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 END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20100611T190000 DTEND;TZID=Europe/Rome:20100711T223000 DTSTAMP:20260831T003357 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:20260831T003357 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:20260831T003357 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:20260831T003357 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:20260831T003357 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