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:20180325T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20181028T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20190331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20191027T010000 END:STANDARD 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 END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20220616T210000 DTEND;TZID=Europe/Rome:20220618T210000 DTSTAMP:20260516T011411 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:20260516T011411 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:20260516T011411 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:20260516T011411 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:20260516T011411 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:20260516T011411 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:20260516T011411 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:20260516T011411 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:20260516T011411 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:20260516T011411 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:20260516T011411 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:20260516T011411 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:20260516T011411 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:20260516T011411 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:20260516T011411 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:20260516T011411 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:20260516T011411 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:20260516T011411 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 BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20201120T140000 DTEND;TZID=Europe/Rome:20210131T180000 DTSTAMP:20260516T011411 CREATED:20201106T173748Z LAST-MODIFIED:20210429T152400Z UID:3394-1605880800-1612116000@www.fondazionemorra.org SUMMARY:Maurizio Elettrico - An Ephemeral Banquet for the Invisible Guest: Waiting for the Bio-aristocrat DESCRIPTION:November 20th 2020 – January 31st 2021\nOPENING – by invitation only – NOVEMBER 19th\, 6:00 p.m.\nFörderung von Kunst und Kultur am Rosa-Luxemburg-Platz\nLinienstraße 40\, 10119 Berlin \nCurated by: Chiara Valci Mazzara\, Resident curator Fondazione Morra and Susanne Prinz\, Head curator Rosa Luxemburg Kunstverein.\nIn collaboration with Fondazione Morra\, Naples \nMaurizio Elettrico is a complex and erudite artist and writer. His saga in seven volumes – The Squirrel and the Grail- functions\, on the occasion of his solo show conceived as a site specific installation for the Kunstverein am Rosa-Luxemburg Platz\, as the vessel through which his magical\, irreverent\, profane\, philosophical\, mythological referred and fantastic world is introduced to the public by displaying his visionary aesthetics and immersive landscapes. \nThe banquet for the invisible guest is an exhibition consisting of a series of sculptural pieces installed on a banquet table\, two installations set up as islands on the floors and a series of works on the walls conceived and produced on the occasion of his solo show. \nThe public will be invited to experience an immersive installation in which the world of Maurizio Elettrico’s saga will come true accompanied by the opera sound piece envisioned for the exhibition. \nOpening hours: Wed. – Fri. 14-18 – only by appointment according to the covid-19 current regulations \n\n \n \n \n \n \n \n Installation View\, An Ephemeral Banquet for the Invisible Guest\, Kunstverein am Rosa-Luxemburg- Platz\, Berlin\, 2020 © photo Markus Rack\n \n \n \n \n \n Installation View\, An Ephemeral Banquet for the Invisible Guest\, Kunstverein am Rosa-Luxemburg- Platz\, Berlin\, 2020 © photo Markus Rack\n \n \n \n \n \n Installation View\, An Ephemeral Banquet for the Invisible Guest\, Kunstverein am Rosa-Luxemburg- Platz\, Berlin\, 2020 © photo Markus Rack\n \n \n \n \n \n Installation View\, An Ephemeral Banquet for the Invisible Guest\, Kunstverein am Rosa-Luxemburg- Platz\, Berlin\, 2020 © photo Markus Rack URL:https://www.fondazionemorra.org/en/evento/maurizio-elettrico-an-ephemeral-banquet-for-the-invisible-guest-waiting-for-the-bio-aristocrat/ LOCATION:Rosa Luxemburg Kunstverein\, Linienstraße 40\, Berlino\, 10119\, Germania ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/02.11_Menu_updated.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20200927T113000 DTEND;TZID=Europe/Rome:20201115T170000 DTSTAMP:20260516T011411 CREATED:20201214T162601Z LAST-MODIFIED:20210114T163420Z UID:4299-1601206200-1605459600@www.fondazionemorra.org SUMMARY:UNDERNEATH THE ARCHES - Adrian Melis\, Terra Asciutta DESCRIPTION:September 27th – November 15th 2020\nOPENING SEPTEMBER 26th\, 11:30 a.m.\nAcquedotto Augusteo del Serino\nVia Arena Sanità 5\, Naples \nCurated by Chiara Pirozzi and Alessandra Troncone \nUnderneath the Arches\, the program for contemporary art that takes place at the archeological site holding the remains of the Acquedotto Augusteo del Serino in the area Borgo Vergini–Rione Sanità in Naples\, announces its third exhibition. Under the artistic direction of Chiara Pirozzi and Alessandra Troncone\, and in collaboration with Associazione Vergini Sanità\, Underneath the Arches presents a site specific intervention by Adrian Melis (Havana\, 1985)\, titled Terra asciutta (Dry Land). Adrian Melis’ artistic research is based on the analysis of specific socio-economic contexts\, starting from Cuba\, his homeland\, and moving to the European countries where he has worked in recent years. Using themes and dynamics related to work\, Melis creates mechanisms that exploit initial scarcities as a possible productive force\, in some cases creating real production lines that involve third parties in achieving his objectives. With his project titled Terra asciutta\, created specifically for Underneath the Arches\, the artist analyses and reveals the gap between the “active” and necessary function that the Roman Aqueduct had in the past\, and the “passive” and conservative role that the same structure has nowadays. Through a strongly symbolic action\, Adrian Melis triggers a new process\, capable of restoring vitality and functionality to the place\, thus transforming the archaeological heritage into a productive rather than just contemplative site. The artist reactivates the original flow of water by recruiting a workforce in the Vergini-Sanità area and through the experimental use of Foley art techniques. The poetic enterprise\, which is even vain in its fleetingness\, involves the audience in an immersive experience\, both on the occasion of the opening\, when a performative action will be under way\, and during the exhibition\, through an environmental installation conceived site-specifically by the artist.\nUnderneath the Arches aims to activate a dialogue between archeology and contemporary art\, and to establish a relationship between the 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. This project is created with the contribution of Regione Campania\, 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. It is kindly supported by Fondazione Morra and MANN-Museo Archeologico Nazionale di Napoli. \nAdrian Melis was born in Havana\, Cuba\, in 1985. He graduated from the University of Art in Havana\, Cuba. He is a former resident at the Rijksakademie of Amsterdam (2014/2015). Selected solo shows include: 2768. 23\,53. 8. 1958. 57%. 1000\, Pori Art Museum (2020)\, Selective Memory\, Adn Galeria\, Barcelona (2018); Absolute silence does not exist\, Fundación Cerezales\, León (2018); Surplus Production Line\, Adn Galeria\, Barcelona (2015); STOCK\,  MAS–Museum of Modern Art\, Santander (2013); New Production Structures\, Adn Galeria\, Barcelona (2012) which received the GAC Award for Best Exhibition in a Private Gallery in Barcelona; The Value of Absence\, Kunsthalle Basel (2013). Selected group shows: After Leaving|Before Arriving\, 12th Kaunas Biennale (2019); Hors Pistes\, Centre Pompidou\, Paris (2015); Bread and Roses\, Museum of Modern Art of Warsaw (2015); Atopolis\, Manège de Sury and WIELS contemporary Art Centre\, Mons (2014); How To Work\, Kunsthalle Basel (2012); FGAP\, Pinchuk Art Center\, Kiev (2014); Untitled (Two Takes on Crisis)\, de Appel Arts Centre\, Amsterdam (2016); Artlab\, Queens Museum of Art\, New York (2014); 10th Shanghai Biennale\, Shanghai (2014). His works are in private and public collections\, including: MAS-Museo de Arte Moderno y Contemporáneo de Santander y Cantabria (Spain)\, MACBA-Museud’Art Contemporani de Barcelona (Spain)\, Collection Alain Servais (Belgium)\, Collection Lemaître (France)\, Collection A. de Galbert (France)\, Collection Teixeiras da Freitas (Portugal).\nDiscovered in 2011\, the tract of a Roman aqueduct found underneath Palazzo Peschici Maresca in Naples\, owned by the Arciconfraternita dei Pellegrini\, represents a key archeological find 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\n\n \n \n \n \n \n \n Terra asciutta\, Acquedotto Augusteo del Serino\, Napoli Adrian Melis © photo Antonio Picascia Courtesy Fondazione Morra\n \n \n \n \n \n Terra asciutta\, Acquedotto Augusteo del Serino\, Napoli Adrian Melis © photo Antonio Picascia Courtesy Fondazione Morra\n \n \n \n \n \n Terra asciutta\, Acquedotto Augusteo del Serino\, Napoli Adrian Melis © photo Antonio Picascia Courtesy Fondazione Morra\n \n \n \n \n \n Terra asciutta\, Acquedotto Augusteo del Serino\, Napoli Adrian Melis © photo Antonio Picascia Courtesy Fondazione Morra\n \n \n \n \n \n Terra asciutta\, Acquedotto Augusteo del Serino\, Napoli Adrian Melis © photo Antonio Picascia Courtesy Fondazione Morra\n \n \n \n \n \n Terra asciutta\, Acquedotto Augusteo del Serino\, Napoli Adrian Melis © photo Antonio Picascia Courtesy Fondazione Morra\n \n \n \n \n \n Terra asciutta\, Acquedotto Augusteo del Serino\, Napoli Adrian Melis © photo Antonio Picascia Courtesy Fondazione Morra\n \n \n \n \n \n Terra Asciutta\, Acquedotto Augusteo del Serino\, Napoli\nAdrian Melis\n© photo Antonio Picascia\nCourtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/underneath-the-arches-adrian-melis-terra-asciutta/ LOCATION:Acquedotto Augusteo del Serino\, Via Arena Sanità 5\, Napoli\, Italia ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/12/5471000_1821_invito_definitivo_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20200925T100000 DTEND;TZID=Europe/Rome:20220924T000000 DTSTAMP:20260516T011411 CREATED:20200729T134242Z LAST-MODIFIED:20211014T150516Z UID:4720-1601028000-1663977600@www.fondazionemorra.org SUMMARY:Hermann Nitsch – Sinfonia Napoli 2020 DESCRIPTION:september 2020 – september 2022\nOPENING 25th SEPTEMBER 10.00 A.M.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Naples \nThe Nitsch Museum Naples gets a makeover for the two-year period of 2020 to 2022 with the project “Sinfonia Napoli 2020”. The opening will take place on the 25th of September\, presenting a new body of work including Action Relicts along with a new collection of paintings and drawings.\nFollowing the Government’s requirements for the containment of Covid-19\, our doors open to public from the morning on\, making it possible to enjoy without assemblage the rearrangement of the museum. Presenting works never seen before\, like Hermann Nitsch’s Action Relicts of 2018\, which were created for the museum’s tenth anniversary and his latest paintings realized in residency in Naples. This constellation of “vital seismographies” exemplifies Nitsch’s work as a persistent striving for the liberation of sensitivity from the discipline of an anaesthetizing civilization\, a practice affirming life through the continuous referencing of the olfactory\, tactile\, and visual correspondences of colour. From the “relicts” which\, despite their name\, testify to a promise of return – resurrection from dissolution – to painting and drawing which for Nitsch celebrate light as a condition for experiencing the world. The reopening of the museum\, was also celebrated by the musical composition “Sinfonia Napoli 2020”\, performed behind closed doors by the Nuova Orchestra Scarlatti\, under the baton of Andrea Cusumano\, (the recording will soon be available online).\n“Sinfonia Napoli 2020” seals the partnership\, dating back to 1974\, between Hermann Nitsch and Giuseppe Morra in the name of the creative force of art and the continuity of a project culminating in joyful celebrations for the twelve years of the Nitsch Museum. For the events the Fondazione Morra is again collaborating with Wine&Thecity Naples’ wine event\, that conjugates the promotion of wine culture and art. There will be a degustation of wines from the historical Company of Agro Pontino Casale del Giglio on the day of the opening starting from 17.00. \n \n  URL:https://www.fondazionemorra.org/en/evento/hermann-nitsch-sinfonia-napoli-2020-2/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/07/hermann-nitsch_resize.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20200702T210000 DTEND;TZID=Europe/Rome:20200704T210000 DTSTAMP:20260516T011411 CREATED:20201024T102428Z LAST-MODIFIED:20210115T134458Z UID:4332-1593723600-1593896400@www.fondazionemorra.org SUMMARY:INDEPENDENT FILM SHOW 20th Edition DESCRIPTION:July 2nd – July 4th 2020 \nSTARTING PROJECTIONS at 9:00 p.m.\nFondazione Morra – Museo Nitsch (Belvedere)\nVico Lungo Pontecorvo 29/d\, Napoli \nCurated by Raffaella Morra\, Emmanuel Lefrant\, Andrea Saggiomo and Botborg. \nIndependent Film Show 20 edition is among the most innovative international reviews of experimental film in Italy\, from 2001 coordinated by Raffaella Morra and organised by E-M ARTS associazione culturale\, in collaboration with Fondazione Morra. \nWe’re longing for emotional shocks\, we do not want to postpone this meeting between film-makers and users\, we want to live intensely these three days of Independent Film Show 20 edition and discover the solutions conceived to unhinge habits with direct and active participation. Without any gender division\, the Independent Film Show is free and does not pursue fashions\, routine\, commercial constraint\, requirement of numbers. These artists are skilled communicators of emotions\, of sensual affections\, of perceptual psychologies and\, through the creation of complex audio-visual strategies\, they devise mental exercises and investigative attitudes\, they intersect memories\, sensations\, synchronizations and synaesthesias\, they guide our understanding towards discovery of unusual cognitive mechanisms. They draw from their experiences\, introspections\, mental abilities and fragments of life; they ask users to reflect divergently\, to interpret these emotions as uncommon interferences\, outside of usual patterns. Since Independent Film Show first edition in 2001\, we learned how to activate these unusual connections\, without follow the intransigence of the categories\, the linearity of the narrations\, the rigidity of the pre-established functions. Independent Film Show’s attendees are used to activate a deep involvement\, which branches out in the mind like Escher’s interconnected geometries\, to sensually understand/interpret\, to be in tune. The creativity and the inventiveness are the common denominators of this film art\, created by simulating the movement of carefully selected images\, not using the habitual and the simplifications of automation. \nThe two programs Exposure to chance and Welcome Happy Coincidences by Raffaella Morra are an incitement to overcome the adversities in order to not succumb\, to seize the positive side in the randomness of life and to be able to see happy coincidences. These works are metaphysical paths that investigate the physicality of materials\, such as the lava sand and stone in Matteo Fraterno’s ΑΠΟΚΑΤΑΣΤΑΣΙ\, the natural phenomena like the wind in the videos Vent by Patrick Bergeron and Flatform’s Nothing can be done against the wind (this year invited to the Cannes Film Festival)\, and the clouds in Transformation by Telemach Wiesinger\, composing mosaics of places and axes of reference in continuous transformation; and even\, sharing fragments of life and human behaviours in Kengné Téguia’s Got ‘Til It’s Gone\, the multi-ethnic memories of alien territories in Giuseppe Boccassini’s Debris\, Julie Murray’s Orchard\, Fern Silva’s Tender Feet\, Malena Szlam’s Morfología de un Sueño\, Colectivo Los Ingrávidos’ Itzcóatl; and once again\, to catch the visual-aural haiku by Mahine Rouhi’s PTKHO\, Hugo Verlinde’s Bételgeuse\, Sandra Davis’ For A Young Filmmaker\, Billy Roisz’s brRRMMMWHEee II\, and the personal and historical memories in Nach Osten Schauen by Deborah Phillips\, and 14 Juillet by Olivier Fouchard\, with his words “…in order to wake up the sleepers and to tell them that the revolution is not only a party…”. \nSight of Sound is Mike Cooper’s program; for the past 50 years Mike Cooper has been a guitarist\, a folk-blues songwriter\, an explorer/experimenter of music genres from improvisation to electronic sound\, an author of essays and a historian of the Pacific music and musicians\, a visual artist and film/video-maker. Initially\, he shot Super 8mm films\, but as the medium became more difficult to buy and to get develop\, he firstly found a small video-camera that produced a two and a half pixel image\, and recently he updated to 10 megapixel Full HD Sanyo camera\, as he says “…small enough to be discrete and make hip-shots with”. Mike Cooper realized some short videos that share a degraded lo-fi quality he likes so much\, “light poems” as he defines them. “…I tend to wander around with my video-camera in my pocket and just shoot stuff with no particular intention and I edited it after into something”. \nLight Cone\, a live collection by Emmanuel Lefrant\, film-maker and director of this film/video propagator\, reflects the diversity of the distribution catalogue\, from 1982 to today\, and accounts the richness of this cinema that existed for more than a century on the edge of commercial circuits. Within there are represented all the great film movements of twentieth century’s avant-garde together up to the contemporary\, counting more than 5500 films\, made from 1900 to today by more than 800 artists and film/video-makers from all over the world. In this program there is Tönendes Abc (Abc In Sound) 1933 by Laszlo Moholy-Nagy\, missing for over 80 years\, and found by BFI curators embedded in a reel of 16mm film that also contained Oskar Fischinger’s Early Experiments In Hand Drawn Sound; and also some films and videos created between 2010-2019: Bea Haut’s Kitchen Beets\, Jérôme Cognet & Karen Luong’s Bruit Blanc\, Soetkin Verstegen’s Freeze Frame\, Kelly Egan’s ATHYRIUM FILIX-FEMINA\, Jürgen Reble’s Das Schöpfwerk\, Jacques Perconte’s Or / Or\, Hawick\, Jeremy Moss’ Camera Sick\, Rajee Samarasinghe’s The Exile/Pituvahalayā\, i Lucie Leszez’s Borgo\, Jerome Hiler’s Words of Mercury. \nSince 2009\, 70FPS is an expanded cinema project by Andrea Saggiomo\, in the context of which he improvised and collaborated with musicians and international artists including Andy Guhl and Seppo Renvall\, Riojim\, Gaelle Rouard\, Cogne et Foutre\, Botborg and others. Ancora no! (2018) is a super 8mm film on which he printed by hand (with rayogram technique) insects and leaves together with other film clippings. The film does not present a linear continuity of frames; when projected (at variable speed) these images come to life\, they enter in relation to each other\, they produce noise\, transforming themselves into a film through the gaze. There is no movie before someone projects it and someone else looks at it and listens to it. Transparent Nature (just finished and premiered at IFS20) is described as “…transparent nature of the film material being hard tested by the will to look inside memories\, deep inside the primordial broth from which everything originated and within which\, like it or not\, we are still immersed”. \nBig Screen Brutals by Botborg is a celebration of six ‘brutal’ videos from current artists using a maximalist aesthetic in video art\, digital art\, electronic music\, and noise. Expect glitchy\, psychedelic\, violent\, and quite beautiful combinations sound and vision. These are electro-shamanic short circuits that lead to a new state of surreality: in Der Kleine Kreis’ Clairvoyant the reduced quasi-geometric forms move over the screen in aleatoric patterns and form a synesthetic connection with the sound\, UCNV’s Crashed Universal is made with a precise research of the way of digital media\, in Krushers of False Mechaniks (2D version) by The Superusers a light source becomes incandescent\, change colors regularly before transforming into an intense explosion of wild collapsing patterns\, Guillaume Vallée’s Tzara I is a hybrid film/video created from an obscure 16mm found footage documentary\, inspired by Tristan Tzara’s creative process\, in Anulus Pexie by Norihiro Sekitani & Sgure the colorful the collages are distorted examination of elements of the human body\, Kokofreakbean said that to produce God Knox: “… I used After Effects\, Maya\, Photoshop\, Reaktor\, Premiere\, jenkem\, dwarf callus shavings and elbow grease to conceive and carry out this self-insemination”. \nBotborg is an international audio-visual performance group that fuses and rewires raw electronic signals to create intensely visceral experiences of sound-color synaesthesia. Using a complex array of custom electronics\, Botborg create totally live multi-sensory assaults of interdependent color and rhythm\, pushing the limits of technology to invoke the maximum possible stimulation of their audience’s mind and body. Botborg’s performances are essentially practical demonstrations of their ‘meta-instrument’ known as the ‘Photosonicneurokineasthograph’. This is a complex feedback machine incorporating an entangled mix of new and old technologies that are altered and customized to the unique features of every venue. Although the human operators of Botborg are skilled manipulators of the system\, it is equally unpredictable and uncontrollable\, allowing Botborg to look and sound vastly different on every occasion. All demonstrations are completely improvised\, and no source material is used outside the Photosonicneurokineasthograph.\n\n  \n\n \n \n \n \n \n \n Tratto dal corto “Krushers of False Mechaniks” di Botborg\, \n \n \n \n \n \n Detained Angel\n \n \n \n \n \n Tratto dal corto “Got ‘Til It’s Gone”di Kengné Téguia\, Independent Film Show 20th edition\, 2020 \nMuseo Nitsch\, Napoli\n \n \n \n \n \n Tratto dal corto “ΑΠΟΚΑΤΑΣΤΑΣΙ”\, Independent Film Show 20th edition\, 2020 \nMuseo Nitsch\, Napoli URL:https://www.fondazionemorra.org/en/evento/independent-film-show-20th-edition/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/10/flex2013-03.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20200215T120000 DTEND;TZID=Europe/Rome:20200314T140000 DTSTAMP:20260516T011411 CREATED:20200729T145843Z LAST-MODIFIED:20210115T135644Z UID:4336-1581768000-1584194400@www.fondazionemorra.org SUMMARY:Matteo Fraterno - Esperienze / L’infinito intrattenimento DESCRIPTION:February 15th – March 14th 2020\nOPENING FEBRUARY 15th\, 12:00 a.m.\nFondazione Morra – Biblioteca per le Arti Contemporanee\nVico Lungo Pontecorvo 29/d\, Naples \nCurated by Loredana Troise and Pasquale Persico \nHow to dream inside a library? It is the question that echoes in the Biblioteca per le Arti Contemporanee of Fondazione Morra\, in the occasion of Esperienze / L’infinito intrattenimento\, by Matteo Fraterno. A path that reveals all the characteristics of a meticulous journey of contemporary archaeology\, where a whole series of objects and “installations“ taken from the experience of the artist and humanaelitterae\, seem to revive under the light of subtle visual poems. Every single object draws an ontological scenario\, whose evocative force is a narrative device that crosses the dense plots of travel literature. Esperienze / L’infinito intrattenimento is also the topographic indication of a specific place already explored by the artist – the archaeological site of Oropos\, where pilgrims stayed for the night in a state of mythical purifying incubation -\, which is now the ideal reference of a new adventure for knowledge\, stimulating model to transmit and propose again. Matteo Fraterno\, during his one-month residency in the library of the Fondazione Morra\, will give a new meaning to the time of reading\, searching in the past\, to trace an intellectual process increasingly open to the research\, to the excavation\, to the deepening\, to the reading and whispered\, declaimed\, participated rereading. Among the materials exhibited\, the symbols of an infinite mnestic cartography: a bedroll of sheepskin on which “to dream better”; the books Il bibliotecario di Leibniz by Sergio Givoneand L’Entretien infini by Maurice Blanchot\, from which takes the title this experience; some photos of the artist’s journeys; a green flowerpot that traces a symbolic continuity with the first experience of collaboration with Giuseppe Morra at Vigna San Martino in 1995; a yellow armchair that the artist refers chromatically to the book Non-functional thoughts (Ed.Morra) by Cesare Pietroiusti. Visions and devices that encourage the audience to a receptive look in an immersive space. \n\n \n \n \n \n \n \n Installation View (detail)\, Esperienze/ L’infinito Intrattenimento\, Biblioteca del Museo Nitsch\, Napoli\, \n© Photo Danilo Donzelli\nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View (detail)\, Esperienze/ L’infinito Intrattenimento\, Biblioteca del Museo Nitsch\, Napoli\, \n© Photo Danilo Donzelli\nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Esperienze/ L’infinito Intrattenimento\, Biblioteca del Museo Nitsch\, Napoli\, \n© Photo Danilo Donzelli\nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View (detail)\, Esperienze/ L’infinito Intrattenimento\, Biblioteca del Museo Nitsch\, Napoli\, \n© Photo Danilo Donzelli\nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View (detail)\, Esperienze/ L’infinito Intrattenimento\, Biblioteca del Museo Nitsch\, Napoli\, URL:https://www.fondazionemorra.org/en/evento/lorem-ipsum-dolor-sit-amet/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/07/matteo-fraterno-2020.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200130 DTEND;VALUE=DATE:20200131 DTSTAMP:20260516T011411 CREATED:20201022T132419Z LAST-MODIFIED:20210114T170012Z UID:4341-1580342400-1580428799@www.fondazionemorra.org SUMMARY:ECONOMIES OF LIVING Video art from Croatia DESCRIPTION:January 30th 2020\nSTARTING PROJECTIONS at 6:00 p.m.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Naples \nCurated by Adriana Rispoli and Karla Pudar\nThere will be present the artists Marko Markovic and Igor Grubic \nThrough the work of 6 artists\, the screening Economies of Living presents an insight into the production of video art Made in Croatia around the theme of the economy and intrinsically to the medium itself of moving images. The word ecomony – from the Greek oikos / home and nomos / law – is addressed in the six works exhibited in different meanings relating to both the more intimate and collective spheres\, in a micro dimension of the everyday and macro in an urban public scenario. \nFrom a cinematographic approach to graphic animation passing through performative documentation to animation\, Ecomonies of Living returns the energy of visual experiments of an extremely prolific artistic area of ​​Eastern Europe. \nEconomies of Living\, curated by Adriana Rispoli and Karla Pudar\, is the second collaboration of the Morra Foundation of Naples with the Domino Project in Zagreb after Smashing the Myth in 2018 and is supported by the City of Zagreb. \n  \nPROGRAM\nMilijana Babić\nWorking day\nVideo documentation of perfromance\, 2011 \nThe action Working Day problematises the situation in which most freelance artist in Croatia find themselves in when it comes to bare existence\, and questions the status of freelance artists in our society.The project title ironically highlights insufficiency of our profession\, within which survival is not possible\, due to the fact that our work is hardly paid for and contemporary art market does not exist. In other words\, work and payment do not come in the same package.With a symbolical act of digging through garbage containers\, in search for refundable litter\, wearing a shirt with the logo of the Croatian Freelance Artists Association\, this work aims to add freelance artists onto the growing list of the socially endangered – next to homeless\, pensioners\, unemployed… \nMilijana Babić  is an artist from Rijeka\, Croatia\, working with installations\, performances and artistic actions. She holds a BA in fine arts from the Durban Institute of Technology\, Republic of South Africa\, and an MA from the Academy of Fine Arts and Design\, Ljubljana\, Slovenia. She is a long-term collaborator of the City of Women festival in Ljubljana. Between 2007-2014 she worked as an associate at the Academy of Applied Arts in Rijeka. She is a member of the artists association Delta 5 in Rijeka. Her work has been exhibited internationally.\n  \nDrako Fritz\nZagreb Confidential – Imaginary Futures\nExperimental film\, 13′ 30”\, 2015 \nThe video explores visions of the future depicted through urban development. In its essence\, it can be regarded as a form of a time structure and as such it questions not only the vision of future on a realistic example of New Zagreb but it also questions the structure of film as such. \nDarko Fritz is an artist\, independent curator\, researcher and graphic designer. He was born in 1966\, in Croatia\, and currently he lives and works in Amsterdam\, Zagreb and Korčula. His work fills the gap between contemporary art practices and media art culture. He is founder and programmer of the Grey Area – space of contemporary and media art since 2006.\n  \nIgor Grubić\nHow Steel Was Tempered\n2D animation\, 12’40”\, DCP\, 2018 \nA father takes his son to an abandoned factory where he once worked. The building has long been reduced to a crumbling symbol of the new system. Nonetheless\, the space will briefly be brought to life by recorded scenes of workers solidarity\, inspiring a small gesture of defiance. That symbolic act will turn into a moment of catharsis and re-establish the relationship between the father and son. The film was presented in the Croatian Pavillion at Venice Biennale 2018. \nIgor Grubić has been active as an multimedia artist in Zagreb since the early ’90s\, making photography\, video\, and site-specific actions. His interventions into public space\, along with video works explore past and present political situations while cutting through the fabric of reality. Grubić has participated in numerous major international exhibitions including\, Manifesta 4 (Frankfurt\, 2002); Manifesta 9 (Genk\, 2012); MuMOK (Vienna\, 2009); 11. Istanbul Biennial (2009); 4. 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). He represented Croatia at the 58th Venice Biennale.\n  \nAna Hušman\nLunch\nVideo kolor PAL\, 4:3\, 16mm transferred to BETA\, 16’40’’\, 2008 \nThe rules of correct behaviour found in books of etiquette present themselves as aiding communiction and helping people understand each other. They also claim to help us engage socially with greater ease and self confidence. These rules are learnt from birth which is the only way for us to completely internalise them. Their model is found in western civilisations\, and compliance with them makes it easy to discern who is civilised and who is not. the film deals with customs of eating and drinking – specifically with the lunch situation\, as communal eating is the central site of showing others our breading and finesse. \nAna Hušman’s practice disassembles the structures and textures of cinematic elements through film\, installation\, books\, sound\, image and text. Hušman experiments with the possibilities of animation\, documentary and fictional cinematic methods\, and the possibilities of the recorded voice and its articulation. Her working process questions and plays with the positions of the amateur and the professional subject of performativity\, the medium itself\, and the structures that dictate and produce patterns of behavior. She is a lecturer at the Department of Animation and New Media at the Academy of Fine Art in Zagreb\, cofounder of the documentary film organization RESTART where she has been holding film education programs for children and young people for many years.\n  \nMarko Marković\nSharpening\nVideo documentation of perfromance\, 12′ 04”\, 2012 \nSharpening performance took place on 44 Wall Street on the first police block barricade of Security zone at Financial district\, NYC. In performance artist is sharpening two knifes one against the other giving the clear massage. In this performance artist has brought the weapons in security zone at the Wall street. The act of creating such a performance counter defensive field confronting to “their” defensive field (barricades)\, mounted to protect the security zone. This type of protection from a higher ones creates a general threat and restricts freedom of speech\, movement and action. Two months after the performance in August of the same year at Time Square in New York City police shoot and kill a man with 12 bullets. A man was killed because he possessed a weapon\, a knife. \nMarko Markovic was born in 1983 in Osijek\, Croatia\, lives in Vienna. He graduated painting at Art Academy in Split in 2007 in the class of prof. Gorki Žuvela. He also does researches in different media: video\, installation\, ambient\, performance and happening. In these works he often animates and includes audience and/or other participants as the expression medium. He is the founder and member of a flexible formation Adistia\, a group of people that operates in performance activities\, as an art group\, art community\, or organization. He participated in numerous exhibitions\, workshops and festivals in Croatia and abroad.\n  \nRenata Poljak\nPorvenir\nOne channel video installation\, 12′\, 16:9\, 2019 \nDreaming of better lands\, from generation to generation\, because of poverty\, hunger and wars\, we voyage across the seas. Geography is destiny. Do our bodies retain the memories of our grandfathers; are memories of running away in search of better lands imprinted on our bodies? Porvenir means Future in Spanish. Porvenir is the only town in Tierra del Fuego\, at the bottom of the world\, founded by Croatian immigrants at the beginning of the 20th century. \nRenata Poljak is a visual artist coming from Split\, Croatia\, currently living in Paris. Her body of work is composed of different medias: photos\, neon\, installation\, videos and film. Her practice explores the politic upheaval and violence that the Balkan region has undergone since the early 1990s\, and the ramifications of those changes in the lives of émigrés throughout Western Europe. In 2002 she was on ArtsLink award as visiting artist in San Francisco Art Institute\, in Museum Quartier\, Vienna in 2004 and in 2008 she has been selected for Art In General residency program in New York and in ArtOmi for 2010. Renata’s work has been exhibited wildly\, on solo or group shows\, biennales and film festivals. She received several awards among witch the Golden Black Box Award for Best Short Film at the Black Box Festival in Berlin 2006 and in the spring of 2010 a selection of her videos and film work were exhibited in Centre Georges Pompidou\, Paris.\n\n \n \n \n \n \n \n Dalla proiezione: How Steel was Tempered\, Igor Grubic\, Economies of Living\, Museo Nitsch Napoli\, 2020 Courtesy Fondazione Morra\n \n \n \n \n \n Dalla proiezione: PORVENIR\, Renata Poljak\, Economies of Living\, Museo Nitsch Napoli\, 2020\nCourtesy Fondazione Morra\n \n \n \n \n \n Dalla proiezione: Lunch\, Ana Husman\, Economies of Living\, Museo Nitsch Napoli\, 2020\nCourtesy Fondazione Morra\n \n \n \n \n \n Dalla proiezione: How Steel was Tempered\, Igor Grubic\, Economies of Living\, Museo Nitsch Napoli\, 2020\nCourtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/economies-of-living-video-art-from-croatia/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/10/Sharpening-Invitation.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20191210T183000 DTEND;TZID=Europe/Rome:20191221T210000 DTSTAMP:20260516T011411 CREATED:20201103T120720Z LAST-MODIFIED:20210223T135413Z UID:4345-1576002600-1576962000@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - IL CINEMA A NAPOLI DALLE ORIGINI AD OGGI DESCRIPTION:December 10th – December 21st 2019\nFIRST MEETING DECEMBER 10th\, 6:30 p.m.\nMario Franco Archives c/o Casa Morra Contemporary Art Archive\nSalita San Raffaele 20/C\, Naples \nCurated by Mario Franco \nTuesday\, December 10th at 18:30\, the Morra Foundation presents to the public the Film Festival IL CINEMA A NAPOLI DALLE ORIGINI AD OGGI\, a project financed by the 2019 Annual Cinema Plan of Regione Campania\, Section 2. Promotion of film and audiovisual culture and dissemination of film culture. \nAt the Mario Franco Archives\, within the historical frame of Palazzo Ayerbo d’Aragona Cassano\, the artistic director Prof. Mario Franco will start the selection of auteur films of “The greatest invention of the century”. Together with him\, the outstanding guest Alberto Castellano\, essayist and film critic\, presents to the public the first movie of the festival symbol of this season\, Carosello napoletano\, born in 1954\, directed by Ettore Giannini and with Sophia Loren and Paolo Stoppa. \nThe intent of the initiative is to retrace the great passion of the city for the cinema\, which since the end of the 19th century has become part of an environment rich in traditions and spectacular occasions\, at a time when the theatres are so crowded\, at San Ferdinando there are tears-wracking dramas\, Scarpetta turns his most famous farces from the French and the whole city seems to move on the air of the most famous songs of the variety or of the Piedigrotta. \nWithin a few years\, Naples is filled with cinemas. The Sala Iride\, the Arenile Olimpia\, the Cinema Moderno\, the Salon Parisienne\, the Vittoria\, the Alberini\, the Umberto\, the Krumas\, the Internazionale\, the Sala Roma\, the Trianon\, the Santa Brigida\, become meeting points for professionals and wastrels. \nThis cinema fever is not limited to multiplying theatres; the first film producers born\, such as Roberto Troncone\, starting with short documentaries (Ritorno da Montevergine\, 1903) and then moving on to the verist feature film (Camorra\, 1905)\, inaugurating a controversial collaboration with Roberto Bracco. Troncone is the first to constitute a “theatre of pose” to realize his films\, soon followed by a colorful assortment of failed lawyers and former glovers\, typographers\, tailors and poets who had learned to grind movies with their machines “Lumiére” inventing a market that had nothing to envy to that of Rome or Turin. And how much this phenomenon is important in the Italian and European panorama can be learned by the analysis of the specialized cinema publishing sector\, from the Neapolitan silent cinema of the origins to that of today\, to its specific thematic and linguistic choices that Italian cinema will make its own. \nFrom 10th to 21st December 2019 at 18:30\, except for Sunday\, eleven appointments\, from the 1920s to the 2000s\, will deal with genres\, authors and trends that have made the history of the Cinema in Naples: \n10 December: Carosello Napoletano (1954) by Ettore Giannini\, introduction by Alberto Castellano \n11 December: Le mani sulla città (1963) by Francesco Rosi \n12 December: Assunta Spina (1915) and ‘A santanotte (1922) by Elvira Notari\, introduction by Pasquale Iaccio \n13 December: Un amore selvaggio (1912) and La tavola dei poveri (1932) by Alessandro Blasetti\, Tribute to Viviani\, introduction by Pasquale Scialò \n14 December: Il Decameron (1971) by Pier Paolo Pasolini \n16 December: Le occasioni di Rosa (1981) by Salvatore Piscicelli \n17 December: Pasqualino Settebellezze (1975) by Lina Wertmüller \n18 December: Mi manda Picone (1983) by Nanni Loy \n19 December: Morte di un matematico napoletano (1992) by Mario Martone \n20 December: L’ uomo in più (2001) by Paolo Sorrentino \n21 December: Gomorra (2008) by Matteo Garrone \nTo further enhance the programming\, meetings with authors and critics such as Alberto Castellano\, Pasquale Iaccio and Pasquale Scialò who will anticipate the moment of the viewing-projection of the rediscovered cinema. Cultural climax of the exhibition\, Saturday 21st December\, the award of the prize for the production and sound in contemporary key of Neapolitan inspired silent cinema. \n  URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-il-cinema-a-napoli-dalle-origini-ad-oggi/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/copertinafb.jpeg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20191016T190000 DTEND;TZID=Europe/Rome:20200131T200000 DTSTAMP:20260516T011411 CREATED:20201022T145320Z LAST-MODIFIED:20210115T152848Z UID:4351-1571252400-1580500800@www.fondazionemorra.org SUMMARY:HENRIK STRÖMBERG - Refraction of Lightness DESCRIPTION:October 16th 2019 – January 31st 2020\nOPENING OCTOBER 12th\, 7:00 p.m.\nAssociazione Shōzō Shimamoto – Palazzo Spinelli di Tarsia\nLargo Tarsia 2\, Naples \nCurated by Chiara Valci Mazzara and Loredana Troise \n“Accumulating\, transforming\,\ncreating photographic images and volumes\,\nmaterializing the action\, I isolate the creative gesture as a moment fixed in time.”    – Henrik Strömberg \nThe Quartiere dell’Arte (Art District)\, program conceived by Fondazione Morra to foster a new awareness of contemporary art in the city of Naples\, presents a new exhibition project created for Palazzo Spinelli di Tarsia\, home of Shōzō Shimamoto Foundation.\nThe space will host the show Refraction of lightness\, displaying a site-specific installation of serigraphs and hand blown glass sculptures and volumes by the Swedish artist Henrik Strömberg.\nThe exhibition\, curated by Chiara Valci Mazzara (fontaine b. Berlin\, Paris) and Loredana Troise\, in collaboration with Fondazione Morra together with Laboratorio Avella Naples with Gianluigi Prencipe\, is the result of the three-month residency of Henrik Strömberg.\nIn the historical spaces of Palazzo Tarsia\, glass sculptures and serigraphs are presented as the two main areas of density of the installation\, determining the core around which the presentation of further assembled elements\, organized in an immersive landscape\, revolves.\nThe serigraphs are relocated as a uniqum: a large-scale work mirrors (refracts into) the new series of glass sculptures conceived and created on the occasion of the exhibition.\nThe work of Henrik Strömberg is the result of a creative process of investigation about form and content\, volume and concept\, multiplication and refraction of meaning.\nLiving and recovered materials such as paper\, glass\, burned newspapers and pigments contribute to the creation of works that allow the viewer to immerse in a landscape organised as a self-sufficient ecosystem that\, by suggesting new forms\, creates new contents. Where every element becomes part of a whole.\nThe assembled prints creating a new system of references relating to the meanings and aesthetics they originally had\, are now enriched with additional semantics\, while\, at the same time\, the glass volumes reflect the complexity of the creative gesture. In the glass works\, a transformation and the alteration of content\, occur simultaneously.\nUltimately\, the matter is shaped and transferred through different media\, all the elements are commuting back and forth regularly concurring\, and eventually\, overlaying meanings. Nothing can be isolated\, everything mutate as when volcanic magma erupts.\nIn the spaces dedicated to the master of the Gutai group\, the Northern European artist approach the exhibition space through the system of references linked to the creative gesture. At the same time\, the references to Surrealism\, to the re-evaluation of the object-trouvee and the use of the form to act on the content are perceived as a characterizing elements of Strömberg’s work.\nIn the printed pieces the roots of the past meanings\, and -for the sculptural volumes- the references to biological forms are perceived diving into an alternate drift of perspective: Strömberg reduces the source to polarise the content at the very core of the image perception. He doesn’t settle down for clarity\, rather he pursues the action of placing triggers to initiate a new existence of the subject. The clarity being left aside\, it is consequential that the viewer is exposed to an unexpected outcome and to an ephemeral content.\nWhile the installation of the volumes and the different components takes shape\, a sub-ecosystem formed through the combination between seemingly disparate elements appears as a logical consequence. Photographic elements\, negative cut outs\, paper works and sculptural volumes are coexisting but their accumulation is not left to chance\, rather to a multiplication of occasions. The various elements commit to deliver a wider perception of the different pieces\, it’s like a dance where every single element concur to a higher harmony.\nThe sequence of reflections\, the portions of images and the verticality of the installation take form as an immersive landscape through which the viewer is moving\, absorbing the complexity of the elements\, never redundant and always cohesive. There’s not a unique interpretation but rather a kaleidoscope given by the use of different media equally involved in the final result. \nChiara Valci Mazzara \nHenrik Strömberg (b. 1970) | based in Berlin (Germany) | graduated from Camberwell College of Art in London (United Kingdom) and Academy of Performing Arts FAMU in Prague (the Czech Republic) | works with the idea of metamorphosis\, decay and the transformation of materials\, sculptural objects and their photographic documentation\, as well as the deconstruction and transformation of the photographic image itself | his works have been presented at solo and group exhibitions in Germany\, Italy\, Sweden\, Switzerland\, the United Kingdom\, Poland\, France\, the Czech Republic and the U.S.A.\, and acquired by various collections\, including: Alexander Tutsek-Stiftung\, Munich Germany – Ann Wolff Foundation\, Sweden – Christine Symchych Collection\, USA\, – Kultur Hässleholm\, Sweden – Mecklenburgisches Künstlerhaus\, Schloss Plüschow\, Germany – La Luxembourgeoise SA\, Luxemburg.\n\n \n \n \n \n \n \n Installation View (detail)\, Refraction of Lightness\, Palazzo Spinelli di Tarsia\, Napoli\, 2020 Henrik Strömberg Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Refraction of Lightness\, Palazzo Spinelli di Tarsia\, Napoli\, 2020 Henrik Strömberg Courtesy Fondazione Morra\n \n \n \n \n \n Installation View (detail)\, \n \n \n \n \n \n Installation View\, Refraction of Lightness\, Palazzo Spinelli di Tarsia\, Napoli\, 2020 Henrik Strömberg Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Refraction of Lightness\, Palazzo Spinelli di Tarsia\, Napoli\, 2020 Henrik Strömberg Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Refraction of Lightness\, Palazzo Spinelli di Tarsia\, Napoli\, 2020 Henrik Strömberg Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Refraction of Lightness\, Palazzo Spinelli di Tarsia\, Napoli\, 2020 Henrik Strömberg Courtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Refraction of Lightness\, Palazzo Spinelli di Tarsia\, Napoli\, 2020 Henrik Strömberg Courtesy Fondazione Morra\n \n \n \n \n \n “Double Negative”\, Refraction of Lightness\, Palazzo Spinelli di Tarsia\, Napoli 2020\nHenrik URL:https://www.fondazionemorra.org/en/evento/henrik-stromberg-refraction-of-lightness/ LOCATION:Associazione Shōzō Shimamoto\, Largo Tarsia\, 2\, Napoli\, 80135\, Italia CATEGORIES:Associazione Shōzō Shimamoto ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/10/henrik-stroemberg-refraction-of-lightness-rifrazione-di-luce-associazione-shozo-shimamoto-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190627T210000 DTEND;TZID=Europe/Rome:20190629T210000 DTSTAMP:20260516T011411 CREATED:20201022T152825Z LAST-MODIFIED:20210115T140145Z UID:4354-1561669200-1561842000@www.fondazionemorra.org SUMMARY:INDEPENDENT FILM SHOW 19th Edition DESCRIPTION:June 27th – June 29th 2019\nSTARTING PROJECTIONS at 9:30 p.m.\nMuseo Hermann Nitsch (Belvedere)\nVico Lungo Pontecorvo 29/d Napoli \nCurated by Raffaella Morra and Sabina Maselli \nIndependent Film Show 19 edition\, among the most innovative international reviews of experimental film in Italy\, from 2001 coordinated by Raffaella Morra and organised by E-M ARTS associazione culturale in collaboration with Fondazione Morra\, is built around the researches of filmmakers totally free to experiment the ways and the approaches generating complex images that share an accentuated propensity to creative genius. This intense search mode is the result of ingenious choices to instil an alternative way of seeing and to evaluate the intricate codes flowing on the screen and into the mind. The experimental film causes powerful synaesthesia in our sensory receptors and for this reason the Independent Film Show events are admired\, perceived\, and can envelope us… until meditation. The immersive possibility to establish direct contact with the independent filmmaking ideas is the intention of Independent Film Show: unusual perceptual experiences await the audience that for three days proceed for unexplored territories\, enjoying the old and new photochemical practices and the digital media innovations.\nAs the stars show themselves when the sun is set\, so the powerful forces of these films are revealed when the body and the mind cross the threshold of the slightly perceptible\, honing the ways of observation and going beyond the limits of the visible.\nDo not look away\, what we are looking at now will be different next time\, we are going to witness something really alive and spontaneous… \nOn Thursday June 27th in the selection Intuitive imagination curated by Raffaella Morra a sequence of different solicitations leads the observation toward an innovative movement to vary and broaden the world’s views\, slipping out of the stable sensory boundaries: Insolite by Maya Schweizer mingle together a series of images from today and 1944’s last eruption of Mount Vesuvius; in Prádelna (Wash house) by Alexandra Moralesová the material shot during the rehearsals of the play Marat/Sade is used as a pretext to examine the mechanism of theatre and its power of purification; Georgy Bagdasarov’s Fran explores the decomposing 16mm film as the protagonist dissolves in the landscape; Stefano Canapa’s Kairos is a poetic dance film set against a Mediterranean background where film\, nature and body are brought together to produce an interconnected material choreography; in Osmosis by Bradley Eros the elemental\, the ephemeral & the constructed compose a performance for triple images; in this three-screen projection From end to end by Peter Conrad Beyer the structural opposition of images from nature and from civilization engenders a process of comparison and visual unification in an apocalyptic atmosphere inclining towards the chaotic.\nSome exercises of different nature for two slide projectors\, two shutters\, two performers\, optical toys\, one voice and one audience: the performance There must be some way out of here by Alexandra Moralesová and Georgy Bagdasarov is inspired by the reflections of human knowledge on vision and moving image. Human vision is located in one’s physical body\, but it leads the human out of itself and connects to the outside world. The moving image is a construct that requires to be deconstructed and rebuilt again\, if only for the pleasure it provides. \nOn Friday June 28th the program Film is ritual curated by Sabina Maselli samples a small selection of 16mm films from Australian filmmakers working in experimental form and using hand processed techniques\, all members of the Melbourne based film lab Artist Film Workshop. Film is ritual suggests the very hands on approach to making films (layering\, masking\, repetition) seeps into the film itself\, leaving a personal and physical mark on each of them. An alchemical solution – a merging of chemicals and spirit.\n‘satellite’by Sabina Maselli with live sound by Erkki Veltheim is a ritual in film that performs the fracturing of the self and its dispersal into the surrounds by the act of spinning and altering time. This ritual is concerned with the nature of time\, memory and magic. Through the act of repetition (both the camera and the body)\, an animist transformation can occur – a merging of the female and celestial body. The double film is accompanied by a live soundtrack by Erkki Veltheim composed of a single fragment of a woman’s voice that is replicated and modulated\, circling around the image at different speeds.\nAs Italian premier Nervous Magic Lantern: Chaos is Order Misunderstood by Ken and Flo Jacobs with live audio performance by Michael J. Schumacher. Nervous Magic Lantern is a projection device invented by Ken Jacobs in 2000\, and with assistance of his wife Flo (Florence) they has given public performances since then: with simple mechanics that could be invented centuries before film it creates an illusion of deep even more pronounced when seen with a single eye. \nOn Saturday June 29th in the program Mystical spaces curated by Raffaella Morra the films operate as machines to alter the space-time and transfer the viewer into an experience full of fantastic dynamics; these journeys are unearthly accesses to mystical places emanating an animistic essence of cosmos\, as a spiritual power that can influence our well-being: in Alétheia by Enrico Mandirola the Colombian mountainpeaks designed a new fragmented horizon; in The Quilpo dreams Waterflows Pablo Mazzolo filmed the sacred Sanctuary of the Comechingón in Argentina; TÅKE by Inger Lise Hansen observes the spectacle of fog through several different film and video formats; HERMAN(N) is about a street in Berlin with a reputation of a dangerous place\, yet Deborah S. Phillips sees it as an inviting place through the golden light of late summer; Not (a) part by Vicky Smith is conceived in relation to the rapid decline of bees through a high recurrence to handmade film; Bradley Eros and Jeanne Liotta’s Dervish Machine is the site to experience impermanence\, …and to revel in the unfixed image.\nIn Your Eyes Are Spectral Machines Luis Macías materializes the simple illusion of moving image by handling objects in front of the projectors’ light\, a cosmic creation in the center of the screen haloed by undulations of pulsating light. The movement produced by Macías is an alchemic combination of multiple planes of light\, retouched tweaked through focus and fades of 16mm projectors and slide-projectors\, creating fleeting forms of shifting visions. URL:https://www.fondazionemorra.org/en/evento/independent-film-show-19th-edition/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/10/1_maya_insolite.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190627T100000 DTEND;TZID=Europe/Rome:20190707T180000 DTSTAMP:20260516T011411 CREATED:20201024T110630Z LAST-MODIFIED:20210115T140250Z UID:4360-1561629600-1562522400@www.fondazionemorra.org SUMMARY:Workshop dell’Architectural Association DESCRIPTION:June 27th – July 7th 2019\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nThe Architectural Association in collaboration with Casa Morra – Archivio d’Arte Conemporanea in Naples offers it’s second phase of a 10 day workshopthis summer.  Learning from local artisans and an original collection of more than 500 moulds dating from 1700 to today\, we challenge and question ornament and generate our own formal grammar through moulding in plaster. A group of international experts in the fields of Architecture\, Design\, Architecture History\, and technology London based model makers will lead the workshop\, it’s lectures and several arranged visits in the city of Napoli. URL:https://www.fondazionemorra.org/en/evento/workshop-dellarchitectural-association/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/10/Architectural_Association_a_Casa_Morra_1.jpg ORGANIZER;CN="Architectural Association di Londra":MAILTO:naples@aaschool.ac.uk END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190612 DTEND;VALUE=DATE:20190613 DTSTAMP:20260516T011411 CREATED:20201103T122235Z LAST-MODIFIED:20210223T134930Z UID:4396-1560297600-1560383999@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Antologia Fluxus DESCRIPTION:June 12th 2019\nSTARTING PROJECTIONS at 6:30 p.m.\nMario Franco Archives c/o Casa Morra Archives of Contemporary Art\nSalita San Raffaele 20/C\, Naples \nFor the occasion\, a series of documents will be screened about the international network of artists\, composers and designers who mixed different media and different artistic disciplines in the 1960s\, working in the fields of performance\, visual arts\, design\, music and literature\, and who strongly addressed the 1968 utopias of “fantasy to power”.\nThe screening begins with anticipations of Yves Klein and then shows Nam June Paik’s video art with Allen Ginsberg\, Charlotte Moorman\, Alan Schulman\, John cage\, the Living Theatre.\nThis will be followed by the video of a short concert by Giuseppe Chiari; the experimental film “T.O.U.C.H.I.N.G.” by Christopher Sharits; George Maciunas (who was the founder of Fluxus\, and coined its name in 1961); Yoko Ono’s song introduced by John Lennon.\nArchivi Mario Franco at Casa Morra boasts a library-media library open to the public that includes books\, catalogs\, films on film\, DVD\, in both analog and digital formats\, records and music CDs produced or collected in about 50 years of intense activity.\nThe library has a core of History and Film Criticism\, and a large sector of non-fiction\, media and sociological communication\, philosophy\, psychoanalysis\, theater\, photography\, classics of Italian and foreign literature\, with particular attention to all those literary works transposed into films. \n  \n  \n  URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-antologia-fluxus/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/Charlotte-Moorman-Nam-June-Paik.jpg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190531T080000 DTEND;TZID=Europe/Rome:20190721T170000 DTSTAMP:20260516T011411 CREATED:20201024T112243Z LAST-MODIFIED:20210115T140759Z UID:4363-1559289600-1563728400@www.fondazionemorra.org SUMMARY:Lo Spazio Esistenziale. Definizione #2 DESCRIPTION:May 31st – July 21st 2019\nOPENING MAY 31st\, 6:00 p.m.\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nCurated by Lucrezia Longobardi \nThe Morra Foundation is pleased to announce the exhibition The existential space – definition #2\, curated by Lucrezia Longobardi at Casa Morra\, Naples. Opening on May 31st\, and on view through July 21st 2019\, the show is the second stage of an ongoing series which started in 2017 with the first exhibition “Definition #1”.\nThe focus of this project is the concept of living as a means for self-representation and/or denial of the individual.\nConsidering the concept of the living as a point of departure\, and therefore the existential space connecting us to the places of our life\, it was interesting to define this second chapter through an analysis of the time and its dimension.\nEmbedded within a capitalist system profoundly based on media\, the representation of the subjectivity\, emotion and the feeling of time is not an easy task. It can drive us to incur in a contraction\, which is the one we face in the attempt to find a sense of time within the actual reality but it crushes in the distressing gravity of its physicality and the contradiction that “time” doesn’t have one\, being it a concept. As a product of our imagination we can only create alternative versions of time which\, though\, make it an experience artificial\, manufactured\, processed\, and functionalized to self-representation.\nIn opposition to this\, a temporal stumbling-block happens\, eventually\, that instigates our way-out from the continuum stream of a shared experience. There\, residues of reality run aground and deepen into the multiple zones of our mind’s peripheral stagnation. Escaped from the turbulent flow of this emotional landscape\, this process confuses the outlines among submersions\, overhangs and accelerations\, to find the cleanness of their perimeters in the static circumstance of a dead zone\, but safe from the cruel consumption of time.\nCasa Morra hosts the exhibition with the artworks by Berlinde de Bruyckere\, Roberto Cuoghi\, Helene Fauquet\, Flavio Favelli\, Luigi Ghirri\, Liz Magor\, Vettor Pisani and Rachel Whiteread. \nA special thank:\nLaura Bonito\, Fazizi Sore\, Corrado Beldì\, Norberto Ruggeri\, Galleria Continua\, Verusca Piazzesi\, Acappella Gallery\, Pepi Marchetti Franchi\, Gagosian Gallery\, Studio Ghirri\, Marcelle Alix Gallery\, Retrobalera.\n\n \n \n \n \n \n \n Installation View\, Lo Spazio Esistenziale. Definizione #2\, Casa Morra\, Napoli\, 2019\n© Photo Amedeo Benestante\nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Lo Spazio Esistenziale. Definizione #2\, Casa Morra\, Napoli\, 2019\n© Photo Amedeo Benestante\nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Lo Spazio Esistenziale. Definizione #2\, Casa Morra\, Napoli\, 2019\n© Photo Amedeo Benestante\nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Lo Spazio Esistenziale. Definizione #2\, Casa Morra\, Napoli\, 2019\n\n \n \n\n  URL:https://www.fondazionemorra.org/en/evento/lo-spazio-esistenziale-definizione-2/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/10/proposta1-1.jpg END:VEVENT END:VCALENDAR