodic and disjointed manner. \nPhoto-Death (2023)\, on the other hand\, is a work that synthesises the artist’s entire career in a chronological sequence of images\, confronting the viewer with the photographic documentation of some of Parr’s most shocking performances. Both Montage in Space & Time and Photo-Death represent the artist’s attempt to determine new ways of representing performance\, safeguarding its memory for the future. \nPainting Towards a Hole and a Head (2023) is a new ‘site-responsive’ performance that Parr conceived for this exhibition\, linked to a series of Blind Paintings that the artist has made over the years\, strictly with his eyes closed and refusing even to see the audiovisual documentation of the result. \nThe Intimate Resistance offers the possibility of appreciating\, from a unified perspective\, all the coherence of Mike Parr\, one of the most extreme\, irreverent\, ironic\, radical\, blasphemous\, unrepentant and iconoclastic living artists who has experimented with and challenged performance art\, shaping its fields and territories and even determining its outcomes. \nThis exhibition also celebrates the donation of Mike Parr’s entire archive to Casa Morra\, which confirms its commitment to preserving\, exhibiting and promoting the archives of fundamental figures in the history of contemporary art\, such as Julian Beck\, Luca Maria Patella\, the Living Theatre and Vettor Pisani. \nMany thanks to Penny Clive and Anna Schwartz. \nProject financed by Regional Law no. 7/2003\, grants for cultural promotion year 2023. \nMike Parr co-founded in 1970 with Peter Kennedy\, Inhibodress Gallery\, the first artist run space in Australia that is credited with spreading conceptual and performance art across the continent. He has had numerous exhibitions in Australia and internationally over more than half a century. The latest include The Eternal Opening\, Schwartz/Carriageworks\, Sydney\, 2019; Underneath the Bitumen the Artist\, DarkMofo/Detached\, Hobart\, 2018; The Ghost Who Talks\, 55th Venice Biennale\, Palazzo Mora\, Venice\, 2013. He represented Australia at the 39th. Venice Art Biennale\, in 1980. Major retrospectives include Edelweiss\, Kunsthallewien\, Vienna\, 2012; Foreign Looking\, National Gallery of Australia\, Canberra. 2015; The Intimate Resistance\, Museo de Arte Moderno de Bogotá – MAMBO\, 2023. \nEugenio Viola is since 2019 Chief Curator of MAMBO – Museo de Arte Moderno de Bogotá\, in Colombia. From 2017 to 2019 he was Senior Curator at PICA – The Perth Institute of Contemporary Arts in Perth\, Western Australia. From 2009 to 2016 he was Curator at the MADRE Museum in Naples. He has collaborated with numerous Italian and international institutions. He curated in 2015 the Estonian Pavilion at the 55. Venice Biennale and in 2022 the Italian Pavilion at the 59. Venice Biennale. A scholar of experiences related to performance and the body\, he edited monographs dedicated to Teresa Margolles (Edizioni MAMBO\, Bogotà\, 2019); Regina Jose Galindo (Skira\, Milan\, 2014); Hermann Nitsch (Edizioni Morra\, Naples\, 2013); Marina Abramović\, (Sole 24 Ore Cultura\, Milan\, 2012); ORLAN (Charta\, Milan-New York\, 2007). \nA new monograph dedicated to the artist’s work\, The Intimate Resistance\, produced by the Fondazione Morra in collaboration with the Museo de Arte Moderno de Bogotá – MAMBO\, in an Italian/English edition (Edizioni Morra) and in an English/Spanish edition (Edizioni MAMBO)\, edited by Eugenio Viola\, will soon be published.
URL:https://www.fondazionemorra.org/en/evento/the-intimate-resistance-1971-2023-mike-parr/
LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136
CATEGORIES:Casa Morra
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2023/09/parr-banner.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20230720T080000
DTEND;TZID=Europe/Rome:20231210T170000
DTSTAMP:20260515T204144
CREATED:20230708T110922Z
LAST-MODIFIED:20230708T113733Z
UID:12202-1689840000-1702227600@www.fondazionemorra.org
SUMMARY:Neapolitan Dialogues III – Out of the “Basso”
DESCRIPTION:Neapolitan Dialogues III – Out of the “Basso”.   \nSoon Naples will host three Portuguese artists in residency. The project is curated by Vittorio Urbani with Fabio Schiattarella from Fondazione Morra. \nThe Neapolitan Dialogues\, an artistic project that aims to establish a dialogue between Lisbon\, Naples and Istanbul\, three great cities of the South situated on the same parallel\, is now at its third edition (after the two first editions dedicated to Istanbul)\, preparing to host in two different periods respectively Sara & Andrè\, a couple of Portuguese artists who will stay in Naples from July 20 to August 20\, 2023; and Lorenzo Bordonaro\, an Italian artist living in Lisbon from 20 years\, from November 1 to December 10\, 2023. \nThe residencies of Neapolitan Dialogues\, hosted in the spaces of Fondazione Morra\, are always characterised by a strong social engagement. In this residency\, the artists are proposed to start from the intersection of three references\, the first socio-political\, the second mythological\, and a third socio-environmental – regarding the so called Basso – the cheaper accommodation in Naples\, usually inhabited by the lower strata of society and immigrants – which represents a typically Neapolitan life context. \nThe project of the Neapolitan Dialogues arises from the need of a greater awareness of the essential values of the South and want to go against the current compulsory North-South axis\, in which the vector of cultural values\, economic resources\, opportunities and workforce always goes from South to North in a covered\, but nonetheless real economic exploitation of a capitalistic type. On the contrary\, the aim is to favour a new awareness of the cultural values and centrality of the South\, and to promote collaborations and conversations primarily internal into the South. \nAt the end of the residency\, the artists will share their experience with the citizenship in a public meeting in the spaces of Fondazione Morra. \nNeapolitan Dialogues III are produced by Fondazione Morra\, Naples\, in collaboration with Nuova Icona\, Venice with the Patronage of the Embassy of Portugal\, Rome \nARTISTS’ BIO \nSara & André were born in 1980 and 1979\, in Lisbon\, where they live and work\, and studied respectively\, Stage Design at the School of Theatre and Cinema (Lisbon\, 1999-2005)\, and Fine Arts at the School of Art and Design (Caldas da Rainha\, 1999-2005). Together they studied Painting at the National Society of Fine Arts (Lisbon\, 2008-2011). They have regularly exhibited their work since 2006. The duo works with text\, painting and other media in site specific projects\, repeatedly collaborating or inquiring other cultural producers and conveying ideas such as authorship\, appropriation\, originality and\, in particular\, the study of the art world. Along with their artistic practice\, Sara & André have also developed several curatorial projects\, either exhibitions\, editions or both\, in recent years. \nLorenzo Bordonaro was born in Torino in 1971 where he majored in philosophy and social sciences. In 2001 he moved to Portugal where he obtained his PhD in Anthropology. He also studied painting and drawing at Ar.Co (Lisbon) and sculpture at the Academy Fine Arts (Lisbon). \nHis artistic practice merges with the anthropological research: his installations\, paintings and public art projects are often rooted in a wider social reflexivity and in political and\, more recently\, environmental activism. He carried out public art projects in different social contexts and geographical areas: from Brazilian favelas to shanty towns at the periphery of Lisbon; from the Cape Verdean ghettos to the historical neighbourhoods of Graça and Mouraria\, in Lisbon. \nPress
URL:https://www.fondazionemorra.org/en/evento/neapolitan-dialogues-iii-out-of-the-basso/
LOCATION:Fondazione Morra\, Salita San Raffaele 20/c\, Napoli\, Italy
CATEGORIES:Casa Morra
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2023/07/banner-nd3.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20230528T080000
DTEND;TZID=Europe/Rome:20230528T170000
DTSTAMP:20260515T204144
CREATED:20230428T134129Z
LAST-MODIFIED:20230428T134129Z
UID:12063-1685260800-1685293200@www.fondazionemorra.org
SUMMARY:THE 6-DAY-PLAY performance of the 3rd day “day of dionysus”
DESCRIPTION:HERMANN NITSCH\nDAS ORGIEN MYSTERIEN THEATER\nTHE 6-DAY-PLAY \nperformance of the 3rd day “day of dionysus”\nPentecost Sunday\, 28 May 2023 from sunrise to sunrise\nSchloss Prinzendorf and the surrounding area\, Austria \n3rd day\nTHE DAY OF DIONYSUS\nSCHERZO\nOBLIGATORY EXCESS \nthe third day addresses the myth of the god dionysus\, the archetype of dionysus and the phrase DIONYSUS AGAINST THE CRUCIFIED. dionysus is the god of the world’s ruin and rebirth\, the resurrection of flesh. he is the crucified\, torn and resurrected. the ruins and rebirths of worlds pulsate through his flesh. the never-ending\, recurring big bang has its source in the vitality of his body. all suppressed unlived life should be turned outward. we want to invoke the abysses of the nature found in us\, that determine us\, by awakening in excess. people are invited to drink. procession through the fields and vineyards. music plays in all the places. intoxicating and uninhibited joy. \nTickets and information: \nparticipation fee: € 350.-\nearly-bird tickets for bookings until 5 May 2023: € 300\,00\nmembers of the vereins zur förderung des o.m. theaters: € 175\,00\nwith at least 3 years of active membership (i.e. continuos payments of the yearly fee\, excluding honorary members) \nNITSCH FOUNDATION\, Hegelgasse 5\, 1010 Vienna\nTel +43 1 513 55 30 | office@nitsch-foundation.com\nwww.nitsch-foundation.com/en/6-day-play
URL:https://www.fondazionemorra.org/en/evento/the-6-day-play-performance-of-the-3rd-day-day-of-dionysus/
LOCATION:Atelier Hermann Nitsch\, Schlossstraße 1\, Prinzendorf\, 2185\, Austria
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2023/04/HN_6-tage-spiel_1998.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20230513T210000
DTEND;TZID=Europe/Rome:20230513T233000
DTSTAMP:20260515T204144
CREATED:20230509T211338Z
LAST-MODIFIED:20230509T211950Z
UID:12090-1684011600-1684020600@www.fondazionemorra.org
SUMMARY:CHRISTOPH ERB GERRY HEMINGWAY MAGDA MAYAS
DESCRIPTION:CHRISTOPH ERB GERRY HEMINGWAY MAGDA MAYAS\ntenor- and soprano saxophone – percussions – piano \nSONIC TOPOGRAPHIES \na guide to what we can hear but cannot see \nCasa Morra. Archivi d’Arte Contemporanea\nsaturday\, May 13\, 2023 9:00 p.m.\nfree admission subject to availability \nIn an Italian premiere\, Christoph Erb\, Gerry Hemingway and Magda Mayas will improvise in the performance SONIC TOPOGRAPHIES a guide to what we can hear but cannot see on saturday\, May 13\, 2023 at 9 p.m. at Casa Morra Archivi d’Arte Contemporanea\, organized in collaboration with Complus Events\, Fondazione Morra and E-M Arts cultural association. \nChristoph Erb on tenor and soprano saxophone\, Gerry Hemingway on percussions and Magda Mayas on piano: their performance is free and decidedly improvised. There are no boundaries in this vibrating interaction between bodies\, instruments and silence\, the sonic fabric surprise us with new aural vistas. These sounds result imposing\, eruptive\, sometimes brutal\, sometimes calm or hypnotic. A unique chance to participate in a spectacular\, courageous\, and exciting performance. \nThe other two tour dates\, promoted by Complus Events with the support of Pro Helvetia Swiss Foundation for Culture\, KANTON LUZERN Kulturförderung SWISSLOS\, SIS Schweizerische Interpretenstiftung\, Fondation Nicati-de Luze\, are in Rome on Friday\, May 12 at the Auditorium Rai Radio 3 Suite and Sunday\, May 14 at SIC12 artstudio. \nSince 2009 Gerry Hemingway taught the art of percussion at the Hochschule Lucerne (University of Applied Sciences and Arts)\, where Magda Mayas also is teaching improvisation since 2019. \nBathing Music is the trio’s first event performed on Oct. 9\, 2020 at Neubad in Lucerne\, and four days later Dinner Music on Oct. 13\, 2020 at the Mysterious Jazz club in Zurich; both recordings are released by Veto Records. www.veto-records.ch \nUnited by the intuition that undulating\, monotonously tapped sounds have a particular effect when rubbed and layered\, Erb blows small fluctuations and knocks like echoes of whistles spread by the wind\, Hemingway makes the metal of cymbals tick like bells submerged underwater\, and Magda Mayas indulges in the vibrations emitted by prepared strings trembling in rapid and lively motion. \nChristoph Erb (1973\, Switzerland) is active with his independent label Veto Records since 2007; in 2011 he moved to Chicago for a residency of several months and here created numerous collaborations with improvising musicians such as Fred Lonberg-Holm\, Michael Zerang\, Jason Adasciewicz\, Tomeka Reid\, Jim Baker\, Frank Rosaly and many others. www.erb.li \nGerry Hemingway (1955\, USA) involved in improvised music generated without preordained instructions\, structures or agreements\, he is composer\, singer and film-maker\, member of the Anthony Braxton Quartet from 1983 to 1994. https://www.gerryhemingway.com \nMagda Mayas (1979\, Germany) a pupil of the genius improviser pianist Misha Mengelberg\, has refined the technique of the prepared piano and developed a particular way of playing the strings through preparations and objects that become extensions of the instrument itself. www.magdamayas.com \nMedia Partner
URL:https://www.fondazionemorra.org/en/evento/christoph-erb-gerry-hemingway-magda-mayas/
LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136
CATEGORIES:Casa Morra
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2023/05/trio_emh.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20230509T100000
DTEND;TZID=Europe/Rome:20230521T190000
DTSTAMP:20260515T204144
CREATED:20230104T142643Z
LAST-MODIFIED:20230104T143302Z
UID:11336-1683626400-1684695600@www.fondazionemorra.org
SUMMARY:OEDIPUS. BODY OF BLOOD | Process II - PENTESILEA | Teatro delle Bambole
DESCRIPTION:  \nFondazione Morra and Teatro delle Bambole\nin collaboration with Casa del Contemporaneo\npresent \n  \nOEDIPUS. BODY OF BLOOD\nProcess II – PENTESILEA \nInternational Masterclass on the relationship between sound and body\nfrom Kleist’s “Penthesilea” in Hermann Nitsch’s reinterpretation\nheld by Andrea Cramarossa \n  \n“… She loved him so much that she could\, at the same time\, have eaten him out of love.”\nThese words\, so close to myth\, relate Penthesilea to mythic elements. One associates\, these words\, with the meal of the totem\, the meal of God in the Eucharist\, the flesh of God\, the host. Eating the body of the beloved means complete identification with it. Maximum love: ecstatic transgressive love leads to the concept of laceration.\nPerhaps\, the only word that remains after Penthesilea’s sacrifice is\, in fact\, an ancient and guttural verse or song\, a deep song related to the primordial scream\, that of birth that carries within itself the dazzling and clear sense of death\, that of the myth that\, absolutely\, holds within itself the entire meaning of human existence.\nAndrea Cramarossa \n  \nPurposes\n– Get in touch with your own body through the practice of the ritual.\n– Get in touch with your own sound through the practice of the ritual.\n– Take possession of the “sense of the sacred” starting from the “sacred everyday”.\n– Make your own body sacred.\n– Make your own sound sacred.\n– Make the place sacred through the practice of sacrifice. \nGoals\n– To Study the text “King Oedipus/Pentesilea” by Hermann Nitsch to reach an immersive ritual practice.\n– To get involved by the myth of Oedipus to consolidate a collective and community narrative practice of the myth itself.\n– – To reach a possible “place” where the actor consider the sacredness of his being on stage with the surroundings\n– To Assimilate the sense of the sacred in theatrical practice.\n– To Learn the mechanism of regression (loss of one’s structural bonds – physical and mental prison) to identify the primordial physical impulses (Dionysian process).\n– Learn the mechanism of the sublimation of these impulses to make a mystical artistic creation of self-awareness.\n– Considering the artistic act of sacrifice as a need for transgression.\n– Considering the artistic act of love as a need for sublimation. \nWho is the Masterclass for?\nThe Masterclass is aimed at actors and actresses\, dancers\, musicians\, singers\, directors and directors of all ages and of all nationalities (held multilingual); also open to pupils with experience\, even occasional and not in-depth\, but felt and participated in the dramatic art and to anyone who wants to probe the relationships between sound and body through the text on Kleist’s “Penthesilea” in Hermann Nitsch’s “Oedipus Rex.”\nThe relationship with the body provides for the possibility of considering it in its nakedness.\nAt the end of the itinerary\, a double opening of the work to the audience is foreseen.\nAll participants will receive a certificate of participation.\nThe Masteclass is limited to a maximum of 20 participants. \nBiographical notes\nAndrea Cramarossa is a poet\, director and actor who\, after years of intense personal studies in the field of vocal research\, sound and voice applied to singing and speaking\, theorize\, on an experimental basis\, an approach to dramatic art through the use and knowledge of sound.\nHe is the first to take advantage of listening to the sound of the human voice in order to arrive at dramatic art by structuring a real acting model that is inspired by the work on sound by Gisela Rhomert and by Hermann Nitsch’s Theater of Orgies and Mysteries. \nCramarossa regularly holds workshops on voice and acting in Italy and abroad. He receives numerous awards in the artistic field including: “Young Oscar – European Personality” and the “Aligi D’Oro” Prize for Dramatic Art. With his artistic work “L’URLO” (The Scream) he received the first prize in 2013 at the FAP – Festival of Performing Arts. In 2003 he founded the theater research group Teatro delle Bambole. \nFor more info: www.teatrodellebambole.it \nDates & Timetables\nThe Masterclass will take place every day\nfrom 9 to 21 May 2023\nfrom 10 to 13 and from 16 to 19\nTotal: 72 hours \nAudience presentations on Saturday 20 May (at 9 pm) and Sunday 21 May (at 6 pm). \nWhere\nThe Masterclass will take place in Naples (ITALY):\nMuseo Hermann Nitsch\nNaples – Vico Lungo Pontecorvo 29 / d \nHow to apply / Deadline\nIt is essential to send your application accompanied by an artistic curriculum to info@teatrodellebambole.it\nYou can send your application from January 1\, 2023 to April 15\, 2023. \nAttendance fee: 280\,00 euros\nEARLY BIRD PRICE 250\,00 euros: Special reduced fee sending the application by 1 March 2023. \nSelection Result\nThe selected participants will be contacted by the organizational secretariat on\n– March 15\, 2023 (applications received by 1 March)\n– April 20\, 2023 (applications received after 1 March) \nThe registration is completed upon receipt of the copy of the deposit of 50%\, within five days following the communication of the selections.\nAfter this date the candidacy expires. Please note that the deposit is non-refundable\nPayment is only allowed by bank transfer.\nThe attendances are responsible for organizing and paying their own travel\, accommodation\, meals costs. \nDuring the Masterclass\, compliance with the measures envisaged for the containment of Covid-19 will be guaranteed. \nInfo:\nMuseo Hermann Nitsch – info@museonitsch.org – +39 081 5641655\nCasa del Contemporaneo – info@casadelcontemporaneo.it – +39 345 4679142 \nOEDIPUS. BODY OF BLOOD | Process II – PENTESILEA International Masterclass is organized by Fondazione Morra – Hermann Nitsch Museum and Teatro delle Bambole in collaboration with Casa del Contemporaneo.
URL:https://www.fondazionemorra.org/en/evento/oedipus-body-of-blood-process-ii-pentesilea-teatro-delle-bambole/
LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia
CATEGORIES:Museo Nitsch
ATTACH;FMTTYPE=image/png:https://www.fondazionemorra.org/wp-content/uploads/2023/01/01_sito_Teatro-delle-Bambole_2023.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20230422T110000
DTEND;TZID=Europe/Rome:20230501T180000
DTSTAMP:20260515T204144
CREATED:20230131T154457Z
LAST-MODIFIED:20230131T154731Z
UID:11615-1682161200-1682964000@www.fondazionemorra.org
SUMMARY:PARADISE NOW - Masterclass Living Theatre Europa
DESCRIPTION:Living Theatre Europa\nin collaboration with\nCSR AMÀLA\nand Fondazione Morra\npresents \n  \nPARADISE NOW\nWHO WE ARE? WHERE DO WE COME FROM? WHERE DO WE GO?\nRITUALS AND POLITICAL THEATER\nintensive masterclass\non The Living Theatre technique\ndirected by Gary Brackett \nFROM 22/04 TO 01/05 2023\nCasa Morra – Archivi d’Arte Contemporanea\nSalita San Raffaele 20/C\, Naples \n  \nToday we live immersed in seemingly irreconcilable opposites and we all suffer for a missing community that could heal the wounds of alienation.\n1968: The Living Theatre meets to ask itself what is the burning question of the contemporary.\nStarting from this same question\, each workshop participant will contribute to the process of collective creation.\nOur starting point for this work are the collective creations of The Living Theatre\, some of the most important masterpieces of modern theater that have forever changed the role between actor and director\, between audience and artist: Mysteries and Smaller Pieces\, Frankenstein\, Antigone\, Paradise Now and Six Public Acts. \nThe workshop is open to professional and non-professional actors.\nA work of collective creation aimed at the realization of the show. At the end of the laboratory there will be a demonstration performance of the workshop. \nThe complete application can be downloaded HERE. \n  \nFor more information \nCSR AMÀLA\nChristian: 349 2343967\nAnna Rita: 348 3385520\nassociazioneamala@gmail.com \nFONDAZIONE MORRA\nSalita San Raffaele 20/C\, Naples\ninfo@fondazionemorra.org\nwww.fondazionemorra.org
URL:https://www.fondazionemorra.org/en/evento/paradise-now-masterclass-living-theatre-europa/
LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136
CATEGORIES:Casa Morra
ATTACH;FMTTYPE=image/png:https://www.fondazionemorra.org/wp-content/uploads/2023/01/01_sito_Living_Gary-Brackett_2023_02.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20230209T000000
DTEND;TZID=Europe/Rome:20230331T000000
DTSTAMP:20260515T204144
CREATED:20230208T151806Z
LAST-MODIFIED:20230208T152442Z
UID:11705-1675900800-1680220800@www.fondazionemorra.org
SUMMARY:IL MUSEO CHE VERRÀ -CALL FOR PROPOSAL
DESCRIPTION:CASA MORRA – ARCHIVI D’ARTE CONTEMPORANEA\nand ICOM-CAMPANIA \npresent \n  \nIL MUSEO CHE VERRÀ\ncommunity | research | innovation\nII EDITION \n  \nCALL FOR PROPOSAL\nFROM 9 FEBRUARY TO 17 MARCH 2023\nAre you a student or a young professionals?\nTell us your idea to rethink the social role of museums connected to the younger generations and join ICOM Italia. \n  \nWHEN\nFrom 9 February to 17 March 2023 \nORGANIZED BY\nFondazione Morra and ICOM-Campania \nIN COLLABORATION WITH\nRegione Campania\nLuigi Vanvitelli University of Campania\nAcademy of Fine Arts of Naples\nPrime Ministers | School of politics for young women\nMediator | Museuminforms\nFAI Campania \nPARTICIPATION REQUIREMENTS \nYoung museum professionals under 35 and students regularly enrolled for the 2023 academic year in a degree course/academy of fine arts/PhD/specialization school/master related to the museum sector (Museology\, Museography\, Museum technology\, Cultural Heritage\, History of art\, architectural restoration\, archeology\, communication and management of cultural heritage\, conservation and diagnostics of cultural heritage\, etc.) residing in Campania. \nINFO AND REGISTRATION\ncampania@icom-italia.org \nThe best 50 proposals selected will be able to give shape to their idea of a museum in a social relationship with their community\, developing a prospectus hypothesis of social innovation.\nWorks that will see museums as important references for local communities will be privileged\, museums conceived and experienced not only as guardians of artistic treasures and witnesses of memories\, but active subjects capable of influencing the improvement of the well-being of the community. \n  \nDOWNLOAD THE COMPLETE CALL HERE. \n  \nFREE SUBSCRIPTION \nDEADLINE\n03.17.2023 \n  \nInfo and contacts: \nMORRA FOUNDATION\ncasamorra@fondazionemorra.org \nCAMPANIA REGIONAL COORDINATION OF ICOM ITALIA\ncampania@icom-italia.org
URL:https://www.fondazionemorra.org/en/evento/il-museo-che-verra-call-for-proposal/
LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136
CATEGORIES:Casa Morra
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2023/02/museocheverra31marzo.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20230106T100000
DTEND;TZID=Europe/Rome:20230106T140000
DTSTAMP:20260515T204144
CREATED:20230104T102124Z
LAST-MODIFIED:20230104T102124Z
UID:11327-1672999200-1673013600@www.fondazionemorra.org
SUMMARY:Nick Teplov – Laboratorio Avella
DESCRIPTION:Fondazione Morra and Laboratorio Avella\npresent \nNICK TEPLOV – LABORATORIO AVELLA \nFriday 6 January 2023\nfrom 10 am to 2 pm\nLaboratorio Avella of Casa Morra\nSalita San Raffaele 20/C\, Naples \nArtist Nick Teplov will give a lesson in soft wax techniques and photoengraving. \nNick Teplov is an artist\, director and graphic designer. He studied graphic arts in St. Petersburg and at Burg Giebichenstein University in Halle\, Germany.\nHe deals with etching\, photoengraving and analog photography. He currently lives and works in Leipzig. \nnickteplov.com\nig @bureau44
URL:https://www.fondazionemorra.org/en/evento/nick-teplov-laboratorio-avella/
LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136
CATEGORIES:Casa Morra
ATTACH;FMTTYPE=image/png:https://www.fondazionemorra.org/wp-content/uploads/2023/01/Nick-Teplov-01-e1672828464307.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20221224T100000
DTEND;TZID=Europe/Rome:20230101T190000
DTSTAMP:20260515T204144
CREATED:20221219T104652Z
LAST-MODIFIED:20230111T062117Z
UID:11197-1671876000-1672599600@www.fondazionemorra.org
SUMMARY:CASA MORRA AND THE HERMANN NITSCH MUSEUM WISH YOU HAPPY HOLIDAYS
DESCRIPTION:CASA MORRA – ARCHIVI D’ARTE CONTEMPORANEA \nSalita San Raffaele 20/C Napoli \nwe are open\nTue-Fri 10am-6pm\nSat 10am-2pm \nCasa Morra will remain closed\nDecember 24\, 25\, 26 and 31\, 2022 and January 1\, 2023 \ncasamorra@fondazionemorra.org | www.casamorra.org \n  \n\n		\n		\n			\n				\n			\n		\n\nMUSEO HERMANN NITSCH\nVico Lungo Pontecorvo 29/c\, Napoli \nwe are open\nTue-Fri 10am-7pm\nSat 10am-2pm \nThe Museum will remain closed\nDecember 24\, 25\, 26 and 31\, 2022 and January 1\, 2023 \ninfo@museonitsch.org | www.museonitsch.org
URL:https://www.fondazionemorra.org/en/evento/casa-morra-e-il-museo-hermann-nitsch-vi-augurano-buone-feste/
CATEGORIES:Casa Morra,Museo Nitsch
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20221209T183000
DTEND;TZID=Europe/Rome:20221209T183000
DTSTAMP:20260515T204144
CREATED:20221206T130325Z
LAST-MODIFIED:20221206T130325Z
UID:11040-1670610600-1670610600@www.fondazionemorra.org
SUMMARY:
DESCRIPTION:On Friday December 9 at 6:30pm\, the artists Cansu Çakar and Serra Tansel will give a talk at Casa Morra. Archivi d’Arte Contemporanea. The meeting is moderated by Vittorio Urbani and the artists will be in conversation with Lea Nocera\, Professor of Turkish Language and Literature at The University L’Orientale (Naples). \nNeapolitan Dialogues II is the closing moment of the second edition of “Neapolitan Dialogues”\, an artist residency programme that takes place in Naples\, hosting artists from the cities of Istanbul and Lisbon. With the aim to let the artists absorb and internalize the social\, visual and cultural imaginary of the hosting city\, the residency is free of any obligation and it doesn’t require an immediate outcome to the artists. During its first edition in 2021\, “Neapolitan Dialogues” hosted the artists Çağrı Taskin and Huo Rf. \nBy presenting their artistic paths\, Cansu Çakar and Serra Tansel will establishes a fluid and active dialogue\, allowing the public to be part of their process of knowledge. \n“Neapolitan Dialogues” is supported by Elgiz Museum (Istanbul) and T-One Foundation (Istanbul). \n  \nCansu Çakar “The core of my practice is to research the fractures of the aesthetics reflected by the modern and western influences in eastern painting\, together with social and cultural environments\, and to associate the meanings of traditional motifs with the subjects in my paintings. I believe that what defines modernity are not ‘imported’ ideas and concepts but rather\, the aesthetic values lost in the darkness between different layers of society. Using traditional art techniques as a mediator\, and utilizing contemporary issues\, I underline the absurdity of the conflict between traditional and modern. Believing powerfully that a language never dies\, it just changes forms and survives\, I try to recreate an old visual language. \nAlthough still a controversial topic\, many academicians today believe that scientific knowledge of the one-point perspective did not exist in antiquity. I want to leave the question open for discussion due to my observations on Pompei’s frescos. The fact that the composition technique known as lack of perspective or two-dimensionality\, which we encounter in the miniature painting that I studied\, is a piece of false and superficial information is an issue that I often underline. In miniature painting\, a production technique based on the understanding of multiple perspectives is adopted. Plural perspective is the use of changing perspectives in the same composition while describing a space. Perspective\, on the other hand\, is the way of including the subject and the viewer in the painting\, and it can be said that it is a “symbolic form” that expresses a kind of new-age culture. I think that I will undoubtedly be able to open the layers of the structural materials\, history\, and social structure that make up Naples\, and I will be able to make visual form studies that will look for ways to visually describe these layers. As the storytellings that start from the underground come to the surface\, the class phenomena that color the streets on the ground floors and the empty terraces facing the sea will be allusive elements of depicting Naples with multiple ways of seeing.” \nSerra Tansel “Our engagement with Napoli have shifted between being an outsider\, a stranger\, a tourist\, a collaborator and a local in each different activity we engaged in. The multiplicity of this positions allowed the feelings of awe and familiarity to co-exist. We have a saying in Turkish “Did you come from a village without a door?” if you don’t shut the door behind you as you leave someone’s office. This understanding of privacy is associated with modernisation and civilisation which leads us to estrangement and sharp borders. Napoli has many open doors. It doesn’t mean it lacks privacy or secrets but one can hide something by making it too visible or vocal also and this city seems to have more elaborate ways than shutting its doors. This intimacy shared in the public space\, the personal ownership of the streets\, the make-shift structures that utilises obstructions is what I want to take with me from Napoli and add to my vocabulary of resistance and progress.” \n  \nThe event will be held in English with simultaneous translation into Italian. \n  \nCansu Çakar (b.1988\, İstanbul) lives in İzmir. She investigates traditional art forms such as decorative drawing and illumination and integrates these traditions with contemporary art practices and topics. Thus she articulates her wish to free traditional forms of expression from their stereotypical classification. Her drawings and paintings\, together with the concepts she explores in her workshops\, critically question the typical male-dominated subjects of traditional miniature painting. Additionally\, they call into question the traditional classification of this art form and its conservatism. Çakar draws a line between what it means to be a woman or a prisoner in an oppressive society and the aesthetics of traditional arts in our contemporary art world. Both share the struggle against conservatism and the ensuing fight for emancipation. \n  \nAmong her projects and exhibitions are NATURE AND STATE\, Staatliche Kunsthalle Baden-Baden (Baden-Baden\, 2022)\, Fore-Edge Painting\, MACRO Museo d’Arte Contemporanea di Roma and Bibliotheca Hertziana\, (Rome\, 2021) The 6th Ural Industrial Biennial of Contemporary Art\, The Optical and Mechanical Plant\, (Yekaterinburg\, 2021) BB11- 11th Berlin Biennale for Contemporary Art\, The Crack Begins Within\, KW\, (Berlin\, 2020) Miniature 2.0\, Pera Museum\, (İstanbul\, 2020) The Crime of Mr. Adolf Loos\, Axel Vervoordt Gallery\, (Antwerp\, 2019) Cappadox Contemporary Art Program\, (Cappadocia\, 2018) Linear Transcendency” at the Lab- Darat al Funun\, (Amman\, 2016) SALTWATER: A Theory of Thought Forms. 14th Istanbul Biennial- 100°- FLO\, (İstanbul\, 2015). \n  \nSerra Tansel (b.1989\, İstanbul) currently lives in London. \nSerra Tansel’s practice engages with the ways in which we settle into our world and draw the boundaries of our cities\, houses\, bodies and the structures\, the relationships we establish within them. She works context specific and utilises a wide range of media to infiltrate mainstream cultures in order to create twists. She is a member of the music collective Makkam and one of the faces of Hayırlı Evlat. \nRecent exhibitions include SH/FT\, No Show Space\, London (2021); A Question of Taste\, Pera Museum\, Istanbul (2021); “Passion can create drama out of inert stone”?!\, Peak\, Elephant & Castle Shopping Mall\, London (2020); Higher\, Pilot Gallery\, Istanbul (2020). \n  \n  \n 
URL:https://www.fondazionemorra.org/en/evento/11040/
LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136
CATEGORIES:Casa Morra
ATTACH;FMTTYPE=image/png:https://www.fondazionemorra.org/wp-content/uploads/2022/12/01_sito_ND_2022-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20221125T183000
DTEND;TZID=Europe/Rome:20221126T140000
DTSTAMP:20260515T204144
CREATED:20221123T084131Z
LAST-MODIFIED:20221123T084131Z
UID:10877-1669401000-1669471200@www.fondazionemorra.org
SUMMARY:Mary Zygouri - Who Is The Third Who (Always) Walks Beside You?
DESCRIPTION:On the occasion of the 2nd edition of Art Days – Napoli Campania\, Underneath the Arches presents a new performance by the Greek artist Mary Zygouri\, specifically conceived for the archaeological site. The event is curated by Chiara Pirozzi and Alessandra Troncone\, in collaboration with Associazione VerginiSanità. \nBy intertwining research\, visions and approaches that have guided the artist towards a close relationship between the human body and the architectural/natural body\, Mary Zygouri has created a performance closely connected to the physicality of the place\, able to make the remains and pre-existence of the Roman era vital. Mary Zygouri’s action draws inspiration from the poem Wasted Land written by the poet and playwright Thomas Stearns Eliot in 1922. Through the interpretation of timeless and non-human characters who inhabit the archaeological space\, the artist transposes the polysemantic\, enigmatic and symbolic themes of Eliot’s text in a new dimension that intertwines myth\, history and superstition. Conceived as a narration that proceeds through figures in transformation that communicate with the public in three languages ​​(Italian\, English and Greek)\, the performance suggests\, as described by the title\, the constant presence of an “other” entity perceived at our side even if physically absent. \n  \nUnderneath the Arches aims to activate a dialogue between archaeology and contemporary art\, and to establish a relationship between local material and immaterial culture and the artistic research of international artists. Its main objective is to promote both existing cultural heritage and new production in contemporary art. In the fascinating space of the ancient Roman aqueduct\, discovered in 2011 and located underneath a historical building called Palazzo Peschici Maresca\, international artists are invited to create temporary and site-specific installations in dialogue with the space itself and the surrounding area. Previous exhibitions include works by Arturo Hernández Alcázar (Mexico City\, 1978)\, Hera Büyüktaşçıyan (Istanbul\, 1984)\, Adrian Melis (Havana\, 1985) and Jumana Manna (Princeton\, 1987). \nThe project is kindly supported by Fondazione Morra\, and carried out under the Matronage of Madre Museum / Fondazione Donnaregina per le arti contemporanee of Naples\, and under the patronage of the Academy of Fine Arts in Naples. Thanks to Paola Ricciardi for the choreographic coordination. \n  \nMary Zygouri (Athens\, 1973) holds a BA from Athens School of Fine Arts and a Master FA at Chelsea College of Art and Design\, London. She lives and works between Athens and Italy. In 2017\, she was invited by Documenta 14 to the main exhibition in Athens and Kassel at Palais Bellevue. Her solo shows include The Repetition of the Impossible\, Prometeogallery di Ida Pisani\, Milan (2018) and ZOOpoetics-ZOOpolitics\, Studio Stefania Miscetti\, Rome (2011). She has performed and exhibited in numerous group shows at international museum and institutions\, including Galleria Nazionale d’Arte Moderna e Contemporanea\, Rome; Mu.ZEE\, Ostenda; EMST\, Athens; MOMUS\, Salonicco; Cittadellarte–Fondazione Pistoletto\, Biella; Dutch Art Institute\, Arnhem; IILA – Istituto Italo-Latino Americano\, Rome; IKSV – Istanbul Foundation for Culture\, Istanbul. In 2012\, she was awarded by the ΑICA Hellas. In 2014\, she collaborated with Michelangelo Pistoletto at the performance Venus of the Rags /INTRANSIT/ELEUSIS at the Aischyleian Festival\, Eleusis. She created ENYPNIO (2019) at the archaeological site of Paestum\, with the support of Fondazione Gatto (Salerno) and LYSIS (2022) at the archaeological site of Amfiareio Oropos in Greece\, with the support of NEON Foundation. Her practice has been featured and reviewed in several art magazines and academic journals.
URL:https://www.fondazionemorra.org/en/evento/mary-zygouri-who-is-the-third-who-always-walks-beside-you/
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/11/Mary-Zygouri-invito-UA.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20221115T080000
DTEND;TZID=Europe/Rome:20230108T233000
DTSTAMP:20260515T204144
CREATED:20221115T114938Z
LAST-MODIFIED:20221116T095223Z
UID:10781-1668499200-1673220600@www.fondazionemorra.org
SUMMARY:The Archives
DESCRIPTION:The team of Fondazione Morra continues its effort to enhance and promote the cultural heritage preserved at Casa Morra. Archivi d’Arte Contemporanea. \nIt is possible to visit and do research in the following archives\, by reservation: \nArrigo Lora Totino Archive covering a period of time between 1964 and 2016\, the documents concern the Arrigo Lora Totino artistic path\, and focus on his visual poetry production. Following the approach adopted by Arrigo Lora Totino in his private archive\, the materials are subdivided in seven thematic sections:  Correspondence\, Professional Documentation\, Printed Documentation\, Graphics\, Photo Documentation\, Audio and Video\, Private Library. Currently\, the archive is undergoing digitalization of the documents. \n\nArrigo Lora Totino\, Amore tutto tatto dalla serie “Fotodinamiche Simultanee”\, 1975. © Amedeo Benestante / Courtesy Morra Foundation \n\nLiving Theater Historical Archive consisting of 8.800 documents\, the materials are subdivided in five different categories: Living Theater Photographic Fund; Living Theater Bibliographic Fund; Living Theater Fund; Garrick Beck Fund; Morra Foundation Fund. Regarding the Living Theater Historical Archives\, the digitalization process was completed in July 2022. \nThe Living Theater\, Six Public Acts\, 1973 © Libero De Cunzo / Courtesy of Morra Foundation \n  \nHenri Chopin Archive the materials\, undergoing a first stage of inventory\, mostly concern the Neo-Avantgarde experimentations. The Archive is so organized: Various Documentation (which includes correspondence\, original typewritten texts and manuscripts\, postcards and invitations\, photographies); Reviews; Books; Manifestos; Records. \nHenri Chopin\, Carpet’s project\, 1985. / Courtesy Fondazione Morra \n  \nFor more information and reservation\, please\, write to info@fondazionemorra.org.
URL:https://www.fondazionemorra.org/en/evento/the-archives/
CATEGORIES:Casa Morra
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/11/Mysteries-Smaller-Pieces-San-Napoli-1995-©-Massiliano-Pappa-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20221104T155418
DTEND;TZID=Europe/Rome:20221104T155418
DTSTAMP:20260515T204144
CREATED:20200729T134242Z
LAST-MODIFIED:20200729T134242Z
UID:4330-1667577258-1667577258@www.fondazionemorra.org
SUMMARY:Hermann Nitsch – Sinfonia Napoli 2020
DESCRIPTION:settembre 2020 – settembre 2022\nOPENING 25 SETTEMBRE ORE 10:00\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nIl Museo Nitsch di Napoli si rinnova per il biennio 2020-2022 con il progetto “Sinfonia Napoli 2020”. Inaugurazione il 25 settembre con un nuovo corpus di opere tra i “Relitti d’azione” e un’inedita collezione di pitture e disegni realizzati per l’occasione.\nUna costellazione di “sismografie vitali” che rappresenta esemplarmente il lavoro di Nitsch come uno sforzo ostinato verso la liberazione della sensibilità dalla disciplina di una civiltà anestetizzante\, una pratica di affermazione della vita attraverso il continuo rimando di corrispondenze olfattive\, tattili e visive del colore. Dai “relitti” che\, a dispetto del loro nome\, testimoniano una promessa di ritorno\, una “resurrezione dalla dissoluzione” sino alla pittura ed al disegno che celebrano per Nitsch la luce come condizione di esperibilità del mondo.\nLa riapertura del museo\, celebrata anche dalla composizione musicale “Sinfonia Napoli 2020”\, eseguita a porte chiuse dalla Nuova Orchestra Scarlatti diretta da Andrea Cusumano e presto fruibile on line\, conferma il sodalizio tra Hermann Nitsch e Giuseppe Morra\, iniziato nel 1974\, nel segno della forza creativa dell’arte e della continuità di un progetto che culmina gioiosamente nei festeggiamenti per i dodici anni del Museo napoletano. \nPer gli appuntamenti in programma la Fondazione Morra rinnova anche la collaborazione con Wine&Thecity: la rassegna\, che coniuga la promozione della cultura del vino e l’arte\, sarà presente il giorno dell’inaugurazione a partire dalle 17.00 con i vini della storica Azienda dell’Agro Pontino Casale del Giglio. \n 
URL:https://www.fondazionemorra.org/en/evento/hermann-nitsch-sinfonia-napoli-2020/
ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/07/hermann-nitsch_resize.jpg
END:VEVENT
END:VCALENDAR