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:20110327T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20111030T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20120325T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20121028T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20130331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20131027T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20140330T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20141026T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20150329T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20151025T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20160327T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20161030T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20170326T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20171029T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20180325T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20181028T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20190331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20191027T010000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;VALUE=DATE:20180616 DTEND;VALUE=DATE:20180617 DTSTAMP:20260610T000514 CREATED:20210304T135217Z LAST-MODIFIED:20210304T141039Z UID:5538-1529107200-1529193599@www.fondazionemorra.org SUMMARY:La Digestion – musica ascoltata raramente II Edizione DESCRIPTION:16th June 2018\nSTART 12:00 p.m.\nRiot Studio\nVia San Biagio Dei Librai 39\, Napoli \n12:00 p.m. -18:00 p.m. \nI’m sitting in a room – program of audio screenings\n@ Complesso di San Domenico Maggiore\nfree entrance \n19:30 p.m. \nMaurizio Argenziano [IT]\nNS: Giovanni Lami & Enrico Malatesta [IT]\n@ Riot Studio\nticket: 5\,00 euro \nThe final event of “La Digestion – musica ascoltata raramente”\, the sound art festival organized by Phonurgia\, Fondazione Morra and E-M Arts\, is aimed at listening and rediscovering some of the most representative sonic works of the present and the past\, in the extraordinary setting of the convent where Tommaso D’Aquino lived and taught. The event aims to promote a series of listening sessions of significant works of concrete and acousmatic music\, trying to promote even in Italy a practice already widely used in Europe\, that of the so-called “cinema for the ears”. An experience of collective and dedicated listening\, not linked to the performative moment of music\, but aimed at a revaluation of listening as a fundamental moment of the cultural and sensorial formation of the individual. The listening program will include works by composers such as Lionel Marchetti\, Jar Moff\, Rudolf Eb.er\, Jerome Noetinger & SEC_\, Trevor Wishart\, Valerio Tricoli\, DSM\, Heith & Jesse Osborne Lanthier\, Les Enerves\, plus a section organized by the traveling festival of acusmatic listeners Helicotrema\, with whom La Digestion has just inaugurated a collaboration. \nIn the evening\, then\, the concerts of Giovanni Lami and Enrico Malatesta from Emilia and of the Neapolitan guitarist Maurizio Argenziano\, in the beautiful setting of the Riot Studio at Palazzo Marigliano\, place dedicated to contemporary sound and visual languages. \nThe immersive performance “New Surface” by Giovanni Lami and Enrico Malatesta\, made of microsounds with a slow and metamorphic poetics\, will take place in the garden of the Riot from 19.30 to 22.30; during the performance the audience will be free to move between the outdoor and indoor spaces\, organically integrating with the soundscape built by the two musicians. Following\, the disruptive solo of one of the most original and influential Neapolitan guitarists will transform the scene into a metaphysical battlefield\, where the electric curtain will give life to sensitive architecture and remind us that sound\, like electricity\, is something intangible yet extremely concrete. URL:https://www.fondazionemorra.org/en/evento/la-digestion-musica-ascoltata-raramente-ii-edizione-5/ LOCATION:Riot Studio\, Via San Biagio Dei Librai\, 39\, Napoli\, 80138 ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/03/brochuredigestion-DEF-front.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180613T093000 DTEND;TZID=Europe/Rome:20180806T183000 DTSTAMP:20260610T000514 CREATED:20201113T153045Z LAST-MODIFIED:20210428T152025Z UID:4467-1528882200-1533580200@www.fondazionemorra.org SUMMARY:Shozo Shimamoto - Time Rack DESCRIPTION:June 13th – August 6th\, 2018\nOPENING JUNE 13th h. 6:00 p.m.\nFondazione Sant’Elia\nVia Maqueda 81\, Palermo \nCurated by Achille Bonito Oliva \n“A colour without matter does not exist. When we are about to create\, we do not throw away the brush; there is no hope of emancipating colours. Without the paintbrush the colourants will come to life for the first time. Any tool may be used to good effect in place of a paint brush: one’s bare hands or the paint spatula would be a start. To these we might add the objects that members of the Gutai group use\, such as watering cans\, umbrellas\, vibrators\, abaci\, skates\, and toys\, not to mention feet\, guns\, or anything else. And amid all these\, the paintbrush may even reappear\, because there is certainly room for something from the past in innovative work like this.” \nShozo Shimamoto | ‘Gutai’ Bulletin n.6\, Ōsaka\, 1957 \nIn the mid-fifties\, the Japanese artist Shozo Shimamoto [Osaka\, 22nd January 1928 – 25th January 2013]\, began his adventure in the small city of Ashiya\, producing a creative work in public; it was a garden where he and other artists carried out works of art consisting of performances where the work came into being before the eyes of the audience\, with all the interference of a live event. Distancing themselves from the surrealist tradition and the influence of Duchamp\, the Gutai group powerfully established themselves in terms of a new form of creativity centred around impulse. \nAchille Bonito Oliva’s wide-ranging retrospective dedicated to the Japanese artist opens in Palermo at 6 pm on June 13th and runs until 6th August at the Fondazione Sant’Elia. The ‘SHOZO SHIMAMOTO/TIME RACK’ exhibition is a project by the Morra Foundation with the technical\, logistic\, and organisational support of the Shozo Shimamoto Association and the cooperation of the Fondazione Sant’Elia. A colour catalogue containing articles of particular historical and critical significance accompanies the exhibition\, which offers an in-depth study of Shimamoto’s artistic career from his first innovative experiments in the 40s and 50s up to the performances of his last years. During the 1950s\, Shimamoto spent his life in Japan – in the East – but he spent the first part of the twenty-first century mainly in the West\, where he did his most important performances. The dialectic between these two periods points to an extraordinary\, important\, and single artistic process. During the 50s\, Shimamoto began working as a painter\, and\, in his search for a new way of seeing and doing painting\, he also began working on actions that would gradually transform into happenings. His work throughout his last years in Italy took quite the opposite direction: he used large-scale stage construction as an integral part of his performance\, as reflected in the production of works that are the result of a public representative moment. ‘The aim is to expand the aesthetic space of the action as far as possible\, encompassing both earth and sky. (…) Ultimately\, Shimamoto is a nomadic samurai of art able to hit the mark thanks to the intelligent chance of a creative process seeking to pierce the inertia of the world and energise the community of men’\, writes Achille Bonito Oliva. \nThe works on show at the Fondazione Sant’Elia\, from Shimamoto’s early output with the Gutai group to the beautiful explosions of colour of the Campania period\, are of great historical importance. The exhibition also brings his works on paper from the 1950s to the Italian public for the very first time. This retrospective dedicated to the works of Shozo Shimamoto is one of the high points of the many events organised as part of the Palermo Italian Capital of Culture 2018 programme. \n\n \n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 Shozo Shimamoto © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n\n \n  URL:https://www.fondazionemorra.org/en/evento/shozo-shimamoto-time-rack/ LOCATION:Fondazione Sant’Elia\, Via Maqueda\, 81\, Palermo\, Italia CATEGORIES:Associazione Shōzō Shimamoto ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/shozo-shimamoto-palermo.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180519T210000 DTEND;TZID=Europe/Rome:20180519T230000 DTSTAMP:20260610T000514 CREATED:20201113T180707Z LAST-MODIFIED:20201216T172747Z UID:4472-1526763600-1526770800@www.fondazionemorra.org SUMMARY:LA DIGESTION – musica ascoltata raramente II Edizione DESCRIPTION:May 19th\, 2018\nSTART h. 9:00\nBasilica di San Giovanni Maggiore a Pignatelli\nRampe San Giovanni Maggiore\, Napoli \nh. 7:00 p.m. conversation with Prof. Carmelo Colangelo (Università di Salerno) \nLocation and line up of excellence for the fifth round of “La Digestion – musica ascoltata raramente”\, a festival for the most innovative languages of contemporary sound\, result of the synergy between the Phonurgia and EM-Arts associations and the Morra Foundation. \nThe event of May 19th will see the two masters of the German experimentation in dialog with the magnificent spaces of the Basilica of San Giovanni Maggiore Pignatelli. As in the case of the 3 February event\, the performance will be accompanied by a theoretical moment\, in conversation with the philosopher Carmelo Colangelo\, in an attempt to delve into the meanings that the sound opens\, thanks to its archetypical force that insinuates it in the practices\, in the imaginary\, in the cultures. \nRashad Becker is considered among the most original electronic musicians of the last years\, because he is able to create extremely complex\, but extremely musical sound textures\, which recall deconstructed fanfare and abstract sculptures. In fact\, part of his compositional process consists in translating into music the geometric systems that govern\, for example\, the models of organization of social groups or linguistic models. He is at the same time one of the most respected global sound engineers\, having worked on over 1200 records. Housed in the most prestigious international festivals\, it is for the first time in Naples. \nThomas Köner is a multimedia artist with an unmistakable personality. His music is a cross between ambient and drone\, created from incredible recordings made by the artist in some of the most remote places on the planet\, such as the Arctic Polar Circle or the Amazon Rainforest. The intensity of his music projects the audience into an abysmal\, almost static dimension\, pushing the listening to its most peripheral and primitive regions.\nThe dry and severe poetics of Becker and the lacerated and immersive environments of Koner seem to be suspended at the two opposite vertices of sonic art\, but they find common ground in the power and immersiveness of live performance and echo resonant in the listeners’ experience.\nThe event is realized thanks to the support of the Goethe Institut of Naples\, under the patronage of the City of Naples and the kind concession of the Basilica by Fondazione Ordine degli Ingegneri di Napoli. \nRashad Becker\, is one of the finest thinkers of living sound. \n“Rashad Becker’s work is probably the closest thing we currently have to an overwhelming glance through a break in the fabric of reality” – Brainwashed magazine. \nHis compositions are multi-layered narrations populated by a set of sound entities\, some pleased\, some shy\, some agitators\, others ready to surrender. Often there is a tragic-comic touch\, like a cartoon version of what might be a requiem from a dream (or even a dance of fertility from another dimension).\nThe most recent works include the Traditional Music Of Notional Species cycle\, published in two volumes on PAN and a work in several parts entitled Based On A True Story that draws scores from historical events in a sort of “sound staging”. In this context\, it is currently commissioned by the New York ensemble Alarm Will Sound and the string ensemble Berlin Kaleidoskop.\nRashad is mainly active as a solo artist\, but he is in a series of permanent collaborations alongside Eli Keszler\, Moritz von Oswald and as a member of the Moleglove formation. Other and more sporadic collaborators were Okkyung Lee\, Andre Vida\, Ashley Paul and Valerio Tricoli. \nhttps://soundcloud.com/pan_hq/rashad-becker-dances-vii \nThomas Köner (Bochum\, 1965) is a German musician and artist. \nDuring his studies\, he devoted himself to the intensive research of sound in the recording studio. His first impulse was to avoid the rhythm and the melody and concentrate instead on the phenomenon of the color of the sound. To intensify the sound experience\, he decided to work with other media\, in the beginning collaborating with the film artist Jürgen Reble (Alchemie 1992). Later\, he began composing soundtracks and accompanying old silent films with live electronic music for the Louvre Museum in Paris. Köner’s interest in combining visual and sound experiences to extend the effectiveness of his sound works allowed him to arrive at the installation and led him to collaborate with Max Eastley\, in which the combination of sound sculpture and performance became central. “List Of Japanese Winds” by Max Eastley and Thomas Köner is an installation commissioned by the Hayward Gallery in London. The Center Georges Pompidou commissioned the sound work for an installation by the filmmaker Yann Beauvais.\nAnother field of sound exploration and radical sound design is Köner represented by the club culture\, which Köner considers an ideal platform for intensive and physical listening. His project Porter Ricks\, along with Andy Mellwig\, is acclaimed in the techno world\, with commissions for “Nine Inch Nails” and even a remix of Claude Debussy for Universal Music. \nCarmelo Colangelo works at the Department of Philosophy at the University of Salerno. He was a scholar and assistant at the Faculty of Letters of the University of Geneva. Starobinski has translated the volume Action and reaction. Life and adventures of a couple (Einaudi 2001). He is the author of numerous essays\, including Limite and melancholy. Kant\, Heidegger\, Blanchot (Loffredo 1998)\, as well as articles about Kafka\, Merleau-Ponty\, Canetti\, Bataille\, Levinas\, Maldiney. His latest work The appeal of appearances is dedicated to Jean Starobinski. URL:https://www.fondazionemorra.org/en/evento/la-digestion-musica-ascoltata-raramente-ii-edizione/ LOCATION:Basilica di San Giovanni Maggiore Pignatelli\, Napoli\, Italia CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/locandina_koner-becker_P.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180515T180000 DTEND;TZID=Europe/Rome:20180530T180000 DTSTAMP:20260610T000514 CREATED:20210304T141730Z LAST-MODIFIED:20210304T142107Z UID:5550-1526407200-1527703200@www.fondazionemorra.org SUMMARY:Portflux DESCRIPTION:15th may – 30th may 2018\nOPENING 15 MAGGIO 6:00 p.m.\nArchivi Mario Franco c/o Casa Morra Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nCurated by Loredana Troise \nOpening of the Portflux exhibition\, curated by Loredana Troise\, at the Mario Franco Archives in Casa Morra on Tuesday 15th May 2018 at 6 pm. At the opening of the exhibition\, which is part of ‘Vietato Vietare 1968/2018’ Proiezioni\, incontri\, mostre a cinquant’anni dal 1968 (‘Forbidden to Forbid 1968/2018’ Screenings\, encounters\, and exhibitions fifty years on from 1968)\, there will also be an opportunity to see the documentary ‘Antologia Fluxus’ (by various artists\, 120 min). \nMario Franco\, curator of the review and founder of the Archives\, asks\, \n‘Why a review and an exhibition on the Fluxus collective among the commemorations recalling the events of fifty years ago?’ Because the ‘imagination in power’ of 1968 also meant the meeting and mixing of arts\, techniques\, disciplines\, languages\, and materials\, as well as their liberation from the requirement to produce meaning and to stop narrating the world in a descriptive\, linear\, and complete manner\, starting from a reflection on language\, on ways of narrating\, as the world itself has changed so quickly and profoundly: the metropolises have become a remarkable ‘training grounds’ for a mobile and multiple outlook. An idea of multimediality began to find its way into an awareness of the inadequacy of just one medium\, a single art\, a specific and sectorial technique to represent this plurality of stimuli\, this dense network of interconnections. The Gesamtweldbild (total image of the world) takes up and extends the Wagnerian concept of Gesamtkunstwerk. Fluxus assembles different techniques and materials: collages\, poetic texts\, architecture-sculptures-environments to unbind cultural habits and perceptual automatisms\, to tease out unexplored possibilities from different languages\, attempting to assemble them in a new way\, creating combinations as rich and complex as thought (or the world). An anthology of the movement’s films includes the body-artistic previews of Yves Klein\, moving on to show the origins of the video-art of Nam June Paik with Allen Ginsberg\, Charlotte Moorman\, Alan Schulman\, and the Living Theatre. This is followed by a short concert of music by John Cage on the Holocaust\, the experimental film ‘T.O.U.C.H.I.N.G.’ by Christopher Sharits\, two performances by Joseph Beuys\, George Maciunas (who founded Fluxus\, giving it its name in 1961)\, the Viennese actionism of Günther Brus\, plus John Lennon & Yoko Ono\, and Vito Acconci. \nThe screenings are accompanied by Loredana Troise’s exhibition of graphic works by key artists of the Fluxus movement. \nIn the words of curator Loredana Troise: \n14 extraordinary graphic works making up the Portflux portfolio (Factotum Art edition) and closely connected with the “Forbidden to Forbid 68/18” project are showing at the Mario Franco Archives. An adventurous and unpublished diary of the eye with indefinite boundaries pointing to the restless threshold of the present\, between incarnations and transits\, imagination\, and the re-functionalisation of forms. Sarenco\, Diego Strazzer and Giuseppe Morra came up with the idea for the Portflux collection in the 1980s. It is the result of an intense and unique experience born from intersections\, travels\, and relationships between researchers and fluxeur artists in the eighties: ‘each work in the portfolio’\, explains Giuseppe Morra\, ‘is a chapter born out of a long history of collaboration\, friendship\, and directly shared events: nothing to do with the logic of “making art”\, but freely directed towards emancipated and independent semiotic revisions’. Giving order to a complex and varied visual and emotional itinerary\, rich in sequences and layers of interpretation\, the works\, which are often marked by traces of the tangible (such as Ben Vautier’s key\, Philip Corner’s piano keys\, or Bob Watts’ stamps) show the splendour of a syntactic self-sufficiency perceivable as an uninterrupted and fleeting polyphony that can never be fully documented. Beyond the inclinations of each of the 14 artists represented in the exhibition\, the open structures of Portfluxus experience passages and flexions that preclude any opening towards fabulation or illusionism. Rather\, they reveal the process of happening; the unfolding of the event as a flow and the image – not understood as a ‘fact’ constituted and brought to its conclusion – but as a process in the making\, capable of infiltrating stratified temporalities where we can rediscover the directions in which culture is moving today. We therefore thought of setting up an ‘installation’ similar to a frontier without distracting media and superstructures: one that can be crossed by moving beyond traditional criteria\, with the same spirit of randomness that characterised the movement. In this way\, the Mario Franco Archives\, as well as being a place of study\, documentary analysis\, and research\, prove to be an extraordinary gateway through which we can perceive the changing and metamorphic appearances of time-space. URL:https://www.fondazionemorra.org/en/evento/portflux/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/03/Portfluxdefinitiva.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20180511 DTEND;VALUE=DATE:20180512 DTSTAMP:20260610T000514 CREATED:20210304T142552Z LAST-MODIFIED:20210304T142606Z UID:5552-1525996800-1526083199@www.fondazionemorra.org SUMMARY:Serena Russo. Presentazione del libro Cenere DESCRIPTION:11 maggio 2018\nINIZIO ORE 19:00\nCasa Morra- Sala Shimamoto\nSalita San Raffaele 20/c\, Napoli \nA Palazzo Cassano Ayerbo D’Aragona\, sede di Casa Morra -Archivio d’arte contemporanea\, è stato presentato venerdì 11 maggio 2018 alle ore 19:00 Cenere\, il primo libro della giovane scrittrice napoletana Serena Russo.\nIl piccolo volume intitolato Cenere\, edito nel 2017 dalla Casa Editrice Aletheia\, è una raccolta intima di racconti brevi all’interno dei quali la narrazione\, si intreccia non solo nella quotidianità vissuta dall’autrice\, ma anche in una concatenazione di pensieri\, ricordi\, sogni\, desideri e invenzioni. Per Serena Russo: “Questa non è una semplice raccolta di racconti. Piuttosto una scatola di frammenti di ogni tipo\, che sarà difficile richiudere una volta aperta”. In occasione della presentazione\, moderata da Loredana Troise che dialoga con Serena Russo\, la serata prosegue con un reading tratto da alcuni brani del libro letti da Simona Cocchia e Angelo Trifari e da un intermezzo musicale di Julia Primicile Carafa (clarinetto\, chitarra e voce) e Belardino Cerabona (violino). \nSerena Russo (Napoli\, 1984) laureata in lingue e letterature comparate presso l’Orientale di Napoli\, ha inoltre conseguito un dottorato in cinema e letteratura presso l’Università di Granada\, in Andalusia. Attualmente lavora a Valencia\, in Spagna\, come insegnante di inglese e di italiano per stranieri. Scrive recensioni di film e libri per vari siti web. Cenere è la sua prima raccolta di racconti. URL:https://www.fondazionemorra.org/en/evento/serena-russo-presentazione-del-libro-cenere/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/03/CENERElocandina.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180417T120000 DTEND;TZID=Europe/Rome:20180519T190000 DTSTAMP:20260610T000514 CREATED:20201116T103327Z LAST-MODIFIED:20201216T173447Z UID:4475-1523966400-1526756400@www.fondazionemorra.org SUMMARY:Cesare Pietroiusti - Scuola del disegno e della pittura in assenza di talento DESCRIPTION:April 17th  – May 19th\, 2018\nOPENING APRIL 17th h. 12:00 a.m.\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/C\, Napoli \nWe inaugurate at Casa Morra the new workshop and exhibition project conceived and coordinated by the artist Cesare Pietroiusti.\nThe School of drawing and painting in the absence of talent\, in collaboration with the Academy of Fine Arts in Naples\, consists of a project that retrospectively retraces elements of Pietroiusti’s artistic research\, and will be composed of two distinct yet related moments: a performance-workshop and a conclusive exhibition.\nThe workshop\, with the participation of a group of students from the Academy of Fine Arts of Naples\, will consist in retracing the techniques that Cesare Pietroiusti used (between 1982 and 1986) to realize his first (and almost only) pictorial works\, starting from the preparation of the canvases and leading to the copying of images projected through slides\, creating the new works in the most faithful way possible to the originals.\nThe students will also be able to design and realize one or more series of large quantities of drawings made with heterodox techniques and materials (fire\, beer\, salt water\, etc.)\, according to methods already used by the artist for “free productions and distributions” of drawings since 2005.\nAll the works realized will be the object of the final exhibition.\nThe performing workshop and the exhibition will follow each other temporally on the monumental staircase\, and in the adjacent spaces\, of the Palazzo Cassano Ayerbo D’Aragona – Casa Morra. The public will be able to appreciate the different phases of work and\, in particular: \nfrom 17 to 24 April 2018\, from Tuesday to Friday from 12 a.m. to 7 p.m.\nPerforming workshop School of drawing and painting in the absence of talent\nwith the students of the Academy of Fine Arts of Naples \nfrom 25 April to 19 May 2018\, from Tuesday to Friday from 10 a.m. to 5 p.m.\nFinal exhibition of the School of drawing and painting in the absence of talent \nCasa Morra is thus transformed into a theater of operations similar to a factory: a multifocal situation is put in place\, in which the different tasks occur simultaneously in distinct points of the space\, underlining the natural performative vocation of the staircase itself. \nOn the School of drawing and painting in the absence of talent\nIn addition to the laboratory and performative elements\, Cesare Pietroiusti addresses the theme of the retrospective in a lateral way\, reflecting on how it might be possible to operate on the history of one’s artistic career without having to exhume one’s works of the past in a conventional or fetishistic way. While facing the taboo of remaking a work of another time\, the artist proposes a new interpretation of the concept of contemporaneity that\, in a dialectical re-examination with the past\, becomes the simultaneous and convergent presence of different times and meanings. The author’s hand tends to disappear\, in an operation where one contemplates the non-necessity\, for an artist\, to possess a talent that can be expressed with a manual and technical skill. On the other hand\, this project reflects the same lack of talent of Pietroiusti himself\, which\, in his time\, led him to use a slavish way of copying slide projections onto canvas and paper. \nWith the participation of: Eleonora Alabiso\, Cristiana Amato\, Gianmarco Biele\, Elsa Bigliardo\, Laura Bonito\, Antonella Calabrese\, Elena Chirico\, Enrica Rosi Crispo\, Maria Teresa De Cristofaro\, Luisa De Donato\, Giovanni Ferrara\, Sara Fiorentino\, Valeria Gentile\, Francesca Iovane\, Natalya Savino Kochetova\, Valentina Manzo\, Emanuela Palmieri\, Roberta Passaro\, Chiara Perna\, Alessandro Piromallo\, Chatrin Ponticelli\, Gianmarco Trotta\, Maria Ulino\, Aurora Vivenzio\, Huang Yuan\, Haoran Zhou.\nCesare Pietroiusti Born in Rome in 1955\, he began his artistic research in 1977\, when he started working in Sergio Lombardo’s Jartrakor Study Center\, actively participating in the definition of an ‘eventualist’ art. In the second half of the eighties\, together with Salvatore Falci\, Stefano Fontana\, Pino Modica and Domenico Nardone\, he gave life to the experience of the Gruppo di Piombino which saw\, about a decade before the birth of ‘relational’ art\, the involvement\, through an aesthetic stirring\, of an unconscious public. Since then he has founded and coordinated research centers and residency programs\, conferences and experimental laboratories. He has exhibited in private and public spaces\, either official or unofficial\, in Italy and abroad. In 1997 he published\, with the Edizioni Morra\, Non-functional Thoughts\, a collection of about one hundred apparently absurd ideas\, formulated as precise instructions for the realization of artistic projects. In the first decade of the 21st century his work focused on the theme of exchange and on the paradoxes that may lie within the western social system\, underlining in particular the peculiarity of the money-commodity economic relationship. Since 2004 he has distributed tens of thousands of autographed drawings for free\, sold stories\, ingested banknotes at the end of public auctions and then returned them to the rightful owner after their excretion\, organized gastronomic evenings where at the end of lunch the public was paid\, set up exhibitions where the works were sold in exchange for ideas and not for money. Among others\, he exhibited his works at: Art in General\, New York (2001); Ikon Gallery\, Birmingham (2007); Athens Biennial (2009); MAXXI\, Rome (2010); Moscow Museum of Modern Art (2011)\, Hayward Gallery\, London (2012)\, Sandretto Foundation\, Turin (2014)\, Bozar\, Brussels (2014)\, Maga\, Gallarate Museum (2016)\, Kunstverein Arnsberg (2016)\, and was co-curator of the exhibition “Sensibile Comune. The living works”\, GNAM\, Rome (2017). From 2004 to 2015 he was a Visual Arts visiting professor at the IUAV in Venice and\, from 2009 to 2016\, MFA Faculty at Lesley University\, Boston. Two years ago\, as a member of the collective “Lu Cafausu”\, he gave life to the Lac or Le Mon Foundation (San Cesario di Lecce).\n\n \n \n \n \n \n \n Scuola del disegno e della pittura in assenza di talento\, Casa Morra\, 2018 \n \n \n \n \n \n Scuola del disegno e della pittura in assenza di talento\, Casa Morra\, 2018 Cesare Pietroiusti © photo Jacopo Seri Courtesy Fondazione Morra\n \n \n \n \n \n Scuola del disegno e della pittura in assenza di talento\, Casa Morra\, 2018 Cesare Pietroiusti © photo Jacopo Seri Courtesy Fondazione Morra\n \n \n \n \n \n Scuola del disegno e della pittura in assenza di talento\, Casa Morra\, 2018 Cesare Pietroiusti © photo Jacopo Seri Courtesy Fondazione Morra\n \n \n \n \n \n Scuola del disegno e della pittura in assenza di talento\, Casa Morra\, 2018 Cesare Pietroiusti © photo Jacopo Seri Courtesy Fondazione Morra\n \n \n \n \n \n Scuola del disegno e della pittura in assenza di talento\, Casa Morra\, 2018 Cesare Pietroiusti © photo Jacopo Seri Courtesy Fondazione Morra\n \n \n\n  URL:https://www.fondazionemorra.org/en/evento/cesare-pietroiusti-scuola-del-disegno-e-della-pittura-in-assenza-di-talento/ LOCATION:Casa Morra – Archivio d’Arte Contemporanea\,  Salita S. Raffaele\, 20C\, Napoli\, 80136\, Italia CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/Cesare-Pietroiusti_ph-Ivo_Corra_2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180331T180000 DTEND;TZID=Europe/Rome:20180331T230000 DTSTAMP:20260610T000514 CREATED:20201116T145448Z LAST-MODIFIED:20210304T134342Z UID:4478-1522519200-1522537200@www.fondazionemorra.org SUMMARY:La Digestion - musica ascoltata raramente II Edizione DESCRIPTION:March 31st\, 2018\nh. 6:00 p.m.\nCimitero delle Fontanelle\nVia Fontanelle\, 80 – Napoli \nInstallation/performance by Rie Nakajima & Pierre Berthet [JP/BE] \nh. 9:00 p.m.\nChiesa di San Giuseppe delle Scalze\nSalita Pontecorvo\, 65 – Napoli \nMinor Tom (MichałLibera\, Hilary Jeffery\, Gianpaolo Peres) [PL/UK/IT] play Ted Hughes’ Snow\nDavid Toop [UK] \nContinue the journey through the most evocative places of the city of Naples for the fourth appointment of La Digestion – musica ascoltata raramente\, festival dedicated to the innovative languages ​​of contemporary sound art\, and realized by the synergy between the Phonurgia association\, the Morra Foundation and the EM Arts cultural association.\nThe day of March 31 will feature a double musical event that will animate\, in the afternoon\, the magical Cimitero delle Fontanelle\, in the Sanità district\, and in the evening the beautiful Church of San Giuseppe delle Scalze\, in Montesanto\, with the unmissable concert of David Toop\, member of the legendary Flying Lizards\, milestone of the most creative and eclectic European new wave\, and now a refined experimenter and sound theorist.\nThe “thread” of this imaginary and real journey will be the “sound objects”. Mysterious and organic objects used by Rye Nakajima and Pierre Berthet that\, between the tunnels and bones of the Cimitero delle Fontanelle\, will play Dead Plants / Living Objects\, sound installation and performance in which\, in between vibrations and evocations\, inorganic matter comes to life through the sound. In the evening will be the everyday objects to enliven the Chiesa delle Scalze\, transforming\, in the expert hands of David Toop\, into original and polysemic electroacoustic sound sources. The English master\, already partner of Brian Eno and collaborator of the biggest names of improvisation\, from Derek Bailey to Evan Parker\, from Hugh Davies to John Zorn\, has developed\, during his forty years of career\, a poetic and deep musical language\, made of found objects\, small instruments\, field recordings and transverse flute\, to transform listening into an event of inner discovery. Finally\, objects of a memory not too distant but full of nostalgia\, those of rural Calabria\, will be evoked by the words of the English poet Ted Hughes\, translated in music by the trio Minor Tom. The poetry “Snow”\, inspired by the songs of the swordfishermen documented by the ethnomusicologist Alan Lomax in 1954\, becomes the material for the composition of a “live” radio drama\, thanks to the work of Polish musician Michał Libera accompanied by trombonist Hilary Jeffery and by vocalist Gianpaolo Peres.\nThree variations of sound poetry\, three unique moments between musicality\, language and gesture\, able to creep in there where listening meets with the thought\, opening up new meanings and intense experiences.\nIt is the will of the festival to inscribe the performative moment in a more complete education and reflection activity\, that leaves lasting traces on the city’s territory. To this end on March 30th the artist David Toop will be protagonist of a live radio conversation (open to the audience) and in the afternoon will lead a workshop dedicated to listening entitled “Listening is Intimacy” at Casa Morra. The workshop\, whose cost is 10 euros\, is open to musicians of any instrument and level. For information and reservations: info.phonurgia@gmail.com\nThe event is organized thanks to the moral patronage of the City of Naples\, which has granted the use of the Fontanelle Cemetery\, and thanks to the collaboration with the Associazione Le Scalze\, which for years has been carrying out the activities of the Church of San Giuseppe delle Scalze in Montesanto. \nDavid Toop [UK]\nDavid Toop (born 1949\, Enfield) has been developing a practice that crosses boundaries of sound\, listening\, music and materials since 1970. This practice encompasses improvised music performance\, writing\, electronic sound\, field recording\, exhibition curating\, sound artinstallations and opera. It includes seven acclaimed books\, including Rap Attack (1984)\, Ocean of Sound (1995)\, Sinister Resonance (2010) and IntotheMaelstrom (2016)\, the latter a Guardian music book of the year\, shortlisted for the Penderyn Music Book Prize.\nBriefly a member of David Cunningham’s pop project The Flying Lizards in 1979\, he has released thirteen solo albums\, from New and Rediscovered Musical Instruments on Brian Eno’s Obscure label (1975) and Sound Body on David Sylvian’s Samadhisound label (2006) to Entities Inertias Faint Beingson Lawrence English’s ROOM40 (2016). His 1978 Amazonas recordings of Yanomami shamanism and ritual were released on Sub Rosa as Lost Shadows (2016).\nIn the early 1970s he performed with sound poet Bob Cobbing\, butoh dancer Mitsutaka Ishii\, artist Marie Yates\, poet/performer Carlyle Reedy and drummer Paul Burwell\, along with key figures in improvisation\, including Derek Bailey\, Evan Parker\, Georgie Born\, Hugh Davies\, John Stevens\, Lol Coxhill\, Frank Perry and John Zorn.In recent years he has returned to collaborative performance\, working with many artists and musicians including Rie Nakajima\, Akio Suzuki\, Aki Onda\, Max Eastley\, Tania Chen\, John Butcher\, Ken Ikeda\, Elaine Mitchener\, Henry Grimes\, Sharon Gal\, Camille Norment\, Sidsel Endresen\, Alasdair Roberts\, Thurston Moore\, Extended Organ (with Paul Mc Carthy and Tom Recchion) and a revived Alterations\, the iconoclastic improvising quartet with Steve Beresford\, Peter Cusack and Terry Day first formed in 1977. He has also made many collaborative records\, including Buried Dreams and Doll Creature with Max Eastley\, Breath Taking with Akio Suzuki\, Skin Tones with Ken Ikeda and co-productions (with Steve Beresford) for Frank Chickens\, the 49 Americans and Ivor Cutler.\nMajor sound art exhibitions he has curated include Sonic Boom at the Hayward Gallery\, London (2000) and Playing John Cage at the Arnolfini Gallery\, Bristol (2005-6). In 2008\, a DVD of the Belgian film – I Never Promised You a Rose Garden: A Portrait of David Toop Through His Records Collection – was released by Sub Rosa\, and in 2017 his autobiography – Flutter Echo: Living Within Sound – was published by Du Books in Japan. His most recent record release is Dirty Songs Play Dirty Songs\, released on Audika in October 2017.\nHe is currently Professor of Audio Culture and Improvisation at London College of Communication.\nhttps://davidtoopblog.com/\n \n  \nHilary Jeffery\, trombone\nGianpaolo Peres\, voice\nMichal Libera\, concept\, reading\nThe piece is a musical setting for Ted Hughes’ “Snow”. It is based on a single swordfisherman’s call of Vincenzo Puntillo recorded in 1954 by Alan Lomax in Scila (Calabria). I too don’t fully understand the connection.\nMichal Libera is a music curator and dramatist working on sound settings for more or less literary stories. Hilary Jeffery and Gianpaolo Peres started working together on Minor Tom in January 2016 in the wake of David Bowie’s departure. Their music plumbs the depths of blues and treads the lesser known path of dhrupad in a futuristic synthetic setting. Together with Michal Libera they have developed a new performance “Snow” for the occasion of  La Digestion Festival in Chiesa delle Scalze on 31 March 2018\, which will be their stage debut. Further performances as well as a release on Silent Records are planned for the near future.\nhttps://soundcloud.com/michal_libera\n \n  \nPierre Berthet & Rye Nakajima [BE/JP]\nArtists that move on the border between music\, installation and performance; their work will be organically implanted in the fascinating setting of the Fontanelle Cemetery\, in a game of resonance\, vibrations and evocations. Their project with the evocative title “Plantesmortes set objects vivants” is an attempt to relate to the soul of things by listening to their sound. Their work has been presented in festivals\, museums and art places all over the world.\nhttp://pierre.berthet.be URL:https://www.fondazionemorra.org/en/evento/la-digestion-musica-ascoltata-raramente-ii-edizione-2/ LOCATION:Chiesa San Giuseppe delle Scalze\, Salita Pontecorvo\, 65\, Napoli\, Italia CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/LA-DIGESTION-31-MARZO-2018-POSTER.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180301T183000 DTEND;TZID=Europe/Rome:20180330T183000 DTSTAMP:20260610T000514 CREATED:20210304T145251Z LAST-MODIFIED:20210304T145456Z UID:5572-1519929000-1522434600@www.fondazionemorra.org SUMMARY:The Yellow Truck DESCRIPTION:1st march – 30th march 2018\nOPENING 1st MARCH 6:30 p.m.\nArchivi Mario Franco c/o Casa Morra Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nCurated by Chiara Reale \nThe Yellow Truck\, a photographic exhibition by Robert Herman\, curated by Chiara Reale\, opens on Thursday 1st March 2018\, at 6:30pm\, at Casa Morra – Archivi Mario Franco together with the new film festival curated by Mario Franco entitled ‘Il Cinema allo Specchio’ focusing on ‘film talking about film’. \nRobert Herman is one of New York’s most important contemporary street photographers\, with photographs and publications on show in numerous key American and European art galleries. \nThis totally new exhibition\, ‘The Yellow Truck’\, brings together 20 photographs narrating the production phases of ‘Vigilante’\, a B Movie set and produced in New York in the 1980s. The shots on show in the exhibition are dedicated to the many professionals who work hard to ensure that the machine of cinema keeps rolling; people who never come to the fore but always\, and inevitably\, remain but rapidly scrolling names among the credits. \nThe short film ‘Story for Lisa’ 2 (USA\, 1979\, 16mm Colour/Black and White\, 14 mins)\, written and directed by the artist\, helps the viewer enter Herman’s world and gain a better understanding of what he means by ‘film making’. \nAs the curator of the exhibition\, Chiara Reale\, explains: ‘the narrative characteristics of Robert Herman’s photography are very close to those of the language of film\, a language that the artist began to learn from an early age. Herman grew up in Brooklyn amid the dusty armchairs and the smell of celluloid in his father’s small arthouse cinema where he began his education by watching the films of Antonioni\, Fellini\, and Rafelson. He enriched and later consolidated his studies at the New York University Film School\, where his experience would have a decisive impact on the development of his aesthetic code\, discernible in his photography to the present day. \nIn ‘The Yellow Van’\, the indissoluble link between cinema and the artist’s photography is addressed openly\, revealing the points of tension and the raw nerves in this relationship. The exhibition consists of shots taken by Robert Herman\, a street photographer who lives and works in New York\, during the production of Vigilante\, a B movie for which not all the people involved would end up being paid\, with backstage shots and stills that tell the story of an almost atavistic love for a world that was\, to cite Herman himself\, his ‘life and salvation\, with all its distortions’. \nHis goal to reveal the darker sides of the film ‘establishment’ is set in motion at the ‘Il Cinema allo Specchio’ film festival: 14 films will be screened every Wednesday and Thursday evening from March 1st to April 26th  starting on March 1st after the opening of the exhibition with Wim Wenders’ ‘Alice in the Cities’. Entry to the Archives and screenings is free and open until all places are taken. \nThe curator of the exhibition\, Mario Franco\, explains that the ‘so-called “metacinema” is cinema that shows and talks about itself and describes how its organisation\, the production processes\, and the economics of film actually work; it recounts the evolution of its history. It is a type of cinema that\, in appearance\, decides to uncover the deception\, to reveal the trick\, behind every film. Of course\, many great filmmakers have reflected on their work\, on beauty\, but also on the compromises and existential crises of their work. (Godard with Contempt\, Fellini with 81/2\, Truffaut with Day for Night). \nFilms set in the world of cinema also include works dedicated to its rudimentary beginnings as an industry (Nickelodeon) or those set in the Hollywood of the late 1920s\, when the first talkies came out\, and silent actors feared for their careers in one of the most significant moments in the history of film production\, at a time when expressive gesture was becoming obsolete in the face of the possibilities offered by sound. It is interesting to note how Singing in the rain (1952) exploits the potential of sound and Technicolor\, while The Artist resurrects black and white for a silent film that focuses entirely on the soundtrack\, even in 2011. But in homage to Herman’s photographs documenting a B movie whose workers and actors went unpaid\, and that was interrupted due to production problems\, here is a film\, The state of things\, where Wenders tells a similar story\, or Burton’s Ed Wood\, that tells the story of the strange career of the ‘worst director in the history of cinema’\, a grotesque hymn in praise of ugliness that invites us to reflect on film genres and sexual ambiguity and to abandon any prejudice as we ask ourselves what can legitimately be defined ‘art’. Another film dedicated to Robert Herman\, raised in the cinema run by his father\, is The last picture show by Peter Bogdanovich\, a young critic in the 1970s in love with the cinema and its legendary characters. It is also dedicated to the city of New York to which Herman devoted much of his photographic work. \nIn the tradition of our Archives\, which have the habit of showing films that are difficult to see elsewhere\, we will also show a hitherto unseen image of New York in a performance by Steve Reich\, a homage to its streets and the sounds of the Big Apple. Reich is one of the fathers of minimalism\, winner of the 2009 Pulitzer Prize and the 2014 Golden Lion at the Venice Music Biennale. Reich dedicates his music to Manhattan and then leads us to the rehearsals and finally to the theatre performance. This too is a metalinguistic discourse\, focused on the very act of composing: an ‘emotional’ point of view that ‘shows itself showing’ and ‘looks at itself looking’. Self-reflection\, that may be summarised in the idea that creation can question itself on the very nature of the creative act\, is typical of modernity\, perceived as an integral part of producing meaning in literature\, theatre\, painting\, and cinema. URL:https://www.fondazionemorra.org/en/evento/the-yellow-truck/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/03/invito-conferenza-stampa.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180203T210000 DTEND;TZID=Europe/Rome:20180203T230000 DTSTAMP:20260610T000514 CREATED:20201216T183003Z LAST-MODIFIED:20201216T183814Z UID:4495-1517691600-1517698800@www.fondazionemorra.org SUMMARY:La Digestion - musica ascoltata raramente II Edizione DESCRIPTION:February 3rd\, 2018\nSTART h. 9:00 p.m.\nCasa Morra Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nOtomo Yoshihide [JP] and Elio Martusciello [IT] \nAt 6:00 p.m. conversation with Prof. Carlo Serra (Università della Calabria) \nContinues the second edition of “La Digesiton – musica ascoltata raramente”\, a festival that explores the most innovative languages ​​of contemporary sound art\, result of the synergy betweenthe Phonurgia and EM-Arts associations and the Fondazione Morra.\nThe event of February 3 will constitute the attempt to establish a new format\, in which the musical moment will be accompanied by a theoretical one\, in the will to think of sound as a fundamental instrument of individual and social construction.\nThe protagonists of the day will be the performer Otomo Yoshihide\, the master Elio Martusciello and the philosopher of music Carlo Serra.\nThe afternoon conversation with the latter will be a reflection on the centrality of listening in the processes of contemporary subjectivation\, an argument that feeds on the practices of the two musicians who will perform in the evening in the splendid setting of Casa Morra.\nYoshihide explores the dimension of the production and transformation of live sound\, through the use of hacked and “played” turntables in an unconventional manner\, taking the risks of creating a sound whose nature is unpredictable\, Martusciello focuses on the relationship of sound with space\, time and the individual. As Martusciello himself explains: «To develop listening means to question oneself\, to deconstruct one’s listening perspective\, to widen one’s space-time horizon. The ear is configured as the sense of hospitality and acceptance\, an instrument of openness and transcendence ». Here is the practice of improvisation with its social implications\, its ability to produce community connects and participates in the philosophy of hospitality.\nTo think of sound as something not given\, but to create and discover continuously in community and which suggests union\, ultimately means thinking of oneself as essentially “in relation”. \nOtomo Yoshihide [Japan]\, one of the most important living improvisors\, collaborator among others of Luc Ferrari\, JimO’Rourke\, ButchMorris\, Ryuichi Sakamoto\, founder of the seminar projects of the 90s Ground Zero and ISO and the ONJO (Otomo New Jazz Orchestra) . He uses turntables as the main tools to eclipse sound materials in an eclectic and ultra-dynamic way\, as well as to produce sounds in an unconventional way. Taking advantage not only of vinyls\, but also of metal objects\, spring systems\, electrical short-circuits and feedback\, Otomo operates a detournement of the sound device that allows him to produce live manipulations\, montages\, cut-ups typical of concrete studio music ; an operation of hacking not only towards the instruments but towards the sound itself\, freed from the cages of the form and exploded in a thousand directions.\nAlso active as a composer of soundtracks and experimenter at 360 degrees\, his voice is unique in the international music scene\, capable of revolutionizing both concrete and electro-acoustic music\, as well as improvisation and free-jazz; among the initiators of the legendary Japanese noise movement\, it is also in that context a unique example of contamination between visceralness\, research\, extremism and elegance. \nLuc Ferrari said of him: “Finally\, men like Otomo Yoshihide … when I heard him the first time\, he was making music that was concrete\, but in real-time. – what we were doing in the studios 50 years ago “.\nhttp://otomoyoshihide.com/en/\n \n \nElio Martusciello (Napoli\, 1959) is a musician\, composer and teacher of electronic and electroacoustic music. Considered among the greatest Italian exponents of experimental music\, for years he has been directing his research to a careful analysis of sound and its relations with space\, time and the individual. He teaches electronic music at the San Pietro a Majella Conservatory of Naples.\nHe has presented works at GRM (Paris)\, at Synthèse (Bourges)\, at Henie Onstad Arts Center (Oslo)\, at PAN aroma (São Paolo do Brasil) and has collaborated with experimental musicians and composers such as: Alvin Curran\, Thomas Lehn\, Jerome Noetinger and various others.\n \nCarlo Serra (Milano\, 1959) Researcher at the University of Calabria\, where he teaches Aesthetics and Philosophy of Music\, he graduated in philosophy on the relationship of Giovanni Piana with a thesis on The conception of musical space in the thought of Jacques Chailley. From the year 2001 to the year 2008 he was Coordinator of the Permanent Seminar of Philosophy of Music. Also until 2008 he was the director of the series “Il Dodecaedro”\, with Giovanni Piana\, Paolo Spinicci and Elio Franzini. URL:https://www.fondazionemorra.org/en/evento/la-digestion-musica-ascoltata-raramente-ii-edizione-4/ LOCATION: Salita S. Raffaele\, 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/3-Febbraio-2018-otomo_hi.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20171129T190000 DTEND;TZID=Europe/Rome:20180222T190000 DTSTAMP:20260610T000514 CREATED:20201117T114521Z LAST-MODIFIED:20210223T141315Z UID:4481-1511982000-1519326000@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - ANAMORPHOSIS\, CONTAMINATIONS\, BETRAYALS DESCRIPTION:November 29th\, 2017 – February 22nd\, 2018\nSTARTS PROJECTIONS 7:00 p.m.\nArchivi Mario Franco c/o Casa Morra Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nFilm has always formed its language through a process of interrelationships with literature and pre-existing theatrical\, musical\, and pictorial forms in original and innovative ways. ‘Contamination’ between different expressive spheres must not allow us to forget that a film should be considered as a work in itself\, moving beyond the concept of ‘fidelity’ or ‘betrayal’ of the original work. Rather\, we can speak of an anamorphosis\, a distortion of perspective that modifies and allows a warped vision but brings innovative and often illuminating perceptions. (Like the new reading\, for example\, of Cortàzar’s story in Antonioni’s vision in Blow Up). Anamorphosis\, then\, is a conjugation of perspectives\, an exploration of semantics\, like Epstein’s film versions of Poe’s short stories\, the alleged duel between Mozart and Salieri as presented in Forman’s film\, Welles’ dizzying Baroque in Kafka’s ‘The Trial’\, etc….. \nDownload the program URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-anamorphosis-contaminations-betrayals/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/07/foto1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20171124T210000 DTEND;TZID=Europe/Rome:20171124T230000 DTSTAMP:20260610T000514 CREATED:20201117T105336Z LAST-MODIFIED:20201216T184942Z UID:4499-1511557200-1511564400@www.fondazionemorra.org SUMMARY:La Digestion - musica ascoltata raramente II Edizione DESCRIPTION:November 24th\, 2017\nOPENING DOORS AT 8:00 p.m. STARTING AT 9:00 p.m.\nChiesa di San Giuseppe alle Scalze\nSalita Pontecorvo 65\, Napoli \nFrancisco Meirino [CH] + Kanaka [IT] \nLa Digestion- musica ascoltata raramente is pleased to announce the opening of the second season\, after the first year’s success characterised by innovation and experimentation. The festival\, a result of the synergy between the cultural no profit associations Phonurgia and E-M Arts and the Fondazione Morra\, gives attention to the most innovative languages of contemporary sound art focusing\, for this edition\, on the relation amid sound and space. During the six events of the festival\, that occur between November 2017 and June 2018\, some Neapolitan locations\, among the oldest\, hidden and unconventional places\, will be rediscovered and reinterpreted through the sound-works of international artists\, thus becoming a performing scene to establish contact with the local and the international music culture\, between listeners and architectural environments. \nFrom the psycho-acoustics by Florian Hecker to the sound sculpture by Thomas Koner\, from OtomoYoshihide’s detournement of turntables to electroacoustics objects by David Toop\, and to audio environment/performance by Pierre Berthet and Rye Nakajima planned in the mysterious Cimitero delle Fontanelle\, La Digestion second edition takes a course in the contemporary experimentation by exploring the power of sound\, that becomes concrete\, physical and sensitive. Significant for the incisiveness of the festival\, for the willingness to establish solid relations with the city’s cultural life\, is the patronage granted by the Comune di Napoli\, as well as the partnership with the Goethe Institut and with the Pro Helvetia Swiss Foundation for culture. \nAfter the incredible preview by master William Basinski in the reopened Chiesa di San Potito\, the official launch of the second exciting edition is Friday\, November 24th with the powerful electronic textures by swiss musician Francisco Meirino and the futuristic audio-video by italian Kanaka\, set in the suggestive Chiesa San Giuseppe alleScalze in Montesanto district\, thanks to the collaboration of Associazione Le Scalze. \nA video-mapping work and an immersive sound landscape by Kanaka group revive the wonderful architecture of the church\, and to follow Francisco Meirino proposes a powerful and dynamic quadriphonic live set that combines sound impact and incredible richness of detail. \nThe poetry of the swiss composer is\, in fact\, absolutely original: particularly concerned with the malfunctions of electronic equipment\, Meirino operates a special recording and composition work of the sounds generated by these desuete machines\, highlighting the collapse of a world only apparently dominated by technological efficiency. Thanks to its originality and its incredible handling and composition of the most diverse soundtracks\, Francisco Meirino is one of the most important sound artists of the experimental music landscape\, appreciated in festivals all over the world. \nLa Digestion second edition has among its many aims the dedication to offer the public the opportunity to approach a kind of music rarely heard\, and not only through performance evenings but also through meetings devoted to engaged listening and conferences with theorists and specialists of this language. Artists in mini-residence have also the chance to wander among the historic stones of Naples\, in order to familiarize with the Neapolitan structures and\, thus\, create a specific setting for audio performance. Workshops\, labos and radio interviews will also be elements of a one-year work that aims to mark new pathways into city’s cultural life.\nThis innovative and multidisciplinary format would offer unique sound experiences\, plunging into a search for a “concrete music” that\, recognised in international context\, has trouble to establish itself in the city. The invitation is to tune into a music to be heard with body and mind\, a music to be entertained with astonishment\, a music to be digested URL:https://www.fondazionemorra.org/en/evento/la-digestion-musica-ascoltata-raramente-ii-edizione-3/ LOCATION:Chiesa San Giuseppe delle Scalze\, Salita Pontecorvo\, 65\, Napoli\, Italia CATEGORIES:Casa Morra,Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/24-11-2017-la-digestion_LOCANDINA-MEIRINO-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20171014T190000 DTEND;TZID=Europe/Rome:20171123T190000 DTSTAMP:20260610T000514 CREATED:20201117T120302Z LAST-MODIFIED:20210223T141245Z UID:4503-1508007600-1511463600@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Sogni Incubi Deliri DESCRIPTION:October 14th – November 23rd\, 2017\nSCREENINGS START AT 7:00 p.m.\nArchivio Mario Franco c/o Casa Morra Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Naples \nFondazione Donnaregina per le arti contemporanee\, as part of PROGETTO XXI (ed.2017\, realized within the framework of the project Itinerari del Contemporaneo – Confronti\, promoted and financed by Regione Campania) presents SOGNI INCUBI DELIRI\, the first film review from the Mario Franco Archives\, curated by Mario Franco\, and realized in collaboration with Fondazione Morra\, at the headquarters of Casa Morra – Archivio D’Arte Contemporanea in salita San Raffaele 20 c\, Naples. URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-sogni-incubi-deliri/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/Sogni-Incubi-Deliri-Rassegna-Cinematografica_-Archivi-Mario-Franco-L-age-d-or.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20170705T190000 DTEND;TZID=Europe/Rome:20170722T190000 DTSTAMP:20260610T000514 CREATED:20201117T124340Z LAST-MODIFIED:20201216T190640Z UID:4507-1499281200-1500750000@www.fondazionemorra.org SUMMARY:Hamza Halloubi - How Far is Far? DESCRIPTION:July 5th  –  July 22nd 2017\nOPENING JULY 5th h. 7:00 p.m.\nSala Conferenze del Museo Hermann Nitsch \nVico Lungo Pontecorvo 29/d\, Napoli \nCurated by Alessandra Troncone \nThe opening of the solo exhibition How Far is Far? by Hamza Halloubi\, curated by Alessandra Troncone\, will take place at the Hermann Nitsch Museum in Naples at 7.00 pm on Wednesday\, 5th July 2017. The exhibition has been organized in conjunction with a residency by the artist at Casa Morra in Naples and will present a selection of videos for the first time in Italy. \nThe work of Hamza Halloubi (born in Tangier\, 1982\, currently living in Brussels) encompasses both personal and historical narration using video as a fluid medium\, able to condense reality into images and stories that fluctuate between the factual and the poetic. In his works\, highly complex topics such as exile\, the silences of history\, and the relationship between art and politics are addressed from a personal point of view. Their concreteness can be felt\, but never occupies the foreground.  A constant in his work is the feeling that something is missing\, producing an atmosphere of suspension as the artist’s voice guides us through stories where private memories\, historical events\, and existential questions flow together into one narrative. \nThe exhibition has been conceived specifically for the spaces within the Museo Hermann Nitsch and will contain older as well as more recent videos. The entire project is built up around the polarity between static elements and movement\, between horizontality and verticality\, to create one whole and new narrative. The videos will include To Leave (2011)\, a powerful image of a departure filmed in Tangier\, the artist’s hometown\, and Letter to Aura (2012)\, also shot in Morocco; here\, a wall seen from a window is the starting point for a reflection on emigration and limitations placed on free movement. \nHamza Halloubi (Tangier\, 1982) studied at La Cambre in Brussels\, where he currently lives. He took part in a residency programme at the Rijksakademie van beeldendekunsten in Amsterdam (2015-2017). He has also held solo exhibitions at the Museum De Pont in Tilburg\, the c-o-m-p-o-s-i-t-e in Brussels\, KIOSK in Ghent\, and the BOZAR- Palais des Beaux-Arts in Brussels\, among other venues. He has participated in many group exhibitions\, such as the Marrakech Biennale 5 (2014)\, the Thessaloniki Biennial (2015)\, the Close-Up exhibition at the EYE Filmmuseum in Amsterdam (2016)\, and the exhibition In the Belly of the Whale at the Witte de With in Rotterdam (2016)\, among others.\n  URL:https://www.fondazionemorra.org/en/evento/hamza-halloubi-how-far-is-far/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/Hamza-Halloubi.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20170622T200000 DTEND;TZID=Europe/Rome:20170624T200000 DTSTAMP:20260610T000514 CREATED:20201117T151406Z LAST-MODIFIED:20201216T205706Z UID:4515-1498161600-1498334400@www.fondazionemorra.org SUMMARY:INDEPENDENT FILM SHOW 17th Edition DESCRIPTION:June 22nd  – June 24th\, 2017\nSTARTING PROJECTIONS AT 8:00 p.m.\nMuseo Hermann Nitsch \nVico Lungo Pontecorvo 29/d\, Napoli \nINDEPENDENT FILM SHOW 17th edition\, an international show dedicated to independent experimental cinema\, coordinated by Raffaella Morra\, organised by E-M ARTS associazione culturale\, takes place on June Thursday 22nd\, Friday 23rd and Saturday 24th 2017 at the Museo Nitsch programming the screening of three 16mm films programs and three expanded cinema performances. Since 2001\, the Independent Film Show projects the most progressive film experiences\, acting as a cultural propeller for the development of mentalities sensitive to complex perceptual phenomena\, beyond the rigid visual and auditory rules.\nINDEPENDENT FILM SHOW 17th edition’s characteristics are the inventive technique of photographic impression and shooting\, the handcrafted film manuality amplified by Do It Yourself\, the experimentation of new natural organic development agents\, the frames’ rhythm and\, if essential\, the inclusion of audio tracks. The collision between image and perceptual sensation may appear accidental\, but the film-makers invited at IFS apply a resistance to linear perception\, each orienting their own visual understanding in different directions.\nIn the program Innovative paths in the un-known\, Raffaella Morra has selected seven films combined by a strong attraction for the film emulsion and for the alchemic transformations\, in particular unusual chemical processes that inscribe images on film emulsion. Two films made by pioneers of experimental cinema: Two Pictures is a tactile and textured work of cinematic abstraction by Rose Lowder and Carl E. Brown; In the Shadow of Marcus Mountain by Robert Schaller is shot entirely with a homemade pinhole camera and edited largely in-camera through the use of a rhythmic score.\nAmong the recent film investigations\, that attempt to penetrate the enigmatic film materiality and the different emotional states: Dan Browne’s Waterfilm is a complex relation between sound\, image\, and editing processes connected to issues of memory’s legitimacy; Julie Murray’s ELEMENTs is an exploration of a location visited by incidental shadowy figures\, related one to another through the rhythm of their gestures; in Rhus Typhina by Alexandra Moralesová & Georgy Bagdasarov a plant is the main protagonist and acts as film development agent; Sandy Ding’s River in Castle offers repeated references to magic\, often comparing his films to initiation rituals; Josh Lewis’s Doubt # 2 explores boundaries of manual knowledge\, bodily struggle and persistent enigma of material.\nIn cooperation with La Digestion – rarely heard music festival\, Hangjun Lee’s 16mm films are accompanied by Chulki Hong and Will Guthrie’s four-tone sound improvisation. In The Cracked Share\, audience is overwhelmed by a strange array of chemical distorted images coupled with assaultive flicker lights\, a wave of explosive colours and unknown shapes intersected by Hong and Guthrie’s improvisation noise. Phantom Schoolgirl Army investigates the material conditions of photography (photographic plate\, magnesium) and its “conventions” (visuality of portraits\, functions of flash)\, aesthetically reconstructing the dialectic of stillness and motion embedded in the cinema. \nOn Friday\, June 23rd will be screen Nicolas Rey’s Differently\, Molussia\, adapted from the book Die molussische Katakombe by German philosopher Günther Anders\, written between 1932 and 1936\, a book which the filmmaker never read. Hand processed\, out-of-date film stock in nine chapter-titled segments is separated into reels and randomized during projection. The film recounts stories and allegorical thoughts by political prisoners in an imaginary fascist state called Molussia. The film’s nine sections ruminate on capitalism\, imperialism\, and resistance. \nIn the expanded cinema performance Scarface by Greg Pope the manipulation of 16mm projection\, slide projection\, contact microphones and guitar pick-ups are combined in the architectural space. Improvisation and randomness are also factors in a dynamic process where we witness the destructive treatment of analogue film with a death cult magic lantern show. \nOn Saturday\, June 24th A Bright Darkness includes three films and the expanded cinema performance by Anja Dornieden and Juan David González Monroy\, who go by the moniker Ojoboca. They use film manipulation processes and suggestive techniques to create Horrorism a simulated method of inner and outer transformation. In an interview\, Juan David González Monroy explains: “…Basically\, cinema is a machine that talks to you\, tells you a story. Given the dynamics of the cinema\, the machine is programmed by the filmmakers to personally talk to each individual member of the audience. We started thinking about cinema this way by accident\, but since this is what cinema in essence does\, we thought we would focus on that aspect of it. Of course\, the machine might be insane\, it might be lying\, it might be trying to convince you of different ways to view the world\, or it might just be trying to entertain you by telling you a good story”. \n  \n  URL:https://www.fondazionemorra.org/en/evento/independent-film-show-17th-edition/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/locandina-2017.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20170503T180000 DTEND;TZID=Europe/Rome:20170702T180000 DTSTAMP:20260610T000514 CREATED:20201117T172533Z LAST-MODIFIED:20210527T125258Z UID:5023-1493834400-1499018400@www.fondazionemorra.org SUMMARY:Lucrezia Longobardi - Lo Spazio Esistenziale. Definizione #1 DESCRIPTION:3 maggio – 2 luglio 2017\nOPENING 3 MAGGIO ORE 18:00\nPalazzo delle Sperimentazioni\nCorso Vittorio Emanuele 341\, Napoli \nLa Fondazione Morra è lieta di presentare la prima mostra del ciclo Lo spazio esistenziale. Definizioni\, a cura di Lucrezia Longobardi.\nIl progetto rappresenta il primo approccio per la stesura di un programma più vasto\, volto a indagare aspetti del rapporto tra l’uomo e lo spazio. In questo primo movimento il dispositivo è legato alle forme semplici\, le composizioni che abbiamo imparato a riconoscere per poterci misurare con l’esistere.\nAttraverso un unico apparato visivo\, i lavori scelti tessono una narrativa intima del rapporto uomo-casa. Una disseminazione minima che permette la fruizione del luogo in cui le opere\, quasi mimetizzate\, partecipano alla riflessione comune sullo spazio esistenziale declinato nella sua forma più domestica.\nGli artisti scelti per analizzare e far parte dell’apparato di questa ricerca si confrontano da anni con quelli che sono i luoghi per la vita\, spazi e volumi che costituiscono il riferimento di una comunità\, come di un singolo. Un’attività dedicata allo studio dei luoghi e del rapporto che questi instaurano con l’uomo e la sua esistenza\, partendo da quelle che sono le private esperienze\, come nel caso di Gregor Schneider o Francesca Woodman\, entrambi artefici di un feticcio intimo\, o come Renata Lucas e Gian Maria Tosatti\, che\, da manipolatori urbani alterano le comuni percezioni\, o ancora come Scola e Patella\, con i quali attraversiamo sensorialmente la memoria del quotidiano. \nSi ringraziano per la realizzazione di questa mostra: la Fondazione Morra\, Guido Costa Project\, My private-Milano\, lo Studio Gallo\, Silvia Scola\, Massimo Vigliar della Surf Film\, Santa Fede Liberata.\nUn ringraziamento particolare va a Gian Maria Tosatti. \n\n \n \n \n \n \n \n Ettore Scola\, \n \n \n \n \n \n Ettore Scola\, Lo Spazio Esistenziale. Definizione #1\, Palazzo delle Sperimentazioni\, Napoli\, 2019 © Photo Elio Di Pace Courtesy Fondazione Morra\n \n \n \n \n \n Francesca Woodman\, Lo Spazio Esistenziale. Definizione #1\, Palazzo delle Sperimentazioni\, Napoli\, 2019 © Photo Maddalena Tartaro Courtesy Fondazione Morra\n \n \n \n \n \n Renata Lucas\, Lo Spazio Esistenziale. Definizione #1\, Palazzo delle Sperimentazioni\, Napoli\, 2019 © Photo Maddalena Tartaro Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/lucrezia-longobardi-lo-spazio-esistenziale-definizione-1/ LOCATION:Palazzo delle Sperimentazioni\, Corso Vittorio Emanuele 341\, Napoli\, 80135\, Italia ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/03-05-2017-Lucrezia-Longobardi_Lo_spazio_esistenziale.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20170405 DTEND;VALUE=DATE:20170406 DTSTAMP:20260610T000514 CREATED:20201119T114041Z LAST-MODIFIED:20210223T101759Z UID:4510-1491350400-1491436799@www.fondazionemorra.org SUMMARY:Perspectives on Portraits and Place: The films of Adele Friedman DESCRIPTION:April 5th\, 2017\nSTARTING PROJECTIONS AT 7:30 p.m.\nMuseo Hermann Nitsch \nVico Lungo Pontecorvo 29/d\, Napoli \n“For more than three decades\, Chicago filmmaker Adele Friedman has been forging and refining an original vision with her silent portraits in which wide-angle cinematography and obsessive panning spread out the spaces of apartments and gardens\, creating a sensuous panorama of the ordinary.”  Fred Camper \nTonight’s program spans 38 years\, beginning with an early portrait from 1979. Included in the show are portraits and films of place: nature\, gardens\, architecture\, rivers.\nThese films are perspectives\, as seen by the filmmaker and presented to the viewer.\nCompositions of space between people\, objects\, interiors and exteriors\, all within the film frame\, are a critical element of what one is seeing in film. These compositions change constantly with movement\, both of the subjects and by the filmmaker\, allowing for interpretation and reinterpretation.\nThe portrait films are about cultural people and how their lives are informed by their interiors and artistic tastes. They surround themselves with what moves them. People do not leave their culture at the museum or the office; they bring it home and live with it. It is part and parcel of the daily fabric of their lives.\nAlso included in this program is an early dreamscape which explores the structural narrative of dreams and the subconscious.\nFriedman chooses to work in 16mm because of the delicate\, soft quality of light revealed through film\, conveying the layers and nuances of value and color. The films are silent\, urging the viewer to focus entirely on the projected image. \nAdele Friedman received her M.F.A. and her graduate degree in Art History from the School of the Art Institute of Chicago. Her films are distributed by Light Cone in Paris\, and she has exhibited internationally over the past 33 years\, including E-M Arts in Napoli as part of the Fôret exhibition; Scratch Projection in Paris; Oesterreichisches Filmmuseum\, Vienna\, Austria; Munich Stadtmuseum-Filmmuseum\, Germany; Frankfurt Deutsches Filmmuseum Kommunales Kino\, Germany; Arsenal\, Kino der Freunde der Deutschen Kinemathek\, Berlin; Fylkingen\, Turbidus Film\, Stockholm\, Sweden; Innocent Eyes and Lenses Film Festival\, Tokyo\, Japan; Big as Life: An American History of 8mm Film\, The Museum of Modern Art\, New York; The 26th New York International Film Festival; Millennium Film Workshop\, New York; The Onion City Experimental Film and Video Festival\, Chicago; The Museum of Contemporary Art\, Chicago; among many other exhibitions. This is her first one-person show in Italy.\n\n \n \n \n \n \n \n Adele Friedman\, Red Cloud\, 2017\nCourtesy Fondazione Morra\n \n \n \n \n \n Adele Friedman\, Untitled 1982\nCourtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/perspectives-on-portraits-and-place-the-films-of-adele-friedman/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/INVITO_OK_page-0001.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20160930T190000 DTEND;TZID=Europe/Rome:20161111T200000 DTSTAMP:20260610T000514 CREATED:20201106T135352Z LAST-MODIFIED:20201216T210910Z UID:4513-1475262000-1478894400@www.fondazionemorra.org SUMMARY:Maurizio Elettrico - Supernaturalis Historia DESCRIPTION:September 30th – November 18th 2016\nOPENING SEPTEMBER 30th h. 7:00 p.m.\nPAN – Palazzo delle Arti di Napoli\nVia dei Mille 60\, Napoli \nSupernaturalis Historia. Saga sulla Divina Natura del Potere Bioaristocratico (Saga on the Divine Nature of Bioaristocratic Power) is an exhibition curated by Eugenio Viola that brings together a corpus of works taking their inspiration from Lo scoiattolo e il Graal (The Squirrel and the Grail) the monumental erotic epic saga in seven volumes conceived\, written and illustrated by Maurizio Elettrico over the last ten years. \nElettrico is a complex artist: erudite\, flamboyant\, irreverent\, ironic\, blasphemous\, and iconoclastic\, whose research feeds on a theory and practice of art conceived as transgression\, while the always emphatically aesthetic formal aspect emerges from the hybridisation of boldly heterogeneous motifs and languages expressed through a variety of media that blend past and present\, the complexity of myth\, and the deviations of a secular sacrality. In this way\, different stimuli converge into a glittering\, playful and seductive imagination that not infrequently slides into a self-satisfied and ostentatious decorativism. As in his literary work\, of which Lo scoiattolo e il Graal is a prime example\, Elettrico contaminates different and very divergent literary genres: from the epic to fantasy\, the historical novel to the cyber-erotic\, to produce a narrative overflowing with theological\, philosophical\, heraldic\, esoteric and alchemical references. The artist describes a futuristic and iniquitous world of war\, love\, sex\, political intrigue\, and religious extremism\, where magic or science overcome human and natural limitations in general. \nThe seven volumes\, like the works exhibited here (paintings\, sculptures\, drawings and installations)\, produce a perverse mythology\, populated by a number of self-aggrandising characters ideologically supported by overweeningly fanatical and intolerant religions. This is a hyperhumanist and dystopian future\, where the earth is dominated by a new human species\, the result of sophisticated genetic manipulations: “Bioaristocracy”\, with a powerful artistic-demiurgical vocation\, able to model both inorganic and living matter. Thanks to their “divine nature”\, the Bioaristocratics reign over the other two human species that inhabit the Earth: the “Naturals”\, similar to today’s humans\, and the “Wild”\, who look human but have animal intelligence.Hence the title of the exhibition\, which\, on the one hand\, with a nod to the “classically” classificatory\, makes ironic reference to Pliny the Elder’s Naturalis Historia (77-78 CE)\, referring on the other hand also to the sci-fi component\, amply represented in the three books\, as in all Elettrico’s works: both are enriched and supported by the short circuit arising from the unsettling encounter between archaism and futurism. \nBearing in mind this double register – the verbal and the visual\, the works on display alternate with a generous array of texts. The first three volumes of the series\, exhibited as elements of an installation\, make up a monumental storyboard. The works\, visually designed to suggest unusual combinations and alarming metamorphoses\, in turn underpin a potentially infinite set of meta-narratives\, creating a clever set of references and reflections that set off a continuous exchange of sign and signified between only apparently different forms of expression\, in reality converging in a daring combination that Elettrico imposes on events and characters through subtle variations and games\, as well as explosive representational displacements. \n\n \n \n \n \n \n \n Installation View\, Supernaturalis Historia\, PAN –\n \n \n \n \n \n Installation View\, Supernaturalis Historia\, PAN – Palazzo delle Arti di Napoli\, 2016 \nMaurizio Elettrico\n© photo Amedeo Benestante\nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Supernaturalis Historia\, PAN – Palazzo delle Arti di Napoli\, 2016 \nMaurizio Elettrico\n© photo Amedeo Benestante\nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Supernaturalis Historia\, PAN – Palazzo delle Arti di Napoli\, 2016 \nMaurizio Elettrico\n© photo Amedeo Benestante\nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Supernaturalis Historia\, PAN – Palazzo delle Arti di Napoli\, 2016 \nMaurizio Elettrico\n© photo Amedeo Benestante\nCourtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/maurizio-elettrico-supernaturalis-historia/ LOCATION:PAN – Palazzo delle Arti di Napoli\, Via dei Mille 60\, Napoli\, Italia ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/INV0391_ELEM10-fronte.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20160623T210000 DTEND;TZID=Europe/Rome:20160625T210000 DTSTAMP:20260610T000514 CREATED:20201120T103530Z LAST-MODIFIED:20201216T214155Z UID:4528-1466715600-1466888400@www.fondazionemorra.org SUMMARY:INDEPENDENT FILM SHOW 16th Edition DESCRIPTION:June 23rd – June 25th\, 2016\nSTARTING PROJECTIONS AT 9:00 p.m.\nBelvedere del Museo Hermann Nitsch \nVico Lungo Pontecorvo 29/d\, Napoli \nINDEPENDENT FILM SHOW 16th edition\, an international show dedicated to independent experimental cinema\, coordinated by Raffaella Morra\, takes place on June Thursday 23rd\, Friday 24th and Saturday 25th 2016 programming the screening of three 16mm films and video programs and three live expanded cinema performances at the Museo Nitsch Belvedere. \nA resistance to fixity of classification and genre is expressed during three days of Independent Film Show 16th edition that endorsees the blending of practises\, the unfinished\, the mistake\, the chance of discovery; for this cinema\, there is no exact definition\, nor a nomenclature\, however the method continues to be handmade\, the favourite material is 16mm film and\, when possible\, the share of the creative act of live expanded cinema performances. The physical mechanisms of film construction\, such as the different photographic impression techniques\, the chemical transformations of film and the metamorphosis process of light\, remain the investigation fulcrum around which to build your own journey. An experience of disorientation can assault the inexperienced or occasional viewer\, which penetrates in a territory characterized by unexpected. There is no single answer\, nor the illusion of verisimilitude to trust\, instead\, it is necessary to allow a whirlwind of sensations that stimulate an unusual perceptual activity\, imprinted in memory. \nThe concrete materiality of the film strips and the mechanics of projection are firmly in the hands of the film-makers\, that control the minute details of creation and\, with the closure of large companies\, such as Kodak\, the incipit is Do It Yourself\, furthermore appropriating of the production stages. A significant impulse to collaboration and inventive between artisanal film labs has significantly expanded the experimental possibilities of film-makers. Independent Film Show 16th edition is an exploration between the experiences of these laboratories: Explorative Journey program selected by Raffaella Morra is a brief excursus on recent films made at the Etna and the Abominable in France\, the Filmwerkplatts in Rotterdam and Nanolab in Australia. \nKarel Doing\, founder of Studio één Lab in 1990 and currently with Bea Haut Film in Process (in Naples two IFS editions\, with live performances titled Four Eyes\, 2006 and Darkloupe\, 2012)\, selects Cinematica Erratica program\, a celebration of sabotaged film language\, that embrace wrong shots\, techniques and sounds that normally would be seen as inaccurate and faulty. Absurdism is used as a strong antidote against existing codes of conduct\, absence is used to evoke a renewed sense of wonder\, and by colliding the natural with the technological\, borders are blurred. \nHand and Machine presents six recent film works from Australian DIY cine-experimentalists Richard Tuohy and Dianna Barrie\, exploring the primitive apparatus of cinema and the relation between hand and machine. In particular\, they created Chromaflex\, a new photo-chemical technique which allows selectively controlled negative and positive colour and black and white images on the same strip of film. What is more\, the technique allows these selection decisions to be made in full light. \nOn Thursday\, June 23rd (11:00am-03:00pm) and Friday June 24th (hours 03:00-08:00pm)\, the Chromaflex method will be argument of the workshop\, organized in collaboration with ARK-FILM lab TerzoPianoAutogestito (at Palazzo Gravina / registration required). \nIn live expanded cinema performances\, the knowledge of projective apparatus\, the environment\, the improvisation and the chance comprehend in a dynamic process\, triggered by public participation: on Thursday June 23rd Portraits by 70FTP (Andrea Saggiomo)\, on Friday June 24th Palindrome Series and Pattern/Chaos by Karel Doing\, on Saturday June 25th Dot Matrix and Inside the Machine by Richard Tuohy. URL:https://www.fondazionemorra.org/en/evento/independent-film-show-16th-edition/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/23_06_2016_indipendent_Film_Show_15_edition.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20160528T210000 DTEND;TZID=Europe/Rome:20160528T230000 DTSTAMP:20260610T000514 CREATED:20201120T145244Z LAST-MODIFIED:20210305T115125Z UID:4520-1464469200-1464476400@www.fondazionemorra.org SUMMARY:Peter Cramer e Jack Waters - Spaghetti Wrestling DESCRIPTION:May 28th\, 2016\nSTARTING PROJECTIONS h. 9:00 p.m.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nExpanded cinema performance \nA site-specific redaction of Satyricum II\, the 2007 performance/Installation at New York City’s notorious gay night club The Cock. Uncredited photos of this bacchanal appear in Slava Mogutin’s book NYC Go-Go. The original iteration was created by the Inbred Hybrid Collective with the oversight of the group’s members Waters and Cramer.\nIn keeping with the original spirit of the first manifestation this will be an immersive interactive\, atmospheric live action led by Cramer and Waters with Geoffrey Hendricks\, Sur Rodney (Sur) and friends. \n“Moving image\, electronic and acoustic sounds\, and instrumentation merge with live and recorded vocals will incorporate the resonance of the surrounding environment in bodily responses to the architecture of our interior and exterior worlds. We welcome and encourage active participation leaving the option for non passive voyeuristic engagement. Surprises abound in the strong element of physical action and body contact between the performers and whoever else wishes to join.” \nJack Waters and Peter Cramer \nJack Waters and Peter Cramer Performers\, film-makers\, choreographers and activists for the recognition of minority rights\, creators in 1996 of The Greenthumb Garden Le Petit Versailles community garden in New York’s East Village and of the non-profit organization Allied Productions\, Inc.\, as well as from 1983 to 1990 of the ABC No Rio arts center\, Peter Cramer and Jack Waters experiment with and combine multiple forms of art\, to involve and develop a process of creation as the essence of experiences rather than the product as an end result.\nResidents of the Lower East Side since 1981\, Peter Cramer and Jack Waters have made films and performances\, taught youth and children by engaging themselves and other artists\, and coordinated meetings\, screenings and events\, developing neighborhood activism and collective cooperation. Through music\, art\, and performance they create alternative forms of collaboration to turn rubble into creation and stimulate cultural change to alter society.\nPeter Cramer and Jack Waters in the early 1980s created POOL (Performance On One Leg)\, a dance/performance collective active in house music nightclubs such as the well-known Pyramid Club\, exploring contact and other improvisational behaviors combined with theatrical forms\, ritual\, activism\, and group dynamics; exemplifying the marathon Seven Days of Creation\, (with Carl George and Brad Taylor\, members of Colab)\, seven days\, 24 hours of performances with different artists atABC No Rio\, building-residence-laboratory of art\, sociality and cultural education.\nThey currently collaborate with the Inbred Hybrid Collective\, whose intent is to stimulate an awareness of the external factors that affect human existence and through provocative artistic interventions invite the public to reflect on the influence that this immersion has had on them.\nTogether and individually they have shown film works at the Whitney Museum of American Art\, The New Museum\, Anthology Film Archives\, London Film Makers Cooperative\, Center for Contemporary Culture Barcelona (CCCB)\, and MIX NYC.\nTheir films are distributed by the New York Film Makers Cooperative\, among others.\nEvents include: 2015’s Sun Screen Boulevard In The Sand is a performance/walk on Fire Island organized by Visual AIDS in partnership with Fire Island Artist Residency (FIAR) and New York Performance Artists Collective (NYPAC)\nhttps://www.visualaids.org/events/detail/jack-waters-peter-cramer-artist-lecture-series-fire-island-artist-residency\nhttps://www.visualaids.org/events/detail/fire-island-performance-jack-waters-peter-cramer\nIn 2014 the group show Ephemera as Evidence at La MaMa’s The Club\, and in 2013 NOT OVER: 25 Years of Visual AIDS at La Galleria\, and Not only this\, but ‘New Language Beckons Us’ at Fales Library and Special Collections\, New York University.\nIn Europe\, we can mention: in 2008 Triple Threat at FRISE in Hamburg\, Germany; in 2006 and 2013 the residency at the Emily Harvey Foundation in Venice for the project Pestilence\, a primordial\, post-apocalyptic work that fuses together the technologies of science and art\, exploring culture from its origins as a single-celled life form to the terminal end of society in the digital age of information overload.\nhttp://alliedproductions.org/pestilence-workshops-and-showings/\nIn 2015\, the film Jason and Shirley\, co-written and co-produced by Stephen Winter and Jack Waters\, in which he appears as the lead\, was screened to critical and audience acclaim at Anthology Film Archives\, MoMa\, BAM (Brooklyn Academy of Music) CineFest\, and BFI Flare London.\nhttp://www.jasonandshirleyfilm.com/\n\n \n \n \n \n \n \n Jack Waters and Peter Cramer\, Sunscreen Test Boulevard In The Sand © photo Sam Draxler URL:https://www.fondazionemorra.org/en/evento/peter-cramer-e-jack-waters-spaghetti-wrestling/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/INVITO-2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20160219T183000 DTEND;TZID=Europe/Rome:20160319T183000 DTSTAMP:20260610T000514 CREATED:20201120T151351Z LAST-MODIFIED:20201216T213652Z UID:4525-1455906600-1458412200@www.fondazionemorra.org SUMMARY:Ekrem Yalcindag - The Language of Diversity DESCRIPTION:February 19th – March 19th\, 2016\nOPENING FEBRUARY 19th\, h. 6:30 p.m.\nMuseo Hermann Nitsch \nVico Lungo Pontecorvo 29/d\, Napoli \nMorra Foundation of Naples is proud to host in the rooms of Nitsch Museum Library\, the first Italian exhibition of the Turkish artist Ekrem Yalçındağ. \nThe eighteen artworks diversify in shape and color and represent what most put in contact the Oriental tradition to the Occidental tradition\, not just decorations but explosion of colors achieved by a meticulous research of the particulars. \n“…he demands the language of the multiplicity. the smallest particles are always those he elaborates on the biggest canvases. he treats these elements as molecules\, atoms. he creates structures that look like molecular structures. anyway his work has a lot to do with the building of structures that intertwine\, that usually go through the enormous surfaces of his works. they make us think in some way to physics models\, almost utopic of the world’s creation process. they suggest fertilization processes. it is know that he studied the shape of flowers and leaves and that those experiences reveal in the order of his artworks. universes of colors shaped by light gradations give to the surfaces\, that he makes\, a chromatic excess. he visualizes the growth of creation and nonetheless\, they miss the dimension in space of speed\, of time and waste of space. i believe is absolutely positive the affinity of his works to the op-art. these artists had his same problems with the non-figurative artistic expression. create concentric circles represent an architype problem for artists. the target of the archer of blind Buddhist monks indicates the street even to ekrem. many times we talked about space\, of the prospective reproduction of space with the figurative painting\, that has to be passed by the abstractive painting and about the space rendered non-figurative from the oriental carpets and ornaments. I think that ekrem yalncindag’s artworks contain this power. his works instill something of the liberty painters artworks. the fourth dimension moves the third one to the background\, that is objectively inexplicable.” \nHermann Nitsch\, Prinzendorf\, January 2016 \n\n \n \n \n \n \n \n Installation View\, The Language of Diversity\, Museo Hermann Nitsch\, Napoli 2016\n \n \n \n \n \n Installation View\, The Language of Diversity\, Museo Hermann Nitsch\, Napoli 2016 Ekrem Yalçındağ Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, The Language of Diversity\, Museo Hermann Nitsch\, Napoli 2016 Ekrem Yalçındağ Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, The Language of Diversity\, Museo Hermann Nitsch\, Napoli 2016 Ekrem Yalçındağ Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/ekrem-yalcindag-the-language-of-diversity/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/Opening_Ekrem_YalcA_ndag.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20151009T210000 DTEND;TZID=Europe/Rome:20151011T170000 DTSTAMP:20260610T000514 CREATED:20210303T151211Z LAST-MODIFIED:20210303T151211Z UID:5469-1444424400-1444582800@www.fondazionemorra.org SUMMARY:Piano City Napoli 2015 DESCRIPTION:9th october – 11th october 2015\nOPENING 9th OCTOBER 9:15 p.m.\nPiazza del Plebiscito\nNapoli \nPiano City Napoli 2015 took place on the evening of Friday\, October 9th\, with a very suggestive piano performance along the colonnade of Piazza del Plebiscito. “The Column Concert” was created by Massimo Fargnoli in collaboration with Fondazione Morra which will be also one of the partners of the festival. At the end of the opening ceremony Daniele Lombardi’s symphony for 21 pianos will be played. Piano City Napoli\, which is now at its third edition\, is organized and planned by Alberto Napolitano pianoforti – Piazza Carità\, supported by the cultural department of the city of Naples and sponsored by FAI-Campania and many other important associations. The 21 grand pianos will be located on the left  wing of the colonnade of piazza del Plebiscito. The 21 pianos coincide\, stunningly\, with the number of spaces between the columns. While the sound will be heard all around the huge square through a sophisticated PA system\, each position will be lit by shimmering different colour lights according to Alexander Scriabin’s synesthetic criteria (this year will be the 100th anniversary of his death). Inside the spaces of the columns on the right wing of the colonnade there will be an exhibition regarding the Neapolitan piano school\, realized by the “Accademia Musicale Napoletana” (founded by Alfredo Casella in 1933) in order to connect present\,  past and the development of a sumptuous cultural tradition of the city. Following the joyful mood of this festival together with the complexity and strictness of the choice of the location\, this marathon has been named “The Column Concert”\, in honour of such an incredible scenario to what we could define as an auditory installation. The name is also recalling\, by phonetic assonance\, the famous album by Keith Jarret\, recorded 40 years ago at Koln Opera House\, that gave new horizons to contemporary piano music. \nThe pianists performing will be playing as follows: Francesca Bandiera\, Angela Feola\, Antonello D’Onofrio\, Vittorio Rabagliati\, Elena Lasala\, Angelo Russo\, Francesco Calcagno\, Carla Orbinati\, Stefano Ligoratti\, Vincenzo Pasquariello\, Nicola Ormanno\, Gennaro Musella\, Iacopo Petrosino\, Maria Carla Notarstefano\, Paolo Somigli\, Nicoletta Feola\, Sara D’Allocco\, Claudio Soviero\, Stefano Fiacco\, Grana Dijkanovic\, Luigi Trivisano. \n \n  URL:https://www.fondazionemorra.org/en/evento/piano-city-napoli-2015/ LOCATION:Piazza del Plebiscito\, Napoli\, Italia ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/header.jpg ORGANIZER;CN="Alberto Napolitano Pianoforti":MAILTO:info@pianocitynapoli.it END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20150625T210000 DTEND;TZID=Europe/Rome:20150627T210000 DTSTAMP:20260610T000514 CREATED:20201122T124908Z LAST-MODIFIED:20201216T220203Z UID:4531-1435266000-1435438800@www.fondazionemorra.org SUMMARY:INDEPENDENT FILM SHOW 15th Edition DESCRIPTION:June 25th – June 27th\, 2015\nSTARTING PROJECTIONS AT h. 9:00 p.m.\nBelvedere del Museo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nINDEPENDENT FILM SHOW 15th edition\, an international show dedicated to independent experimental cinema\, coordinated by Raffaella Morra\, takes place on June Thursday 25th\, Friday 26th and Saturday 27th 2015 programming the screening of three films/video programs and four live expanded cinema performances at the Museo Nitsch Belvedere. \n PROGRAMS and LIVE EXPANDED CINEMA PERFORMANCES \n\nThursday 25th June at 9:00pm\nTHE BLEEPING LIGHT: explorative sensorium in experimental film & video selected by Sally Golding \nThe Bleeping Light represents an array of contemporary film\, video\, live audiovisual and sound artists who delve into cracked phenomenal and psychological perceptions\, synaesthetic slippage and hacked technologies to produce works which inhabit a space between waveform and frame. \nAppropriated for single channel presentation many of these works exist in an environment\, which challenges the flat confines of the screen\, and have their origins and inspirations in sound art and performance. From this perspective springs a narrowing of apparatus and bodily intervention – a disavowal for projection-beam-screen-emulsion/pixel-frame/scan line – and an affirmation of electrical-chemical nervous systems. This is cinema which speaks directly to the viewer’s synapses\, and which seeks to reorganise these ‘printed signals’ into energy-sound-light-colour-form. \nIncluded are audiovisual works by sound artists who explore the role of a ‘seeing ear’\, and sonic explorations by filmmakers who by the act of performance and intervention derive a sonorous space. These experimental film works locate a ‘liveness’ in close quarters with sound art in performance and arrive at trance like state of neural reflux. \nSally Golding \nThursday 25th June at 10:30pm\nLive Expanded Cinema Set by Sally Golding \nSally Golding is a multimedia artist combining film projection\, lighting and sonic composition to create expanded cinema performances and participatory installations. Golding’s audiovisual performance work focuses on the experience of the audience\, pushing the boundaries of visual and auditory perception through the breakdown of the cinematic system into flicker\, waveforms and colour fields; while her installations have harnessed the presence of the audience themselves by incorporating their reflected image into projections within immersive spaces. \nGolding’s performances are overdriven audiovisual transmissions of light\, form\, colour and sound. Using hacked devices such as sewing machine motors and laboratory strobe lights\, Golding generates throbbing\, hallucinogenic visual distortions\, which are also outputted as sonic signals. Cacophonic in form and content\, performances transcend chaos and enter a hypnotic zone. \nFriday 26th June at 9:00pm\nVisual Insights selected by Raffaella Morra \nVisual Insights is pervaded by an emphasis to the filmic composition. A particular fondness for ‘light moving in time’\, achieved through many technical possibilities (etching and painting directly on film\, or solarize and chemical treatments\, or the three-colour separation in print)\, highlights a particular exploration of filmic apparatus that encourages personal visual constructions\, retrieving a perceptual innocence not subordinate from rationality. A sequence of different stimuli educates the insight through an innovative movement to transform the optic and expand our ability to visualize the world. \nFriday 26th June at 10:30pm\nLive Expanded Cinema\nZzurfreiheit by Lionel Palun\, Julien Bibard\, Jean-Philippe Saulou \nIconoclastic trio\, which originates by light beams of the 16mm projector and video\, Zzurfreiheit is working to make you travel through the unsuspected virtues of bright and acoustic feedbacks. Developing a poetic of moment and immediacy\, these three stakeholders generate conflicts of perceptions\, with severe contemplative consequences for your brain. The main visual material – points\, lines\, plants and landscapes – created on 16mm film by Julien Bibard\, is reinterpreted in feedback by digital video and audio treatments by Lionel Palun. Mechanical sounds of 16mm projector serve meanwhile as raw materials for the delicate and impulsive sound alterations by Jean-Philippe Saulou. Finally\, this hypnotic and autophage trip\, through a landscape of the unstable space-time coordinates\, will perhaps make you forget\, for those who has still doubt\, that cinema is only occurring on a screen. \nSaturday 27th June at 9:00pm\nLive Expanded Cinema\nScoreline by Greg Pope\nScoreline is a solo film-sound performance.\nIdea: The film projector as an instrument with the potential for visual and sonic broadcasting\, an exploration of cinematic apparatus\, ignoring traditional strategies to create a dynamic live event.\nOutcome : Texture and noise. A choreography of creation through destruction\, amongst other things… \nSaturday 27th June at 10:00pm\nFilm doubled forever changes selected by Greg Pope \nProjectors invade the auditorium to reveal six amazing double screen works – two seminal classics and four from the British new analogue wave…. Interaction\, juxtaposition\, synchronization and repetition drive these films. The action here is not just happening on the filmstrips – it also belongs in the moment of projecting. \nGreg Pope \nSaturday 27th June at 11:00pm\nLive Expanded Cinema\nSKELETON by Greg Pope & SULT (Jacob Felix Heule\, Guro Skumsnes Moe\, Håvard Skaset)\nSKELETON is a 40 minute live performance piece by sound trio SULT and live cinema artist Greg Pope. \nA darkened room – our cinema cave – our shelter and religion. Ghosts dancing in the flame\, images are cast and wood splits. Sound and light waves vibrate and refract. The skeleton is animated; a shadow play\, acoustic and amplified instruments\, synthesized sound and the magic lantern. An investigation in four movements. URL:https://www.fondazionemorra.org/en/evento/independent-film-show-15th-edition/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/23_06_2016_indipendent_Film_Show_15_edition.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20140626T210000 DTEND;TZID=Europe/Rome:20140628T210000 DTSTAMP:20260610T000514 CREATED:20201217T190117Z LAST-MODIFIED:20201217T190531Z UID:4554-1403816400-1403989200@www.fondazionemorra.org SUMMARY:INDEPENDENT FILM SHOW 14th Edition DESCRIPTION:June 26th – June 28th\, 2014\nSTARTING PROJECTIONS JUNE 26th h. 9:00 p.m.\nMuseo Hermann Nitsch (Belvedere)\nVico Lungo Pontecorvo 29/d\, Napoli \nINDEPENDENT FILM SHOW 14th edition\, an international show dedicated to independent experimental cinema coordinated by Raffaella Morra\, takes place Thursday 26\, Friday 27 and Saturday 28 June programming the screening of three films/video programs and three expanded cinema performances at the Museo Nitsch Belvedere \nThe Independent Film Show focuses on imaginative renewal states that increase the watching ability: a physical and mental activity fundamental to decode the subtle lines that uphold the unity of the world. Annually takes shape a familiar club for film-lovers where meet the most progressive and unexpected artistic expressions\, contrary to the expensive ideological gaps of the big festivals and against the unmotivated advances of mass culture. The Independent Film Show is a cultural propeller\, engaged not to dominant profit but in favour of a mentality aware of the limits to detect those phenomena today only perceptible beyond the human visible and audible. The territory of the experimental cinema is full of misconceptions and generalizations and in particular the barricades of exclusion and the strict rules avoid to reveal and analyse the perceptual connections and the unexpected solutions inherent in these independent works. The exclusion of the forced passive spectator (typical in standardized vision) highlights and emphasizes a direct communication able to cause an intense vibration for generating reflection and progress. An alternative immersion gives the opportunity to socialize and discuss with the film/video-makers\, taking an additional step towards the new space of intuition. \nReading carefully this 14th edition\, the return of friends that in the various editions have already shown the exceptional nature of their filmic works emphasizes how close is the relation between the film/video-makers involved in the Independent Film Show. The only restriction is to participate with films/video rarely or never shown in Italy and to create performative strategies that surround the participants\, infusing new configurations in an unforgettable sensual experience. \nPROGRAMS and EXPANDED CINEMA PERFORMANCES \nThursday June 26 at 21:00 Cornerstone selected by Gaëlle Rouard \nThe program Cornerstone selected by Gaëlle Rouard\, as indicated in the title\, is a splendid overview in the history of experimental cinema\, with a common denominator: any semblance of cinematic storytelling is littered in a thousand splinters and returned in a unique communication form\, using the most unforeseeable manipulations and filmic methodologies. In Outer Space by Peter Tscherkassky\, the constant layering of images exposes the viewer to a complex vision’s activity and explores the limits of physical and intellectual mechanisms; Spacy by Takashi Ito is made with 700 photos re-photographed frame by frame according to strict rules of motion in the physical space\, with the intent to lead in confusion the watching act. For William Moritz “…the most unique thing that cinema could do is present a visual spectacle comparable to auditory music\, with fluid\, dynamic imagery rhythmically paced by editing\, dissolving\, superimposition\, segmented screen\, contrasts of positive and negative\, color ambiance and other cinematic devices”; Lapis by James Whitney\, a classic in Absolute Film which he defined “a space-time mandala”\, is related to the neural activity of visual and auditory system realizing a wonderful synesthetic example; in Déjeuner du matin by Patrick Bokanowski his optical experiments with light\, reflection and refraction transform the everyday images into fluids and deformable objects of art\, employing the film material as a traditional pictorial canvas; for Stadt in flammen by the collective SCHMELZDAHIN the found footage film Ville en flamme is subjected to biological degradation by microbes and bacteria\, nearly liquefying\, to promote a dissolution of images and show the material vacuity to the process of time. \nThursday June 26 at 22:30 Juke Film Boxe by Gaëlle Rouard \nFor the second time\, with a new filmic configuration and the last film in world premiere\, Juke Film Boxe by Gaëlle Rouard is a fantastic opportunity to participate in the direct intervention on the filmic projection; a continuous flow that involves in a whole the film-maker\, the projectors\, the environment and the spectators. A narrative pretext is the thin substrate for a cosmic journey in the film art; the frames\, expertly hand-processed through colored filters\, mirrors and prisms\, create an overlapping world\, accompanied by a strong feeling of the unknown that can possibly lead to new scenarios and meanings. \nFriday June 27 at 21:00 Intuition spaces selected by Emmanuel Lefrant and Raffaella Morra \nThe program Intuition spaces selected by Emmanuel Lefrant and Raffaella Morra focuses on the development process of substances in perpetual metamorphosis. Little Girl by Bruce Baillie records distilled moments of natural beauty in a perfectly simple lyrical portrait without any additions or cuts; Distorted Movi Sion by Yo Ota reflects on the structure of the cinematic vision as type of visual experience and visible knowledge; an adventure of the mind in The Or Cloud by Fred Worden and a metaphysical journey realized through personal mental scenarios in Into Daylight by SJ. Ramir; Another Void by Paul Clipson is the result of a continue practice with Super 8mm film to produce a description of the world through gesture and repetition; in Photuris by Peter Miller the fireflies movement is recorded on film\, forming abstract swirls of light. \nFriday June 27 at 22:30 expanded cinema performances by Les Nominoë \nFrom Nominoë collective (Nicolas Berthelot\, Alexis Constantin\, Emmanuel Lefrant\, Stéphane Courcy di Rosa) the two expanded cinema performances Atomic Light (at first world vision) and Cortex (with the dancer Stéphane Mensah) connect the materiality of film support and the projective diffusion to an unconventional temporal and spatial fruition. Nominoë cinema strays from the usual modes of film production with emphasis on collective improvisation of a visual and sound situation. \nSaturday June 28 at 21:00 Signal Selections from Screen Compositions selected by Katherine Liberovskaya \nScreen Compositions is an a yearly screening event that takes place since 2005 at Experimental Intermedia\, NYC\, founded and curated by Katherine Liberovskaya. It is dedicated to intersections of moving image with sonic art in the form of screen works representing dynamic two-way collaborations between video/film artists and sound/music artists with no live or performance component. The selection for the Independent Film Show focuses on the manipulation of analog signal and explores the qualities and possibilities offered by technological apparatus. Decay Hatching by LoVid (Tali Hinkis and Kyle Lapidus) highlights the fragility of the technology; 33 by E.S.P. TV (Victoria Keddie and Scott Kiernan) documents the ephemeral artistic practices; in Light Field II Richard Garet draws attention to the processes of perception and cognition by activating sensory\, physical\, and psychological phenomena reflecting on the nature and experience of time; Frogfields by Katherine Liberovskaya is an exploration of the video voltage controlled by audio elaborated by a synthesizer. \nSaturday June 28 at 22:30 Live video by Katherine Liberovskaya and Live mixing of audio pieces by Phill Niblock\nSaturday June 28 at 23:00 Live music and film/video by Phill Niblock \nTwo performative moments with Katherine Liberovskaya and Phill Niblock: in the first live set Niblock mixes between audio pieces based on diverse field recordings which are very different from his music compositions and Liberovskaya mixes video from a vast personal database of clips shot over the past fifteen years. \nThe second event is an intense performance by Phill Niblock\, minimalist composer and film-maker whose Intermedia Art actively contributed to transform the way to perceive the sounds and the flowing of time. His sound compositions are thick loud drones of music filled with microtones of instrumental timbres which generate many other tones in the performance space. The spectator is immersed in this environment up to lose the perception of the passing of time. His filmic pieces\, far from a documental development\, show the rituals of daily work\, often hand-made and continuously. The thick correspondences between sounds and images act in a slow flow\, evoking antagonistic feelings of movement and immobility\, and with a proper preparation leads to a state of trance where the free associations live. \n\n \n \n \n \n \n \n INDEPENDENT FILM SHOW 14th Edition\, Museo Hermann Nitsch\, Napoli 2014 Courtesy Fondazione Morra\n \n \n \n \n \n INDEPENDENT FILM SHOW 14th Edition\, Museo Hermann Nitsch\, Napoli 2014 Courtesy Fondazione Morra\n \n \n \n \n \n INDEPENDENT FILM SHOW 14th Edition\, Museo Hermann Nitsch\, Napoli 2014 Courtesy Fondazione Morra\n \n \n \n \n \n INDEPENDENT FILM SHOW 14th Edition\, Museo Hermann Nitsch\, Napoli 2014 Courtesy Fondazione Morra\n \n \n \n \n \n INDEPENDENT FILM SHOW 14th Edition\, Museo Hermann Nitsch\, Napoli 2014 Courtesy Fondazione Morra\n \n \n \n \n \n INDEPENDENT FILM SHOW 14th Edition\, Museo Hermann Nitsch\, Napoli 2014 Courtesy Fondazione Morra\n \n \n \n \n \n INDEPENDENT FILM SHOW 14th Edition\, Museo Hermann Nitsch\, Napoli 2014 Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/independent-film-show-14th-edition/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/12/loc-2014-e1608231577677.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20140606T113000 DTEND;TZID=Europe/Rome:20140705T170000 DTSTAMP:20260610T000514 CREATED:20201122T181411Z LAST-MODIFIED:20201217T191700Z UID:4557-1402054200-1404579600@www.fondazionemorra.org SUMMARY:Gian Maria Tosatti - Sette Stagioni dello Spirito 2_Estate DESCRIPTION:June 6th – July 5th\, 2014\nOPENING JUNE 6th h.11:30 a.m.\nEx Anagrafe Comunale\nPiazza Dante\, Napoli \nCurated by Eugenio Viola \n2_Estate (Summer)\, the second stage of the biennial project Sette Stagioni dello Spirito (Seven Seasons of the Spirit)\, is a site-specific intervention investigating the concept of inertia\, a condition of soul Gian Maria Tosatti dealt with by short-circuiting heterogeneous references: Agamben’s “archaeological” approach meets the last Pasolini’s (Petrolio) disenchanted reflections\, Dantesque upward structure\, Teresa de Jesus’s introspective one\, references which are dear to the history of art lend themselves to the lacerations of the present. Elements which are different and far from each other become Tosatti’s subtle expedients for carrying on a bitter reflection that uses republican Italy\, its lack of identity and projectuality\, as an analogy to investigate an “illness of spirit” common to every (wo)man who lets him/her slide down to shallowness\, in an operation which is\, ultimately\, a work on the insane. \nAs in the previous stage\, the location that has been chosen for this second intervention of the series constitutes another wound opened into the body of Naples. Tosatti focused on such a visible building that it has become invisible\, standing out on Dante’s Square. Born in the 17th century as a monastery\, the building hosted the first Italian register office\, instituted in Naples in 1809 and still now\, despite being closed and in a dreadful state of decay\, it preserves much of the documents that have been recording Neapolitans’ identity for more than 200 years. \n  As for Agamben also for Tosatti\, the historical investigation is just the reflection of an absolute interrogation of the present\, and it is exactly by trying to understand the present that the artist finds himself\, almost forced\, interrogating the past. \nIt is in this sense that Tosatti recovers\, in a humanistic tone\, the philosopher’s thought as the only possibility of resolution of an identity depending on his/her own future\, he interprets it like a postulate of the spirit\, surprisingly bringing it closer to the “second mansions” described by St. Teresa D’Avila in her Interior Castle\, starting point of the artist’s surgical investigation into the womb of Naples. \nTosatti re-signifies an empty space\, and by means of an action against nature he brings it back in time as if he would want to apparently take it back to its original function. Actually\, he elects it to symbol of a curve traversing republican Italy and its paralysis in order to define the very nature of the evil inside every human being. \nSo\, the visitor comes across a space of which he is himself the body\, where everything is infinitely familiar\, but where the order has been meticulously programmed\, by means of successions of information of a process that returns a polysemously complex installation\, where every single element contributes to the creation of a progressive unveiling of sense. \nGian Maria Tosatti (Rome\, 16.04.1980 – lives in New York) completed his training in the field of performance at the Center for Theatre Experimentation and Research in Pontedera. In 2005 he returned to Rome to undertake an artistic journey in the area of connection between architecture and visual arts\, mainly creating large site-specific installations.\nHis projects are usually long-term investigations on themes linked to the concept of identity\, both on a political and spiritual level. The first cycles of works he developed were “Devotions” (2005-2011) – ten installations for ten buildings in Rome on the archetypes of the modern era – and “Landscapes” (2006-)\, a public art project in areas of conflict.\nCurrently\, the artist’s research is linked to two new projects\, “Fondamenta” (2011-)\, based on the identification of the archetypes of the contemporary era\, and the “Le considerazioni…”\, a cycle dedicated to the enigmas that reside in personal memory.\nBetween 2013 and 2016\, his research focused on a seven-part work that inhabited the entire city of Naples entitled “Seven Seasons of the Spirit.”\nTosatti is also a journalist. He was editor of the weekly magazine “La Differenza” and has collaborated with many Italian newspapers as a columnist. He is a columnist for Artribune and writes for Opera Viva. He writes essays on art and politics.\nIn 2011 he curated RELOAD\, a prototype of urban cultural intervention on the temporary reuse of unproductive spaces and he is founder of the project “La costruzione di una cosmologia”\, (www.unacosmologia.com).\nHe has also exhibited at the Hessel Museum of CCS BARD (New York – 2014)\, Lower Manhattan Cultural Council (New York – 2011)\, American Academy in Rome (Rome – 2013)\, Museo Villa Croce (Genoa – 2012) Andrew Freedman Home (New York – 2012)\, Tenuta dello Scompiglio (Lucca – 2012)\, Palazzo delle Esposizioni (Rome – 2008)\, Chelsea Art Museum (New York – 2009)\, BJCEM (2014)\, Centrale Montemartini – Musei Capitolini (Rome – 2007)\, Museo Wilfredo Lam (Havana – 2015)\, Casa Testori (Milan – 2014)\, MAAM (Rome – permanent)\, Castel Sant’Elmo (Naples – permanent).\n\n \n \n \n \n \n \n Gian Maria Tosatti\, 2 Estate\, 2014\, ex Anagrafe Comunale in Piazza Dante\, Napoli\, installazione ambientale\, Courtesy dell’artista e Fondazione Morra\, Napoli\n \n \n \n \n \n Installation View\, Sette Stagioni dello Spirito 2_Estate\, Ex Anagrafe Comunale in Piazza Dante\, Napoli\, 2014\, Gian Maria Tosatti Courtesy dell’artista e Fondazione Morra\n \n \n \n \n \n Installation View\, Sette Stagioni dello Spirito 2_Estate\, Ex Anagrafe Comunale in Piazza Dante\, Napoli\, 2014\, Gian Maria Tosatti Courtesy dell’artista e Fondazione Morra\n \n \n \n \n \n Installation View\, Sette Stagioni dello Spirito 2_Estate\, Ex Anagrafe Comunale in Piazza Dante\, Napoli\, 2014\, Gian Maria Tosatti Courtesy dell’artista e Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/gian-maria-tosatti-sette-stagioni-dello-spirito-2_estate/ LOCATION:Ex Anagrafe Comunale\, Piazza Dante\, Napoli\, Italia ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/Gian_Maria_Tosatti_2_Estate_2014_1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20131214T160000 DTEND;TZID=Europe/Rome:20131220T220000 DTSTAMP:20260610T000514 CREATED:20201217T211342Z LAST-MODIFIED:20201217T212741Z UID:4586-1387036800-1387576800@www.fondazionemorra.org SUMMARY:Notte D’Arte - Gruppo 63/50 anni: i poeti leggono i poeti DESCRIPTION:December 14th – December 20th\, 2013\nOPENING DECEMBER 14th h. 4:00 p.m.\nMuseo Hermann Nitsch \nVico Lungo Pontecorvo 29/d\, Napoli \nthe Fondazione Morra presents Gruppo 63/50 anni: i poeti leggono i poeti\, an event dedicated to the sperimental and visual poetry of Gruppo 63. The showing of artists’ film\, curated by Giuseppe Morra and Tommaso Ottonieri\, will follow it. \nIn the 1963 poets\, writers\, reviewers\, academics and musicians and also visual artists met in Palermo\, Sicily\, animated by rejection of cultural world of their historical contest\, moved by desire to experiment new expression forms\, against and distant from common language scheme. The intention of Gruppo 63\, the name of artists’ group\, was to create a new “territory” with new words\, new forms\, new sounds\, to abandon a narrow – minded past\, made by compromises\, egoism\, ignorance and suppression\, and to produce a new idea of world with new energies. \nAll along\, Naples as a capital city protagonist of the artistic avant-garde\, celebrates the anniversary of Gruppo 63 to seal the international manifestations about it\, with this event organized by Fondazione Morra during Notte D’Arte. The event bases his concept on the connection between word and moving picture: some poets that belong to Gruppo 63 (like N. Balestrini) and younger but linked to it will read poetries and some visual artists – filmmakers will use the picture show to impress their broken up visions. It is important to remember that in 1967 in Naples gave birth to the experience of Cooperativa Cinema Indipendente because of Gruppo 63’s innovations. \nThe event will conclude will a debate\, in which speakers will be artists and theorists founders of the movement. In the end Lino Guanciale\, a talented actor\, will act a monologue (1963) written by G. Manganelli\, an unclassifiable author\, member of that unique artistic season. \nPrograms: \n04:00 pm: Showing Film d’artista: a partire dal Gruppo 63\, curated by Paolo Bertetto\, picture shows of G. Baruchello\, A. Grifi\, U. Nespolo\, A. Leonardi\, M. Schifano\, L.M. Patella\, T. De Bernardi. Mario Franco will introduce the showing’s sequence. \n06:15 pm: Introduction-debate on the Gruppo 63 – L’antologia edited by Nanni Balestrini and Alfredo Giuliani. Critica e teoria edited by Renato Barilli and Angelo Guglielmi\, ed. Bompiani\, Il romanzo sperimentale: Palermo 1965/Gruppo 63 edited by Nanni Balestrini\, follow up Col senno di poi edited by Andrea Cortellessa\, ed. L’Orma – Fuori Formato; special insert for the 50 years of Gruppo 63 in Alfabeta2 (November – Dicember). \nParticipants: Nanni Balestrini\, Andrea Cortellessa\, Angelo Gugliemi\, Mario Franco\, Tommaso Ottonieri\, Andrea Viliani. \n07:45 pm: I poeti leggono i poeti. Reading and homage of Mariano Baino\, Bruno Galluccio\, Giovanna Marmo\, Tommaso Ottonieri\, Gilda Policastro\, Gian Paolo Renello\, Federico Sanguineti\, with Nanni Balestrini (texts by N. Balestrini\, C. Costa\, A. Giuliani\, G. Niccolai\, E. Pagliarani\, A. Porta\, A. Rosselli\, E. Sanguineti\, A. Spatola\, P. Vicinelli). \n09:30 pm: Iperipotesi of Giorgio Manganelli: interpreted by Lino Guanciale. \n10:00 pm: Showing Film d’artista: a partire dal gruppo 63: \nGianfranco Baruchello\, Alberto Grifi\, Verifica incerta (1964\, 30’) \nAlfredo Leonardi\, Living and Glorious (1965\, 21’) \nUgo Nespolo\, La galante avventura del cavaliere dal lieto volto (1966-67\, 9’) \nUgo Nespolo\, Buongiorno Michelangelo (1969\, 11’) \nMario Schifano\, Reflex (1964\, 8’) \nMario Schifano\, Vietnam (1967\, 3’) \nAlberto Grifi\, Dodici ore No stop (1967\, extract 15’) \nLuca Maria Patella\, Terra animata (1967\, 7’) \nTonino De Bernardi\, A Patrizia: l’irrealtà ideale\, l’oggetto d’amore (1970\, extract 12’) \nThe Show will continue with the following integration: Baruchello\, Tre lettere a Raymond Roussel (1969\, 28’)\, L.M. Patella\, SKPM2 (1968\, 23’)\, Vedo\, Vado! (1969\, 15’)\, T. De Bernardi\, Il mostro verde (1967\, 28’) and the entire projection of A Patrizia (1970\, 59’) URL:https://www.fondazionemorra.org/en/evento/notte-darte-gruppo-63-50-anni-i-poeti-leggono-i-poeti/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/12/i__id220_crop3_2c_t1386696733__1x.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20130926T110000 DTEND;TZID=Europe/Rome:20131130T183000 DTSTAMP:20260610T000514 CREATED:20201122T183035Z LAST-MODIFIED:20201217T221314Z UID:4590-1380193200-1385836200@www.fondazionemorra.org SUMMARY:Gian Maria Tosatti - Sette Stagioni dello Spirito 1_La Peste DESCRIPTION:September 26th – November 30th\, 2013\nOPENING SEPTEMBER 26th h. 11:00 a.m.\nChiesa dei SS. Cosma e Damiano\nLargo Banchi Nuovi\, Napoli \nCurated by Eugenio Viola \nSince the beginning of September\, in Naples\, it is visible the first intervention of Gian Maria Tosatti’s project Seven Seasons of the Spirit. The whole series of works is thought for showing itself into the urban space almost secretly\, under the skin. As wanted by the artist\, the first stage of this path\, 1_The plague\, will be officially presented on September 26th\, the day dedicated to Saints Cosmas and Damian\, only after it has already run across the body of the city. A day that has not been chosen by chance\, because the epicentre of this first stage of the project is precisely located in Saints Cosmas and Damian Church\, in the old town centre of Naples. \nBuilt in 1616 at Largo dei Banchi Nuovi\, in the place where it was the lodge of merchants\, the building was converted\, then\, into a House of God and it was enlarged by Luigi Giura. The facade uses the preexisting structure\, still visible in the sixteenth-century curved arches. Two workshops open in the lateral wall plugs\, now occupied by commercial activities\, while the monumental piperno portal\, surmounted by a big polylobed window in plaster stands out in the central one. In the past\, Celano assures\, a painting by Donzelli and another one by the school of Luca Giordano were in the interior. The building\, closed since the Second World War\, has been re-opened in order to host Tosatti’s installation\, which characterizes itself as a work with an extremely mimetic profile in respect to the identity of the place and to its context. \nTosatti’s site-specific intervention is aimed at giving a further and specific reading of the identity of this building\, once dedicated to religious cult\, and at connecting it to the broader discourse about the city of Naples\, articulated by the artist through its project. The single elements the artist arranged in the church subtly allude to the history of the place\, they contribute to the creation of a visual palimpsest\, an “archive of memory” hanging between the imaginary and the symbolic\, weaving in the vertigo between the original shape and function of the space and its re-functionalisation made by the artist. Tosatti’s intervention yearns for the environmental dimension and that is the reason why it expands also to the neighborhood area\, where the church insists\, and to the ancient square. A wax casting inhabits the metal plates protecting the portal of the church\, as an element of extreme fragility exposed to the ferocity of a hard neighborhood\, while the number “1”\, standing out on it\, titles this first work and\, at the same time\, forecasts the entrance into an ‘other’ dimension. The elements that has been chosen or used for the realisation of the work allude to the precariousness of the space\, which is\, in turn\, the analogy of a deep crisis of consciousness invading the present. One perceives a general sense of instability that passes from the place to the visitor approaching it\, in a personal and solitary relationship aimed at revealing the empathic experience of the work.\nThe very reference to the plague\, intended as a season of the spirit\, as the evil of soul which cyclically comes back in History in order to kill whole generations’ consciousnesses\, becomes a mere hypertext. In that sense\, the link to The Plague by Camus is evident. In effect\, it makes no reference to the history of the church\, rather it alludes to a psychological and emotional condition of human being\, despite the fact that patristics Vicariato della Cultura teaches us that Cosmas and Damian were doctors\, and that certain traditions entrusted them with miraculous qualities.\nThe action of the artist is charged with further values\, connected to the creation of a new social identity for this place\, for the environmental impact and for the historical and human events to which it is inseparably associated. The very place becomes the analogy of that space designed by Saint Teresa of Ávila in the first “mansions” of her Interior Castle\, where the human being lives at the margin of self-awareness. It is from here\, from these separations of the spirit\, that an upward path towards the human heights can start. It is just from here that Tosatti can move the first steps of his path\, in tension between social and spiritual reflection.\nIn front of such a crumbling monument\, symbol of urban decay and human marginalization\, the necessity of a historical testimony to preserve emerges through Tosatti’s work\, and at the same time as a tool for raising awareness for the relaunch and the revitalization of the old town centre. In that sense\, the work of the artist is charged with social values\, and it exhorts to propose a new projectuality. Ultimately\, the work aims at making the space active and at creating a dialogue through the place and the lived experience of those who pass through it. \nGian Maria Tosatti (Rome\, 16.04.1980 – lives in New York) completed his training in the field of performance at the Center for Theatre Experimentation and Research in Pontedera. In 2005 he returned to Rome to undertake an artistic journey in the area of connection between architecture and visual arts\, mainly creating large site-specific installations.\nHis projects are usually long-term investigations on themes linked to the concept of identity\, both on a political and spiritual level. The first cycles of works he developed were “Devotions” (2005-2011) – ten installations for ten buildings in Rome on the archetypes of the modern era – and “Landscapes” (2006-)\, a public art project in areas of conflict.\nCurrently\, the artist’s research is linked to two new projects\, “Fondamenta” (2011-)\, based on the identification of the archetypes of the contemporary era\, and the “Le considerazioni…”\, a cycle dedicated to the enigmas that reside in personal memory.\nBetween 2013 and 2016\, his research focused on a seven-part work that inhabited the entire city of Naples entitled “Seven Seasons of the Spirit.”\nTosatti is also a journalist. He was editor of the weekly magazine “La Differenza” and has collaborated with many Italian newspapers as a columnist. He is a columnist for Artribune and writes for Opera Viva. He writes essays on art and politics.\nIn 2011 he curated RELOAD\, a prototype of urban cultural intervention on the temporary reuse of unproductive spaces and he is founder of the project “La costruzione di una cosmologia”\, (www.unacosmologia.com).\nHe has also exhibited at the Hessel Museum of CCS BARD (New York – 2014)\, Lower Manhattan Cultural Council (New York – 2011)\, American Academy in Rome (Rome – 2013)\, Museo Villa Croce (Genoa – 2012) Andrew Freedman Home (New York – 2012)\, Tenuta dello Scompiglio (Lucca – 2012)\, Palazzo delle Esposizioni (Rome – 2008)\, Chelsea Art Museum (New York – 2009)\, BJCEM (2014)\, Centrale Montemartini – Musei Capitolini (Rome – 2007)\, Museo Wilfredo Lam (Havana – 2015)\, Casa Testori (Milan – 2014)\, MAAM (Rome – permanent)\, Castel Sant’Elmo (Naples – permanent).\n\n \n \n \n \n \n \n Gian Maria Tosatti\, 1 La peste\, 2013\, Chiesa dei SS. Cosma e Damiano\, Napoli\, installazione ambientale\, Courtesy dell’artista e Fondazione Morra\, Napoli\n \n \n \n \n \n Installation View\, Sette Stagioni dello Spirito 1_La Peste\, Chiesa dei SS. Cosma e Damiano\, Napoli\,2013 Gian Maria Tosatti Courtesy dell’artista e Fondazione Morra\, Napoli\n \n \n \n \n \n Installation View\, Sette Stagioni dello Spirito 1_La Peste\, Chiesa dei SS. Cosma e Damiano\, Napoli\,2013 Gian Maria Tosatti Courtesy dell’artista e Fondazione Morra\, Napoli\n \n \n \n \n \n Installation View\, Sette Stagioni dello Spirito 1_La Peste\, Chiesa dei SS. Cosma e Damiano\, Napoli\,2013 Gian Maria Tosatti Courtesy dell’artista e Fondazione Morra\, Napoli\n \n \n \n \n \n Installation View\, Sette Stagioni dello Spirito 1_La Peste\, Chiesa dei SS. Cosma e Damiano\, Napoli\,2013 Gian Maria Tosatti Courtesy dell’artista e Fondazione Morra\, Napoli URL:https://www.fondazionemorra.org/en/evento/gian-maria-tosatti-sette-stagioni-dello-spirito-1_la-peste/ LOCATION:Chiesa dei SS. Cosma e Damiano\, Largo Banchi Nuovi\, Napoli\, Italia ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/Gian_Maria_Tosatti_La_Peste_2013_1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20130627T210000 DTEND;TZID=Europe/Rome:20130629T210000 DTSTAMP:20260610T000514 CREATED:20201217T222444Z LAST-MODIFIED:20201217T223047Z UID:4623-1372366800-1372539600@www.fondazionemorra.org SUMMARY:INDEPENDENT FILM SHOW 13th Edition DESCRIPTION:June 27th – June 29th\, 2013\nSTARTING PROJECTIONS JUNE 27th h. 9:00 p.m.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nINDEPENDENT FILM SHOW 13th edition\, an international show dedicated to experimental cinema\, anticipates the annual event on Thursday 27\, Friday 28 and Saturday 29 June\, planning the three programs and the two expanded cinema performances on the Museo Nitsch’s belvedere. \nThe Independent Film Show focuses on the multiple processes that film/video-makers create to give structure to the intense relationships that exist between the devices used for projection and the interpretative participation of the audience. Past editions have often highlighted the special capabilities of experimental cinema\, which does not impose a standardised view\, but requires the spectator to watch with conscious application\, in order to appreciate the intricate formal representations\, the complex social codes\, and extensive cognitive aspirations that extend beyond the screen. The immersive possibility of establishing direct contact with independent cinematic philosophies and highlighting the alternatives and innovations that subvert the logic of the standard production is the key to the approach required to access these complex visual patterns. The interference of the lights of the milieu\, the position of the projectors\, the reflective quality of the screen\, the line of vision and its position within the field of vision contribute to the creation of the film\, and it is at the moment that the viewer becomes aware of the solidity of the photons\, which impress upon his gaze and envelop the body\, that the cognitive process able to form complex mental structures is activated. \nTo Lacrimosa by Inal Sherip goes the frères Lumière award for the defense of European traditions through the filmic arts. This award is conferred by the European Academy of Arts\, an organization involved in the promotion of artists living in Belgium\, thus highlighting the fundamental role of the Independent Film Show as an active platform for presentation and discussion with the protagonists of today’s experimental cinema. \nThe Keyboard and the Co-op is a programme on sound\, with the music and film selected by Guy Sherwin. Many of these films were shot at the London Film-Makers’ Cooperative\, founded in 1966 on the lines of the New York Co-op (1962) by Jonas Mekas\, including a laboratory for the development and production of film (built by Le Grice). The ability to print their own films\, together with the possibility of seeing the results immediately\, favoured the creation of several films. The double projection of the film Love Story 2 (1971) in 16mm\, by Malcolm Le Grice\, one of the founders of the cooperative and teacher at that time of William Raban\, Gill Eatherley and Annabel Nicolson\, equates the wavelengths of light with those of sound in a complex temporal dimension. Matchbox\, by Wojciech Bruszewski (1975) has a simple\, but profoundly musical structure that recalls the first works of Steve Reich\, and consists of two short shots artfully mounted to create a subtle drifting in time. The physical property of light\, subject to meaningful transformation\, acquires a substantial concreteness in the performance\, on an abandoned piano outside the LFMC\, Annabel Nicolson\, documented in Piano Film (1976). In the film A Piece for Sunlight\, Piano and 45 Fingers (1979) by Jenny Okun\, the sunlight that falls on the piano determines which notes are played. The three films by Guy Sherwin\, Night Train that converts the lights of a landscape into sounds\, Notes\, that uses the camera as a kind of plectrum making the strings of an open piano vibrate\, and Da Capo…\, that juxtaposes two sets of variations – a replicated train journey and different interpretations of a Bach prelude on the piano – show the intensity of the relationship between image and sound in live footage. The other two films in the programme\, Stretto\, by Barbara Meter\, and Stationary Music by Jayne Parker\, both of 2005\, play respectively with the music of John Cage and Stefan Wolpe.\nThe second programme\, Light\, Colour\, Action! edited by Lynn Loo is a celebration of colour wholly in 16mm film\, this art is characterised by the shooting techniques\, darkroom work\, manipulation of material\, and attention to the projective event conceived by the film-makers to show that there is still much to discover in the area of film material. Deep Red (2012)\, by Esther Urslus is an investigation of cumulative colour\, made by hand and using a technique of DIY screen-printing mixed on film. Trama (1980)\, by Christian Lebrat\, uses various stripes of colour that dance with alternating broad and close movements to the sound of traditional music from Burundi\, completely different from the movie but not contradictory. The film Colour Separation (1974 – 1976)\, by Chris Welsby\, is based on the process of the separation of colours\, and resembles a moving impressionist painting in which time has a role in the construction of the image. The two films Bouquets 26-27 (2003) and Voileiers et Coquelicots (2001) by Rose Lowder mix plants\, animals and the manual activities of the places shot\, illustrating how it takes very little to show the world in a different way. The double projection of Autumn Fog (2011) by Lynn Loo captures the variations in the autumn colours in her London garden and exposes the film to various light sources causing gaseous fluctuations in the colours. Still Life (1976) by Jenny Okun reflects on the mutability of colour and the intangibleness of photographic truth\, challenging the impossibility of transforming an image from negative to positive colour in the same film. Hand Grenade (1971) by Gill Eatherley is the result of a laborious but traditional film-making process in which each frame was exposed for several minutes with the shutter of the camera open while Eatherley draws several objects in space\, including his own body\, using a single torch at low voltage. Island Fuse (1971) by Arthur and Corinne Cantrills focuses on the interaction of projective elements\, the camera and its various mechanisms\, filters\, projector\, and film.\nThe performance Live Cinema Program by Guy Sherwin and Lynn Loo focuses on film as matter and projection as a process; mechanical irregularities and unwanted glow intersect with the sounds produced by light using microphones that capture the oscillations in the projection beam and the optical sounds generated by graphic images or real footage. Up to six 16mm projectors are used as musical instruments\, leaving ample scope for improvisation and communication between the performers\, and the two films Vowels & Consonants and Bay Bridge from Embarcadero include the participation of the musician Mario Gabola in a feed-back of vibrations and reverberations which bounce back in a new form.\nThe third programme\, Chute\, Gravité\, Cosmos! Selected by Emmanuel Lefrant addresses the problem of gravity\, the attractive energy between bodies which regulates falling\, balance\, and the cosmos\, harnessing man to the weight of things; only art can inject an existential breath to lighten these forces of attraction. Dog Star Man: Part II (1963)\, by Stan Brakhage\, is about the ability to see as a child\, looking with an untutored eye\, with a simpler\, less cultured and more sensitive perception. Terminal City (1982) by Chris Gallagher shows the demolition of the Devonshire Hotel in slow motion as it disappears in a thick cloud of dust absorbed by an invisible force. On the Logic of Dubious Historical Accounts 1969-1972 (2008) by Peter Miller and Alexander Stewart consists of documentation from the twelve Hasselblad cameras dropped by astronauts on the lunar surface so as to reduce weight for the return to Earth. Solar Sight (2011) is the transcendental vision of an alchemic journey on the role of man in the cosmos\, created by Larry Jordan through the animation of real images accompanied by the resounding music of John Davis. Stan VanDerBeek\, pioneer of the expanded cinema and computer graphics in the film Poemfield # 5: Free Fall (1971) mixes found footage images of paratroopers with the text of the poem Free Fall\, making use of the capabilities of the first computers and the optical printer. The three films All Over (2001) by Emmanuel Lefrant\, Cosmos Spiritus / Nûr Version 1 (2005) by Olivier Fouchard\, and Remains to be seen (1989 – ’94) by Phil Solomon are made by painting on the film itself and alternating images with unexpected mounting techniques\, also here demonstrating that only art can elevate the soul of human beings beyond their material condition.\nFor the first time in Italy\, (like many of the films and videos in the programme)\, Juke Film Boxing by Gaëlle Rouard\, film-maker alchemist specialising in the precipitation of silver on film\, shows her films manipulating the two 16mm projectors live. Gaëlle Rouard acts directly on the projection of the film\, slowing down the flow of the film and bringing the shutter into play\, using the sound button and numerous other things which are not seen in performance. These minute actions suggest that the work is as precise as that of a musician who knows how to place a given note at a given time: here it is the particular image of the projector illuminated at a particular time\, that creates the effect of a visual score that must have been rehearsed many times and is a source of admiration for so much hard work. The speed of ‘touch’ causes reflections and it models\, by intrigue\, the infinitude of minute perceptions in combinations that are always unstable. The film proceeds following the irregularities and the dissonances of forces and lights; the image works amid illumination and disappearance\, and in switching on the light\, the graininess of the image assumes a marked significance\, so that the lines of a face and those of a cloud have never been so close in nature. Manipulation rather than editing\, double projection rather than superimposition reveal a poetics of gesture on a material as uncertain and fragile as film. \nPROGRAM \nThursday\, June 27 21:00 Lacrimosa di Inal Sherip – Premio les frères Lumière assegnato da European Academy of Arts \nThursday\, June 27 21:30 The Keyboard and the Co-op selezionati da Guy Sherwin \nFriday\, June 28 21:00 Light\, Colour\, Action! selezionati da Lynn Loo \nFriday\, June 28 23:00 Live Cinema program di Guy Sherwin & Lynn Loo \nSaturday\, June 29 21:00 Chute\, Gravité\, Cosmos! selezionati da Emmanuel Lefrant \nSaturday\, June 29 23:00 Juke Film Boxe di Gaëlle Rouard \n\n \n \n \n \n \n \n INDEPENDENT FILM SHOW 13th Edition\, Museo Hermann Nitsch\, Napoli 2013Courtesy Fondazione Morra\n \n \n \n \n \n INDEPENDENT FILM SHOW 13th Edition\, Museo Hermann Nitsch\, Napoli 2013Courtesy Fondazione Morra\n \n \n \n \n \n INDEPENDENT FILM SHOW 13th Edition\, Museo Hermann Nitsch\, Napoli 2013Courtesy Fondazione Morra\n \n \n \n \n \n INDEPENDENT FILM SHOW 13th Edition\, Museo Hermann Nitsch\, Napoli 2013Courtesy Fondazione Morra\n \n \n \n \n \n INDEPENDENT FILM SHOW 13th Edition\, Museo Hermann Nitsch\, Napoli 2013Courtesy Fondazione Morra\n \n \n \n \n \n INDEPENDENT FILM SHOW 13th Edition\, Museo Hermann Nitsch\, Napoli 2013Courtesy Fondazione Morra\n \n \n \n \n \n INDEPENDENT FILM SHOW 13th Edition\, Museo Hermann Nitsch\, Napoli 2013Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/independent-film-show-13th-edition/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/12/indep-2013_2nd-day.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20130322T190000 DTEND;TZID=Europe/Rome:20130430T190000 DTSTAMP:20260610T000514 CREATED:20201217T233737Z LAST-MODIFIED:20201217T234426Z UID:4684-1363978800-1367348400@www.fondazionemorra.org SUMMARY:Carlos Martiel - Punto di Fuga DESCRIPTION:March 22nd – April 30th\, 2013 \nOPENING h. 7:00 p.m.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nThe Nitsch Museum of Naples will inaugurate Vanishing Point\, the performance and the first European solo show of the Cuban artist Carlos Martiel\, curated by Eugenio Viola. \nThe “vanishing point” and the perspective elaboration thus implied are the expression of the will to give the world a geometrical order produced by a western episteme aiming to rationalize it through logic mathematics terms. They both belong to a doctrine based on the anthropocentric concept of man as measure of the world\, thus represented by Leonardo da Vinci in the Homo Vitruvianus that becomes the extreme visualization of the Neoplatonic correspondence between macrocosm and microcosm. \nStarting from these considerations and dealing with a topical theme of western culture and history of art\, Carlos Martiel reverses the iconic outcome of the given image by using his body\, he shows the deviation from the model\, from the platonic essence aiming at the original pureness as well as the classic eidos in order to restore a version which is controversially multicultural and hybrid. \nThe artist’s body turns into a landscape to be crossed and covered\, his skin becomes a painting to be personalized and comprehended\, his appendixes are branches with specific signs of belonging just hanging on them: the meeting place for several different codes. Action is an effort of junction which is translated into a geometrical-performative tension\, into grief and nearly mantric ecstasy of a body declined into its unshakable alterity. \nIn Carlos Martiel’s work\, the context of belonging and the awareness of his own body are always shown as being the mutable outcome of complex processes of attribution. The street and the public place are his favourite field for acting and operating since they are granted by continuous ways of repossession. \nThe Cuban artist is focused on specific episodes aiming to intensify the perception of social inequalities by driving the public to adopt an ideological position which comprises signs of a determined situation and precise context. \nAs it often happens in the magmatic continent of South America\, Martiel’s actions are bound to a strong expressive vividness\, they assume denouncing overtones and a taste of rebellion\, they recall unpleasant situations which are worrying signs of the deep existential discomforts fought by contemporary society. \nHis harsh and dramatic works are characterized by a disturbing beauty and a nearly cathartic strength which drive them beyond the contextual or sociological remark. His works\, originated from a specific geopolitical localization\, proceed inductively from the particular to the general since they refer\, against our will\, to global problems. \nEugenio Viola \nThanks to Ana Pedroso\, contemporaneacubaproject\, Philipp Dür\, SaBuLee \nCarlos Martiel (La Habana\, Cuba\, 1989)\, lives and works between Buenos Aires and La Habana where he attended the academic chair of “Arte de Conducta” of Tania Bruguera (2008-09). He made several performances and took part in many exhibitions in Latin America like at Centro de Arte Contemporáneo Wifredo Lam (La Habana\, Cuba\, 2012); Haus Der Kunst (Vallarta\, Mexico\, 2012); Espacio Quina (Belo Horizonte\, Brasil\, 2012); Museo d’Arte Moderno dì Buenos Aires (MAMbA\, Argentina\, 2012); Centro de Arte Contemporáneo de Quito (CAC\,Ecuador\, 2012). He also attended the XI Bienal de la Habana (2012)\, the 135.aktion by Hermann Nitsch (I.S.A.\, La Habana\, 2012)\, VI Liverpool Biennial (2010) and XXXI Biennial of Pontevedra (Galizia\, 2010).\n\n \n \n \n \n \n \n Performance Punto di Fuga\, Museo Hermann Nitsch\, Napoli 2013 Carlos Martiel \n \n \n \n \n \n Performance Punto di Fuga\, Museo Hermann Nitsch\, Napoli 2013 Carlos Martiel © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Performance Punto di Fuga\, Museo Hermann Nitsch\, Napoli 2013 Carlos Martiel © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Performance Punto di Fuga\, Museo Hermann Nitsch\, Napoli 2013 Carlos Martiel © photo Amedeo Benestante Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/carlos-martiel-punto-di-fuga/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/12/carlos-martiel-punto-di-fuga.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20121108T210000 DTEND;TZID=Europe/Rome:20121111T193000 DTSTAMP:20260610T000514 CREATED:20210223T145849Z LAST-MODIFIED:20210223T151717Z UID:5088-1352408400-1352662200@www.fondazionemorra.org SUMMARY:INDEPENDENT FILM SHOW 12th Edition DESCRIPTION:November 8th – November 11th 2012\nSTART 21:00 p.m.\nFondazione Morra – Palazzo Ruffo di Bagnara\nPiazza Dante 89\, Napoli \non Thursday November 8th novembre 7:30 p.m.\nWhite film by Inal Sherip – les frères Lumière prize assigned by European Academy of Arts\nMatthias Müller & Christoph Girardet curated by Matthias Müller \non Friday November 9th 7:30 p.m.\nLe premier cercle de Light Cone curated by Emmanuel Lefrant\nEx-Machina expanded cinema performance by Les Nominoë \non Saturday November 10th 7:30 p.m.\nCollection Vivante curated by Emmanuel Lefrant\nZoo[trope] expanded cinema performance di Les Nominoë \non Sunday November 11th 7:30 p.m.\nCinema Inside Out curated by Karel Doing\nDarkloupe audiovisual performance by Karel Doing and Michal Osowski \nThe inexhaustible passion for film frames and the compositional processes of these minute particles in significant structures unites artists\, film/video-makers and musicians\, represented in the Independent Film Show 12th edition involved in the materialization of visionary and poetic interactive sensory experiences to suggest and amplify new and unexpected relations. \nThe first program reveals the incredible creative potential achieved through the selective collecting of images and the brilliant assembly of these immobile and ethereal fragments in imaginative and introspective pathways into the macro cosmos. The films Alpsee (1994) and Phantom (2001)\, realized by Matthias Müller experimenting with various analogue techniques of filming and composition\, illustrate through his distinctive visual vocabulary the transition into childhood\, the tensions and moments of calm addressed\, and painful educational development. Together with Christoph Girardet\, chapters # 4 Why Don’t You Love Me? and # 5 Bedroom of Phoenix Tapes (1999) and the films Locomotive (2008) and Meteor (2011) explore a wide variety of cinematic representations in search of established codes and surprising digressions\, reinforcing their creative energy\, vitality and emotion. \nLight Cone is a non-profit organisation founded by Yann Beauvais and Miles McKane in Paris in 1982 with the intent to promote\, distribute and preserve experimental cinema. The Light Cone collection contains about 3.500 works in Super-8mm\, 35mm and especially 16mm film\, representing both expanded cinema and analogue and digital video\, distributed as far as possible in their original format. To celebrate their thirtieth anniversary\, the film-maker Emmanuel Lefrant\, director in charge of Light Cone\, presents two programs of films and videos selected from Scratch Projection sessions\, an event dedicated to annual acquisitions. \nThe program Le premier Cercle contains films made between 1969 and 1989\, some conceived in double projection such as RR by Yann Beauvais\, I-CONIC by Jennifer Burford\, Almost as Good as Christmas by Christina Kennedy and Threshold by Malcolm Le Grice. Each film and video requires careful perceptual attention to elaborate the bold sequences subject to studied variations of time\, space and movement. The ability to represent a diversified reality\, usually invisible at a formal glance\, is one of the aims of these film/video-makers\, who are constantly seeking new relationships and alternative emotional sensibilities.The third program Collection Vivante focuses on contemporary creations of the last ten years\, in particular those films and videos which\, through research and extreme solutions\, cross the current limits of the methodologies applied to moving images. These visual poems exhibit an uncontaminated nature interwoven with strong\, and still untamed\, emotions (Ben Russell films Suriname\, Martha Colburn and Peter Beyer-Conrad the Mexico\, Emmanuel Lefrant the Africa\, Frédérique Devaux the Algeria and Daichi Saito the forests of Canada)\, while others reflect on the physical capabilities of film apparatus that records the movements of the world and humanity. Examples are Christopher Becks who looks at the different viewing angles of an object in space\, and Anja Czioska\, who observes the movements of the body in relation to the speed at which the camera captures the image. Yves-Marie Mahé examines the sound tension of alarms\, the italians Flatform look at atmospheric changes compared to the music of Ravel\, and SJ. Ramir and Félix Dufour-Laperrière look at the transition from figurative to abstract. \nTwo expanded cinema performances by Les Nominoë (the four film-makers Nicolas Berthelot\, Alexis Constantin\, Emmanuel Lefrant and Stéphane Courcy di Rosa and the musician Mathieu Touren) amplify the participatory experience of the observers\, immersed within the film material and concrete sound effects. Since 2000 Les Nominoë have investigated the interactions between film and live sounds through joint actions of multiple projection and the modification of environmental and electronic or acoustic signals. Ex-Machina (created in December 2011 with seven 16mm projectors) revives the first experiences of Light-Shows and focuses on light projections of the various devices and the sounds of mechanical gears amplified and distorted to create a fluid environment. Zoo [trope] (conceived in March 2011 with five 16mm projectors) uses found footage images of animals and sound effects produced live – a wild party to momentarily experience the world prior to domestication. \nThe fourth program Cinema Inside Out is curated by Karel Doing\, film-maker and co-founder of Studio één\, a workshop dedicated to the production of experimental cinema. Karel Doing’s film poems come together in a rhythmically layered amalgam of ordinary images of reality\, fragments of personal documentary\, found footage and visual music\, as well as site-specific installation projects and expanded cinema performances in collaboration with film-maker friends\, performers\, dancers and musicians (he did the performance Four Eyes for the Independent Film Show 6th edition with Pierre Bastien). The Cinema Inside Out program focuses on the relationship between cinema or the art of the imagination and architecture or the art of the real\, interrelated by music as a vehicle of communication between the two\, and examines imaginary metropolises like New Babylon in the docu-video by Maartje Seyferth & Victor Nieuwenhuys\, and the futuristic city of László Moholy-Nagy in 1936 rebuilt and filmed by Graham Ellard & Stephen Johnstone; a metal stair converted into rhythmic sounds by Guy Sherwin\, the imaginary space drawn from the animation of b/w photographs hand painted by Karin Wiertz & Jacques Verbeek\, the fluid movement of space and time in the structural film by Andras Hamelberg\, and the real cities such as the Paris of 1923 – ‘25 in the film by Henri Chomette\, and New York Grand Central Station by Jeff Scher. \nKarel Doing has built a number of ‘optical toys’ to create a hypnotic environment in which he plunges the viewer\, and Michal Osowski has developed an audio feedback control system software which works by moving microphones in front of the loudspeakers. This interactive creation uses a simple technology\, like audio-visual feedback\, to expand in a dynamic and pulsating architecture seemingly insignificant objects\, and through projections and sounds evoke a fragile and complex world. DARKLOUPE is an installation-performance in continuous evolution\, inspired by the ideas of Constant Nieuwenhuys\, creator of the utopian city New Babylon\, where human beings are free from physical work and can concentrate on play and creation (homo ludens). Between the two artists and their observers\, a multifaceted combinatorial game of sound and image takes place\, created live and not pre-made\, which refracts myriads of sound and light waves in the performance space. \nFurthermore\, the award of the les Frères Lumière Prize to video-maker Inal Sherip\, a prize set up by the European Academy of Arts\, an organization involved in the promotion of artists resident in Belgium\, highlights the fundamental role of the Independent Film Show as a platform active in the presentation and discussion with the authors of today’s experimental cinema. \nThese experimental films and videos belong to border lands\, outside the established orbits. The interest of each independent film/video-maker is dedicated to those phenomena which have not yet found its ultimate expression\, those unstable states that cannot be classified\, and that is why it is so complicate to present them\, to find the appropriate terms to define them. \n  \n  URL:https://www.fondazionemorra.org/en/evento/independent-film-show-12th-edition/ LOCATION:Palazzo Ruffo di Bagnara\, Piazza Dante 89\, Napoli\, NA\, 80135\, Italia ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/02/Independent-Film-Show-fronte-e1614093507162.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20120622 DTEND;VALUE=DATE:20120623 DTSTAMP:20260610T000514 CREATED:20210223T133929Z LAST-MODIFIED:20210223T141630Z UID:5058-1340323200-1340409599@www.fondazionemorra.org SUMMARY:Doris von Drathen. Dal silenzio etico di John Cage al punto zero della gravitazione nell'arte attuale DESCRIPTION:22 giugno 2012\nSTART 6:00 P.M.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nIntroduce Giuseppe Morra \nIn occasione del centenario della nascita di John Cage il Museo Nitsch\, in collaborazione con Fondazione Morra e Fondazione Alario per Elea-Velia\, ospiterà una riflessione della storica dell’arte e critica d’arte indipendente Doris von Drathen. \nA proposito dell’incontro è la stessa autrice a dichiarare:\n“Il punto zero di silenzio che non vuol dire assenza di rumore\, ma piuttosto l’essere in ascolto dell’altro\, del mondo che ci circonda\, questa categoria mi sembra avere una corrispondenza spaziale: il punto zero spaziale\, il punto della nostra gravitazione\, quel punto altamente individuale e universale al tempo stesso\, definisce anch’esso una posizione etica. Nel senso che\, nel momento in cui sono consapevole di questo punto\, posso aprire la percezione della mia esistenza nello spazio\, posso rendermi conto della mia responsabilità nell’occupare quella posizione\, posso rendermi conto del mio ruolo di essere un essere umano che parla e agisce in modo indipendente\, in modo autonomo.\nNella mia conferenza si tenterà di dare testimonianza\, sempre partendo da Cage e le sue idee\, di una nuova coscienza nell’arte contemporanea: mi pare che da qualche anno\, fare scultura\, fare pittura\, voglia dire sentirsi iscritti nella libertà di un contesto cosmico\, di un’autonomia che parte da un essere nello spazio assoluto. Questi artisti non sono numerosi\, ma forse sono i migliori del nostro tempo\, qualcuno conosciuti come Richard Serra\, Beuys\, Rebecca Horn\, Anthony Mc Call\, Pat Steir\, Max Neuhaus; altri meno come Paul Wallach o Fabienne Verdier. Tutti però vivono le forze telluriche come un’energia suprema\, quella del silenzio interiore in dialogo con l’altro.” \nDoris von Drathen is an independent art historian and art critic\, born in Hamburg and based in Paris since 1990. After studying Roman literature and art history in Paris\, Zaragoza\, Florence and Hamburg\, she worked for ten years as an art critic in radio and television and contributed to Artforum as a correspondent. Since the mid – 1980s she has regularly published monographic essays in Kunstorum International\, Künstel Kritisches Lexikon der Gegenwartskunst (Critical Encyclopaedia of Contemporary Art\, Munich) and internationally in catalogues on major contemporary artists.Her specialisation is a monographic approach to art that goes beyond current aesthetic categories\, introducing the notion of “the other” into the analysis of an art object and developing an “ethical iconology”\, as she terms her method. She has held visiting positions at the Ecole nationale supérieure des beaux – arts in Paris\, at the Kunsthochschule in Berlin\, at the Rijksakademie van beeldende Kunsten in Amsterdam\, at the Academy of Lisbon and the Universities of Cádiz and Sevilla. \nTra le sue molteplici pubblicazioni nel testo “VORTICE DEL SILENZIO\, Proposta per una critica d’arte al di là delle categorie estetiche” l’autrice intraprende una lettura di 24 artisti contemporanei in modo da illustrare l’inadeguatezza delle attuali categorie estetiche pur introducendo e sviluppando una più completa “iconologia etica” attraverso la quale osserva il discorso dell’opera d’arte.\nDoris von Drathen desidera liberarsi della tirannia delle restrizioni estetiche che abbiamo usato per descrivere l’arte\, e vuole piuttosto fare delle opere d’arte un evento in cui l’incontro tra l’arte e lo spettatore diventa un discorso etico che informa e si impegna.\nLa sua selezione è molto utile a tale scopo\, ma è anche un gesto completamente postmoderno\, dove l’incontro con l’altro diventa il dominio dell’etica\, facendo dell’arte stessa un’esperienza innegabilmente etica. URL:https://www.fondazionemorra.org/en/evento/doris-von-drathen-dal-silenzio-etico-di-john-cage-al-punto-zero-della-gravitazione-nellarte-attuale/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/02/dal-silenzio-di-cage-02.jpg END:VEVENT END:VCALENDAR