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:20200329T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20201025T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20210328T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20211031T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20220327T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20221030T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20230326T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20231029T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20240331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20241027T010000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20221022T180000 DTEND;TZID=Europe/Rome:20221022T180000 DTSTAMP:20260516T000057 CREATED:20221003T105539Z LAST-MODIFIED:20221017T101114Z UID:10243-1666461600-1666461600@www.fondazionemorra.org SUMMARY:HERMANN NITSCH - BAYREUTH WALKÜRE E RELITTI 158.aktion DESCRIPTION:In conjunction with the Nitsch Museum in Mistelbach and the Nitsch Foundation\, with the support of the Goethe-Institut Neapel\, The Museo Archivio Laboratorio per le Arti Contemporanee Hermann Nitsch Napoli\, true to its vocation\, is updating its exhibition space for the two-year period 2022-2024 to present Hermann Nitsch – BAYREUTH WALKÜRE E RELITTI 158.aktion. The exhibition opens on Saturday 22 October at 6 pm.\, offering the public a hitherto unseen dialogue between a wide selection of works from the malaktion walküre and the relics of the last action\, directed by Hermann Nitsch in Naples. \nThe first set of works on show in the Museum’s ground-floor rooms come from Nitsch’s pictorial action in the form of a scenic event at the concert performance of Richard Wagner’s The Valkyrie at the Bayreuth Festival in the summer of 2021. \n“I wish to put on a painting action where the colours of the poured and smeared paint\, spanning the whole spectrum of the rainbow\, attempt to compete in a positive sense with the blazing colouration of Wagnerian music. The events of the actual act of painting are to be like music. Sounds turn into colours. The painter is stirred and aroused\, vents himself in the painting process. He is the first actor. He feels the very substance of the paint\, the fluidness\, the slithery slim\, the pulp of the thick paint\,” Hermann Nitsch wrote on that occasion (Wien\, 1938 – Mistelbach\, 2022). “I have enthusiastically loved Wagner’s work. The gesamtkunstwerk was his priority. It is experienced through all the senses. He was always my teacher\, and still is today.” \n“The total work of art in Nitsch’s interpretation – Lorenzo Mango writes in a composite essay accompanying the exhibition- is redolent of Wagner’s memory but goes beyond it. In the Orgies Mysteries Theatre\, it is determined by experience\, contact with the vital in its most absolute and primal form\, the senses\, and the sensuality of theatre”. Thus\, Nitsch does not merely set the stage for The Valkyrie; rather\, he sets in motion\, as the action unfolds\, a process of intensification and expansion of the sensory experience that lies at the heart of the Orgies Mysteries Theater. The Bayreuth experience will be reproduced through video projections\, documentary\, and photographic material\, together with a selection of Nitsch’s drawings. \n“I wish to put on a painting action where the colours of the poured and smeared paint\, spanning the whole spectrum of the rainbow\, attempt to compete in a positive sense with the blazing colouration of wagnerian music. The events of the actual act of painting are to be like music. Sounds turn into colours.” \nIn dialogue with the large paintings\, the relics and documents from the 158.aktion (2020) – the last one to be led by Nitsch – will be on show to the public for the first time. In this action\, the Austrian master acknowledged the primary importance in terms of dynamism and intensity of the “Sinfonia Napoli” – an integral part of the event\, performed by the Orchestra Scarlatti under the baton of Andrea Cusumano – through which\, in September 2020\, he wished to celebrate both Giuseppe Morra and the city of Naples on the occasion of the twelfth anniversary of his Neapolitan Museum-Workshop. URL:https://www.fondazionemorra.org/en/evento/hermann-nitsch-bayreuth-walkure-e-relitti-158-aktion/ 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/2022/09/Fondazione-Morra-BAYREUTH-WALKÜRE-E-RELITTI.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20221008T100000 DTEND;TZID=Europe/Rome:20221008T180000 DTSTAMP:20260516T000057 CREATED:20220926T080634Z LAST-MODIFIED:20220926T080634Z UID:10144-1665223200-1665252000@www.fondazionemorra.org SUMMARY:The eighteenth Giornata del Contemporaneo - Mille Nanni DESCRIPTION:Saturday 8 October 2022 will mark the eighteenth Giornata del Contemporaneo (Contemporary Art Day)\, an event promoted by AMACI – Associazione dei Musei d’Arte Contemporanea Italiani (the Association of Italian Contemporary Art Museums)\, which\, over the last eighteen years\, has been inviting museums\, foundations\, public and private institutions\, galleries\, studios\, and artists’ spaces to show just how vibrant contemporary art in Italy is. \nThis year too\, Fondazione Morra will be granting free entry to the permanent collection at Casa Morra. Archivi d’Arte Contemporanea\, which is also hosting “Mille Nanni”\, a temporary exhibition curated by Giuseppe Morra\, dedicated to artist and friend of the Fondazione\, Nanni Balestrini (1935- 2019). \n  \n“Mille Nanni” opened on 1 July 2022 to inaugurate a series of meetings dedicated to Balestrini. It presents his artistic journey\, exploring the complexity of his thought through archive material\, collages\, and sculptures from the nineties\, in addition to his prose\, and poems. \nNanni Balestrini’s work shows a powerful creative and political commitment\, manifest through tireless experimental research spanning different expressive languages. A keen observer and protagonist of today’s world\, Balestrini invites us to look at reality not as a monolith but to take it in through a thousand glances\, a thousand visions\, multiplying and distorting it\, challenging it. The artist’s universe is composed of constellations of poetic words\, denuded and sometimes violent\, searching for authenticity in a world of neo-capitalist inauthenticity. \nComplementing the permanent exhibition dedicated to him\, “Mille Nanni” is a diffuse exhibition throughout the building\, showcasing the multidisciplinary character of the artist’s work\, with a focus on his poetic sensibility. \n  \nfaster and faster/ breathing in through the nose/ always the same beat/ being reduced/ still here saying doing/ to reach/ now not breathing/ safe and sound and no longer knowing/ who we are nor (Nanni Balestrini\, Caosmogonia\, 2010). URL:https://www.fondazionemorra.org/en/evento/the-eighteenth-giornata-del-contemporaneo-mille-nanni/ LOCATION:Casa Morra – Archivio d’Arte Contemporanea\,  Salita S. Raffaele\, 20C\, Napoli\, 80136\, Italia CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/09/IMG_3630.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220930T170000 DTEND;TZID=Europe/Rome:20220930T200000 DTSTAMP:20260516T000057 CREATED:20220912T112909Z LAST-MODIFIED:20220916T095013Z UID:9891-1664557200-1664568000@www.fondazionemorra.org SUMMARY:Reverie – Dream 5 : Icarus DESCRIPTION:From 5 pm on Friday 30 September 2022\, Casa Morra. Archivi d’Arte Contemporanea in Naples will be hosting Reverie in the performative action “Sogno 5: Icaro” (Dream 5: Icarus).\nThe project\, with a text by Piero Tomassoni\, has been curated by Isabella Morra. \nConcluding her cycle devoted to dreams\, conducted over the years as a privileged alphabet of research\, this Tuscan artist proposes a contemporary reinterpretation of the Icarus of Greek mythology\, dedicating to the city of Naples her latest dream-themed performance. Initially suspended from a crane in the forecourt in front of the former chapel at Casa Morra\, Reverie will re-enact for the audience Icarus’s fateful flight.\nThe mythological Icarus assumes the burden of disobedience to the world’s constraints\, rules\, and laws. It is a challenge to what is reassuring – the desire to surpass human limits\, to look upwards and go beyond. But it is also the recklessness and impudence of a youthful idealist whose naïveté is transformed in Reverie’s work into a dreamlike experience that acquires a totally new and topical meaning.\nHer Icarus is “contemporary”: a genderless figure with prosthetic arms whom the artist has also represented in some of her opere-indivenire. She will appear as a majestic red wax sculpture with a cast around her torso. To this are attached two wings and a World War II parachute\, to which the incipit of the biography of this new Icarus\, that is\, the story that gave life to the work as a whole and to the performance itself\, has been stitched onto a satin insert in the artist’s own handwriting.\nThe story of the project\, as in all Reverie’s work\, thus originates from the desire to construct collective dimensions and memories that become a sharing zone between artist and audience. In the open space of Casa Morra\, the relationship between Reverie and the audience will be consolidated in a communion of emotional tension through an empathic relationship in which energies merge with the artist’s body. \nThe myth of flight\, of touching the intangible\, the sky\, would not exist without its opposite: the fall. They are antimeres of the same root: the push toward the beyond\, a journey that humanity has shared since its beginnings (Isabella Morra). The contemporary Icarus\, however\, takes his place in history in a new way\, celebrating life with its difficulties\, loneliness\, burdens and sufferings; he is every human. For centuries\, “Icarus” has been the therapeutic and sapiential song passed on from master to disciple\, from plant to healer in the Amazon. He has now become the mantra of Reverie (Piero Tomassoni). \nCasa Morra. Archivi d’Arte Contemporanea will be open to the public from 4 pm. \nReverie (Vinci\, 1994) lives in Milan\, dedicating every moment\, action\, and every rose of her life to Art. Her real name\, which she has chosen for life and art\, is a dedication to Bachelard’s Poetics of Reverie (nomen est omen). She works on contaminations\, the interference of conceptual and emotional gazes and reactions\, starting from interiority and profound solitude. She realizes performances representative of collective society\, contemporaneity and feeling\, between the real and the virtual. From the spark of intuition she creates texts to which she gives material form\, personally constructing all the elements necessary for the action. Crossing anthropology\, literature\, philosophy\, psychoanalysis and the sciences\, she has turned the study of dreams\, even “daydreaming”\, into an original line of research to develop an artistic language through which to investigate reality\, crossing archetypes as memories and “collective dreams”). She has produced several works on this theme and published a book\, librosogni with Skira (2021). Recent exhibitions and performances include: Il corpo dei sogni (solo show\, 2022\, Basilica di San Celso\, Milan); Sogno 5: Icaro (2022\, Casa Morra – Fondazione Morra\, Napoli); Sogno 4: alba lunare (2021\, Festa della Ceramica\, Montelupo); Sogno 3: la camera degli specchi (2021\, FOG\, Triennale\, Milan); Sogno 2: The Sleeping Muse (2020\, Palazzina Liberty Dario Fo e Franca Rame\, Milan\, in collaboration with Fondazione Mudima and curated by Raffaella Perna); Sogno 1: l’archetipo del sé (2019\, Fondazione VOLUME! Rome). \n  \nDialogue between R and I – Interview by Isbella Morra \nAn Icarus for Reverie – Piero Tomassoni URL:https://www.fondazionemorra.org/en/evento/reverie-dream-5-icarus/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/09/reverie-invito-digitale-fb_Tavola-disegno-1-003.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220730T043000 DTEND;TZID=Europe/Rome:20220731T030000 DTSTAMP:20260516T000057 CREATED:20220713T133030Z LAST-MODIFIED:20220713T133711Z UID:9033-1659155400-1659236400@www.fondazionemorra.org SUMMARY:Hermann Nitsch\, 160.aktion - das 6-tage-spiel DESCRIPTION:30 – 31 July 2022\nAtelier Hermann Nitsch\nPrinzendorf an der Zaya\, Austria \nDas 6-tage-spiel 2022 – 2. Fassung (the 6-day play – 2nd version) \nthe 6-day play of the o. m. theatre is a work in progress. everything i’ve ever done\, my action painting\, all my performance actions\, my music\, they were all precursors for a never-to-be completed work. in 1998 i succeeded in staging a possible version of the 6-day play in the orgies mysteries theatre at prinzendorf. in 2022 i wish to stage another version of the 6-day play. the music\, extended into organ sounds and escalating into music of the spheres\, is becoming all the more essential. \nHermann Nitsch \n24 years after the first staging of the 6-day play (1998)\, this summer the total work of art is to once again be condensed into a concentrated interplay of all its components. It was the cherished wish of Hermann Nitsch (*29 August 1938 in Vienna; Ϯ 18 April 2022 in Mistelbach) that his 6-day play be performed this year in the new version. The performances of the 1st and 2nd days are to take place on 30 and 31 July 2022. Rita Nitsch is fulfilling the wish of the artist posthumously\, supported by the core team of Andrea Cusumano (musical direction)\, Leonhard Kopp and Frank Gassner. The other four days will be staged in the coming years. \nThe Orgies Mysteries Theatre \nHermann Nitsch’s idea for an action performance lasting six days and six nights goes back to the year 1957. At the time working with the medium of literature\, the artist\, influenced by the attempts of Richard Wagner and Alexander Scriabin to realise a total work of art\, imagined his own action theatre\, oriented on synaesthetic experience engrossing all five senses: the Orgies Mysteries Theatre. \nThe length is an analogy to the story of creation and is conceived as an extension of all monumental works of art. Thus\, all the performed actions of the o. m. theatre ever since the early 1960s need to be understood as part realisations of the 6-day play. \nThe Orgies Mysteries Theatre is an artistic undertaking. Besides the visual form\, the music plays a crucial role. The play’s course follows a symphonic concept. The arena for the action is the castle grounds in Prinzendorf\, encompassing all its rooms and spaces as well as the surrounding countryside of Lower Austria’s Weinviertel. \nTicketing information is available at http://www.nitsch-foundation.com/the-6-day-play-2022 \nA booklet of the 6-day play can be downloaded at \nhttps://www.nitsch-foundation.com/wp-content/uploads/2022/04/6TS_2022_July_30-31_web.pdf URL:https://www.fondazionemorra.org/en/evento/hermann-nitsch-160-aktion-das-6-tage-spiel/ LOCATION:Atelier Hermann Nitsch\, Schlossstraße 1\, Prinzendorf\, 2185\, Austria CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/07/HN_6ts_A1_riden.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220703T190000 DTEND;TZID=Europe/Rome:20220703T230000 DTSTAMP:20260516T000057 CREATED:20220705T105257Z LAST-MODIFIED:20220708T130908Z UID:8863-1656874800-1656889200@www.fondazionemorra.org SUMMARY:Mille Nanni – 3rd July DESCRIPTION:1-3 july 2022 – Tribute to Nanni Balestrini\nOPENING 1st JULY 6.30 p.m.\n1st july – 30th october 2022 \nCasa Morra. Archivi d’Arte Contemporanea\nSalita San Raffaele 20/c\, Naples \nA project by Andrea Cortellessa and Giuseppe Morra\nCurated by Maria Teresa Carbone\, Andrea Cortellessa and Ada Tosatti \n7.00 p.m.\nDiscussion starting from Nanni Balestrini millepiani led by Ada Tosatti with the participation of Cecilia Bello Minciacchi\, Tommaso Ottonieri\, Emanuela Patti\, Chiara Portesine\, and Gian Paolo Renello. \n8.30 p.m.\nReadings by Mariano Bàino\, Biagio Cepollaro\, Laura Cingolani and Fabio Lapiana\, Gabriele Frasca\, Tommaso Ottonieri\, Lello Voce; reading performance L’esplosione on Balestrini’s texts by Fumofonico (Rosaria Lo Russo with Fausto Berti\, Matteo Zoppi\, music by Michael Nannini). \nGreetings and thanks by Rossana Campo. \nL’esplosione \nReading performance \nCurated by Rosaria Lo Russo \nWith Rosaria Lo Russo\, Matteo Zoppi\, and Fausto Berti \nMusic Michael Nannini \nThis reading performance from L’esplosione (2019) is a tribute to Nanni Balestrini’s testamentary work\, his last book of visual poetry. The voices of three reader-performers on stage give body in sound to three of the six movements\, or cantos\, of a work centred on multiples of three. There is a solemn Dantean motion to this short poem that recomposes the human story from the alpha of the first human traces of Neolithic art to the apocalyptic omega of the terminal phases of the Anthropocene. A Dantesque palingenetic motion\, albeit with the usual suspension of judgement\, which here\, however\, becomes a magnificent tension (and internal skirmish between the three voices)\, gives structure to each page with three outward triplets and three return triplets in the movement of the layout from left to right\, forming a cusp. It is the sign of a verticality that is not metaphysical but immanent in the human condition. It is the geometry of astonishment and disaster of experience\, both individual and historical/collective\, from the initial explosion of hominization to the explosion of the end\, of an exemplary poet’s life like that of our animal species. In this work\, the geometry of montage typical of Balestrini’s poetry\, underpinned here by a powerful emotional vein\, attains a moving clarity\, almost as if L’esplosione were actually a first work rather than a farewell. \n\n \n \n \n \n \n \n Mille Nanni\, Casa Morra\, Napoli\, 2022 Photo Serena Schettino Courtesy Fondazione Morra\n \n \n \n \n \n Mille Nanni\, Casa Morra\, Napoli\, 2022 Photo Serena Schettino Courtesy Fondazione Morra\n \n \n \n \n \n Biagio Cepollaro\, Mille Nanni\, Casa Morra\, Napoli\, 2022 Photo Serena Schettino Courtesy Fondazione Morra\n \n \n \n \n \n Laura Cingolani and Fabio Lapiana\, Mille Nanni\, Casa Morra\, Napoli\, 2022 Photo Serena Schettino Courtesy Fondazione Morra\n \n \n \n \n \n Rosaria Lo Russo and Fumofonico\, L’esplosione\, Mille Nanni\, Casa Morra\, Napoli\, 2022 Photo Serena Schettino Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/mille-nanni-3-luglio/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/07/fumofonico_brochure_page-0001.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220702T100000 DTEND;TZID=Europe/Rome:20220702T230000 DTSTAMP:20260516T000057 CREATED:20220705T103401Z LAST-MODIFIED:20220708T125230Z UID:8853-1656756000-1656802800@www.fondazionemorra.org SUMMARY:Mille Nanni - 2nd July DESCRIPTION:1-3 july 2022 – Tribute to Nanni Balestrini\nOPENING 1st JULY 6.30 p.m.\n1st july – 30th october 2022 \nCasa Morra. Archivi d’Arte Contemporanea\nSalita San Raffaele 20/c\, Naples \nA project by Andrea Cortellessa and Giuseppe Morra\nCurated by Maria Teresa Carbone\, Andrea Cortellessa and Ada Tosatti \n10.00 a.m.\nPresentation of the Sonora project of the University of Naples «Federico II» with the participation of Giancarlo Alfano\, Giuseppe Andrea Liberti\, Valentina Panarella\, and Stefania Zuliani. \n“What singles out the voice from the vast ocean of sounds and noise”\, wrote Mladen Dolar\, is its “inner relationship with meaning”. Indeed\, the voice is inside meaning (sense) because it is “sensuous”\, sonorous\, corporeal. At the same time\, the voice is inside meaning because it is “acousmatic”\, that is\, disembodied. Hovering between body and ghost\, the voice becomes poetry in working on presence (the setting for the performance)\, fetish (the recording of the poet’s “real voice”)\, and sonification (the acoustic manipulation of the recordings). \n12.00 p.m.\nPiano performance by Andrea Riccio. \n7.00 p.m.\nDiscussion starting from Nanni Balestrini millepiani (curated by Sergio Bianchi\, DeriveApprodi 2022) led by Gian Paolo Renello with the participation of Franco Berardi Bifo\, Giairo Daghini\, Maurizio Ferraris\, Renato Parascandolo\, and Franca Rovigatti. \n8.o0 p.m.\nReadings by Andrea Inglese\, Eugenio Lucrezi\, Giovanna Marmo\, and Franca Rovigatti. \n8.30 p.m.\nPerformance Questioni di tagli. Così come si agisce in concreto. Tessiture di suoni e voci per Nanni by Luigi Cinque and Giovanni Fontana. \nQUESTIONI DI TAGLI\nHow it is done in practice. Textures of sounds and voices for Nanni. \nElectroacoustic concert for voices\, speech\, singing\, modulator\, SFX effects\, woodwinds\, electronic sax\, loops & drums. \nby Luigi Cinque and Giovanni Fontana \nMille Nanni: a thousand stances in relation to the word and a thousand forms of the word. \nWeights\, measures\, complex and flexible space-time dimensions\, constantly evolving dynamics. Body-word\, gesture-word\, gaze-word\, action-word\, field-word\, footprint-word\, automaton-word\, machine-word\, image-word\, event-word\, sound-word\, object-word\, in phono-symbolic pictures and mirrors of verbal ideograms to compose performative paradigms and perspectives for performance on stage or in film through intermedial projections. \nGiven the challenge posed by the structural dynamics of Balestrini’s complexity\, Luigi Cinque and Giovanni Fontana dwell on the concept of the ‘cut’ and its technical peculiarities\, organizing a performative fabric where the verbal dimension is resolved into sounds and rhythms\, letting phono-semantic concepts emerge like tips of icebergs and releasing vocal and musical epiphanies in unforeseeable directions. Luigi Cinque’s multi-instrumental textures are entwined in a rhythmic weave that\, at times\, reveals in a digital dimension phonetic polyharmonies within which Nanni Balestrini’s own voice may also be heard\, while sustaining the poetic sonorities of Giovanni Fontana. The vocal aspect rests on the writing\, and the music credits everything in an acoustic puzzle concretely characterized by the electrophonic mask of the body. \n\n \n \n \n \n \n \n Mille Nanni\, Casa Morra\, Naples\, 2022 Photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Mille Nanni\, Casa Morra\, Naples\, 2022 Photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Andrea Riccio\, …per Nanni…\, Mille Nanni\, Casa Morra\, Naples\, 2022 Photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Mille Nanni\, Casa Morra\, Naples\, 2022 Photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Giovanni Fontana and Luigi Cinque\, Questioni di tagli\, Mille Nanni\, Casa Morra\, Naples\, 2022 Photo Amedeo Benestante Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/mille-nanni-2nd-july/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/07/cinque_fontana_brochure_page-0001.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220701T183000 DTEND;TZID=Europe/Rome:20221030T183000 DTSTAMP:20260516T000057 CREATED:20220624T151200Z LAST-MODIFIED:20220720T141822Z UID:8707-1656700200-1667154600@www.fondazionemorra.org SUMMARY:Mille Nanni - Tribute to Nanni Balestrini DESCRIPTION:1-3 july 2022 – Tribute to Nanni Balestrini\nOPENING 1st JULY 6.30 p.m.\n1st july – 30th october 2022 \nCasa Morra. Archivi d’Arte Contemporanea\nSalita San Raffaele 20/c\, Naples \nA project by Andrea Cortellessa and Giuseppe Morra\nCurated by Maria Teresa Carbone\, Andrea Cortellessa and Ada Tosatti \nMa noi facciamone un’altra is the title of the second book of poetry by Nanni Balestrini (1935-2019)\, published in the iconic 1968. The title is a citation from one of Nanni’s main sources of inspiration\, Bertolt Brecht. However\, it also evokes Balestrini’s mercurial ability to move from one of the thousand facets of his polymorphous personality to another as artist\, writer\, political activist\, and organizer of cultural events. Peppe Morra has dedicated one of the permanent exhibition spaces in Casa Morra to Balestrini\, his friend\, frequent guest\, and accomplice and has established a memorial day dedicated to him in early July (2 July\, Nanni’s birthday). The event will involve longstanding travelling companions and younger friends and collaborators whose tributes will take the form of poetic and musical performances\, readings\, interpretations\, in-depth interdisciplinary discussions\, and specialist seminars. \nThere really are a thousand ‘best’ Nannis in our lives\, as Mille piani\, published in 1980\, shows. It was the summa of the works of Gilles Deleuze\, the man whom Balestrini considered the greatest thinker of his time\, as well as those of controversial psychoanalyst Félix Guattari\, his friend and companion during his exile in France between 1979 and 1984 in the wake of a judicial hypothesis subsequently proved unfounded.In Balestrini we find the writer\, pioneer in the 1960s of cybernetics-based combinatorial writing; there is also the visual artist who\, decades later\, would apply the same technique to images with his masterpiece Tristanoil\, “the longest film in the world”. After showing at DOCUMENTA in 2012\, it is now on permanent display at the Fondazione Morra. Then there is the narrator of Violenza illustrata\, outlining the evils plaguing Italy in the seventies\, as well as recounting our own times. We also have Nanni the cultural organizer\, tireless inventor of movements\, magazines\, festivals\, and editorial series. In addition\, there is Balestrini the political activist who\, from his Vogliamo tutto\, painted an unflinching picture of our times. \nNot a thousand\, but dozens of poets\, artists\, essayists\, and critics will be represented in turns at Casa Morra under the coordination of Maria Teresa Carbone\, Andrea Cortellessa\, and Ada Tosatti. Names will include Achille Bonito Oliva and Franco Berardi-Bifo\, Maurizio Ferraris\, Alessandra Carnaroli\, and Carmen Gallo\, Gabriele Frasca\, Aldo Nove\, and Lello Voce\, Andrea Inglese\, Tommaso Ottonieri\, and Girolamo De Simone\, the Luigi Cinque/Giovanni Fontana duo\, and performance quartet Fumofonico\, led by Rosaria Lo Russo. \n  \nPROGRAMME \n  \nFriday\, 1st July \n6.30 p.m. \nInauguration Mille Nanni\, a documentary exhibition curated by Giuseppe Morra. Speeches by Achille Bonito Oliva\, Andrea Cortellessa\, Gino Di Maggio. \nFilm Il Suono di un’Isola by Uliano Paolozzi Balestrini\, produced by Almendra Music. \n7.30 p.m. \nGian Maria Annovi and Vittorio Pellegrineschi introduce Tristanoil. \n8.30 p.m. \nReadings by Gian Maria Annovi\, Alessandra Carnaroli\, Carmen Gallo\, Marco Giovenale & Michele Zaffarano\, and Aldo Nove. Followed by the performance Tristano per Nanni\, music and piano by Girolamo De Simone. \n  \nSaturday\, 2nd July \n10.00 a.m. \nPresentation of the Sonora project of the University of Naples «Federico II» with the participation of Giancarlo Alfano\, Giuseppe Andrea Liberti\, Valentina Panarella\, and Stefania Zuliani. \n12.00 p.m.\nPiano performance by Andrea Riccio\, music by Cage\, Cilio\, Eno\, Pärt. \n7.00 p.m. \nDiscussion starting from Nanni Balestrini millepiani (curated by Sergio Bianchi\, DeriveApprodi 2022) led by Gian Paolo Renello with the participation of Franco Berardi Bifo\, Giairo Daghini\, Maurizio Ferraris\, Renato Parascandolo\, and Franca Rovigatti. \n8.30 p.m. \nReadings by Andrea Inglese\, Eugenio Lucrezi\, Giovanna Marmo\, and Franca Rovigatti; performance Questioni di tagli. Così come si agisce in concreto. Tessiture di suoni e voci per Nanni by Luigi Cinque and Giovanni Fontana. \nSunday\, 3rd July \n7.00 p.m. \nDiscussion starting from Nanni Balestrini millepiani led by Ada Tosatti with the participation of Cecilia Bello Minciacchi\, Tommaso Ottonieri\, Emanuela Patti\, Chiara Portesine\, and Gian Paolo Renello. \n8.30 p.m. \nReadings by Mariano Bàino\, Biagio Cepollaro\, Laura Cingolani and Fabio Lapiana\, Gabriele Frasca\, Tommaso Ottonieri\, Lello Voce; reading performance L’esplosione on Balestrini’s texts by Fumofonico (Rosaria Lo Russo with Fausto Berti\, Matteo Zoppi\, music by Michael Nannini). \nGreetings and thanks by Rossana Campo. \n\n \n \n \n \n \n \n Nanni Balestrini\, Mille Nanni\, Casa Morra\, Naples\, 2022 photo Amedeo Benestante Courtesy Fondazione Morra \n \n \n \n \n \n Nanni Balestrini\, Mille Nanni\, Casa Morra\, Naples\, 2022 photo Amedeo Benestante Courtesy Fondazione Morra \n \n \n \n \n \n Nanni Balestrini\, Mille Nanni\, Casa Morra\, Naples\, 2022 photo Amedeo Benestante Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/mille-nanni-tribute-to-nanni-balestrini/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/06/mille_nanni_brochure_def2_page-0001.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220701T183000 DTEND;TZID=Europe/Rome:20220701T230000 DTSTAMP:20260516T000057 CREATED:20220705T101215Z LAST-MODIFIED:20220708T105812Z UID:8836-1656700200-1656716400@www.fondazionemorra.org SUMMARY:Mille Nanni - 1st July DESCRIPTION:1-3 july 2022 – Tribute to Nanni Balestrini\nOPENING 1st JULY 6.30 p.m.\n1st july – 30th october 2022 \nCasa Morra. Archivi d’Arte Contemporanea\nSalita San Raffaele 20/c\, Naples \nA project by Andrea Cortellessa and Giuseppe Morra\nCurated by Maria Teresa Carbone\, Andrea Cortellessa and Ada Tosatti \n6.30 p.m. \nInauguration Mille Nanni\, a documentary exhibition curated by Giuseppe Morra. Speeches by Achille Bonito Oliva\, Andrea Cortellessa\, Gino Di Maggio. \nFilm Il Suono di un’Isola by Uliano Paolozzi Balestrini\, produced by Almendra Music. \n7.30 p.m. \nGian Maria Annovi and Vittorio Pellegrineschi introduce Tristanoil. \n8.30 p.m. \nReadings by Gian Maria Annovi\, Alessandra Carnaroli\, Carmen Gallo\, Marco Giovenale & Michele Zaffarano\, and Aldo Nove. Followed by the performance Tristano per Nanni\, music and piano by Girolamo De Simone. \n“Tristano per Nanni Balestrini” \nPerformance by Girolamo De Simone \nTristano is Nanni Balestrini’s first novel. It was written for Gruppo ’63 and later published\, in one of its various forms\, by Feltrinelli. It is\, in fact\, a mutant or rather a permutant\, work as the different chapters are organized into juxtaposable nuclei – sentences that can be combined in a multiplicity of ways\, almost in the hope that the narrative movement will no longer be “a transformation following a linear order of development\, but a succession of presences”. \nThe book is entitled Tristan\, and the author reminds us of the reason for this choice (the word “reason” is loaded with a meaning assumed in perspective; I feel it has the meaning put forward by Deleuze and Guattari in A Thousand Plateaus): a love story\, where “love is turned upside down in relation to the way one encounters it in Wagner’s Tristan: not perdition\, destiny\, destruction\, and slavery\, but freedom\, choice. Not intrigue\, not drama…” [sleeve notes to Tristan\, Milan 1966]. \nAnd yet\, in a – today not so easy – reading of the novel (complementing John Cage’s writings\, many contained in Silence\, Wesleyan University Press\, 1961)\, the presence of movement is particularly evident since anything linear is shattered in almost in every sentence\, with lexical\, content-related\, allusive virtuosity… Thus\, a “drama” as movement is still alive here and simply brings us face to face with a change of perspective: it is not a matter of Wagner’s “perdition” or “destiny”\, but of the vague circulation of personal meaning that the reader assigns to the pages (“reversible”\, in musical jargon\, in any number of ways)\, and which\, in its variations\, leads to the historicized affirmation of the loss of the subject. A subject that becomes multiple and therefore indistinct\, distributed such that it does not yet make the meaning evaporate but requires a possibly transversal one between the lines of discourse (one of those possible). A perhaps personal truth\, confided by the author to each reader in the virtuosic secret of a word that needs organizational forcing to transform it into an almost filmic sequence… \nThis is the thinking that underlies the idea of this performance\, Tristan for Nanni Balestrini: I look to Wagner’s music\, especially Tristan und Isolde\, but also to the mysterious Elegy\, marked Schmachtend\, or soulful\, languishing\, in progress\, and presented again in linear form and\, immediately afterwards without a break\, in reverse\, with obvious additions of my own in terms of touch and sound. Thus\, I present my variously contrived piano versions of Tristan\, employing Fluxus digression (with the correlation between the sound/note and its duration\, i.e.\, establishing the fall of each sound according to the spatial distance from the one preceding it)\, but also “minimal” multiplication… transferring Nanni Balestrini’s writing into music. \nSome sentences from the novel are also read out during the piano performance: I reconstructed some threads of meaning for… themes/motifs\, proceeding in precisely the opposite way to what happens in the music. The result is a captivating and alternating journey\, halfway between the “sound of the word” (possible and rediscovered meaning) and the “sound of the instrument” (a meaning that is proposed and then shattered)\, dense with a new drama\, which intends – perhaps – to acknowledge the current state of BEWILDERMENT\, which now binds and unites us all. \nGirolamo De Simone \n\n \n \n \n \n \n \n Mille Nanni\, Casa Morra\, Naples\, 2022 Photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Mille Nanni\, Casa Morra\, Naples\, 2022 Photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Carmen Gallo\, Mille Nanni\, Casa Morra\, Naples\, 2022 Photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Michele Zaffarano\, Mille Nanni\, Casa Morra\, Naples\, 2022 Photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Girolamo De Simone\, Tristano per Nanni\, Mille Nanni\, Casa Morra\, Naples\, 2022 Photo Amedeo Benestante Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/mille-nanni-1-luglio/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/07/de_simone_brochure_page-0001.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220701T080000 DTEND;TZID=Europe/Rome:20230131T170000 DTSTAMP:20260516T000057 CREATED:20221115T092421Z LAST-MODIFIED:20221115T092421Z UID:10764-1656662400-1675184400@www.fondazionemorra.org SUMMARY:Mille Nanni DESCRIPTION:Mille Nanni is an exhibition opened on 1 July 2022 to inaugurate a series of meetings dedicated to Balestrini. It presents his artistic journey\, exploring the complexity of his thought through archive material\, collages\, and sculptures from the nineties\, in addition to his prose\, and poems. \nNanni Balestrini’s work shows a powerful creative and political commitment\, manifest through tireless experimental research spanning different expressive languages. A keen observer and protagonist of today’s world\, Balestrini invites us to look at reality not as a monolith but to take it in through a thousand glances\, a thousand visions\, multiplying and distorting it\, challenging it. The artist’s universe is composed of constellations of poetic words\, denuded and sometimes violent\, searching for authenticity in a world of neo-capitalist inauthenticity. \nComplementing the permanent exhibition dedicated to him\, “Mille Nanni” is a diffuse exhibition throughout the building\, showcasing the multidisciplinary character of the artist’s work\, with a focus on his poetic sensibility. \nfaster and faster/ breathing in through the nose/ always the same beat/ being reduced/ still here saying doing/ to reach/ now not breathing/ safe and sound and no longer knowing/ who we are nor (Nanni Balestrini\, Caosmogonia\, 2010). \n  \nNanni Balestrini\, Mille Nanni\, Casa Morra\, Naples\, 2022 photo Amedeo Benestante Courtesy Fondazione Morra \n  \nNanni Balestrini\, Mille Nanni\, Casa Morra\, Naples\, 2022 photo Amedeo Benestante Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/mille-nanni/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/06/DSC5323.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220624T150000 DTEND;TZID=Europe/Rome:20220624T210000 DTSTAMP:20260516T000057 CREATED:20220622T095515Z LAST-MODIFIED:20220622T095846Z UID:8658-1656082800-1656104400@www.fondazionemorra.org SUMMARY:FIGURE DI FILO DESCRIPTION:24th june 2022\nSTART WORKSHOP 3.00 p.m.\nSCREENINGS 6.00 p.m.\nCONCERT 9.00 p.m.\nLa Casaforte\nPiazzetta Trinità degli Spagnoli\, 4\, Naples \nCurated by Lola Posani (Akrida Festival)\, Giulio Nocera (La Digestion\, Phonurgia)\, La Casaforte S.B. \nPlaces are limited – Admission by contribution – To book\, please send an email to figuredifilo@gmail.com \n𝐅𝐈𝐆𝐔𝐑𝐄 𝐃𝐈 𝐅𝐈𝐋𝐎 is a programme\, a practice\, a game\, a desire\, an idea that seeks its own form and texture. It is the result of the collaboration between Giulio Nocera (former founder of La Digestion festival)\, the Sound Art festival AKRIDA (Lola Posani)\, the art space La Casaforte in collaboration with the Fondazione Morra and with the support of the EM-ARTS association. \n𝐅𝐈𝐆𝐔𝐑𝐄 𝐃𝐈 𝐅𝐈𝐋𝐎 (string figures) is an expression borrowed from the thinker Donna Haraway who\, in turn\, borrows the expression from one of mankind’s oldest hobbies (string game\, cat’s cradle) to imagine a new way of existing and of constructing narratives. \nAs Haraway clearly explains\, the figures created by the threads in string figures game are like stories\, proposing and activating complex patterns that participants can occupy and inhabit. \nSome Navajo thinkers describe string games as a type of pattern-making useful for restoring hózhó\, a term that can be imperfectly translated as ”harmony”\, ”beauty”. But making figures of thread also means weaving unprecedented relationships\, letting threads hang\, presenting enigmas\, promoting multi-species becoming-with\, in «a risky game of worlding and storying; it is staying with the trouble». \nOur game opens on 24 June with its first event\, Figure 1\, which will let the first threads hang at La Casaforte\, a space for independent art and thought born from the recovery of a 16th-century cloister in the heart of Naples’ Quartieri Spagnoli\, inherently dedicated to the game of artistic and relational interweaving. \nFigure 1 is structured into a full day of activities. \nThe first thread runs through the hands of Lola Posani\, voice researcher\, independent curator and Deep Listening facilitator. The workshop proposed by Lola stands at the intersection between her improvisational research and Deep Listening\, a practice created by Pauline Oliveros\, pioneering American composer\, improviser and performer\, which explores the difference between the involuntary nature of hearing and the voluntary and selective nature of listening. \nDeep Listening includes body practices\, sound meditations and work on scores\, as well as conscious listening to the sounds of everyday life\, of thoughts\, of imagination and of dreams. During the workshop\, participants will be invited to investigate their inner soundscape and to explore the acoustic reality that surrounds them. \nThe programme is followed at 6 p.m. by the screening of the short film STRATI by Ludovica Battista\, architect\, writer and independent researcher with a transdisciplinary perspective. Ludovica’s work explores the current territorial condition\, the interspecies living flesh of the world\, with a focus on risk\, destruction and invisibility as political and poetic issues. STRATI is the visual result of a long research on the Vesuvian urban agglomeration\, land on the edge of destruction and intimately driven to survival; a study about tearing anthropized landscapes out of superficial visions. Following lava flows from the last extensive eruption from 1631\, images put together a stratified\, emotional way to expose its territory\, to feel it\, to think it and therefore to imagine it. The soundtrack of the film was composed especially for this feature by Giulio Nocera\, a Neapolitan composer. \nDuring the same time slot\, it will be possible to visit 𝗟𝗔 𝗧𝗘𝗠𝗣𝗘𝗦𝗧𝗔 – precettare il tempo\, installation curated by Valeria Borrelli with 𝐠𝐫𝐮𝐩𝐩𝐨 𝐢𝐧𝐟𝐨𝐫𝐦𝐚𝐥𝐞 𝐍𝐢𝐦𝐛𝐮𝐬.  In the installation\, the arms crossed to form an unbroken chain\, clasped by the hands\, offering the right to the companion behind and the left to the one in front\, give life to a movement; a perpetual circular dance is the “rite against the storm” that is ascribed as a “precept of time”\, a request to observe a superior and divine order addressed to the natural elements that threaten it\, in which the actions and souls of the community are brought together to ward off the danger. \nA presentation of both projects will follow at 7.30 p.m.\, as well as a discussion between the authors and the audience. \nThe last event of the day\, at 9 p.m.\, will be the presentation of the Italian premiere of Belgian violinist Clara Levy‘s new solo project 13 visions. Her current musical projects are inspired by erosion\, slowness\, the microscopic and an imaginary Middle Ages. The ’13 visions’ project is an imaginary encounter between two female composers whose musical aesthetics share many common traits\, despite the centuries that separate them: Hildegard Di Bingen and Pauline Oliveros. Their respective visions thus converge in a cycle of thirteen pieces for solo violin. Halfway between composition\, arrangement and quotation\, the starting point of this project is the score of Pauline Oliveros’ text ’13 changes’: thirteen poetic instructions – inspired by earthly or cosmic events. Levy’s project retains the structure intended by Pauline Oliveros\, while her instructions determine the sound universe of each piece through various performance techniques and instrument preparations. The hymns of Hildegard von Bingen appear ‘in the shade’: the violin\, in the role of a drone\, proposes a sober harmonization of the chosen melodies. URL:https://www.fondazionemorra.org/en/evento/figure-di-filo/ LOCATION:La Casaforte\, Piazzetta Trinità degli Spagnoli\, 4\, Napoli\, 80132 ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/06/FDFposter03.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220624T120000 DTEND;TZID=Europe/Rome:20220624T190000 DTSTAMP:20260516T000057 CREATED:20220705T141015Z LAST-MODIFIED:20220705T144326Z UID:8894-1656072000-1656097200@www.fondazionemorra.org SUMMARY:Maurizio Elettrico - Convivium eternum DESCRIPTION:24 June 2022\nSTART 12.00 p.m.\nIpogeo dei Cristallini\nVia dei Cristallini 133\, Naples \nCurated by Marta Wróblewska \nThe Ipogeo dei Cristallini in the heart of the Rione Sanità of Naples opens to the public from 1 July 2022\, a rare and incredible testimony of Hellenistic painting and architecture that represents a unicum of history\, archeology\, myths and colors.\nThe Ipogeo dei Cristallini also opens to many forms of contemporary art and culture\, rethinking the identity of the place and proposing new scenarios\, with a long-term program of activities\, curated by Marta Wróblewska.  During the inaugural day of presentation to the press on 24 June\, the Ipogeo dei Cristallini celebrates the opening together with the works of two Neapolitan artists.  In collaboration with the Morra Foundation\, presents Convivium eternum by Maurizio Elettrico\, an installation exposed in the courtyard and dedicated to the neighborhood\, designed for the opening day\, that can be admired through social media and the website of the Ipogeo dei Cristallini.  Until 30 September 2022 the opera Sidus Terrae (Star of the Earth) by Christian Leperino will be staged.  Both works reveal the dialogue between ancient and contemporary art\, between the memory of the past and the present\, for a continuous rediscovery through art. \nEvery history has its beginning. By opening Ipogeo dei Cristallini to the public\, we are at the same time renegotiating its identity and proposing new scenarios. In order to do that\, we are using the language of contemporary art which\, like no other\, can express and connect ideas thousands of years old\, turning them into new categories. We also wish to be polyphonic. That is why we are inaugurating our activity with a special kind of installation prepared by the Neapolitan multimedia artist – Maurizio Elettrico. \nSo far undeciphered\, somewhat obliterated\, and mostly anonymous antique stories of Ipogeo dei Cristallini meet during the fanciful banquet with Elettrico’s visionary scenarios for future generations\, that take on a form of a kaleidoscopic mixture of plots\, symbols\, phantasy and reality. Eating and drinking at a common table during a refined ceremony signifies the affirmation of life full of aromas\, tastes and colours\, but also constitutes a gesture of solidarity in passing and reviving. Accepting the invitation to this supernatural banquet\, where food becomes art\, and art turns into food\, we are challenged to enter a kind of game of imagination and creativity. The artist pulls us into a cosmic cycle which enables constant rebirth also through art. Thus the power of nature and the omnipotence of the supernatural find continuous heirs in the timeline that stems from the mysteries of the distant past and the gods evoked in the sacred funeral banquets\, addressing the hopes and fears for the future. [“Cosi la potenza della natura e l’onnipotenza del soprannaturale trovano continui eredi nella linea temporale che dai misteri del lontano passato\, i teoi evocati nei sacri banchetti funebri\, giunge alle speranze e alle paure per il futuro”] M. Elettrico \n\n \n \n \n \n \n \n Maurizio Elettrico\, Convivium Eternum\, Ipogeo dei Cristallini\, Naples\, 2022 photo Giulia Luongo Courtesy Fondazione Morra\n \n \n \n \n \n Maurizio Elettrico\, Convivium Eternum\, Ipogeo dei Cristallini\, Naples\, 2022 photo Giulia Luongo Courtesy Fondazione Morra\n \n \n \n \n \n Maurizio Elettrico\, Convivium Eternum\, Ipogeo dei Cristallini\, Naples\, 2022 photo Giulia Luongo Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/maurizio-elettrico-convivium-eternum/ LOCATION:Ipogeo dei Cristallini\, Via dei Cristallini 133\, Napoli ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/07/P1010075.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220620T100000 DTEND;TZID=Europe/Rome:20220702T190000 DTSTAMP:20260516T000057 CREATED:20220502T102813Z LAST-MODIFIED:20220502T104654Z UID:7842-1655719200-1656788400@www.fondazionemorra.org SUMMARY:CALL International Masterclass Oedipus. Body of Blood. – Melpignano (LE) DESCRIPTION:CALL FOR MASTERCLASS\nOpen call from 28th february to 2nd june 2022 \n20th june – 2nd july 2022\nEx Convento degli Agostiniani\nViale Michele de Pietro 10\, Lecce \nInternational Residential Masterclass on the relationship between sound and body\, from the King Oedipus by Hermann Nitsch \nheld by Andrea Cramarossa \n“The torment that Oedipus carries from his birth\, not knowing anything about himself\, will lead him towards horror\, towards the inaudible. With a very strong light\, in Nitsch’s Oedipus\, the sense of the sacred is achieved through the sacrifice of all the elements that led the hero into the ecstasy of knowledge\, a disturbing\, troublesome\, lacerating ecstasy.” \nAndrea Cramarossa \nPurposes \n\nGet in touch with your own body through the practice of the ritual.\nGet in touch with your own sound through the practice of the ritual.\nTake possession of the “sense of the sacred” starting from the “sacred everyday”.\nMake your own body sacred.\nMake your own sound sacred.\nMake the place sacred through the practice of sacrifice.\n\nGoals \n\nTo Study the text “King Oedipus” by Hermann Nitsch[1] to reach an immersive ritual practice.\nTo get involved by the myth of Oedipus to consolidate a collective and community narrative practice of the myth itself.\nTo reach a possible “place” where the actor consider the sacredness of his being on stage with the surroundings\nTo Assimilate the sense of the sacred in theatrical practice.\nTo Learn the mechanism of regression (loss of one’s structural bonds – physical and mental prison) to identify the primordial physical impulses (Dionysian process).\nLearn the mechanism of the sublimation of these impulses to make a mystical artistic creation of self-awareness.\n\nWho is the Masterclass for? \nThe Masterclass is aimed at actors and actresses\, dancers\, musicians\, singers\, directors and directors of all ages and of all nationalities (held multilingual); also open to pupils with experience\, even occasional and not in-depth\, but felt and participated in the dramatic art. \nThe relationship with the body provides for the possibility of considering it in its nakedness. \nAt the end of the itinerary\, a double opening of the work to the audience is foreseen. \nAll participants will receive a certificate of participation. \nThe Masterclass is limited to a maximum of 20 participants. \nBiographical notes \nAndrea Cramarossa is a poet\, director and actor who\, after years of intense personal studies in the field of vocal research\, sound and voice applied to singing and speaking\, theorize\, on an experimental basis\, an approach to dramatic art through the use and knowledge of sound. \nHe is the first to take advantage of listening to the sound of the human voice in order to arrive at dramatic art by structuring a real acting model that is inspired by the work on sound by Gisela Rhomert and by Hermann Nitsch’s Theater of Orgies and Mysteries. \nCramarossa regularly holds workshops on voice and acting in Italy and abroad. He receives numerous awards in the artistic field including: “Young Oscar – European Personality” and the “Aligi D’Oro” Prize for Dramatic Art. With his artistic work “L’URLO” (The Scream) he received the first prize in 2013 at the FAP – Festival of Performing Arts. In 2003 he founded the theater research group Teatro delle Bambole. \nFor more info: www.teatrodellebambole.it \nDates & Timetables \nThe Masterclass will take place:\nfrom Monday 20 June to Saturday 2 July (with a break on Sunday 26 June)\nHours: to be agreed\nProposal / hypothesis: from 10 to 13 and from 16 to 19. \nWhere \nThe Masterclass will take place in Melpignano (LE): \nEx Convento degli Agostiniani \n_____________________ \nHow to apply / Deadline \nIt is essential to send your application accompanied by an artistic curriculum to info@teatrodellebambole.it \nYou can send your application from February 28\, 2022 to June 02\, 2022. \nAttendance fee: 280\,00 euros \nEARLY BIRD PRICE 250\,00 euros: Special reduced fee sending the application by April 10\, 2022. \nSelection Result \nThe selected participants will be contacted by the organizational secretariat on \n\nApril 20\, 2022 (applications received by April 10)\nJune 12\, 2022 (applications received after April 10)\n\nThe registration is completed upon receipt of the copy of the deposit of  50%\, within five days following the communication of the selections. \nAfter this date the candidacy expires. Please note that the deposit is non-refundable \nPayment is only allowed by bank transfer.The attendances are responsible for organizing and paying their own travel\, accommodation\, meals costs. \nAffiliated accommodations are available. \nDuring the Masterclass\, compliance with the measures envisaged for the containment of Covid-19 will be guaranteed. \nInfo: \nOfficine Theatrikés Salento Ellàda – Cell.: 388 1814359 – officinetse@gmail.com \nTeatro delle Bambole – Cell.: 347 3003359 – info@teatrodellebambole.it \nOEDIPUS. BODY OF BLOOD. – INTERNATIONAL MASTERCLASS is organized by OTSE – Officine Theatrikés Salento Ellàda  and Teatro delle Bambole\, in collaboration with Fondazione Morra – Hermann Nitsch Museum and Casa del Contemporaneo\, with the support of Ministero della Cultura\, Regione Puglia and Comune di Melpignano. \n[1] Hermann Nitsch\, EDIPO RE. Una teoria di rappresentazione del dramma 1964\, Edizioni Morra\, Naples\, 2001. URL:https://www.fondazionemorra.org/en/evento/call-masterclass-internazionale-edipo-corpo-di-sangue-melpignano-le/ LOCATION:Ex Convento degli Agostiniani\, Viale Michele de Pietro 10\, Lecce\, 73100\, Italy CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/05/EventoFacebookEDIPO-002.jpg ORGANIZER;CN="Teatro delle Bambole":MAILTO:info@teatrodellebambole.it END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220616T210000 DTEND;TZID=Europe/Rome:20220618T210000 DTSTAMP:20260516T000057 CREATED:20220606T111625Z LAST-MODIFIED:20220705T131519Z UID:8358-1655413200-1655586000@www.fondazionemorra.org SUMMARY:INDEPENDENT FILM SHOW 22nd Edition DESCRIPTION:16th – 18th June 2022\nSTART 9.00 p.m.\nFondazione Morra – Museo Nitsch (Belvedere)\nVico Lungo Pontecorvo 29/d\, Naples \nIndependent Film Show 22 edition is among the most innovative international reviews of experimental film\, from 2001 coordinated by Raffaella Morra and organised by E-M ARTS and Fondazione Morra\, in collaboration with Goethe-Institut Neapel. This Independent Film Show 22 edition is enriched with an immersive and educational section by planning the lesson Photographic darkroom works by Telemach Wiesinger (Museo Hermann Nitsch on the 16.06 at 6:30pm) and in collaboration with Centro di Fotografia Indipendente the workshops Phytography by Karel Doing (Vigna San Martino on the 17.06 at 11:00am) and Neither Black nor White: simple tinting and toning in 16mm by Richard Tuohy and Dianna Barrie (Centro di Fotografia Indipendente on the 19.06 at 10:30am). \nThe ‘here-and-now’ of the Independent Film Show testifies the fulfillment of a passion – the investigation of the experimental film\, and the sharing of the resulting observations. Beyond the specific systems and conventions\, this art form is autonomous – each filmmaker employs his/her own creative genius experimenting methods and skills often handcrafted – and grants an unusual perceptive experience: the immersion in the frame’s substance through an encounter between participant and filmmaker\, including the projector machines as irreplaceable tools. The celluloid substrate is not simply the vector of photographic images but a territory of imagination and innovation. \nIndependent Film Show emerges as revealing refuge for cinephiles\, where a love for experimental film and pushing audio-visual experiences are shared and a mutual relationship is established. It is not only watching films and videos\, but it is also inherently a way to talk and then spread the discourses. The certainty of multiple alternative visions resurfaces in these new contexts\, resistant to capitalist consumption and in search of a revisiting of society\, maybe starting to understand diversity as encounter with another organism. \non June Thursday 16 \n«ON N’ENCHAÎNE PAS LES VOLCANS» Films selection by JASMINE CLOTILDE PISAPIA \nIn her essay «On n’enchaîne pas les volcans» (One does not chain down volcanoes)\, poet and essayist Annie Le Brun invokes the Marquis de Sade’s fascination for volcanoes as a crucial philosophical motif. “Never before\,” she tells us\, “had the feeling of catastrophe been so splendidly formulated\, including in its erotic implications\, through this grandiose polarity: between desire and the forces of nature.” Volcanoes do not appear merely as images or ideas. Their forms emerge from the movements of matter and the depths of the imagination. Indeed\, one of Sade’s characters – the famous chemist Almani – paused in admiration before the breast of Etna as it expelled its flames: “I desired to be this famous volcano.” If volcanoes are possessed by burning telluric energy\, they also possess bodies and minds. They provide scabrous explosions\, scatological resonances – their calamity is scandalous. The films in this program explore multiple facets of these terrifying\, sensual eruptions. At times\, the camera captures the spectacular event. At other moments\, images quiver with the tension of anticipation\, devotion\, latency\, silence\, and the risk of annihilation. What are these images’ relationships to the sensible world? What has the reality of contemporary crises robbed from our imaginative potential\, from our capacity to invent distorted perspectives? \nWith the generous collaboration of Emmanuel Lefrant\, André Habib\, Pierre-Luc Vaillancourt and the Institut pour la Coordination et la Propagation des Cinémas Exploratoires/ICPCE \nTHOMAS BARTELS Selected 35mm film works presented by Telemach Wiesinger (screened digitally) \nThomas Bartels is a German artist and film maker. His works often involve vivid mechanics and craft. His 35mm analogue films are created at his own trick table and film laboratory. \nTelemach Wiesinger presents three films by his fellow artist\, including a surprise from their collaboration. \nThomas Bartels combines two commonly separate forms of artistic expression: film and sculpture. Kinetic objects become actors in his films and films are part of his sculptures. Yes\, the objects themselves become cinematic in their constant movements\, with their changes in shadow and light: they are ‘cinematographic sculptures’. The mysterious poetry of its mechanics and the clearly composed structures of light and shadow become a thoroughly self-deprecating image of the passing time\, a reflection of our own memories and possibilities (Anne Mueller von der Haegen). \nTELEMACH WIESINGER and his FILM POEM TOUR live in Italy \nTelemach Wiesinger is a narrator. Film camera and image projectors are his tools. His film works are at once visual poems\, travelogues and anthropological studies. The images of his associative and rhythmically edited sequences\, collected on 16mm film\, create a fascinating kaleidoscope of Europe. \nLocations are to be discovered as only the cinematographic gaze can find them. “Black on white” with virtuoso analogue film tools\, the FILM POEM gives things new life. Positive meets negative\, flowing multiple projections show images in dialogue. Pantomimic improvised little scenes marked by affectionate humour awaken further associations. \nWith his equipment consisting of different projectors\, Telemach Wiesinger offers a live performance full of surprises\, characterised by a joy of experimentation. Instead of the anonymous\, always the same reproduction of a picture-sound preserved\, the Cinema Expanded performances create a lively encounter between artist and audience – including words during the reel change. With his FILM POEM TOUR\, Telemach Wiesinger is on the road at international film festivals\, in art museums or galleries and even at special ‘outdoor’ locations as well as in excellent art house cinemas. Always new and always different: Manege frei für Illusionen! Clear the ring for Illusions! Campo libero alle Illusioni! \non June Friday 17 \nTHE CITY BRIDGES ARE OPEN AGAIN Recent films by MASHA GODOVANNAYA \nIn Masha Godovannaya’s experimental films\, intimacy is associated with an activist fervour\, while a well-targeted irony at the level of editing and gesture nevertheless affords space to an uncompromising empathy with the small and vulnerable. Masha’s overwhelmingly personal view highlights the structural and political place of sensuous imagery and reveals the absurdity and machismo in the self-representation of political ideologies. Her feminist\, queer and decolonial methodology is not just an idea that permeates the filmmaker’s work\, but a method that forms the basis for editing heterogeneous materials\, from film fragments and found video footage to her own material and the films of other filmmakers that have been reinterpreted through editing. Defragmentation\, layering\, interspersing and analytically separating images as well as collective collaborative laboring with other artists comprises a queer strategy where “decolonising vision means changing the entire order of things”. This approach to cinema is intertwined with the practice of living and is open to collectivity and transformation (Katerina Beloglazova). \nBIOSPHERE BIOSCOPE by KAREL DOING \nThe technological inventions that have enabled cinema go by a number of inventive names such as Fantascope\, Mimoscope\, Omniscope and Tachyscope. These devices are now relegated to museums and private collection including the portable viewing device called Bioscope. The term bioscope has survived as a name for the movie theatre\, a place where life is recreated in front of the eyes of an enchanted audience. This new way of ‘seeing life’ is a very human affair\, intricately related to the growth of cities\, transportation\, and mechanization. In the present\, the infamous era of climate emergency and species extinction\, the term bioscope appears increasingly sinister. Where is actually the aliveness that this venue should present? Is it even possible to present life by means of technology? This programme engages with aspects of life that are rarely presented as meaningful in the context of cinema: plants\, mushrooms\, microbes\, and algae. Beyond these impactful and often overlooked creatures a number of better-known animals also appear on screen as creators of a strange form of music. Ideally\, such a focus beyond the human revitalizes the human participants in this great tragedy as well\, bringing people together to more fully appreciate their inclusion in the biosphere. \non June Saturday 18 \nIT GOES WITHOUT SAYING by GREG POPE \nIt Goes Without Saying is a film/sound/performance piece based on a text/poem of the same title. Images in color and black+white are super-imposed from two 16mm projectors. \n…I always felt it was incredibly exciting and profitable to look back in order to move forward. From the very beginning of my interest in moving image\, I was immersed in the work of early pioneers\, especially Méliès and his contemporaries – who seemed to find a natural link (which I also believe in) between film and alchemy\, the occult\, magic\, hallucination and trickery. I also started to look further into pre-cinematic technologies\, the magic lantern methods of creating movement and also Javanese shadow puppets\, which were integrated into much of my work with Loophole Cinema in the 1990s – and still form a cornerstone of what I create now. In the blind rush into a digital utopia\, there is still an amazing amount of unexplored territory left behind\, and this is the landscape where I like to wander and wonder (Greg Pope). \nHAND AND MACHINE Handmade 16mm films by RICHARD TUOHY and DIANNA BARRIE \nCinema was the first inescapably mechanical art. But in this post-mechanical age\, the traditional apparatus of cinema has all too rapidly been deemed obsolete and primitive. Yet the handing over of industrial machinery to anti-industrial users represents one of the prime creative opportunities for re-appraising and re-interpreting the nature of ourselves as transformed by the age of machines. Post mechanical age\, the humanness of the machine can be made evident. Post mechanical age\, machine craft is the new hand craft. This program presents five recent film works from Australian DIY cine experimentalists Richard Tuohy and Dianna Barrie exploring the primitive apparatus of cinema and the relation between hand and machine. \nProgramme \nThe information on the films\, the videos and the expanded cinema performances are available on www.em-arts.org \n\n \n \n \n \n \n \n Independent Film Show 22nd edition\, Museo Hermann Nitsch\, Naples\, 2022 photo Stefania Catapano\n \n \n \n \n \n Karel Doing\, Independent Film Show 22nd edition\, Museo Hermann Nitsch\, Naples\, 2022 photo Stefania Catapano\n \n \n \n \n \n Independent Film Show 22nd edition\, Museo Hermann Nitsch\, Naples\, 2022 photo Stefania Catapano URL:https://www.fondazionemorra.org/en/evento/independent-film-show-22nd-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/2022/06/Locandina-independent-2022_page-0001.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220530T180000 DTEND;TZID=Europe/Rome:20220530T180000 DTSTAMP:20260516T000057 CREATED:20220523T125053Z LAST-MODIFIED:20220523T141434Z UID:8110-1653933600-1653933600@www.fondazionemorra.org SUMMARY:Presentazione libro Presentimenti del mondo senza tempo. Scritti su Emilio Villa DESCRIPTION:30th may 2022\nSTART 6.00 p.m.\nCasa Morra. Archivi d’Arte Contemporanea\nSalita San Raffaele 20/c\, 80136 Naples \nBook preview to present \nPresentimenti del mondo senza tempo. Scritti su Emilio Villa \nby Aldo Tagliaferri\ncurated by Gian Paolo Renello \nMonday 30 May 2022 at 6pm: Gian Paolo Renello previews Aldo Tagliaferri’s Presentimenti del mondo senza tempo. Scritti su Emilio Villa (Argolibri editore\, Ancona\, 2022)\, a volume of essays dedicated to Emilio Villa. The speakers will be Gian Paolo Renello\, the editor of the volume\, and Giancarlo Alfano\, Professor of Italian Literature at the Federico II University of Naples. \nThe volume brings together for the first time all the essays and the principal writings Aldo Tagliaferri has dedicated to Emilio Villa in over 40 years of sharp criticism. With this compendium of a life’s work in pursuit of Villa’s labyrinthine and sibylline poetics\, Aldo Tagliaferri\, one of the leading living critics\, has produced what is\, perhaps\, his most important book\, a text that will surely become a classic of literary criticism\, an indispensable key to the kaleidoscopic oeuvre of Villa’s genius and the cultural processes of hybridization and change that took place in the second half of the twentieth century in Italy and abroad. The volume\, edited by Gian Paolo Renello\, consists of sixteen essays and a video interview entitled Esprimere l’inesprimibile (Expressing the Inexpressible)\, which can be accessed through the QR code inside the book\, edited by Giuseppe Sterparelli and Gian Paolo Renello. It contains priceless unpublished documents\, including two of Villa’s Labyrinths and a postcard from Marcel Duchamp to his friend “Villadrome”. The book comes out at a time critic Andrea Cortellessa has rightly defined the “Villa-Renaissance”. Countless exhibitions showcasing Villa’s works were held in 2021 in Rome\, Macerata\, and other cities\, in addition to conferences in Italy and abroad (work is ongoing to set up an international study centre). Hitherto unknown works and new studies are currently being published\, including Rovesciare lo sguardo. I Tarocchi di Emilio Villa\, edited by Bianca Battilocchi\, also by Argolibri\, in 2021. \n“When\, in some histories or anthologies of Italian poetry\, cancellation has been replaced by hasty additions\, the patch has often proved to be a greater problem than the void it was meant to remedy\, bringing out the flat\, historic and uncritical nature of handbooks\, regarding which publishers\, chronic latecomers\, wish above all to appear à la page. The objective difficulty facing a reader grappling with an oeuvre dispersed across so many publications appearing in limited editions\, mostly privately\, has been circumvented effectively and convincingly by poets who\, despite their mutual incompatibility\, found something with which to engage in the texts available. This was not the case of Montale\, who was perhaps dulled by the hybris to which Nobel Prize winners are susceptible\, nor of Sanguineti\, set on an improbable marriage between artistic avant-gardism and Marxism-Leninism. However\, it did happen\, for example\, with Adriano Spatola in 1975\, Giovanni Raboni in 1989\, Lello Voce in 1994\, and Andrea Zanzotto in 1998. Zanzotto\, the most tireless follower of the vicissitudes of Villa’s poetry over the years\, had formed firm convictions on his work. When I sent him a copy of Niger Mundus in 2006\, he commented: ‘It is a pity that jewels such as these are estranged from large-scale distribution. In Villa’s case\, however\, the more he disappears\, the more you find him…’ (the suspension points are Zanzotto’s)”. \n(From A. Tagliaferri\, “Prolegomeni villiani”\, in Presentimenti del mondo senza tempo. Scritti su Emilio Villa\, Argolibri editore\, Ancona\, 2022) \nEmilio Villa (b. Affori\, 21 September 1914\, d. Rieti\, 14 January 2003). An artist\, poet\, essayist and biblical scholar\, Villa was interested in linear\, concrete-visual\, and sound-visual poetry and art; he is considered a precursor of the neo-avant-garde and one of the greatest poets of the 20th century. He was in touch with Matta\, Duchamp\, and Rothko\, also working with Italian artists such as Burri\, Novelli\, Turcato\, and Schifano. In the 1950s\, he experimented with multilingualism\, mingling French\, English\, Provençal\, Latin\, Greek\, Semitic languages\, and Lombard dialects. With a strong dislike for the ‘Ytalyan’ language (which he considered one of slavery)\, he sought to create interactions between dead languages and living ones through his profound knowledge of etymology. He contributed to several art and literature magazines\, including Meridiano\, Letteratura\, Malebolge\, and Documento Sud. He also founded two highly important reviews: Ex and Appia Antica. With small publishers and galleries\, he produced several limited editions of books and booklets on the art of poetry. Feltrinelli published his collection of essays on art\, Attributi dell’arte odierna 1947-1967\, in 1970. The posthumous\, and still incomplete\, L’opera poetica\, edited by Cecilia Bello Minciacchi\, for L’Orma editore\, is forthcoming. Edizioni Morra has published the following: Comizio millenovecentocinquanta3 (1978)\, Sì\, Ma Lentamente (1997)\, Baptêmes (1997)\, Le Mura di Tebe (2000)\, Scritti Napoletani (2003)\, and Mondo Nero – Niger Mundus (2005). \nAldo Tagliaferri is the author of Beckett e l’iperdeterminazione letteraria (Feltrinelli\, 1977)\, L’estetica dell’oggettivo (Feltrinelli\, 1968)\, L’invenzione della tradizione (Spirali 1985)\, Il Taoismo (Newton&Compton\, 1996)\, La via dell’impossibile. Le prose brevi di Beckett (Edup\, 2006)\, Il clandestino. Vita e opere di Emilio Villa (Mimesis\, 2016). As editor\, he has published Lettere di Ezra Pound (Feltrinelli\, 1980) and Samuel Beckett’s Trilogia (Einaudi\, 1996)\, and\, with Giorgio Barbaglia\, he published Uno e due. Indagini sul teatro dell’onnipotenza (Sipiel\, 1998). With Edizioni Morra he edited POST SCRIPTUM nel centenario della nascita di Emilio Villa (2014)\, and\, with Chiara Portesine\, Emilio Villa e i suoi tempi. Finestre per la monade (Mimesis\, 2016). \nGian Paolo Renello is the author of Italian Poetry 1950-1990 (Dante University Press\, 1996)\, with Gayle Ridinger. He is editor of Segnare un secolo. Emilio Villa: la parola\, l’immagine (DeriveApprodi\, Rome\, 2007) and author of Machinae. Studi sulla poetica di Nanni Balestrini (CLUEB\, Bologna\, 2010). URL:https://www.fondazionemorra.org/en/evento/presentazione-libro-presentimenti-del-mondo-senza-tempo-scritti-su-emilio-villa/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/05/COPERTINA-VILLA-OK2_page-0001.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220521T210000 DTEND;TZID=Europe/Rome:20220522T210000 DTSTAMP:20260516T000057 CREATED:20220516T151616Z LAST-MODIFIED:20220607T085457Z UID:8011-1653166800-1653253200@www.fondazionemorra.org SUMMARY:Internation Masterclass Oedipus. Body of Blood - Closing event DESCRIPTION:21st may 2022\, 9.00 p.m.\n22nd may 2022\, 6.00 p.m.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, 80135 Naples \nClosing event of Masterclass on the relationship between sound and body “OEDIPUS. BODY OF BLOOD” \nheld by Andrea Cramarossa \nfrom the “EDIPO RE. Una teoria di rappresentazione del dramma 1964”\n(Edizioni Morra\, Naples\, 2001) by Hermann Nitsch \nThe return to the public of the Masterclass OEDIPUS. BLOOD BODY.\, focused on the relationship between sound and body\, held by Andrea Cramarossa\, includes a double opening that will take place at the Hermann Nitsch Museum in Naples on Saturday 21 May (at 9 p.m.) and Sunday 22 May (at 6 p.m.). The work is developed from “EDIPO RE. Una teoria di rappresentazione del dramma 1964” by Hermann Nitsch (Edizioni Morra\, Naples\, 2001). \n“The torment that Oedipus carries from his birth\, not knowing anything about himself\, will lead him towards horror\, towards the inaudible. With a very strong light\, in Nitsch’s Oedipus\, the sense of the sacred is achieved through the sacrifice of all the elements that led the hero into the ecstasy of knowledge\, a disturbing\, troublesome\, lacerating ecstasy.” \nAndrea Cramarossa \nAndrea Cramarossa is a poet\, director and actor who\, after years of intense personal studies in the field of vocal research\, sound and voice applied to singing and speaking\, theorize\, on an experimental basis\, an approach to dramatic art through the use and knowledge of sound. He is the first to take advantage of listening to the sound of the human voice in order to arrive at dramatic art by structuring a real acting model that is inspired by the work on sound by Gisela Rhomert and by Hermann Nitsch’s Theater of Orgies and Mysteries. Cramarossa regularly holds workshops on voice and acting in Italy and abroad. He receives numerous awards in the artistic field including: “Young Oscar – European Personality” and the “Aligi D’Oro” Prize for Dramatic Art. With his artistic work “L’URLO” (The Scream) he received the first prize in 2013 at the FAP – Festival of Performing Arts. In 2003 he founded the theater research group Teatro delle Bambole. \nMasterclass is organized by Fondazione Morra – Hermann Nitsch Museum and Teatro delle Bambole in collaboration with Casa del Contemporaneo.\n \nFree entry sending an email to: info@museonitsch.org \n\n \n \n \n \n \n \n Masterclass Oedipus. Body of Blood\, Museo Hermann Nitsch\, Naples\, 2022 © photo Fabio Donato Courtesy Fondazione Morra\n \n \n \n \n \n Masterclass Oedipus. Body of Blood\, Museo Hermann Nitsch\, Naples\, 2022 © photo Fabio Donato Courtesy Fondazione Morra\n \n \n \n \n \n Masterclass Oedipus. Body of Blood\, Museo Hermann Nitsch\, Naples\, 2022 © photo Fabio Donato Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/masterclass-internazionale-edipo-corpo-di-sangue-evento-conclusivo/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/png:https://www.fondazionemorra.org/wp-content/uploads/2022/05/Tavola-disegno-1-copia.png ORGANIZER;CN="Teatro delle Bambole":MAILTO:info@teatrodellebambole.it END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220429T183000 DTEND;TZID=Europe/Rome:20220429T183000 DTSTAMP:20260516T000057 CREATED:20220426T124823Z LAST-MODIFIED:20220427T091828Z UID:7751-1651257000-1651257000@www.fondazionemorra.org SUMMARY:JOHN CAGE E SHOZO SHIMAMOTO. Il silenzio come musica. La pittura come azzardo. DESCRIPTION:29th april 2022\nSTART 6.30 p.m.\nCIAC – Centro Italiano Arte Contemporanea\nVia del Campanile 13\, Foligno \nClosing event of the “SHOZO SHIMAMOTO / GRANDI OPERE” exhibition \n\nMarco Scolastra (piano)\nItalo Tomassoni (narrator) \nJohn Cage e Shozo Shimamoto. Il silenzio come musica. La pittura come azzardo is the closing event of the exhibition project “SHOZO SHIMAMOTO/GRANDI OPERE” organized by the Fondazione Morra in Naples\, curated by Italo Tomassoni at the Centro Italiano Arte Contemporanea in Foligno. \nThe retrospective follows the Japanese artist’s experiments from the earliest beginnings to his performances in Italy in the early years of the 21st century\, highlighting the many links between Japanese culture and contemporary research in the arts in the United States of America. \nThe revolutionary scope of the Gutai experiments sparked the interest of the leading Western personalities in the art world of the time. Michel Tapié headed for Japan in 1957\, followed in 1960 by Peggy Guggenheim and John Cage. Cage returned to Japan in 1962 with Clement Greenberg\, Jasper Johns\, and Robert Rauschenberg to visit the Osaka Art Gallery\, the centre where the Gutai group’s creative forces were concentrated. \nWith no rules or categories\, Gutai musical compositions emancipate the element of randomness. In his contributions to the Gutai Journal\, Shimamoto expresses his rejection of the linearity of composition. As some audio productions – now preserved at the Centre Pompidou in Paris and the Ashiya City Museum of Art and History – show\, it is tonality that occupies centre stage in his musical compositions\, the material essence of sound\, to the detriment of a harmonic combination of the elements that make up the composition. It is no coincidence that in 1966 Allan Kaprow called Shimamoto the “pioneer of the happening”. \nThe points of contact between Shimamoto’s and Cage’s artistic research are their experimentation with performance\, their desire to shatter every kind of category\, to abandon traditional expressive codes\, and their interest in the element of chance and the unexpected. Both artists set in motion action that goes beyond the limits of conventional notation (Cage) and the spatial boundary of the canvas (Shimamoto)\, thus inducing collective and collaborative audience participatio. Presence\, physicality and a new organization of temporal spaces: it is in these three aspects that Shimamoto’s and Cage’s quests intertwine. \nWithin the museum spaces\, in dialogue with the works on exhibition\, John Cage e Shozo Shimamoto. Il silenzio come musica. La pittura come azzardo. becomes the arena for action in which pianist Marco Scolastra performs ten pieces by John Cage\, La Monte Young\, and Erik Satie\, interspersed with reflections by Italo Tomassoni. It is a tribute to two great exponents of 20th-century experimental art and a performative event to explore the shared ground of their techniques. \nThe event is funded entirely by the Fondazione Cassa di Risparmio di Foligno. \nProgramme: \nERIK SATIE Gnossienne n.1; Vexations \nJOHN CAGE A Room; Ophelia; In a Landscape; Suite for Toy Piano (n.2); Seven Haiku \nLA MONTE YOUNG\nComposition 1960 #7 \nJOHN CAGE\n4’ 33’’; Bacchanale \nMarco Scolastra is an Italian pianist and the artistic director of AdM – Amici della Musica di Foligno. He graduated from the Conservatorio di Perugia under Maestro Franco Fabiani and has studied with Aldo Ciccolini\, Lya De Barberiis\, Paul Badura-Skoda\, Joaquin Achúcarro and Katia Labèque. He has performed for major Italian and fo\,reign musical institutions in prestigious venues\, including the Auditorium Parco della Musica and Teatro dell’Opera in Rome\, the Teatro Regio in Parma; the Auditorium dell’Orchestra “G. Verdi” in Milan; the Teatro La Fenice in Venice; the Moscow State Conservatory\, the Tonhalle in Zurich\, the Konzerthaus in Bern\, and the Musikverein in Vienna. \nItalo Tomassoni is an Italian art critic and curator and has been artistic director of CIAC – Centro Italiano Arte Contemporanea di Foligno since 2009. He has been a member of AICA since 1964\, working with various newspapers\, including La Fiera Letteraria\, Avanti!\, Vogue\, Momento Sera\, Flash Art\, and Segno. He worked with Alberto Burri in the 1970s to set up the Fondazione Burri\, where he was both a board member and a member of the scientific committee. In 1999\, he curated a retrospective on Gino De Dominicis with director Harald Szeemann for the 48th Venice Biennale. In the same year he founded the Archivio Gino De Dominicis. Exhibitions he has curated at CIAC include: Spazio\, Tempo\, Immagine (2009); Calamitati da Gino\, with Giacinto Di Pietrantonio (2012); Vincenzo Agnetti\, with Bruno Corà\, (2012); Julian Schnabel and Carlo Maria Mariani (2013); Hermann Nitsch. O.M.T. Colore dal Rito (2017); Shozo Shimamoto. Grandi Opere (2021). URL:https://www.fondazionemorra.org/en/evento/john-cage-e-shozo-shimamoto-il-silenzio-come-musica-la-pittura-come-azzardo/ LOCATION:CIAC – Centro Italiano Arte Contemporanea\, Via del Campanile 13\, Foligno\, 06034 CATEGORIES:Associazione Shōzō Shimamoto ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/04/Cage-Shozo-banner.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20220330 DTEND;VALUE=DATE:20220331 DTSTAMP:20260516T000057 CREATED:20220330T093525Z LAST-MODIFIED:20220330T093700Z UID:7622-1648598400-1648684799@www.fondazionemorra.org SUMMARY:Fondazione Morra on Google Arts & Culture DESCRIPTION:Fondazione Morra brings its Collection and Archive of Events online with Google Arts & Culture \nWorks from the Morra Collection and events organized by the Fondazione Morra in Naples can be viewed on Google Arts & Culture \nFondazione Morra has joined Google Arts & Culture\, Google’s technological platform promoting and preserving culture online. It hosts a digital archive of events organized by Fondazione Morra at Casa Morra\, the Museo Hermann Nitsch\, the Associazione Shozo Shimamoto\, and Vigna San Martino. \nTHE PROJECT \nFondazione Morra was set up to promote and organize research\, production\, and the dissemination of a culture of visual communication\, laying strong emphasis on the social aspect of promoting culture as a means of helping to bring new life to deprived areas. \nEstablished in 1992 as Fondazione Morra – Istituto di Scienze delle Comunicazioni Visive\, the foundation is now a lively cultural centre housed at Casa Morra. Archivi d’Arte Contemporanea in Palazzo Cassano Ayerbo D’Aragona. Here\, part of the extensive collection is put on show each year in new forms and combinations. The works are presented in new ways and follow dialogues in line with the aims of the Il Gioco dell’Oca. 100 anni di mostre project\, planned by Giuseppe Morra from 2016\, the year the new space was inaugurated. \nThe results of Fondazione Morra’s daily work are reflected in its collected materials. In 2019\, the Archives Department of the Ministry of Heritage and Culture recognized the particular historical importance of the Foundation’s Archives\, which contain contemporary artistic and cultural output dating back to 1969. They are now subject to the provisions of Legislative Decree no. 42 of 22 January 2004 and its subsequent amendments. \nWith the same goals in mind\, Casa Morra has also become home to the Mario Franco Archives\, which include the Neapolitan film director’s Library-Mediatheque\, containing books\, catalogues and films collected in the space of around 50 years. The collection houses books on film history and criticism\, as well as essays on media and sociological communication\, philosophy\, psychoanalysis\, theatre\, and photography\, in addition to classics of Italian and international literature. There is a large section dedicated to documentaries and experimental cinema ranging from the German\, French\, and Russian avant-garde movements of the 1920s to the experimental work of the American underground and contemporary digital productions. \nIn accordance with the wish to become a locus for collecting and exhibiting works – in addition to becoming a Centre for Documentation\, Research\, and Education – 2008 saw the opening of the Museo Archivio Laboratorio per le Arti Contemporanee Hermann Nitsch\, a museum dedicated to the great Austrian artist with whom Giuseppe Morra began a close working relationship in the 1970s. \nCasa Morra\, Museo Hermann Nitsch – with its Contemporary Arts Library – and the Shozo Shimamoto Association\, founded in 2007 but only officially opened in 2017 at Palazzo Spinelli di Tarsia – are the principal elements of the Il Quartiere dell’arte project\, which works towards the social renewal of an entire neighborhood close to Naples’ historic city centre. \n  \nSOME INFORMATION ABOUT THE DIGITAL COLLECTION: \nFondazione Morra’s profile on Google Arts & Culture allows its visitors to view many of the works from the collection\, taking the viewer on a tour through the history of contemporary art and key movements such as Gutai\, Happening\, Fluxus\, Viennese Actionism\, Living Theatre\, and Visual Poetry up to the most advanced Italian and international research. It includes works by: Marina Abramović\, Nanni Balestrini\, Julian Beck\, George Brecht\, John Cage\, Ugo Carrega\, LUCA/Luigi Castellano\, Henri Chopin\, Giuseppe Desiato\, Marcel Duchamp\, Maurizio Elettrico\, Heinz Gappmayr\, Al Hansen\, Geoffrey Hendricks\, Dick Higgins\, Allan Kaprow\, Urs Lüthi\, Stelio Maria Martini\, Charlotte Moorman\, Eugenio Miccini\, Hermann Nitsch\, Nam June Paik\, Giulio Paolini\, Luca Maria Patella\, Lamberto Pignotti\, Vettor Pisani\, Paul Renner\, Gerhard Rühm\, Shozo Shimamoto\, Rudolf Schwarzkogler\, Daniel Spoerri\, Arrigo Lora Totino\, Bob Watts\, Jean-Jacques Lebel\, Dieter Roth\, Oswald Wiener\, and Giuseppe Zevola. \nThe material on the platform is grouped into stories that retrace Fondazione Morra’s journey\, starting from the first events at Studio Morra and moving on to explore the contents of Museo Hermann Nitsch – di Casa Morra. Archivi d’Arte Contemporanea\, the Associazione Shozo Shimamoto\, and the Vigna San Martino. \nGoogle Arts & Culture \nGoogle Arts & Culture puts the collections of more than 2\,000 museums at your fingertips. It’s an immersive way to explore art\, history and the wonders of the world\, from Van Gogh’s bedroom paintings to the women’s rights movement and the Taj Mahal. The Google Arts & Culture app is free and available online for iOS and Android. The team has been an innovation partner for cultural institutions since 2011. Google Arts & Culture develops technologies that help preserve and share culture and allow curators to create engaging exhibitions online and offline. URL:https://www.fondazionemorra.org/en/evento/fondazione-morra-su-google-arts-culture/ ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/03/Immagine-Google-Arts.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220304T170000 DTEND;TZID=Europe/Rome:20220731T170000 DTSTAMP:20260516T000057 CREATED:20220226T092726Z LAST-MODIFIED:20220411T082203Z UID:7527-1646413200-1659286800@www.fondazionemorra.org SUMMARY:Gli Unici. Al Hansen\, Dieter Roth\, Jean Toche & Roberto Paci Dalò DESCRIPTION:04 march – 31st july 2022\nOPENING 04 march 5.00 p.m.\nCasa Morra. Archivi d’Arte Contemporanea\nSalita San Raffaele 20 C\, Naples\n \nCurated by Manuela Gandini \nDuring the 2021-2022 edition of Progetto XXI\, Fondazione Donnaregina per le arti contemporanee and Fondazione Morra present Gli Unici. Al Hansen\, Dieter Roth\, Jean Toche and Roberto Paci Dalò\, curated by Manuela Gandini. The exhibition\, whose title can be loosely translated as “The Only Ones”\, opens at Casa Morra. Archivi d’Arte Contemporanea (Salita San Raffaele 20/C\, Naples) on 4 March 2022 at 5 pm\, with speeches by Patrizia Boldoni\, President De Luca’s Councillor for Culture and Cultural Heritage; Rosanna Romano\, Director General for Cultural Policies and Tourism of the Campania Region; Angela Tecce\, President of the Fondazione Donnaregina per le arti contemporanee; Giuseppe Morra\, Director of the Fondazione Morra\, and Manuela Gandini\, Curator of the exhibition. This will be followed\, at 7 pm\, by a sound performance by Roberto Paci Dalò entitled Niggunim. A film show by Mario Franco will be running at the same time. \nFondazione Donnaregina per le arti contemporanee has been using the Progetto XXI platform since 2012 to explore emerging artists\, the theory and practice of their output\, and the legacy of the innovative art of the last few decades through their exemplary methodology. The project intends to contribute to creating and disseminating alternative narratives and historiographies of the contemporary and defining a regional system of contemporary arts based on collaboration and interchange between public and private institutions in the Campania Region. \nGiuseppe Morra takes up where he left off in 2018 with his 3P+B exhibition showcasing works by Luca Maria Patella\, Vettor Pisani\, Cesare Pietroiusti\, and Nanni Balestrini. He continues his game-based programme where the recurring numerology of 3 and 7 sets the rules. \nThis year\, in fact\, Casa Morra presents its 3+1 for what should officially be the seventh year of exhibitions. But the chosen competitors\, around whom the aura of a Stirnerian uniqueness revolves\, are unpredictable and elusive figures\, nomads who land on their “square”\, freeing themselves from the restrictions inherent to the game. The Ones. \nThis is how the curator describes them: “Like forests or wasteland between buildings\, they were in constant evolution: not rational\, controllable\, profitable\, or safe – they cannot be classified or claimed. No framework can hold them in: they contaminate other terrains of awareness”. \nRoberto Paci Dalò will do a sound performance entitled Niggunim on the day of the opening. \n“Niggun (plural niggunim) means ‘sung tune’ or ‘melody’ in Hebrew and is a form of Jewish religious chant or melody sung in groups. It is a singing technique using abstract repetitive sounds rather than formal lyrics. Verses from the Torah or quotations from other traditional Jewish texts are sometimes sung repetitively to create a niggun. Some niggunim are sung as prayers of lamentation\, while others may be joyful or victorious.” \nRunning parallel to the exhibition is a film review by director Mario Franco\, whose archives are housed at Casa Morra. It is dedicated to “that Stirnerian unicum which\, in individual\, anarchic and self-sufficient experience opposed official morals and customs by pursuing a mode of expression that strenuously safeguarded its individuality without pre-established rules”. His show proposes a programme on historical avant-garde cinema and the experiments of the 1960s and 1970s. \n“Filmmaker-artists such as Man Ray\, Hans Richter\, Jonas Mekas\, Maya Deren and others were beyond economic or technical conditioning. We must continue watching these productions because they are a form of defence against the dematerialisation and standardisation present-day filmmakers and artists seem to be embracing”. \nThe exhibition is funded by the Campania Region’s POC (PROGRAMMA OPERATIVO COMPLEMENTARE) project in “Azioni Culturali della Fondazione Donnaregina – Progetto XXI”. \nBrochure Film Review \n\n \n \n \n \n \n \n Installation View\, Gli Unici. Al Hansen\, Dieter Roth\, Jean Toche & Roberto Paci Dalò\, Casa Morra\, Naples\, 2022 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Gli Unici. Al Hansen\, Dieter Roth\, Jean Toche & Roberto Paci Dalò\, Casa Morra\, Naples\, 2022 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Gli Unici. Al Hansen\, Dieter Roth\, Jean Toche & Roberto Paci Dalò\, Casa Morra\, Naples\, 2022 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Gli Unici. Al Hansen\, Dieter Roth\, Jean Toche & Roberto Paci Dalò\, Casa Morra\, Naples\, 2022 © photo Amedeo Benestante Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/gli-unici-al-hansen-dieter-roth-jean-toche-roberto-paci-dalo/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/02/invito-unici.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220303T180000 DTEND;TZID=Europe/Rome:20220430T180000 DTSTAMP:20260516T000057 CREATED:20220223T091841Z LAST-MODIFIED:20220427T083227Z UID:7515-1646330400-1651341600@www.fondazionemorra.org SUMMARY:UNDERNEATH THE ARCHES - Jumana Manna\, Depositions DESCRIPTION:03rd march2022\nSTART 6.00 p.m.\nVideo screening\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/D\, Naples \n05th march – 15th may 2022\nOPENING 05th MARCH 11:30 a.m. \nAcquedotto Augusteo del Serino\nVia Arena Sanità 5\, Naples \nCurated by Chiara Pirozzi e Alessandra Troncone \nUnderneath the Arches\, a contemporary art programme that takes place at the archaeological site holding the remains of the Acquedotto Augusteo del Serino in the area Borgo Vergini – Rione Sanità in Naples\, is pleased to announce its fourth exhibition. Under the artistic direction of Chiara Pirozzi and Alessandra Troncone\, and in collaboration with Associazione VerginiSanità\, Underneath the Arches is presenting a site-specific work by Jumana Manna\, titled Depositions. \nIn her work\, Jumana Manna explores how power is articulated\, focusing on the body\, land and materiality in relation to colonial legacies and histories of place. Through sculpture\, filmmaking\, and occasional writing\, Manna questions the paradoxes of preservation practices\, particularly within the fields of archaeology\, science and law. Her practice considers the tension between the modernist traditions of categorization and conservation and the unruly potential of ruination as an integral part of life and its regeneration. \nFor the exhibition at the Augusteo del Serino Aqueduct\, Jumana Manna has made a series of small ceramic sculptures to respond to the tradition\, familiar in the Middle East and beyond\, of leaving uneaten / old bread out in public spaces. These sculptures mimic the practice of offering to an unknown receiver\, an act that rids the giver of the sin of uneaten food; or wasted life. This meaning of “offering” is intertwined with the ritual that ancient Mediterranean civilizations had of making votive gifts to the gods – especially to female deities – in the form of clay loaves and buns\, later found as grave goods. Some of these examples are on display at the National Archaeological Museum of Naples and other museums in the Campania region\, such as the Archaeological Park of Paestum and the Archaeological Museum of Eboli. The sculptures created by the artist are part of an installation conceived especially for the site\, which mixes references to archaeology and inspiration coming from the street. \nDepositions will be preceded by the screening of Jumana Manna’s film A Magical Substance Flows Into Me (2016) in the frame of a public event organized in collaboration with Fondazione Morra and hosted by Hermann Nitsch Museum in Naples on Thursday the 3rd of March\, at 6  pm. \nUnderneath the Arches aims to activate a dialogue between archaeology and contemporary art\, and to establish a relationship between local material and immaterial culture and the artistic research of international artists. Its main objective is to promote both existing cultural heritage and new production in contemporary art. In the fascinating space of the ancient Roman aqueduct\, discovered in 2011 and located underneath a historical building called Palazzo Peschici Maresca\, international artists are invited to create temporary and site-specific installations in dialogue with the space itself and the surrounding area. Previous exhibitions include works by Arturo Hernández Alcázar (Mexico City\, 1978)\, Hera Büyüktaşçıyan (Istanbul\, 1984) and Adrian Melis (Havana\, 1985). \nThis project is kindly supported by Fondazione Morra\, and carried out under the Matronage of Madre Museum / Fondazione Donnaregina per le arti contemporanee of Naples\, and under the patronage of the Academy of Fine Arts in Naples. Thanks to MANN – Museo Archeologico Nazionale di Napoli. \nARTIST BIOGRAPHY \nJumana Manna (Princeton\, 1987) is a Palestinian visual artist and filmmaker based in Berlin. Recent solo exhibitions include: Jumana Manna / MATRIX 278\, Berkeley Museum of Art\, San Francisco; Sketch and Bread\, Balade Charlottenburg\, Villa Oppenheim\, Berlin; Thirty Plumbers in the Belly\, M HKA – Museum of Contemporary Art\, Antwerp (all 2021); Wild Relatives\, Tensta Kunsthall\, Stockholm (2020); Jumana Manna\, Tabakalera\, San Sebastian (2019); Wild Relatives\, Douglas Hyde Gallery\, Dublin (2018); A Magical Substance Flows Into Me in Mercer Union\, Toronto (2017)\, Malmö Kunsthall\, Malmö (2016)\, and Chisenhale Gallery\, London (2015); Wild Relatives\, Jeu de Paume’s Satellite 10 program at MABA and CAPC musée d’art contemporain de Bordeaux (2017); and Menace of Origins\, SculptureCenter\, New York (2014). She has participated in numerous group exhibitions and festivals\, including Toronto Biennial of Art (2019); 11th Taipei Biennial (2018); Nordic Pavilion\, 57th Venice Biennale (2017); Liverpool Biennial (2016); Marrakech Biennale 6 (2016); 54th and 56th Vienna International Film Festivals (2016 and 2018); 66th and 68th Berlinale (2016 and 2018); and CPH:DOX\, Copenhagen (2018)\, where Wild Relatives (2018) won the New:Visions award. \n  \nTHE AUGUSTAN AQUEDUCT IN NAPLES \nDiscovered in 2011\, the tract of a Roman aqueduct found underneath Palazzo Peschici Maresca in Naples\, owned by the Arciconfraternita dei Pellegrini\, is an archaeological find that is key to tracing the entire trajectory of the ancient construction. The aqueduct was built in 10 AC and was an extraordinary work of hydraulic engineering at the time. It was more than 100 km long and supplied water to the most important cities in Campania\, such as Neapolis\, Pompeii and Herculaneum. Over the centuries\, its bridge-arches were buried due to the rise of the ground level. They were then used as foundations for new constructions\, as the city expanded beyond the walls of ancient Neapolis\, leading to the rise of the Vergini-Sanità area. The spaces outlined by the old arches\, now underground\, served as wine cellars\, as a bomb shelter during the Second World War\, and as a dump. \nOpened in 2015\, the archaeological site is currently managed by Associazione VerginiSanità. In collaboration with the Arciconfraternita and other cultural associations in the area\, it is working on a whole project for its restoration\, promotion and reception\, titled AquaAugusta. In 2017\, the site was included in EXTRAMANN\, a collaborative project between the MANN Museo Archeologico Nazionale di Napoli and other institutions devoted to promoting cultural heritage. \nINFO \naquaugusta.contemporaryart@gmail.com \nwww.verginisanita.it/aquaugusta URL:https://www.fondazionemorra.org/en/evento/underneath-the-arches-jumana-manna-depositions/ LOCATION:Acquedotto Augusteo del Serino\, Via Arena Sanità 5\, Napoli\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2022/02/JUMANA-MANNA_INVITATION-CARD_DEF1.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20211217T190000 DTEND;TZID=Europe/Rome:20211219T190000 DTSTAMP:20260516T000057 CREATED:20220113T171253Z LAST-MODIFIED:20220210T101617Z UID:7298-1639767600-1639940400@www.fondazionemorra.org SUMMARY:Open Systems DESCRIPTION:17th december 2021\nSTART 7:00 p.m.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Naples\n \nCurated by Ambra Viviani\, David Richter\, Jacob Ott and Lukas Treiber \nw/ Samara Behringer\, bod [包家巷]\, Andrea Bolognino\, Leonardo Bürgi\, Federico del Vecchio\, Antonio della Corte\, Giorgia Garzilli\, Boris Kurdi\, Angela Melito\, Effe Minelli\, Raffaela Naldi Rossano\, Michael Rey Von\, Isabel Schulte\, Anton Steenbock\, Gabriel Stöckli & more. \nHow can self-referential closure create openness? It is not a matter of adaptation\, nor is it a matter of metabolism. It is a peculiar constraint on autonomy arising from the fact that the system would simply cease to exist in any\, even the most favorable environment\, if it did not equip the momentary elements that compose it with the capacity for connection\, that is\, with meaning\, and thus reproduce them. Different structures may exist to accomplish this\, but only ones that can withstand the radical trend toward immediate (and not merely gradual\, entropic) dissolution of the elements. The point of departure must be the difference between system and environment. System are oriented by their environment not just occasionally and adaptively\, but structurally\, and they cannot exist without an environment. They constitute and maintain themselves by creating and maintaining a difference from their environment\, and they use their boundaries (contorni) to regulate this difference\, Without difference from an environment\, there would not even be self-reference\, because difference is the functional premise of self-referential operations. In this sense boundary maintenance is system maintenance. But boundaries do not mark a break in connections\, as one cannot state that internal interdependencies are greater than system/environment interdependencies. The concept of boundaries means\, however\, that processes which cross them have different conditions for their continuance after they cross the contorno. \n\n \n \n \n \n \n \n Installation view. Isabell Schulte\, part VIII (2021)\, Antonio Della Corte\, Where living forms can exist (2021)\, Angela Melito\, Hela havet stormar (il gioco delle sedie) (2021)\, Open Systems\, Museo Hermann Nitsch\, Naples\, 2021 © Danilo Donzelli Photography\n \n \n \n \n \n Installation view. Andrea Bolognino\, Engramma (2021)\, Samara Behringer\, Untitled (2021)\, Open Systems\, Museo Hermann Nitsch\, Naples\, 2021 © Danilo Donzelli Photography\n \n \n \n \n \n Installation view. Jacob Ott\, Questo è per Pina (2021)\, Antonio Della Corte\, Untitled 8 (2020)\, Leonardo Bürgi\, Drylands (2021)\, Raffaela Naldi Rossano\, Skin 01\, Skin 02\, Skin 03 (2019)\, Open Systems\, Museo Hermann Nitsch\, Naples\, 2021 © Danilo Donzelli Photography\n \n \n \n \n \n Installation view. Isabell Schulte\, part VIII (2021)\, Antonio Della Corte\, Where living forms can exist (2021)\, Angela Melito\, Hela havet stormar (il gioco delle sedie) (2021)\, Open Systems\, Museo Hermann Nitsch\, Naples\, 2021 © Danilo Donzelli Photography\n \n \n \n \n \n Installation view. Federico Del Vecchio\, Fetichisme and lemon soda (2018)\, Open Systems\, Museo Hermann Nitsch\, Naples\, 2021 © Danilo Donzelli Photography URL:https://www.fondazionemorra.org/en/evento/open-systems/ 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/2022/01/OPEN_SYSTEM_digital1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20211211T170000 DTEND;TZID=Europe/Rome:20220115T170000 DTSTAMP:20260516T000057 CREATED:20211130T141432Z LAST-MODIFIED:20220107T142253Z UID:7156-1639242000-1642266000@www.fondazionemorra.org SUMMARY:Libero De Cunzo. Dea Adventus DESCRIPTION:13th december 2021 – 31st january 2022\nOPENING 11th december 5.00 p.m.\nFondazione Morra Biblioteca per le Arti Contemporanee\nVico Lungo Pontecorvo 29/d\, Naples\n \nCurated by Loredana Troise and Raffaella Morra \nBright\, sharp and soft; these words aptly describe Libero De Cunzo’s new solo exhibition\, DEA ADVENTUS\, curated by Raffaella Morra and Loredana Troise at the Fondazione Morra Biblioteca per le Arti Contemporanee (the Hermann Nitsch Museum Library) from 13th December 2021 to 31st January 2022. It denotes an interval amid the earthquake that is the world. Armed with his iPhone\, Libero De Cunzo directs his gaze towards\, and distils the syllables of a dialectic that spans the themes of recovery\, division\, and rediscovery – penetrating the geological folds of places and capturing their textual noema as a meditative act and cognitive phenomenon in his most personal mode of perceiving. \nStarting from cuts\, fractions and sections\, De Cunzo looks at the world through a recherche in which the underlying question regards the status of the things that have been recovered and then revealed in the memory: dreamlike rhythms\, wonder\, nostalgia\, and pain are vestiges of experience that are not lost but remain engraved on the heart. Narrated through a dense geology of reflections that have constantly driven the artist to ask questions\, illuminated by his conscience\, these unseen photographs\, divided across three partiture – DEVOTIONS-EMOTIONS-ADMIRATIONS – qualify as a neuralgic/humoral spot on the margin of the retina\, which thus becomes an observatory and a window through which knowledge and the ability to decant “in full Gratitude of the Wonder that is always ready to appear” can enter. An attribute that is both formal and ideological\, grounded in a vision oriented towards dialogue as a rhetorical device. \nThe logical-expressive structure of the narrative\, proceeding in an increasingly vertiginous and only apparently rarefied investigation of reality\, demands a particularly discerning viewer\, ready to take up the challenge of interpretation through a laborious but rewarding hermeneutic circle. In his hallmark style\, in the three visual chapters of DEA ADVENTUS\, Libero De Cunzo expresses himself through writing with light\, projecting his poetic message\, an expression of\, and emotional contact with\, signs and motifs: a remarkable and serendipitous sunset\, the glowing sun\, footprints in the sand\, a hand brushing against fabric\, votive candles – all these are striking encounters alternating between amazement and a rush of gratification\, solutions offered to our distracted memories\, illuminating with their immediacy\, a fleeting spark of reality. Libero De Cunzo’s photographs are explanatory visual items – reflections and vibrations guiding us on an enthralling journey where we are all called upon to ponder with a gaze that can slow down\, accelerate\, pause\, and begin again… \n“As it proceeds\, the gaze becomes an image and expresses the desire to identify with places. A search for an inner vision that seeks to go beyond the meanings of reality\, space\, and time\, recognizing within a time that moves from the subjective to the absolute in the instant in which the photo is taken\, holding the breath. A way of seeing in order to raise our ability to feel”.\nLibero De Cunzo\, A passo di Vigna\, 1998  \nLibero De Cunzo teaches Photographic Art at the Liceo Artistico Boccioni-Palizzi and Environmental and Landscape Photography at the Accademia di Belle Arti in Naples. An integral part of his research project is based on his teaching work\, which has always focused on developing a greater awareness of modes of seeing and knowledge of the language of photography. He has organized numerous initiatives on architecture\, the environment\, and landscape and worked with bodies and institutions such as the Ministry of Culture\, MAXXI\, the Faculty of Architecture in Naples\, the Institut François Grenoble\, and Suor Orsola Benincasa University. He has exhibited in several venues in Italy and abroad\, starting with the Trismegisto exhibition featuring leading contemporary artists curated and staged by Lucio Amelio in 1993. For De Cunzo\, the central role of photography in art as an ethical journey is clearly manifest. He has exhibited monographic works in the following exhibitions. L’Italia nel paesaggio (1999); Le stanze dell’Arte (2002); Living Theatre\, labirinti dell’immaginario (2003); Città architettura edilizia pubblica\, Napoli e il Piano Ina-Casa (2006); il Paesaggio degli Dei e il lavoro degli Uomini (2012)\, La rosa dei 20 (2017)\, RE/GARDER Vibrazioni e corrispondenze (2018)\, Procida/Giardino Segreto (2021). Tra i titoli pubblicati: I Casali (1981); Spaccanapoli (1993); Infiniti possibili: Ravello (1994); Grotta del Sole (1994); Lontano dall’Isola Azzurra (1994); Zone – Napoli/Parigi (1994); Tra luce e luce (1995); La trama vivente della storia (1996); A passo di Vigna (1998); I valori del paesaggio e la fotografia sensibile (1998); L’Italia nel Paesaggio (1999); Imago vocis\, vocis imago (2003); Croniconiche. Luci e ombre\, parole e memorie dalle metropoli (2006); Zenit. Sguardo meridiano. Viaggio nel cratere dell’Alta Irpinia (2009); Procida\, il giardino segreto (2009); Salerno. Glocal City (2010); Il Paesaggio degli Dei e il lavoro degli Uomini (2012). \nFree admission – COVID-19 Green Pass required \nFondazione Morra Biblioteca per le Arti Contemporanee \nVico Lungo Pontecorvo 29/d 80135 Napoli\nTel.: +39 0815641655\nwww.fondazionemorra.org www.em-arts.org www.museonitsch.org \nMonday to Friday 10 am –7 pm Saturday 10 am – 2 pm URL:https://www.fondazionemorra.org/en/evento/libero-de-cunzo-dea-adventus/ LOCATION:Fondazione Morra Biblioteca per le Arti Contemporanee\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italy CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/11/invito-Libero-De-Cunzo-Dea-Adventus.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20211209T170000 DTEND;TZID=Europe/Rome:20211214T170000 DTSTAMP:20260516T000057 CREATED:20211213T165043Z LAST-MODIFIED:20211213T170127Z UID:7191-1639069200-1639501200@www.fondazionemorra.org SUMMARY:HUO RF…person\, action\, situation… DESCRIPTION:9th – 14th december 2021 \nMuseo Nitsch\nVico Lungo Pontecorvo 29/d\, Naples \n…person\, action\, situation… emerged as a series that looks at the concept of “shame” individually\, socially\, ecologically\, and politically and elaborates the concept as discussion/dialogue through portraits\, which I aim to expand into a broader perspective over time. As I looked at the concept of shame and thought about it\, I began to see concretely that it varied a lot according to daily habits\, professional practices\, city-space\, family\, society\, or physical/scientific/ecological awareness. I started exploring how the feeling of shame that one is trying to get rid of or formed as being unwanted is an individual struggle\, how shame surrounds the person\, how the society turns this feeling into an element of pressure\, how and to what extent the tradition takes place in these experiences\, at what stage the boundaries are noticed\, the problems that emerge when the limits are removed and at the end what was left from the confrontation area. As I opened up about the shame that we suppressed the most and buried deep\, I found in the answers to the three questions I asked for each work: why shame exists\, where it came from\, its source\, how solid but invisible veil it is. \nI asked the mentioned questions as follows: \n– Would you consider sharing something that you feel ashamed of if there’s any?\n– If you had such an experience\, do you still feel shame over it after you’ve shared it?\n– What are your common reactions when you come across something shameful? \nI am continuing this series\, which I started in a residency experience in 2019\, with different portraits accompanied by the same questions\, in Naples\, where I came through the residency program of Fondazione Morra*. I engrave the answers about shame from art professionals with\ndifferent experiences that allow me to connect with the city on copper sheets because of its temporality and conductive material. We can also physically touch these works that have turned into a place installation\, and we can form stronger bonds by talking about our shame. \n*The residency by Huo Rf and Cağrı Taşkın (Odviz collective) at Fondazione Morra in Autumn 2021 is part of the program of cultural\nexchanges Neapolitan Dialogues designed by Vittorio Urbani for Fondazione Morra.\n**With Turkey ONE Association’s kind support in partnership with Fondazione Morra. \n\n \n \n \n \n \n \n Installation View\, HUO RF…person\, action\, situation…\, Museo Nitsch\, Naples\, 2021 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, HUO RF…person\, action\, situation…\, Museo Nitsch\, Naples\, 2021 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, HUO RF…person\, action\, situation…\, Museo Nitsch\, Naples\, 2021 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, HUO RF…person\, action\, situation…\, Museo Nitsch\, Naples\, 2021 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, HUO RF…person\, action\, situation…\, Museo Nitsch\, Naples\, 2021 © photo Amedeo Benestante Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/huo-rfperson-action-situation/ 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/2021/12/Hide-Huo-RF-...person-action-situation....jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20211110T180000 DTEND;TZID=Europe/Rome:20211110T180000 DTSTAMP:20260516T000057 CREATED:20211028T094810Z LAST-MODIFIED:20211102T140318Z UID:6968-1636567200-1636567200@www.fondazionemorra.org SUMMARY:Presentation of the book ALL BOOM ARTE DESCRIPTION:10th november 2021\nSTART 6.00 p.m.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nEuropean presentation tour of ALL BOOM ARTE. Italian Artist at AlbumArte 2011-2020 \nCurated by Cristina Cobianchi \nSpeakers: Elena Bellantoni\, Fabrizio Cicero\, Cristina Cobianchi\, Adriana Rispoli\nModerator: Vittorio Urbani \nOn Wednesday 10 November 2021\, at the Fondazione Morra\, at the Hermann Nitsch Museum of Naples\, AlbumArte\, independent space for contemporary art in Rome presents the editorial project “ALL BOOM ARTE. Italian artists at AlbumArte 2011 – 2020”\, curated by Cristina Cobianchi (Quodlibet editore\, 2021)\, realized thanks to the support of the Italian Council (VIII edition 2020)\, the program to promote Italian contemporary art in the world by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture. \nWithin the presentation of the volume\, will be presented two videos of two artists of AlbumArte: “CORPOMORTO” (2020\, 9’50”) by Elena Bellantoni and “Fronte Nazionale Naso Partenopeo” (2020\, 18’48”) by Anna Raimondo. \nThe artists and curators selected in these ten years of activity by AlbumArte\, have managed to build a community and to form a network of intellectual exchanges and opportunities for work\, connection and research and it is precisely on this community of young or emerging artists that the attention of the volume ALL BOOM ARTE is focused\, an aggregative phenomenon still in progress\, which has involved and continues to involve dozens of artists\, including many women artists and curators. \nA part of the volume is dedicated to 18 unpublished conversations between the artists and the curators of AlbumArte: Gianluca Brogna with Grossi Maglioni\, Benedetta Carpi De Resmini with Cosimo Veneziano\, Anna Cestelli Guidi with Iginio De Luca\, Daniela Cotimbo with Sonia Andresano\, Elisa Del Prete with Angelo Bellobono\, Raffaele Gavarro with Sandro Mele\, Silvano Manganaro with Zaelia Bishop\, Margherita Moscardini with Cristina Cobianchi\, Manuela Pacella with Elena Bellantoni\, Claudio Libero Pisano with Delphine Valli\, Adriana Polveroni with Francesco Jodice\, Marta Silvi with Dario Agati and Fabio Giorgi Alberti\, Marco Trulli with Anna Raimondo\, Paola Ugolini with Silvia Giambrone and Romina Bassu\, Vittorio Urbani with Flavio Favelli\, Saverio Verini with Sabrina Casadei and Alessandro Giannì.  \nThe volume\, of 484 pages\, double Italian-English version\, is divided into sections that illustrate the context of AlbumArte’s research from 2011 to 2020: the Italian artists abroad with AlbumArte (Anteprima 2011-2014); AlbumArte | VideoArtForum (2016\, in progress); The performances; the project Donne (non più) anonime – conversation on femicide\, together with the images and texts related to the exhibitions realized with all of them (2011-2020). \nCORPOMORTO (2020\, 9’50’’) \nThe work consists of a video and a large public art installation composed of a 43-metre-long polyurethane foam sign and 8 concrete objects with 20-metre-long lines each. I imagined working on the point of view from the sea by placing my work on the edge of the water visible from above. I decided to work on the concept of the dead body – a word borrowed from the language of the sea – producing floating letters in expanded polystyrene that become anchorage points for the concrete dead bodies thrown to the bottom of the sea in a bay near the Port of Tricase. \nI work by immersion\, with “CORPOMORTO” the immersion also takes place in a literal sense by throwing myself into the sea to construct my action. I am interested in the linguistic aspects of these maritime elements: the word dead-body which highlights with the presence of many dead bodies in our seas\, the word an-courage underlines the action of jumping\, the courage of approaching to reach dry land. \nThe language becomes a “lifesaver”\, a place on which to lean\, all the letters – which I throw into the water through a performative action – are an intense orange colour\, the same as the life jackets used at sea. \nThe dead bodies\, at the bottom of the sea\, bear the same writing as a reflection that emerges on the surface of the water: anchor /still dead body between sky and land courage from the play of words on the very object of “anchorage” a warning of a poetic-political nature emerges. (EB) \nFronte Nazionale Naso Partenopeo (2020\, 18’48’’) \nThe title of this work is inspired by an inscription read fleetingly by the artist on the walls of Naples\, where with irony\, someone had added to the acronym written with spray paint “Fronte Nazionale (National Front a far-right political group)\, the words “Naso Partenopeo” (Neapolitan Nose). The constitution of a utopian party\, the Fronte Nazionale Naso Partenopeo (Napolitan Nose National Front)\, takes shape through the interviews that the artist makes to Neapolitan citizens and activists\, in order to start a choral reflection on the daily micro-actions of social transformation and emancipation. A (non) party\, represented by a (non) flag together with different propaganda materials\, is at the center of a real electoral campaign organized by the artist\, presenting also a mobile electoral banquet\, similar to that of an old street vendor\, which will be used for future actions in the public space. The nose\, an element that defines the physiognomy of a person\, is here ironically used as a parameter of identity\, as a starting point for a series of political and social speculations carried out during the interviews\, with a recurring motto: use your eyes\, use your ears\, have a nose. The video was made on the occasion of the artist’s solo exhibition of the same title at AlbumArte in January 2020. \nThe cultural partners of the project ALL BOOM ARTE. Italian artists at AlbumArte 2011 – 2020 are: MAXXI – National Museum of XXI Century Arts\, Rome; Roma Capitale. Assessorato alla Crescita Culturale / Azienda Speciale Palaexpo\, Rome; National Gallery of Art\, Vilnius; Art House\, Shkodër; Bn Project\, Brussels; Dimora OZ\, Palermo; Golden Thread Gallery\, Belfast; LE 18\, Marrakech; PILOT\, Bratislava. \nFree admission subject to availability. COVID-19 Green Certification (Green Pass) required URL:https://www.fondazionemorra.org/en/evento/presentazione-libro-all-boom-arte/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/png:https://www.fondazionemorra.org/wp-content/uploads/2021/10/Invitation-Naples-LD.png ORGANIZER;CN="AlbumArte":MAILTO:info@albumarte.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20211105T080000 DTEND;TZID=Europe/Rome:20220420T170000 DTSTAMP:20260516T000057 CREATED:20211104T170752Z LAST-MODIFIED:20220519T132810Z UID:7019-1636099200-1650474000@www.fondazionemorra.org SUMMARY:International Masterclass Oedipus. Body of Blood - OPEN CALL DESCRIPTION:CALL FOR MASTERCLASS\nOpen call from 5th november 2021 to 20th april 2022. \n10 – 22 may 2022\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Naples \nInternational Residential Masterclass on the relationship between sound and body\, from the King Oedipus by Hermann Nitsch \nheld by Andrea Cramarossa. \n“The torment that Oedipus carries from his birth\, not knowing anything about himself\, will lead him towards horror\, towards the inaudible. With a very strong light\, in Nitsch’s Oedipus\, the sense of the sacred is achieved through the sacrifice of all the elements that led the hero into the ecstasy of knowledge\, a disturbing\, troublesome\, lacerating ecstasy.” \nAndrea Cramarossa \nPurposes \n\nGet in touch with your own body through the practice of the ritual.\nGet in touch with your own sound through the practice of the ritual.\nTake possession of the “sense of the sacred” starting from the “sacred everyday”.\nMake your own body sacred.\nMake your own sound sacred.\nMake the place sacred through the practice of sacrifice.\n\nGoals \n\nTo Study the text “King Oedipus” by Hermann Nitsch to reach an immersive ritual practice.\nTo get involved by the myth of Oedipus to consolidate a collective and community narrative practice of the myth itself.\nTo reach a possible “place” where the actor consider the sacredness of his being on stage with the surroundings\nTo Assimilate the sense of the sacred in theatrical practice.\nTo Learn the mechanism of regression (loss of one’s structural bonds – physical and mental prison) to identify the primordial physical impulses (Dionysian process).\nLearn the mechanism of the sublimation of these impulses to make a mystical artistic creation of self-awareness.\n\nWho is the Masterclass for? \nThe Masterclass is aimed at actors and actresses\, dancers\, musicians\, singers\, directors and directors of all ages and of all nationalities (held multilingual); also open to pupils with experience\, even occasional and not in-depth\, but felt and participated in the dramatic art. \nThe relationship with the body provides for the possibility of considering it in its nakedness. \nAt the end of the itinerary\, a double opening of the work to the audience is foreseen. \nAll participants will receive a certificate of participation. \nThe Masterclass is limited to a maximum of 20 participants. \nParticipants can be invited to take part as actors in the “Six Days Festival” scheduled for July 2022 at Prinzendorf Castle in Austria. \nBiographical notes \nAndrea Cramarossa is a poet\, director and actor who\, after years of intense personal studies in the field of vocal research\, sound and voice applied to singing and speaking\, theorize\, on an experimental basis\, an approach to dramatic art through the use and knowledge of sound. \nHe is the first to take advantage of listening to the sound of the human voice in order to arrive at dramatic art by structuring a real acting model that is inspired by the work on sound by Gisela Rhomert and by Hermann Nitsch’s Theater of Orgies and Mysteries. \nCramarossa regularly holds workshops on voice and acting in Italy and abroad. He receives numerous awards in the artistic field including: “Young Oscar – European Personality” and the “Aligi D’Oro” Prize for Dramatic Art. With his artistic work “L’URLO” (The Scream) he received the first prize in 2013 at the FAP – Festival of Performing Arts. In 2003 he founded the theater research group Teatro delle Bambole. \nFor more info: www.teatrodellebambole.it \nDates & Timetables \nThe Masterclass will take place every day \nfrom 10 to 22 May 2022 \nfrom 10 to 13 and from 16 to 19 \nTotal: 66 hours \nAudience presentations on Saturday 21 May at 9 pm and Sunday 22 May at 6 pm. \nWhere \nThe Masterclass will take place in Naples (ITALY): \nMuseo Hermann Nitsch\nNaples – Vico Lungo Pontecorvo 29 / d \n_____________________ \nHow to apply / Deadline \nIt is essential to send your application accompanied by an artistic curriculum to info@teatrodellebambole.it \nYou can send your application from November 5\, 2021 to April 20\, 2022. \nAttendance fee: 280\,00 euros \nSelection Result \nThe selected participants will be contacted by the organizational secretariat on April 27\, 2022 \nThe registration is completed upon receipt of the copy of the deposit of  50%\, within five days following the communication of the selections. \nAfter this date the candidacy expires. Please note that the deposit is non-refundable \nPayment is only allowed by bank transfer.\nThe attendances are responsible for organizing and paying their own travel\, accommodation\, meals costs. \nDuring the Masterclass\, compliance with the measures envisaged for the containment of Covid-19 will be guaranteed. \nInfo: \nMuseo Hermann Nitsch – info@museonitsch.org – +39 081 5641655 \nCasa del Contemporaneo – info@casadelcontemporaneo.it – +39 345 4679142 \nOEDIPUS. BODY OF BLOOD. – INTERNATIONAL MASTERCLASS is organized by Fondazione Morra – Hermann Nitsch Museum and Teatro delle Bambole in collaboration with Casa del Contemporaneo \nGerman version \nSpanish version \n\n \n \n \n \n \n \n Masterclass Oedipus. Body of Blood\, Museo Hermann Nitsch\, Naples\, 2022 photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Masterclass Oedipus. Body of Blood\, Museo Hermann Nitsch\, Naples\, 2022 photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Masterclass Oedipus. Body of Blood\, Museo Hermann Nitsch\, Naples\, 2022 photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Masterclass Oedipus. Body of Blood\, Museo Hermann Nitsch\, Naples\, 2022 photo Amedeo Benestante Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/masterclass-internazionale-edipo-corpo-di-sangue-open-call/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/png:https://www.fondazionemorra.org/wp-content/uploads/2021/11/tavola_disegno_1-1.png ORGANIZER;CN="Teatro delle Bambole":MAILTO:info@teatrodellebambole.it END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20211002T190000 DTEND;TZID=Europe/Rome:20211005T190000 DTSTAMP:20260516T000057 CREATED:20210928T100732Z LAST-MODIFIED:20211124T110251Z UID:6852-1633201200-1633460400@www.fondazionemorra.org SUMMARY:The art of remembering - Events DESCRIPTION:2nd october 2021\nSTART 7.00 p.m.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/D\, Napoli\n \nDivergent Senses II part\nvideo screening\nCurated by Raffaella Morra \n5th october 2021\nOPEN STUDIOS 5.00-7.00 p.m.\nCEREMONY 7.00-9.00 p.m.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/D\, Napoli \n“All that is solid melts into air\,\ndiffusing the labyrinth\,\na continuum of existence in the end\nAs travellers\, they do journey\,\nsearching for some sort of wonderland.\nWhat is it that connects us?\nA memory?\nWhat if we stop remembering?” \nThe rabbit hole presents “the art of remembering” a global residency program\, in collaboration with Fondazione Morra\, and E-M Arts\, to be held in Naples\, Italy from September 21 – October 5\, 2021. \n  \nMaayan Boni * Amaury Cambuzat * Laith Demashqieh * Matilde di Pietropaolo\nAinara Lopez * Olec Mun * Keri Rosebraugh * Mayke Verhoeven\ntheatrum phonosophicum (alias Leopoldo Siano & Shushan Hyusnunts) * Alejandro Zertuche \n10 candidates have been selected to spend 14 days together unravelling the question “what if we stop remembering?” The program\, designed as a dramaturgy of inner exploration\, projects Naples as wonderland\, in an environment that is created both as an immersive journey and international artist residency program. Artists will explore the subject on their own\, in a contemplative and inspiring environment\, equipped with their own studio space inside Museo Hermann Nitsch\, generously granted by Fondazione Morra\, as well as attend 5 experiential workshops introducing “the rabbit hole method™” at the Museo Hermann Nitsch\, among other public spaces and excursions around Naples. \nThe concept and program have been written and directed by the rabbit hole’s founder\, Samina Virani. The method is designed as a dramaturgy\, a labyrinth\, where each artist goes down the rabbit hole\, embarking on its mythological journey to discover a collective blank canvas. In the artistic direction of the program\, Samina Virani explains “the scripted elements of the residency are designed to allow the artists to delve into self-introspection\, a white canvas\, a formlessness where the secret gaze exists. Some could call it ‘remembering’.” \nsaturday october 2 – video screening \nDivergent Senses II part \nAs a puzzle without a clear matrix\, Divergent Senses video screenings are the separate components or hidden qualities of a unification. These videos are interpretive inferences rather than linear stories\, drawing imaginative connections between the onscreen event and emotional engagement. When information is missing and out of order\, the perceivers seek their causal relations; the salient information is omitted to arouse curiosity and enable the participants to understand their motivations of elaborate details\, and mentally construct a coherent description. \nThe program Divergent Senses II part \nAnouk De Clercq We’ll find you when the sun goes black 2021\, BE/NO\, video 16:9\, b/w\, sound\, 5 min. \nAlvise Renzini Ci sono gli spiriti (There are spirits) 2009\, Italia\, video\, color\, sound\, 6 min. 20 sec. \nJohanna Vaude Samouraï 2002\, France\, Super 8mm\, color and b/w\, sound\, 7 min. 23 sec. \nJeanne Liotta Dark Enough 2011\, USA\, 16mm\, b/w\, sound\, 6 min. 53 sec. \nPeter-Conrad Beyer Le Rêve 2020\, Germany\, Super 16mm & Video\, color and b/w\, sound\, 8 min. 21 sec. \nColectivo Los Ingrávidos Guerras Floridas 2021\, Mexico\, 16mm\, color\, sound\, 4 min. \nDeborah Stratman For the Time Being 2021\, USA\, HD video\, 6 min. 40 sec. \nScott Sinclair ベルガ / BERGA 2017\, Australia/Germany\, HD video\, color\, sound\, 6 min. 4 sec. \nTo participate to the video screening on October 2\, the reservation is required. Please send an email to info@museonitsch.org \ntuesday october 5 – the final response \nIn this process-based residency\, each artist will develop an answer to “the art of remembering”\, which will form a collective response on the final night of October 5th at Museo Hermann Nitsch. Essentially\, process\, which is “the art of remembering” will transform into ritual which is “the act of remembering”. \nCredits \nSamina Virani\, Founder and Artistic Director\, the rabbit hole\nRaffaella Morra\, Curatorial Lead Naples\, Fondazione Morra\, Director E-M Arts \nCarlos Calvo\, Creative Producer\, the rabbit hole\nDr. Don Rodrigues\, co-writer “the rabbit hole method”\, Professor English Literature\, University of Memphis\, and Harvard University \nAurora Arenare\, Assistant Producer\, the rabbit hole\nPol Vidas\, communications\, the rabbit hole pol@101010n.com \n\n \n \n \n \n \n \n Amaury Cambuzat\, The art of remembering\, Museo Hermann Nitsch\, Naples\, 2021 © photo Sabrina Cirillo\n \n \n \n \n \n Ainara Lopez\, The art of remembering\, Museo Hermann Nitsch\, Naples\, 2021 © photo Sabrina Cirillo\n \n \n \n \n \n The art of remembering\, Museo Hermann Nitsch\, Naples\, 2021 © photo Sabrina Cirillo URL:https://www.fondazionemorra.org/en/evento/the-art-of-remembering-incontri/ 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/2021/09/the-art-of-remembering_-banner1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20210919T100000 DTEND;TZID=Europe/Rome:20220109T180000 DTSTAMP:20260516T000057 CREATED:20210902T133816Z LAST-MODIFIED:20220110T140953Z UID:6788-1632045600-1641751200@www.fondazionemorra.org SUMMARY:Shozo Shimamoto MAJOR WORKS DESCRIPTION:19th september 2021 – 1st may 2022\nOPENING 18th september 6.00 p.m.\nCentro Italiano Arte Contemporanea – CIAC\nVia del Campanile 13\, Foligno\n \nCurated by Italo Tomassoni \nA wide-ranging retrospective dedicated to Japanese artist Shozo Shimamoto (1928 – 2013)\, curated by Italo Tomassoni\, opens on 19 September at CIAC – Centro Italiano Arte Contemporanea in Foligno\, and runs until 1 May 2022. \nThe “SHOZO SHIMAMOTO/MAJOR WORKS” exhibition takes place in collaboration with the Fondazione Morra di Napoli\, supported by the Fondazione Cassa di Risparmio di Foligno\, with the technical\, logistic\, and organizational assistance of the Associazione Shozo Shimamoto.\nThe exhibition offers a detailed and comprehensive review of the Japanese artist’s career\, from his first innovative experiments in the 1950s up to the more momentous and spectacular of the last years. In the 1950s\, Shimamoto worked largely in the East and especially in Japan\, but by the new millennium\, he was working mainly in the West\, performing many of his actions. The dialectic between these two phases in his output occurs within a unique and extraordinary artistic process. In the 1950s\, he began exploring a new concept (and practice) in painting\, working with gesture and paint marks\, which later evolved into the ‘happening’. In particular\, “[t]he power of the mark\, that Shimamoto endows with the most authentic meaning of his message\, conditions the fluctuation of the paths of written signs that never appear “closed”\, developing freely in space\, on the other hand\, in search of unexplored passages driven by their inner dynamism” (Italo Tomassoni\, from the presentation in the catalogue). Nevertheless\, the large-scale events of recent years go beyond marks on canvas\, favouring a sizeable theatrical edifice with their own dramatic and expressive autonomy\, and taking place in public as a unique aesthetic event. For Shimamoto\, the work “offers itself to the experience of the artist and the public as though spread out over time\, on the infinite horizontality of liquid and multiple spatial displacements” (Tomassoni\, ibid). \nAfter a period of inactivity due to Covid-19\, the Foligno Centro Italiano Arte Contemporanea opens with an exhibition reflecting its global outlook through this retrospective of Shozo Shimamoto’s historically most significant works. The collection starts with Shimamoto’s earliest pieces from his time with the Gutai Group\, moving on to Japanese calligraphy\, and culminating with the explosions of colour that characterize his Italian works. The Major Works chosen for this exhibition underline how Shimamoto’s most extraordinary creativity coincides with his use of large surfaces\, a constitutive element in his work\, denoting both total fullness and\, at the same time\, a boundary to be continually overcome using colour and matter. \nShimamoto’s large canvases on show at the CIAC take the viewer on a journey that starts with gesture and mark\, moving on through colour and contending with matter until it penetrates the deepest and “other” meanings of form. Suspended between heaven and earth\, Shimamoto’s artistic gesture creates through these works an empathy beyond time and space. \n\n \n \n \n \n \n \n Installation View\, Shozo Shimamoto Major Works\, CIAC\, Foligno\, 2021 © photo Elisa Partenzi Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Shozo Shimamoto Major Works\, CIAC\, Foligno\, 2021 © photo Elisa Partenzi Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Shozo Shimamoto Major Works\, CIAC\, Foligno\, 2021 © photo Elisa Partenzi Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Shozo Shimamoto Major Works\, CIAC\, Foligno\, 2021 © photo Elisa Partenzi Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/shozo-shimamoto-major-works/ LOCATION:CIAC – Centro Italiano Arte Contemporanea\, Via del Campanile 13\, Foligno\, 06034 CATEGORIES:Associazione Shōzō Shimamoto ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/09/invito-digitale_nuova_data.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20210529T110000 DTEND;TZID=Europe/Rome:20210529T220000 DTSTAMP:20260516T000057 CREATED:20210519T111526Z LAST-MODIFIED:20210603T125516Z UID:6354-1622286000-1622325600@www.fondazionemorra.org SUMMARY:Igor Grubić. Another Green World DESCRIPTION:29th may 2021\n11:00 a.m. – 10:00 p.m.\nVilla Comunale di Napoli \nCurated by Adriana Rispoli \nThe Morra Foundation\, in collaboration with the Association Premio GreenCare Aps is delighted to announce Another Green World by Igor Grubic\, curated by Adriana Rispoli. The exhibition is presented within the framework of “May of Monuments 2021” and promoted by Naples City Hall. \nTaking place on Saturday 29 May (11am – 10pm)\, the open-air exhibition at the public garden the Villa Comunale di Napoli consists of a program of approximately fifty micro-interventions that interact with the building’s architectural and neoclassical and modern sculptures\, as well as the site’s historical context and a performance dedicated to the poet Dante Alighieri. With Another Green World Igor Grubic aims to awaken collective awareness about this public space\, which has crucial importance for different communities. FAI Giovani Napoli will welcome citizens and tourists at Villa Comunale to guide them through the exhibition. \nAnother Green World is a political-poetic-artistic intervention\, an expression of participatory activism that involves the entire community\, beginning with those who have daily contact with the Villa\, such as children and the elderly. This approach is typical in Grubic’s practice\, perhaps best expressed in his 366 Liberation Rituals\, a set of thirty-three “cathartic” actions carried out during 2008. \nThe Villa Comunale becomes a monumental stage to express urgencies that have become even more pressing during the last year: particularly the need to go back to nature\, to communal life\, to solidarity\, to collective and individual responsibility. Such needs compel us to live with awareness and courage\, steadfast in our belief that “La Rivoluzione siamo Noi” (we are the revolution). \n“[…]Public gardens have always been respected by the communities that live with them. They are resources for leisure\, but also constitute an opportunity for education and research. Public gardens can play a significant role in a community’s sustainable development. In Naples\, small public green areas have been absolutely necessary during this pandemic. The theme of my project is the city’s ‘green system\,’ in other words: discovering its value and role as part of the heritage of a place. Trees are heritage\, living matter\, an elementary part of our cultural and historical whole. To bring art into Nature and Nature into art. The whole world is a stage to play\, the world is like an atelier and the atelier is like a world. The garden is a Museum without walls: trees are our brushes\, parks our palettes[…].” (I.G.) \nThe original texts (Micropolitical Statements\, How to-flags)\, the quotes by Gramsci and Beuys\, Brecht and Mayakovsky (Little Quote Lessons) and the micro-interventions on sculptures (Suprematist Compositions\, Black Noses-Scarves-Bends\, Black Strips) aim to raise awareness and generate respect towards the common good and the community’s history and identity. They invite the public to approach their surrounding reality in a poetic-artistic-ecological way. \nIgor Grubic\, already present in Naples upon the invitation of the Quartiere Intelligente and the Morra Foundation\, for his first public intervention in the city he chose the Villa Comunale because of its importance to Naples’ citizens. Another Green World developed from two years of work and expresses Grubic’s public and participatory approach to art—often described as “poetic terrorism” – which brings together respect for monuments and the intention to awaken both individual and collective awareness. \nThe exhibition also includes the collaboration of Neapolitan artist Roberto Pugliese\, whose multimedia works explore audio-visual research through multisensory installations. His sound piece Another Green World is Possible will be accessible to the public via their smartphones. A text by students participating in the Creative Language Workshop from the Middle School Carlo Poerio will also be available. The cardboards used in the exhibition are recycled materials provided by Formaperta. \nIgor Grubic (Zagreb\, 1969) is one of the most significant artists from Eastern Europe. Since the nineties he’s been working with photography\, video\, and actions in public spaces. His practice is defined by socio-political interest and historical research. His projects span from research on historical monuments to the end of industry in the former Yugoslavia and the study of minorities. They are developed over years of investigation as well as personal relations. Rooted in the tradition of documentary\, Grubic’s work in photography and cinema is characterized by a meditative and empathetic approach\, deeply human and often poetic. \nGrubic has participated in several international exhibitions\, including Manifesta 4 (Frankfurt\, 2002); Manifesta 9 (Genk\, 2012); Gender Check\, mumok (Vienna\, 2009); 11th Istanbul Biennale (2009); 4th fotofestival Mannheim Ludwigshafen\, Heidelberg (2011); East Side Stories\, Palais de Tokyo (Paris\, 2012); Gwangju Biennale (2014);  Zero Tolerance\, MOMA PS1 (New York\, 2014); Degrees of Freedom\, MAMbo (Bologna\, 2015); Heavenly Creatures\, MG+MSUM (Ljubljana\, 2018); The Value of Freedom\, Belvedere 21 (Vienna\, 2018); Yerevan Biennial (2020); Bigger than Myself\, MAXXI (Rome\, 2021). He represented Croatia at the 58th Venice Biennial in 2019 with the project “Traces of Disappearing in Three Acts.” \nHis works are part of major collections such as: Tate Modern\, London; Kadist Art Collection\, San Francisco and Paris; Kunsthaus Zurich; FRAC Champagne-Ardenne Collection\, Reims; Arte Fiera Bologna Collection; ALT Arte Contemporanea Bergamo; Museum Sztuki\, Lodz; ECB Frankfurt; Contemporary Art Museum Belgrade; MSU Zagreb; Art Collection Telekom\, Bonn; Kontakt – The Art Collection of the Erste Group\, Vienna. \n“Another Green World\,” is presented with the kind support of Corrado Gugliotta-Galleria Laveronica\, Luca Barbeni-Nome Gallery\, Gianni Bellucci\, Tommaso e Paola Guerini\, Lorenzo Lomonaco Collection\, Maria Pia Pignalosa\, Jane Ritter\, Elena Cirillo e Alessandro Savelli\, Lorenzo Xiques. \n\n \n \n \n \n \n \n Igor Grubic. Another Green World\, Villa Comunale\, Naples\, 2021 © photo Igor Cortese Courtesy Fondazione Morra\n \n \n \n \n \n Igor Grubic. Another Green World\, Villa Comunale\, Naples\, 2021 © photo Igor Cortese Courtesy Fondazione Morra\n \n \n \n \n \n Igor Grubic. Another Green World\, Villa Comunale\, Naples\, 2021 © photo Danilo Donzelli Courtesy Fondazione Morra\n \n \n \n \n \n Igor Grubic. Another Green World\, Villa Comunale\, Naples\, 2021 © photo Igor Cortese Courtesy Fondazione Morra\n \n \n \n \n \n Igor Grubic. Another Green World\, Villa Comunale\, Naples\, 2021 © photo Igor Cortese Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/igor-grubic-another-green-world/ LOCATION:Villa Comunale\, Napoli\, 80122 ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/05/Immagine-per-sito.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20210522T100000 DTEND;TZID=Europe/Rome:20210715T190000 DTSTAMP:20260516T000057 CREATED:20210521T142248Z LAST-MODIFIED:20210715T144818Z UID:6473-1621677600-1626375600@www.fondazionemorra.org SUMMARY:The New Empire: Lily Moore and Sarah Powers DESCRIPTION:22nd may – 15h july 2021\nOPENING 22nd MAY 10:00 a.m.\nDAFNA Gallery\nVia Santa Teresa degli Scalzi 76\, Naples\n \nCurated by Maurizio Elettrico \nFrom 22 May\, and in collaboration with the Fondazione Morra\, the DAFNA Gallery presents a new exhibition project by Maurizio Elettrico. In the role of curator\, the artist brings part of his larger project\, ‘The New Empire’\, to the DAFNA for the first time in an exhibition specially designed for the event. \nWith ‘The New Empire’\, Elettrico first creates an imaginary place where the most diverse artistic languages are united by the precise intent to tell stories whose fanciful representation becomes – at the same time – food for thought and an investigation of reality. \nLily Moore and Sarah Powers are the imaginary artists from a distant future through whom Elettrico speaks to the public by offering the viewer a medium of great pictorial intimacy. His use of pencil\, bold colours\, and imaginary shapes translates the intent to trigger continuous emotions in the viewer and ensures that the spectator’s gaze is unconsciously involved in an ongoing process rousing a thirst for knowledge and curiosity. \nLike two shamans\, the characters use art to explore the subtle aspects of nature\, from volatile entities set to guard beings and things\, protecting them from chaos\, to others born to instigate chaotic and destructive feelings in the hearts of animals and men. \nBy exhibiting three canvases and three painted cards\, Maurizio Elettrico entrusts to the artistic vein of Lily Moore the representation of an aesthetic world halfway between the fanciful Middle Ages and graphic naturalism\, where benign creatures come to life despite their ferocious and monstrous appearance; they are guardians of light\, protectors of purity and the highest good. Through Sarah Powers\, on the other hand\, he projects us into the dimension of primitivism via intense transgression in the formal development of his subjects. We see two large canvases and two gardens – places where fantastic-looking natural forms can be placed alongside much more frightening creatures. \nIf\, on the one hand\, the creatures of Lily and Sarah appear to be deeply antagonistic\, the artist succeeds in communicating meaning through both languages. He transmits his profound interest in history and science\, drawing the public into an imaginary tale suspended between dream and reality. \nMaurizio Elettrico was born in Naples\, where he lives and works\, in 1965. After studying the natural sciences\, he directed his artistic research mainly towards the interdisciplinary relationships between philosophy\, history\, and iconography. His art is remarkable for the variety of materials he uses and the lexicon he employs\, ranging from drawings on the finest paper\, to sculpture and multi-material installations blending organic and artificial materials\, to video\, performance\, and a copious written output. Elettrico invests the everyday world with a neo-mythological vitality in which the radical secularization of the sacred and science fiction interweaves to create a short circuit where the sense and non-sense of his poetics create a continuous balance between reality and dream. The rediscovery of dissonant forms and materials opens up a magical world of medieval ascendency to produce a visual pantheon that blends artistic creation and scientific knowledge. \n\n \n \n \n \n \n \n Installation View. The New Empire: Lily Moore and Sarah Powers\, DAFNA Gallery\, Naples\, 2021 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Installation View. The New Empire: Lily Moore and Sarah Powers\, DAFNA Gallery\, Naples\, 2021 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Installation View. The New Empire: Lily Moore and Sarah Powers\, DAFNA Gallery\, Naples\, 2021 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Installation View. The New Empire: Lily Moore and Sarah Powers\, DAFNA Gallery\, Naples\, 2021 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Maurizio Elettrico. The New Empire: Lily Moore and Sarah Powers\, DAFNA Gallery\, Naples\, 2021 © photo Virto360 Courtesy Fondazione Morra\n \n \n \n \n \n Maurizio Elettrico. The New Empire: Lily Moore and Sarah Powers\, DAFNA Gallery\, Naples\, 2021 © photo Virto360 Courtesy Fondazione Morra\n \n \n\n \n  URL:https://www.fondazionemorra.org/en/evento/the-new-empire-lily-moore-and-sarah-powers/ LOCATION:Dafna Gallery\, Via Santa Teresa degli Scalzi\, 76\, Napoli\, 80135 ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/05/33_DAFNA-Invito_Mail_ENG-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20210520T000000 DTEND;TZID=Europe/Rome:20210720T000000 DTSTAMP:20260516T000057 CREATED:20210520T130445Z LAST-MODIFIED:20211124T120624Z UID:6369-1621468800-1626739200@www.fondazionemorra.org SUMMARY:The art of remembering - Artist Residence DESCRIPTION:CALL ARTIST RESIDENCE\nOpen call from 20th may to 20th july 2021 \n21st september – 5th october 2021\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nFondazione Morra and “the rabbit hole” collective with E-M Arts association present the art of remembering\, a global residency program. \n3 applicants residing in Napoli or neighbouring Municipalities will join 7 candidates to spend 14 days at the artist-residence of Fondazione Morra and Museum Hermann Nitsch\, in the heart of Quartiere dell’arte\, exploring “the art of remembering.” \nWe are particularly interested in those applicants with a keen interest in voyaging\, journeys\, ports and waterways; as well as in ancient symbols\, scripts and codes through mediums such as poetry\, theatre\, sound\, mathematics and performance to apply. \nArtists will have the chance to explore the subject on their own\, in a contemplative and inspiring environment\, as well as collaborate and celebrate a meeting of the minds. \nAs part of the program\, artists will get to know Naples’ creative scenes\, encounter some of the city’s personalities\, and immerse in the waves of the city and the surrounding seas. \nThis residency program is set up as a mystical inquisition\, so we invite the curious-minded who have a particular interest in the sublime\, discovering new awake spaces\, and capturing the mysterious and magical white feather to apply. \nMethodology: \nEach artist will interrogate the subject of “remembering” immersing in The Rabbit Hole Method™\, a process of inquiry that extracts and distils from contemporary artistic practises\, philosophy\, mysticism\, mathematics and dance. It includes the teaching of Hazrat Inayat Khan\, Farid Ud-Din Attar\, Jorge Luis Borges\, Alejandro Jodorowsky\, Lewis Carroll\, among others. The rabbit hole seeks to stimulate new ideas about the self and the other\, and to challenge culturally constructed limits and borders. \nUnder careful advisory from Georgetown University\, and the MIT Senselab\, the program bases its principles on deconstruction\, and the reinvention of rituals and forms. We also work with Teatro de los Sentidos\, based in Barcelona\, an immersive theatre company that creates experiences deconstructing what has become our pre-supposed sensory mapping\, and instead discovering the magical silver thread that presents itself\, if one is open to remembering. \nArtists’ expectations: \nEach artist will be required to develop an answer to “the art of remembering” which will later be presented at Museum Hermann Nitsch. \nEach work will become part of the beginning of an archive that reflects The Rabbit Hole Method™ \nA final event at the end of the residency will invite locals to meet the artists\, introduce the methodology and involve local artistic communities through sensory immersion and play. \nAt the conclusion of the residency: \nEach artist will receive a master class certificate of The Rabbit Hole Method™ \nEach artists’ work will be communicated through the rabbit hole’s global channels. Each artist will establish a place in the rabbit hole collective. \nWho can apply: \nWith only 3 spaces to offer for this residency\, we will select candidates for both their artistic merit\, passion in the subject\, as well as how each contributes to an overall group synergy. \nArtists\, curators\, writers\, composers\, poets\, researchers\, musicians\, performers\, from all backgrounds are invited to the open call. \nTo apply\, send the following to info@fondazionemorra.org \n– statement about the project you wish to work on \n– statement in relation to “the art of remembering” (approx 400 words) \n– a response to the question below (approx 400 words) \n– your bio \n– your website \nDeadline July 20\, 2021 \nThe question: \nPlease read the following poem\, and answer the question \n“What is it that connects us? \nA memory? \nWhat if we stop remembering?” \n  \n \nFounded in New York in 2008\, the rabbit hole collective – comprised of a mischievous group of artists\, storytellers\, and visionaries – numbers 2000+ in 56 countries. \nThe collective seeks to stimulate new ideas about the self and other and to challenge culturally constructed limits and borders. a manifesto\, written by its founders\, bases its principles on deconstruction\, and the reinvention of rituals and forms. \nUnderneath a foundation of festivity and a celebration of disruption\, the rabbit hole has created provocative participatory shows at the chelsea art museum\, a time traveling double decker bus in new york city\, a catamaran in the mediterranean and a 21 day train journey across europe and the middle east\, among others venues. \nPress Release \n\n \n \n \n \n \n \n Labyrinth of mirrors in The art of remembering\, Naples\, 2021 © photo Imma Di Lillo\n \n \n \n \n \n The art of evoking in The art of remembering\, Museo Hermann Nitsch\, Naples\, 2021 © photo Imma Di Lillo\n \n \n \n \n \n Alper Akcay\, The Whirling Begins in The art of remembering Residency\, Museo Hermann Nitsch\, Naples\, 2021 © photo Sabrina Cirillo\n \n \n \n \n \n Body\, Time\, Space\, Access in The art of remembering\, Museo Hermann Nitsch\, Naples\, 2021 © photo Samina Virani URL:https://www.fondazionemorra.org/en/evento/the-art-of-remembering-residenza-dartista/ CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/05/image0.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20210511T100000 DTEND;TZID=Europe/Rome:20211113T170000 DTSTAMP:20260516T000057 CREATED:20210426T084534Z LAST-MODIFIED:20211115T095501Z UID:6251-1620727200-1636822800@www.fondazionemorra.org SUMMARY:Beuys e Napoli DESCRIPTION:9th may 2021\nFACEBOOK LIVE 5.00 p.m. \nWith contributions by: Achille Bonito Oliva\, Michele Bonuomo\, Mario Franco\, Petra Richter and Italo Tomassoni\nWith an introduction of the German Ambassador Viktor Elbling \n11th may 2021- 13th february 2021\nSTART 10.00 a.m.\nCasa Morra – Archive of Contemporary Art\nSalita San Raffaele 20/c\, Napoli \nCurated by Giuseppe Morra \nFrom 11 May to 13 February Casa Morra in agreement with Goethe-Institut Neapel\, pays tribute to Joseph Beuys\, commemorating the centenary of his birth with the exhibition Beuys e Napoli curated by Giuseppe Morra\, reflecting on the cultural heritage of the German artist’s visits to Naples and his travels around Italy between 1971 and 1985. \nThe Mario Franco Archives will host a showing of five films in succession. Neapolitan film director Mario Franco has assembled the most comprehensive documentary footage of Lucio Amelio and Beuys’s work together\, starting with their first exhibition\, La rivoluzione siamo noi (1971)\, at the Modern Art Agency. To celebrate its 50th anniversary\, the programme opens with a showing of the film of the same name\, which will be screened together with Der Tisch\, a film Beuys donated to the Neapolitan director in its original 16mm format\, documenting one of his first actions at the Düsseldorf Academy (1971). Franco documents other actions resulting from the collaboration between the Neapolitan gallery owner and the German artist\, such as ‘Vitex agnus castus’\, for Arena: dove sarebbe arrivato se fosse stato intelligente! (1972)\, and ‘Diagramma Terremoto’\, produced at the same time as Terremoto in palazzo (1981). Petra Richter conjures up an evocative image of Beuys in this second action\, describing him as a “human seismograph […] absorbed in tracing the vibrations of an imaginary earthquake\, just like an ECG machine records the electrical activity of the human heart”. For the last great exhibition at the Capodimonte Museum\, Palazzo Regale (1985) – described by Michele Bonuomo as “a definitive architecture of his entire production\, almost […] a testament” – Franco made a film from his last interview with Beuys\, discussing his work and his ties with Naples and Italy. \nConfirming Casa Morra’s aptitude for embarking on unexpected lines of research inspired by findings among archive material\, a series of photographs by Gerardo Di Fiore bears witness to Beuys’ incursion into the context of the action ‘Hic Sunt Leones’ (1972) from the collective exhibition Galleria Inesistente\, at the same time offering a broader view of the many layers of Neapolitan artistic and cultural life in the nineteen-sixties and seventies. \nThe exhibition also includes a selection of multiples\, part of Beuys’ broader “social sculpture” project: for him\, the problem of “giving form” is not a question of stylistic research within the autonomous space of art; rather it is resolved in the anthropological possibilities of forming/organizing every social field\, starting from individual creativity. On closer inspection\, this is what Achille Bonito Oliva defined as a “Socratic space” during his first key interview with Beuys in 1971. This critical insight is confirmed by the artist himself: “art interests me only insofar as it allows me to dialogue with humanity”. And Beuys ably investigates the constituent possibilities of art in the inclusive and democratic sense in his historic contribution to Documenta 5 (1972)\, where he set up an office for the “Organisation for Direct Democracy by Referendum”\, running for a hundred days. Vettor Pisani presented a previously unseen photo documentary of this experience in Kassel. \nThe exhibition closes with an addition to the room permanently dedicated to the German artist\, set up in 2017 with materials donated by Lucrezia De Domizio Durini: an in-depth look at Difesa della natura in Bolognano\, where\, on 13 May 1984\, Beuys set up a space for public talks on the defence of nature and individual creativity. On the occasion of Beuys e Napoli Italo Tomassoni revisits this shared experience through an intimate letter to the artist. \nFor info and bookings:      \nOpen by appointment from Tuesday to Friday\, 10am-5pm. \nThe films will be screened every Wednesday at 18:00 by reservation (except for the months July and August) in the space of the Mario Franco Archives \ncasamorra@fondazionemorra.org\narchivimariofranco@fondazionemorra.org \n\n \n \n \n \n \n \n Beuys e Napoli\, Casa Morra\, Naples\, 2021 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Beuys e Napoli\, Casa Morra\, Naples\, 2021 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Beuys e Napoli\, Casa Morra\, Naples\, 2021 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Beuys e Napoli\, Casa Morra\, Naples\, 2021 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Beuys e Napoli\, Casa Morra\, Naples\, 2021 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n\n \n  URL:https://www.fondazionemorra.org/en/evento/beuys-e-napoli/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/04/invito-web-generale__Tavola-disegno-1.jpg END:VEVENT END:VCALENDAR