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:19970330T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:19971026T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:19980329T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:19981025T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:19990328T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:19991031T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20000326T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20001029T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20010325T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20011028T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20020331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20021027T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20030330T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20031026T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20040328T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20041031T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20050327T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20051030T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20060326T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20061029T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20070325T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20071028T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20080330T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20081026T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20090329T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20091025T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20100328T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20101031T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20110327T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20111030T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20120325T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20121028T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20130331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20131027T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20140330T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20141026T010000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20131214T160000 DTEND;TZID=Europe/Rome:20131220T220000 DTSTAMP:20260610T021744 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:20260610T021744 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:20260610T021744 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:20260610T021744 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:20260610T021744 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:20260610T021744 CREATED:20210223T133929Z LAST-MODIFIED:20210223T141630Z UID:5058-1340323200-1340409599@www.fondazionemorra.org SUMMARY:Doris von Drathen. Dal silenzio etico di John Cage al punto zero della gravitazione nell'arte attuale DESCRIPTION:22 giugno 2012\nSTART 6:00 P.M.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nIntroduce Giuseppe Morra \nIn occasione del centenario della nascita di John Cage il Museo Nitsch\, in collaborazione con Fondazione Morra e Fondazione Alario per Elea-Velia\, ospiterà una riflessione della storica dell’arte e critica d’arte indipendente Doris von Drathen. \nA proposito dell’incontro è la stessa autrice a dichiarare:\n“Il punto zero di silenzio che non vuol dire assenza di rumore\, ma piuttosto l’essere in ascolto dell’altro\, del mondo che ci circonda\, questa categoria mi sembra avere una corrispondenza spaziale: il punto zero spaziale\, il punto della nostra gravitazione\, quel punto altamente individuale e universale al tempo stesso\, definisce anch’esso una posizione etica. Nel senso che\, nel momento in cui sono consapevole di questo punto\, posso aprire la percezione della mia esistenza nello spazio\, posso rendermi conto della mia responsabilità nell’occupare quella posizione\, posso rendermi conto del mio ruolo di essere un essere umano che parla e agisce in modo indipendente\, in modo autonomo.\nNella mia conferenza si tenterà di dare testimonianza\, sempre partendo da Cage e le sue idee\, di una nuova coscienza nell’arte contemporanea: mi pare che da qualche anno\, fare scultura\, fare pittura\, voglia dire sentirsi iscritti nella libertà di un contesto cosmico\, di un’autonomia che parte da un essere nello spazio assoluto. Questi artisti non sono numerosi\, ma forse sono i migliori del nostro tempo\, qualcuno conosciuti come Richard Serra\, Beuys\, Rebecca Horn\, Anthony Mc Call\, Pat Steir\, Max Neuhaus; altri meno come Paul Wallach o Fabienne Verdier. Tutti però vivono le forze telluriche come un’energia suprema\, quella del silenzio interiore in dialogo con l’altro.” \nDoris von Drathen is an independent art historian and art critic\, born in Hamburg and based in Paris since 1990. After studying Roman literature and art history in Paris\, Zaragoza\, Florence and Hamburg\, she worked for ten years as an art critic in radio and television and contributed to Artforum as a correspondent. Since the mid – 1980s she has regularly published monographic essays in Kunstorum International\, Künstel Kritisches Lexikon der Gegenwartskunst (Critical Encyclopaedia of Contemporary Art\, Munich) and internationally in catalogues on major contemporary artists.Her specialisation is a monographic approach to art that goes beyond current aesthetic categories\, introducing the notion of “the other” into the analysis of an art object and developing an “ethical iconology”\, as she terms her method. She has held visiting positions at the Ecole nationale supérieure des beaux – arts in Paris\, at the Kunsthochschule in Berlin\, at the Rijksakademie van beeldende Kunsten in Amsterdam\, at the Academy of Lisbon and the Universities of Cádiz and Sevilla. \nTra le sue molteplici pubblicazioni nel testo “VORTICE DEL SILENZIO\, Proposta per una critica d’arte al di là delle categorie estetiche” l’autrice intraprende una lettura di 24 artisti contemporanei in modo da illustrare l’inadeguatezza delle attuali categorie estetiche pur introducendo e sviluppando una più completa “iconologia etica” attraverso la quale osserva il discorso dell’opera d’arte.\nDoris von Drathen desidera liberarsi della tirannia delle restrizioni estetiche che abbiamo usato per descrivere l’arte\, e vuole piuttosto fare delle opere d’arte un evento in cui l’incontro tra l’arte e lo spettatore diventa un discorso etico che informa e si impegna.\nLa sua selezione è molto utile a tale scopo\, ma è anche un gesto completamente postmoderno\, dove l’incontro con l’altro diventa il dominio dell’etica\, facendo dell’arte stessa un’esperienza innegabilmente etica. URL:https://www.fondazionemorra.org/en/evento/doris-von-drathen-dal-silenzio-etico-di-john-cage-al-punto-zero-della-gravitazione-nellarte-attuale/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/02/dal-silenzio-di-cage-02.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20120330 DTEND;VALUE=DATE:20120331 DTSTAMP:20260610T021744 CREATED:20210219T174140Z LAST-MODIFIED:20210219T174222Z UID:5001-1333065600-1333151999@www.fondazionemorra.org SUMMARY:BORIS LEHMAN DESCRIPTION:30 marzo 2012\nORE 19:30 \nPalazzo Ruffo di Bagnara\nPiazza Dante 89\, Napoli \nA cura di Alessandro De Francesco \nPORTRAIT DU PEINTRE DANS SON ATELIER 1985\, Belgio\, 16mm/dvd\, colore\, 40 min. \nUN PEINTRE SOUS SURVEILLANCE 2008\, Belgio\, 16mm/dvd\, colore\, 36 min. \nCHOSES QUI ME RATTACHENT AUX ÊTRES 2007-2010\, Belgio\, 16mm/dvd\, colore\, 15 min. \nUn incontro fortuito con Boris Lehman (Losanna 1944)\, prolifico e audace film-maker indipendente\, in viaggio in Italia per realizzare un diary film – partendo dal confine Svizzero\, ripercorrendo i luoghi a lui cari ed incontrando gli amici italiani\, per arrivare a Napoli. \nBoris Lehman\, difensore di una libertà senza compromessi\, ha realizzato artigianalmente in pellicola Super 8mm e 16mm più di 400 films e documentari che raccontano in prima persona il mondo che si attraversa e gli imprevisti attuati dalla casualità. Come egli scrive: “…Filmo per rispondere alle domande. Filmo per osare\, per produrre\, per provocare… Fare del cinema\, come il Ladro di Bresson\, per arrivare fino all’esser amato. Filmare per amare ed esser amato perché la cinepresa si frappone tra me e l’altro e protegge bene sia l’uno che l’altro\, essa disinibisce\, permette l’ardire e l’insulto\, le tenerezze e le dichiarazioni d’amore\, perché rivela l’invisibile\, il nascosto e sepolto\, essa permette tutto\, di sognare ad alta voce\, di rendere possibile l’impossibile… Perché filmo? 1. Esorcizzare; 2. Memorizzare; 3. Vedermi osservando gli altri; 4. Avere una relazione (un legame) col mondo; 5. Essere me stesso\, esistere\, divenire qualcuno\, non si è mai sicuri dell’essere… Non ho mai avuto alcun messaggio da consegnare. Nessun discorso da dire. Il cinema per me non è mai stata una questione di soggetto né di forma. (Le domande che si pongono la maggior parte dei cineasti: cosa posso filmare? Quale scenario\, quale storia\, quale libro\, ecc.? E poi come?) Per me è semplice\, è una questione di vita e di morte. Un modo per vedere\, un modo di vivere. Filmare\, vivere\, filmare”. \nI due films PORTRAIT DU PEINTRE DANS SON ATELIER e UN PEINTRE SOUS SURVEILLANCE\, filmati a distanza di vent’anni uno dall’altro\, sono un dittico incentrato sull’incontro – cinematografico – di due sguardi\, quello di Boris Lehman e del suo amico artista Arié Mandelbaum. L’atelier diviene il magico specchio dell’arte\, la cinepresa penetra il suo universo esplorandolo nei minimi recessi fino all’intimità; ma senza spiegazioni né biografia\, dell’artista rivela solo il nome\, qualche gesto\, qualche parola\, quasi niente. \nCHOSES QUI ME RATTACHENT AUX ÊTRES si presenta come un inventario alla Prévert\, le immagini e le parole si incatenano come in una poesia. Dopo il celebre Ceci n’est pas une pipe di René Magritte\, si sa bene che le evidenze sono ingannatrici\, che le parole come le immagini possono essere traslate dalla loro funzione primaria. Si tratta di creare l’oggetto attraverso l’immagine e la parola\, filmandolo. Come Boris Lehman scrive: “…Atto di creazione\, come all’inizio fece Dio col Cielo e la Terra\, con Adamo ed Eva. Mostro con la cinepresa qualche oggetto del mio quotidiano (che è allo stesso tempo un’allegoria) che è appartenuto ad altre persone che ho amato\, o frequentato e ne concludo: Io sono la somma di tutto quanto gli altri mi hanno dato”. URL:https://www.fondazionemorra.org/en/evento/boris-lehman/ 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/invito-BORIS-LEHMAN-2_page-0001.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20110614T190000 DTEND;TZID=Europe/Rome:20110914T190000 DTSTAMP:20260610T021744 CREATED:20201008T165341Z LAST-MODIFIED:20210223T142544Z UID:5071-1308078000-1316026800@www.fondazionemorra.org SUMMARY:Vettor Pisani - Apocalypse Now DESCRIPTION:Vettor Pisani eclettico pittore\, architetto e commediografo ischitano\, torna a Napoli con un’esposizione curata dalla Fondazione Morra nella suggestiva sede di Palazzo Ruffo di Bagnara\, edificio nobiliare costruito tra il 1629 e il 1631\, per volontà di Giovan Battista De Angelis\, acquistato dal duca Francesco di Bagnara e restaurato nel 1660 dall’architetto Carlo Fontana\, allievo del Bernini. \nLa ricerca artistica di Pisani si snoda in istallazioni\, performance\, azioni nel tempo e nello spazio\, nell’orizzonte di citazioni\, metafore e suggestioni. La sua prima mostra “Maschile\, femminile e androgino. Incesto e cannibalismo in Marcel Duchamp” (1970) che si tenne alla Galleria La Salita (Roma)\, inaugura una produzione artistica ricca di riferimenti alla storia dell’arte\, alla mitologia e alle simbologie dei Rosacroce e della Massoneria\, pur con uno sguardo rivolto all’attualità. Così il mito di Edipo si carica di significati esoterici\, evoca il tema del regressum in utero\, e quello del labirinto\, analogia del reale. Capolavori dell’arte rivivono\, destrutturati\, trasfigurati\, rivelando nuovi contenuti\, in un teatro con continui richiami a simbologie alchemiche. \nL’Isola dei Morti di Böcklin resta il caposaldo dell’immaginario simbolista che ha dettato gran parte dei capolavori di Pisani\, ma il suo spirito inquieto\, nelle sue passeggiate trasversali nella storia dell’arte\, si congiunge idealmente anche e soprattutto con l’opera di Duchamp\, Klein e Beuys. \nLa sua arte vuole fornire una chiave di lettura del presente\, dell’attualità\, dell’Occidente\, fondata sull’esperienza critica del passato\, un passato fagocitato\, digerito\, trasfigurato e assimilato al punto da creare immagini nuove specchio della complessità del quotidiano\, con un linguaggio che si ispira a quanto di irreale e di irrazionale c’è nei sogni. \nLe sue installazioni sono pervase da un forte carattere misterico e da uno spiccato senso della teatralità\, capace di volgere lo sguardo verso orizzonti che riflettono la complessità contemporanea per le modalità operative\, per la flessibilità multimediale e per la libertà d’azione che sa mettere in campo nel suo operare artistico. \nInteragire con questa nuova mostra sarà come leggere un pamphlet sui temi “caldi e freddi” della storia nazionale e internazionale. \nTra tutti emerge il dialogo tra arte e politica culturale in Italia\, prodotto con questa Biennale di Venezia “Democratica e Socialista” dove sono gli intellettuali che scelgono gli artisti. \nTutto è portato sul tema dell’onirico “immaginario delirante” dove il delirio è divertimento. \nQuesto dialogo prende forma con la presentazione di Lady Burlesque\, che rappresenta La Santa Anchè e Vittorio Sgarbi con cui interagisce. \nTutto avviene sotto il paterno sguardo di Sigmund Freud che dall’alto di una colonna guarda stupito questa confessione inconfessabile. \n“Lady Burlesque \nL’essere è il Nulla di Juliette Grecò. La nera\, azzurrina Musa inquietante dell’Esistenzialismo francese e di Jean Paul Sartre il filosofo malinconico\,strabico e depresso della condizione umana e animale di Parigi e della Mitteleuropa compresa la Germania\, il Novecento di Hitler e la memoria dell’olocausto\, degli ebrei\, il popolo dell’esilio di Vettor Pisani. \nGerman Celante\, l’ebreo errante cosmico e cosmologico (Faustus) e di sua sorella Virginia\, la Signorina Tre Puntine (Elena di Troia) che faceva la troia e la prostituta in un postribolo della città di Tiro e che Simone il Mago e Goethe a redenta il nome della Imitatio Cristi.” \nDa una dichiarazione dell’artista \n\n \n \n \n \n \n \n Spazio espositivo\, Apocalypse Now\, Palazzo di Bagnara\, Napoli\, 2011\nVettor Pisani\n© Photo Cinzia Infantino\nCourtesy Fondazione Morra\n \n \n \n \n \n Spazio espositivo\, Apocalypse Now\, Palazzo di Bagnara\, Napoli\, 2011\nVettor Pisani\n© Photo Cinzia Infantino\nCourtesy Fondazione Morra\n \n \n \n \n \n Spazio espositivo\, Apocalypse Now\, Palazzo di Bagnara\, Napoli\, 2011\nVettor Pisani\n© Photo Cinzia Infantino\nCourtesy Fondazione Morra\n \n \n \n \n \n Spazio espositivo\, Apocalypse Now\, Palazzo di Bagnara\, Napoli\, 2011\nVettor Pisani\n© Photo Cinzia Infantino\nCourtesy Fondazione Morra\n \n \n \n \n \n Spazio espositivo\, Apocalypse Now\, Palazzo di Bagnara\, Napoli\, 2011\nVettor Pisani\n© Photo Cinzia Infantino\nCourtesy Fondazione Morra\n \n \n \n \n \n Spazio espositivo\, Apocalypse Now\, Palazzo di Bagnara\, Napoli\, 2011\nVettor Pisani\n© Photo Cinzia Infantino\nCourtesy Fondazione Morra\n \n \n \n \n \n Spazio espositivo\, Apocalypse Now\, Palazzo di Bagnara\, Napoli\, 2011\nVettor Pisani\n© Photo Cinzia Infantino\nCourtesy Fondazione Morra\n \n \n \n \n \n Dettaglio di allestimento\, Apocalypse Now\, Palazzo di Bagnara\, Napoli\, 2011\nVettor Pisani\n© Photo Cinzia Infantino\nCourtesy Fondazione Morra\n \n \n \n \n \n Spazio espositivo\, Apocalypse Now\, Fondazione Morra\, Napoli\, 2011\nVettor Pisani URL:https://www.fondazionemorra.org/en/evento/vettor-pisani-apocalypse-now/ LOCATION:Palazzo Ruffo di Bagnara\, Piazza Dante 89\, Napoli\, NA\, 80135\, Italia ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/10/V.Pisani-Sanatur-umberto-Hictus-2011.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20110510T180000 DTEND;TZID=Europe/Rome:20110610T180000 DTSTAMP:20260610T021744 CREATED:20210219T151046Z LAST-MODIFIED:20210219T154829Z UID:4963-1305050400-1307728800@www.fondazionemorra.org SUMMARY:Jean Toche. Guerriglia dell’arte in America DESCRIPTION:10 maggio – 10 giugno 2011\nOPENING 10 MAGGIO ORE 18:00 \nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nA cura di Manuela Gandini \nDi origine belga\, trasferitosi negli anni Sessanta nella Staten Island benpensante\, Jean Toche (1938) è come una macchina celibe che vive e dialoga con una macchina fotografica e un gatto. E’ una figura solitaria\, un monaco anarchico che\, avido di notizie\, scava quotidianamente tra le parole del New York Times o del Time per trovare nessi\, bugie\, paradossi sulla costruzione della paura\, il terrorismo\, la caccia al petrolio e il sistema dell’arte. Poi ritaglia frammenti di articoli e li assembla con considerazioni proprie\, non risparmiando critiche caustiche a ogni forma di potere. Il suo lavoro è durissimo. A seconda della notizia scelta\, Toche si ritrae attraverso l’autoscatto\, in uno dei momenti della propria giornata. Il suo linguaggio è politico e ironico e l’immagine è trattata con photoshop. Il suo volto\, deformato dalle notizie\, alle volte diventa metallico\, altre volte si allunga o si allarga cambiando colore\, posizione\, espressione: paura\, rabbia\, foga\, relax\, indignazione\, euforia. Nonostante abbia volontariamente deciso di sparire dal palcoscenico dell’arte\, usando solo la mail-art e rifiutando mostre in musei e gallerie con una ferma determinazione antieconomica\, il suo lavoro è entrato nella storia già da quasi mezzo secolo. Vicino al Fluxus\, senza mai farne parte\, nel 1968\, con Poppy Johnson e Jon Hendricks\, fonda la GAAG\, Guerrilla Action Art Group. Le azioni di disturbo messe in atto al Metropolitan Museum di New York – come lo spargimento di scarafaggi su una bella tavola imbandita a una cena ufficiale\, le lettere scritte al presidente Nixon o la messa in scena del rapporto tra critico e artista denudato sulla porta del Met -procurano a Toche pestaggi e arresti. Poi il silenzio. La sua casa è attualmente recintata e controllata elettronicamente come un bunker e la sua vita scorre\, a dispetto di persecuzioni e minacce\, nella convinzione che la propria azione quotidiana\, di uomo solo contro i poteri\, andrà a incidere nel mondo come la goccia che erode il monte. \nCatalogo “Intolerance” Edizioni Mudima 2010 con testi di Achille Bonito Oliva\, Jon Hendricks\, Manuela Gandini\, Gianluca Ranzi. \nPresentazione della rivista Alfabeta2 \ncon interventi di Andrea De Rosa\, Manuela Gandini\, Renato Nicolini\, Stefania Zuliani. \nDalla Triennale di Milano in videoconferenza Umberto Eco\, Nanni Balestrini\, Gino Di Maggio. \nModera Andrea Cortellessa. \n\n \n \n \n \n \n \n Installation View\, Jean Toche. Guerriglia dell’arte in America\, Museo Nitsch\, Napoli\, 2011 photo Cinzia Infantino © Fondazione Morra\n \n \n \n \n \n Installation View\, Jean Toche. Guerriglia dell’arte in America\, Museo Nitsch\, Napoli\, 2011 photo Cinzia Infantino © Fondazione Morra\n \n \n \n \n \n Installation View\, Jean Toche. Guerriglia dell’arte in America\, Museo Nitsch\, Napoli\, 2011 photo Cinzia Infantino © Fondazione Morra\n \n \n \n \n \n Magazine Alfabeta2 presentation\, Jean Toche. Guerriglia dell’arte in America\, Museo Nitsch\, Napoli\, 2011 photo Cinzia Infantino © Fondazione Morra\n \n \n\n  URL:https://www.fondazionemorra.org/en/evento/jean-toche-guerriglia-dellarte-in-america/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/02/retro-copia.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20100611T190000 DTEND;TZID=Europe/Rome:20100711T223000 DTSTAMP:20260610T021744 CREATED:20210219T164641Z LAST-MODIFIED:20210219T165925Z UID:4991-1276282800-1278887400@www.fondazionemorra.org SUMMARY:Matteo Fraterno - Polite DESCRIPTION:  \n11 giugno – 11 luglio 2010\nOPENING 11 GIUGNO ORE 19:00-24:00\nPalazzo delle Sperimentazioni\nCorso Vittorio Emanuele\, 341\, Napoli \nda un’idea di Matteo Fraterno e Giuseppe Morra \nCome può una parola urticante come vendesi costituire il nucleo di irradiazione a favore di una riflessione raffinata\, altra? \nQuesta ultima di Peppe Morra deriva da una suggestione. Un nuovo modo di concepire la vendita di un’immobile\, ottocentesco\, panoramicissimo\, al corso Vittorio Emanuele. “Nasce una modalità nuova di colloquiare con l’acquirente che si rapporterà con l’acquisizione di un luogo che ha interpretato il bello e ha definito la poetica di un concetto artistico. L’arte non è solo nei musei o nelle gallerie ma\, perché no\, coniugabile nelle abitazioni in vendita. In quei cari luoghi dove la vita si svolge sul filo dell’affettività\, del ricordo\, degli incontri con gli amici e che li rende luogo di desiderio e spesso di nuove aspettative” \nDivenuto Palazzo delle Sperimentazioni\, perché si pregia di un valore aggiunto\, di un pensiero estetico\, di un significato mentale\, abitato dal mese di febbraio da Matteo Fraterno\, lo stabile si è vestito d’arte. L’artista campano\, infatti\, se n’è preso cura\, lo ha vissuto\, ammantato d’affetti\, creando un’operazione sentimentale a favore di una vendita diversa. \nIl Palazzo si è colmato di identità\, indizi\, tracce minime\, lievi mappature\, accogliendo cose bizzarre\, impronte\, oggetti\, porzioni di tempo\, scanditi da Matteo Fraterno e da un gruppo di artisti italiani\, greci\, austriaci\, che hanno vissuto un luogo privilegiato trasformandolo in uno spazio estetico eccezionale\, scandito su cinque piani: \nal primo\, nell’abitazione di Vincenzo Bergamene sono sistemati lavori in ceramica e pietra lavica\, mentre nell’appartamento del secondo piano è ospitata la documentazione fotografica di Salvatore Giusto. Sul balcone del terzo piano campeggia una tabella di 10 metri rivolta al golfo e alla città\, con la scritta ΠΩΛΕΙΤΑΙ su fondo bianco e all’interno dello stesso livello è allestita l’edicola votiva Santa Maria del ΧΥΝΩ: di Mary Zygouri. Al quarto piano\, l’artista presenta Aderfikos\, un poema disegnato in 90 fogli accompagnato dal testo di Achim Gnann. Al quinto piano è visitabile l’atelier di Matteo Fraterno e la relativa terrazza dove è esposta l’opera di Martin Kaltner. Dal piano terra\, al centro del palazzo\, lungo tutta l’altezza di questo\, un’istallazione sonora di Zafos Xagoraris\, ci conduce fra i rumori e le voci dei venditori ambulanti della Grecia contemporanea. \nUna particolare attenzione merita Cesare Pietroiusti che realizzerà Che cos’è la filosofia? “Una performance” – come ha scritto l’artista stesso – “che porta lo stesso titolo di un celebre libro di Deleuze e Guattari\, un libro che è una ricchissima fonte di frasi sintetiche\, sorprendenti\, a volte fulminanti\, un libro che vuole rappresentare un’indicazione soprattutto per i non-filosofi. Una performance che è anche un lavoro di gratuita distribuzione\, a visitatori e passanti\, di piccoli oggetti (temporanee opere d’arte) in cui le parole dei due grandi e radicali pensatori anti-sistematici per eccellenza\, si depositano sulla buccia di limoni appena raccolti. Proprio l’atto della raccolta sarà l’inizio della performance\, che proseguirà con un lungo lavoro di scrittura e poi con la distribuzione dei limoni\, per finire con la scelta – lasciata a ciascun visitatore – di usare il frutto come si fa di solito\, oppure di tenerlo lì in attesa di una\, seppur lenta\, comunque inevitabile consunzione”. \nTale periodo sarà costellato da un fitto calendario di eventi artistici: performance\, proiezioni film e video\, presentazione di libri\, mostre. \n\n \n \n \n \n \n \n Polite\, Palazzo delle Sperimentazioni\, Napoli\, 2010 photo Danilo Donzelli © Fondazione Morra\n \n \n \n \n \n Installation View\, Polite\, Palazzo delle Sperimentazioni\, Napoli\, 2010 photo Danilo Donzelli © Fondazione Morra\n \n \n \n \n \n Installation View\, Polite\, Palazzo delle Sperimentazioni\, Napoli\, 2010 photo Danilo Donzelli © Fondazione Morra\n \n \n \n \n \n Installation View\, Polite\, Palazzo delle Sperimentazioni\, Napoli\, 2010 photo Danilo Donzelli © Fondazione Morra\n \n \n \n \n \n Performance of Mary Zygouri\, Polite\, Palazzo delle Sperimentazioni\, Napoli\, 2010 photo Danilo Donzelli © Fondazione Morra\n \n \n \n \n \n Performance of Cesare Pietroiusti\, Polite\, Palazzo delle Sperimentazioni\, Napoli\, 2010 photo Danilo Donzelli © Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/matteo-fraterno-polite/ LOCATION:Palazzo delle Sperimentazioni\, Corso Vittorio Emanuele 341\, Napoli\, 80135\, Italia ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/02/INVITO-MATTEO-2_page-0001.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20090528 DTEND;VALUE=DATE:20090529 DTSTAMP:20260610T021744 CREATED:20210224T151525Z LAST-MODIFIED:20210224T152724Z UID:5219-1243468800-1243555199@www.fondazionemorra.org SUMMARY:Piero Mottola. Concert with a view DESCRIPTION:May 28th 2009\nSTART 8:00 p.m.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nDIFFERING PACES \nemotional promenade for voice and instruments\, 2009 (duration 11’) \ndouble bass\, Massimo Ceccarelli \ncello\, Silvano Fusco \nsoprano sax\, Massimiliano Fuschetto \nsoprano\, Keiko Morikawa \nIMPROVISATION ON THE ACOUSTIC HEAVENS (dedicated to Hermann Nitsch) \nfor E. 10 electronic keyboard and emotional sampler\, 2005/2009 (duration 30’) \nperformed in real time by Piero Mottola \n  \nIs it possible to generate a composition which is aesthetically significant and emotionally profound without the expressive involvement of an inspired musician? Is it possible to generate an acoustic composition in expressive abstinence\, using only a system of ten emotional parameters? Is it possible to arrive at music starting from the inner experience undergone by each of us with all the sonorous qualities reality possesses before it is set in the sphere of a music codified by a system\, culturally produced and commonly heard? \nDiffering Paces\, composed for the Morra Foundation of Naples\, is one possible\, unusual musical composition designed to give an answer to these questions. \nEmotional Distances is a compositional system based on ten emotions. It was created by measuring the emotional activation of a representative sampling of natural\, artificial\, human\, and animal sounds. For each stimulus we first determine which emotion receives the highest score\, and then determine its distance from the other nine emotions by evaluating the statistical distribution of the choices. Summing the information accumulated for each stimulus allows us to construct a space in which to locate the ten emotions according to their distances: 1=maximum emotional proximity; 9=maximum emotional contrast. Emotional Distances is a system which makes it possible to construct a large number of emotional structures of varying levels by using figurative and abstract sounds\, acoustic instruments\, colours\, and images. It also allows us to organise unusual\, enigmatic\, and captivating aggregations of timbre. \nDiffering Paces is an emotional promenade with three relational levels and a building crescendo of contrasting emotions. The algorithm created defines a progressively increasing contrast among emotions as well as among rhythmic evolutions. The timbres employed are the result of a spectral analysis of emotional sounds. Each sound evolves according to an experimentally derived algorithm and is representative of one of the 10 emotions. The numerical evolution assigned to each sound is given an acoustic form by considering the acoustic extensions of the instruments employed. \nThe E.10 Emotional Sampler is an 88-key MIDI keyboard divided into 10 emotional zones (FE fear\, AN anguish\, AG agitation\, AR anger\, SA sadness\, EX excitement\, AW awe\, PL pleasure\, JO joy\, CA calm). Audio files containing experimentally derived emotional sequences are assigned to each zone. In addition to triggering the files\, each zone can also perform real-time modifications. The E10 Emotional Sampler can produce multiple emotional promenades which are complex\, unpredictable\, enigmatic\, and emotionally significant. Improvisation on the Acoustic Heavens combines an abstract electronic composition for 7 spatialized emotional pathways of increasing emotional contrast (from minimal to maximal)\, with the combinatorial potential of the E.10 Emotional Sampler. The Sampler is programmed by the performer in real time to produce emotional algorithms for the piano. \n  \nConcert with a view\, Museo Hermann Nitsch\, Napoli\, 2009 © photo Gianclaudio Orabona Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/piero-mottola-concerto-con-vista/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/02/020-Fronte.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20060304T113000 DTEND;TZID=Europe/Rome:20060408T170000 DTSTAMP:20260610T021744 CREATED:20210225T103229Z LAST-MODIFIED:20210225T103610Z UID:5224-1141471800-1144515600@www.fondazionemorra.org SUMMARY:Arte&Gioco DESCRIPTION:4 marzo – 8 aprile 2006 \nOPENING 4 MARZO ORE 11:30\nMuseo Civico di Castel Nuovo \nPiazza Municipio\, Napoli \n  \nSabato 4 marzo\, alle ore 11\,30 sarà inaugurata nella Sala della Loggia del Complesso Monumentale di Castel Nuovo\, una doppia esposizione dal titolo Arte & Gioco in Mostra. Patrocinata dagli Assessorati alla Cultura e ai Progetti per l’Infanzia del Comune di Napoli\, organizzata dalla Fondazione Morra in collaborazione con l’Università degli Studi di Napoli Federico II\, l’Università di Salerno\, l’Accademia delle Belle Arti di Napoli e da Associazioni internazionali come l’UNICEF\, Amref\, Terre des homme\, Ciao Africa\, Comitato Panafricano\, l’esposizione si articola in una selezione di giocattoli – creati con materiali di riciclo e rifiuti industriali da bambini di diverse regioni dell’Africa – provenienti dalla collezione del Museo Antropologico Tamburo Parlante di Montone (PG) curata dall’Antropologo Museale Enrico Castelli – e dalle collezioni private dello stesso Prof. Castelli e di Alberto Fortunato\, e nella “Selezione di oggetti artistici” dell’artista Annalisa Ramondino costruiti fra il 1991 e il 2005 con materiali di recupero di oggetti desueti o di frammenti rottamati. \nLa Mostra “Africa in Gioco” propone di far conoscere al pubblico\, e in particolare ai bambini\, lo spirito di iniziativa e la fantasia con cui i bambini africani costruiscono\, da soli e con materiali di recupero\, i propri giocattoli\, che diventano nel contempo momento di creatività ed oggetti del proprio gioco. Si tratta di una esperienza lontana da quella dei bambini occidentali soffocati da giochi tecnologici che non lasciano spazio né alla fantasia né alla manualità. Mentre la nostra società dei consumi si confronta giornalmente con i problemi creati dall’accumulo di crescenti quantità di rifiuti\, in Africa gli stessi scarti sono fonte inesauribile di materie prime. Attorno a tutte le metropoli africane sorgono collettività che si occupano della selezione delle materie prime (vetro\, ferro\, metalli\, plastica\, carte etc). \nMaestri del ri-uso sono i bambini. La strada dove essi vivono e giocano si riempie\, come le nostre\, di rifiuti. La fantasia del gioco utilizza tali frammenti re-inventando per ogni materiale destinazione\, funzione e forma. Ogni giocattolo che i bimbi costruiscono è un collage di frammenti inutili\, riscoperti e assemblati con perizia. \nLa Mostra “Selezione di oggetti artistici” di Annalisa Ramondino è costituita da una selezione di 100 opere prodotte dal 1991 al 2005 e divise per aree tematiche. L’artista\, nata a Palma de Majorca in Spagna vive e lavora a Roma. \nFin dai primi anni ‘90 utilizza nel suo lavoro esclusivamente materiali di recupero: (legni\, specchi\, carta\, stoffe\, ferri\, plastiche\, lamiere e pezzi di oggetti abbandonati)\, frammenti di vissuto\, di memorie\, di immagini\, di tecniche scomparse\, produce oggetti che rimandano al Gioco. \nL’idea di collegare le due Mostre in un unico evento è nata dalla intenzione di stabilire una relazione e un confronto tra la dimensione dell’Arte e quella del Gioco per stimolare una riflessione interdisciplinare su questi temi\, nonché sull’Educazione all’Arte e sulla Formazione di bambini\, dall’età prescolare all’adolescenza\, appartenenti a diversi contesti socio-culturali. La contiguità di queste esperienze socio-culturali diverse\, il riciclaggio di rifiuti industriali nell’esperienza creativa dei bambini e dei giovani dell’Africa accanto al recupero di oggetti desueti o di frammenti rottamati da parte di una artista occidentale costituiscono il pretesto per consentire una riflessione su modelli riparativi e comuni seppur in realtà molto lontane fra loro. \nL’organizzazione e l’allestimento di entrambe le Mostre è curata dalla Fondazione Morra in collaborazione con i responsabili scientifici Vincenzo Bergamene\, Enrico Castelli\, Francesco Coppola e con l’artista Annalisa Ramondino. \nGli eventi e gli incontri collegati alle due Mostre sono promossi e organizzati da diversi docenti e studiosi appartenenti alle Facoltà di Architettura\, Economia\, Lettere e Sociologia dell’Università degli studi di Napoli “Federico II”\, ai Poli Umanistico\, delle Scienze e delle Tecnologie; all’Accademia di Belle Arti di Napoli; all’Università di Salerno; all’Istituto Universitario Suor Orsola Benincasa; nonché da operatori ed esperti\, che operano nei settori pubblico e privato. URL:https://www.fondazionemorra.org/en/evento/artegioco/ LOCATION:Museo Civico di Castel Nuovo\, Piazza Municipio\, Napoli ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/02/INV0203_RAMA01interno1-2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20040219T190000 DTEND;TZID=Europe/Rome:20040403T190000 DTSTAMP:20260610T021744 CREATED:20210317T142157Z LAST-MODIFIED:20210317T142554Z UID:5842-1077217200-1081018800@www.fondazionemorra.org SUMMARY:Isabella Gherardi. Photogenic DESCRIPTION:19th february – 3rd april 2004\nOPENING 19 FEBRUARY 7:00 p.m.\nPalazzo dello Spagnuolo\nVia Vergini 19\, Napoli \nThe Morra Foundation inaugurated its 2004 exhibition year on Thursday February 19th with “Photogenic.” \nNaples’ great\, almost circular Piazza del Plebiscito\, rimmed by neoclassical columns\, struck Isabella Gherardi with its air of expectancy\, as if some event were about to happen or just happened moments ago\, and she photographed sections of the supports of two equestrian monuments in its center. Throngs of Neapolitans pass through the piazza and often leave their mark on these supports\, covering them like notepads with a labyrinth of names\, numbers\, faces\, figures\, whispers\, memories. Gherardi worked with this dense material\, editing the extraneous or repetitive\, and adding her own graffiti\, or signs inspired by Altamira\, ancient Egypt\, and other modern artists\, to express the stratification of time and the city. Furthermore\, she had recently been making large watercolor images of women’s faces\, sometimes just a few features – an eye\, lips – suffused with glamour (fascination\, enchantment). It came naturally to the artist to combine the watercolors with the graffiti work as a further enrichment of the stratification; but more than anything the luminosity and transparency of the watercolors endow the work with a dimension of the sensuous and an intense monumentality. Hence this exhibition entitled “PHOTOGENIC\,” as in phosphorescent\, photogenetic\, and photogenic. \nOn February 28th at 7 p.m. the Galleria Paola Verrengia (via Fieravecchia 34 – Salerno) will show another “Photogenic” exhibition\, and on March 17th 5 p.m. the Menna Foundation has invited Isabella Gherardi to speak on “Directions in Photography\,”  in its “Dialogues with the Artist” series curated by Stefania Zuliani\, \nIsabella Gherardi lives and works in Florence. Her work is in public and private collections and has been shown in important galleries and museums in Italy and abroad\, such as: Studio Casoli\, Milan; John Weber Gallery\, New York; Photo & Co\, Turin; Ludwig Museum Aachen; Pecci Museum\, Prato. \n  \n\n \n \n \n \n \n \n Installation View. Photogenic. Palazzo dello Spagnuolo\, Napoli\, 2004 Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/isabella-gherardi-photogenic/ LOCATION:Palazzo dello Spagnuolo\, Via Vergini\, 19\, Napoli\, Italia ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/03/PHOTOGENIC-FRONTE.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:19980311T193000 DTEND;TZID=Europe/Rome:19980510T193000 DTSTAMP:20260610T021744 CREATED:20210325T111924Z LAST-MODIFIED:20210325T113359Z UID:5955-889644600-894828600@www.fondazionemorra.org SUMMARY:Fabio Donato. The farer DESCRIPTION:11th march- 10th may 1998\nOPENING 11th MARCH 7:30 p.m.\nStudio Morra\nVia Calabritto 20\, Napoli \nThe Paradoxes of Photography by Angelo Trimarco \nIt was Roland Barthes\, more than any other\, who sowed the territory of photography with paradoxes. He began in ’61\, maintaining that the “particular charter of photographic image” is a codeless message\, since\, of course\, “the image is not real” but is “to say the least a perfect analogon\, and it is precisely this analogic perfection that in a general sense\, defines photography”. In 1980\, just before his death\, he concluded that photography is a “noesis without noema\, an act of thinking without thought\, an understanding without a final objective”. \nCodeless message\, (though influenced in its reading by a number of codes) and noesis without noema photography is in Barthes’ perspective\, a holder of many privileges. A supreme paradox\, it is\, among languages\, the only one that is capable of telling us that which has been and not that which is no longer. The past\, thus\, is the very place for photography: or more precisely\, time as aorist. That which has been represents the certainty and truth of photography. Only of photography. Photography\, after all\, gives way to memory. What counts is that which has been (the essence of photography is to ratify that which it portrays). And to portray time in its immobility\, in its being\, thus\, that which has been. Photography then\, is related to death. \n“Photography corresponds perhaps to the irruption\, in modern society\, of a symbolic Death\, beyond religion\, beyond ritual: a sort of sudden plunge into a literal death.” \nCodeless message and noesis without noema\, photography is the “Absolute particular”\, the “supreme contingency”\, the “reality in its tireless expression”. It testifies to the stubbornness of the referent in being ever present (“One would say that photography always carries its referent with it\, both of them marked by the same loving and funereal immobility”.) A trinity\, then\, disquiets us: photography\, love\, mourning\, but without being able to go through the mourning process. \nFrankly\, I don’t know how much photography\, which is in any case a language\, can exhibit the “absolute Particular” and the “Supreme contingency”\, the Reference in its “tireless expression”. I don’t believe it\, as I believe the opposite\, that any language – poetry\, music\, painting – is the Absolute Universal or the Supreme Eternity. Walter Benjamin\, in a much celebrated quotation\, referring to the nature “that speaks to the camera”\, offers a precious indication of an “unconsciously elaborated space”: “only through photography”\, he advises\, “can you discover the instinctive unconscious”. Through photography\, then\, it is possible to grab hold of the splinter of time in which “the step extends“\, in which in a series of ordered and predictable facts and events\, something or someone blocks the way or accelerates. Moreover\, the optical unconscious indicates the discontinuity of the step\, the rift\, though minimal\, that brushes against the shining surface of things\, the drive that makes nature deviate and disturb reality. \nThe optical unconscious signals the threshold – the passage – from the real to the artificial\, from nature to language\, to photography as a linguistic construction. A step\, obviously\, that is inconstant and accented by different beats. Not immobile\, absolute time\, but different temporalities which mark the experience of photography\, this singular codeless language. Just as in other non-verbal languages. Without codes\, or better yet\, with weak ones. \nFabio Donato’s work is the perfect place to grasp the moment in which the step extends. His work is a search for the threshold of the threshold: between the inside and the outside\, the before and after\, life and death. The door\, the window\, the mirror\, are among others\, the linguistic transits in which the that which was\, the mourning\, and its elaboration surface. Since a work of art\, any work of art\, is always about loss and mourning – the that which was – and its creative elaboration in evident presence. \nThe reflection on the “line of demarcation”\, as Donato calls it – a line\, which is after all\, mobile and elusive – which signals the inside and outside\, the threshold between that which was and that which is\, between the aorist and the present\, occurs primarily through the relationships of black and white upon the rectangular piece of paper. And for the different perceptive gradients that their relations suggest. In this way\, the work of boundaries between life and death\, before and after\, never assumes in these works a symbolic and allusive curve. Fabio Donato’s photography\, in its tightness and rigor\, has always been a periplus around the figures of an exercise\, more than any other perhaps\, difficult and enigmatic. \nFabio Donato’s photos are surfaces accented by regular rhythms. The objects ( a lamp\, a chair\, a balcony\, a silver of a landscape\, a mirror) don’t have value in themselves\, for their perceptive intrusiveness\, but for the place they occupy in space\, for the weft that succeeds in being woven. Donato’s photography is a transparent construction of language: nothing is left up to improvisation or inspiration. Everything instead\, is part of a design that black and white – flashes of white\, so sudden like apparitions\, or the black that becomes grey or even more black – help to cut into another form. \nDonato’s exploration has far-off roots\, back to the 1970s. In his photographic work on art and theatre\, in his photo report of India\, in the project that he\, not without reason\, entitled “Ambiguity”. In that tension\, I would say\, to work the language of photography\, experimenting with margins and possibilities. I refer\, as I have before\, to his choice of photographing Helmuth Newton’s photographs\, to examine the decisiveness of the critique of similarity or representation. \nFor Fabio Donato\, photography is\, in fact\, this step that provokes a discontinuity between things and their perceptive habits\, that slender line that marks the time of life and the time of death. Photography certainly has to do with time. But not just that which has been\, with the aorist\, with the Reference. But always\, and also\, for that step that extends to another time. Photography is\, in this way\, hovering between the dead time of that which has been and the live time of the work of art. And so\, with that which is\, with the process of mourning. \n  \nPhotography was born and the narcissist-men became immortal.\nTheir vanity was finally satisfied.\nWhat diabolical invention is this\, whose product is\nalways paradoxically straddling the past and future\,\nwithout ever residing in the present?\nAnd what does this photographer live while he stops life\ntransforming it into death?\nHow thick will that line be\, that establishes the boundary between life and death\,\nbefore and after\, inside and outside\, false and true\,\nsubject and object\, know and unknown…\nBut maybe the men photographers produce images\nonly to exorcise this death which perhaps does not exist. \nFabio Donato \n\n \n \n \n \n \n \n Fabio Donato. The farer\, Studio Morra\, Napoli\,1998 Courtesy Fondazione Morra\n \n \n \n \n \n Fabio Donato. The farer\, Studio Morra\, Napoli\,1998 Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/fabio-donato-the-farer/ LOCATION:Studio Morra\, Via Calabritto 20\, Napoli\, 80121 ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/03/Fabio-Donato-3.jpg END:VEVENT END:VCALENDAR