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:20211002T190000 DTEND;TZID=Europe/Rome:20211005T190000 DTSTAMP:20260516T021631 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:20260516T021631 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:20260516T021631 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:20260516T021631 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:20260516T021631 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:20260516T021631 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:20260516T021631 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:20260516T021631 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:20260516T021632 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:20260516T021632 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:20260516T021632 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:20260516T021632 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:20260516T021632 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:20260516T021632 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:20260516T021632 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:20260516T021632 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:20260516T021632 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:20260516T021632 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 BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190528T180000 DTEND;TZID=Europe/Rome:20190630T180000 DTSTAMP:20260516T021632 CREATED:20201024T115219Z LAST-MODIFIED:20210115T145226Z UID:4371-1559066400-1561917600@www.fondazionemorra.org SUMMARY:Sapere i Luoghi - IN SEI ATTI DESCRIPTION:May 28th – June 30th 2019\nOPENING MAY 28th\, 6:00 p.m.\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nSapere i Luoghi (“Knowing Places”)\, a project created by Fondazione Morra\, Fondazione Lac o Le Mon and Cantiere Giovani\, winner of the 2018 call for proposals “PRENDI PARTE!” Agire e pensare creativo” (“TAKE PART! Act and think creatively”) offered by the Directorate General for Contemporary Art and Architecture and Urban Suburbs (DGAAP) of the Ministry for Cultural Heritage and Activities\, to promote the cultural inclusion of young people in areas characterized by situations of economic and social marginalization\, brings to the close an experience in which 20 young people between the ages of 18 and 29\, some of whom are NEET – young people in a condition of non-study and non-work – have taken part.\nOn May 28th 2019\, at Casa Morra – Archivio d’Arte Contemporanea\, the twenty participants (artists and non-artists alike) in the project will present their work to the public collectively\, in groups performing simultaneously. It will be a firm and conscious “restitution” of the cognitive but also political importance of the process of community-building they have been working on bodies\, not just screens; voices\, not just “applications”; movements\, not just technologies.\nIn the In Six Acts\, it is the forms – of living\, of knowing\, of experiencing – that take priority. The product of this formative experience cannot but call into question any possible content\, taking “nothing” as the topic around which – but also within which – to work.\nUnder the guidance of Cesare Pietroiusti\, artist and creator of the project\, Francesca Carfeda\, Daniela D’amore\, Mariateresa De Cristofaro\, Luisa De Donato\, Carmela De Falco\, Giuliana Divino\, Anna Dormio\, Giovanni Ferrara\, Simona Anna Gentile\, Sara Maietta\, Viviana Marchiò\, Rachele Montoro\, Caterina Morigi\, Salvatore Pastore\, Maria Grazia Piccirillo\, Alessandro Piromallo\, Noemi Saltalamacchia\, Antonia Treccagnoli\, and Marco Vitale will create a single macro-work divided into several acts.\nSix + One are the situations of common grammar spring from the micro-compromises of sharing.\nThe titles of the moments are: One (Yoke Cards); Two (Scale 1: 1); Three (A talk on nothingness or the impossible to call oneself of nothing); Four (Cavity); Five (We are too sad to tell you); Six (Manifesto of things not done) and In six acts – Contributions (self-publication). They have been authored collectively and will be staged in key positions inside Casa Morra\, representing different ways of living in community (formed by all the people taking part in the project) in the spaces in which community has been experienced. Movement\, speech\, the performance of varyingly complex actions\, playing: all these things will be carried out with the idea that the performers are “working” not only with – but also for – others. \nAnd what does it mean to “work”? Doing\, or saying\, are they not still doing? \nPerhaps\, in the end\, there are no deeds; but only things being done. \n\n \n \n \n \n \n \n IN SEI ATTI\, Casa Morra\, Napoli\, 2019\nCourtesy Fondazione Morra\n \n \n \n \n \n \, IN SEI ATTI\, Casa Morra\, Napoli\, 2019\nCourtesy Fondazione Morra\n \n \n \n \n \n IN SEI ATTI\, Casa Morra\, Napoli\, 2019\nCourtesy Fondazione Morra\n \n \n \n \n \n IN SEI ATTI\, Casa Morra\, Napoli\, 2019\nCourtesy Fondazione Morra\n \n \n \n \n \n IN SEI ATTI\, Casa Morra\, Napoli\, 2019\nCourtesy Fondazione Morra\n \n \n \n \n \n Discorso sul niente o dell’impossibile dirsi del nulla\, IN SEI ATTI\, Casa Morra\, Napoli\, 2019\n\n \n \n \n \n \n IN SEI ATTI\, Casa Morra\, Napoli\, 2019\nCourtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/sapere-i-luoghi-in-sei-atti/ 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/IMG_2675.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190523T183000 DTEND;TZID=Europe/Rome:20190525T183000 DTSTAMP:20260516T021632 CREATED:20201109T164727Z LAST-MODIFIED:20210304T121117Z UID:4374-1558636200-1558809000@www.fondazionemorra.org SUMMARY:Peter Kubelka - Film Metrici e Film Metaforici DESCRIPTION:May 23rd and May 25th 2019\nSTARTING LESSONS AND PROJECTIONS at 6:00 p.m.\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nOn 23rd May\, with his FILM METAFORICI and 25th May with FILM METRICI\, Peter Kubelka will be offering a detailed presentation of his complete filmography\, including his latest masterpiece\, MONUMENT FILM\, showing in its original 35mm format for the first time in Italy. \nAn expert in primitive music\, himself a musician and member of the Spatium Musicum ensemble\, an independent film-maker when the concept of experimental cinema was as yet unknown\, Peter Kubelka was one of the founders of the Vienna Filmmuseum and the Anthology Film Archives in New York\, with its screening room\, the “Invisible Cinema”\, constructed to his own design. It has black walls and seats\, separated from one another by screens to create a wholly immersive viewing experience. There is just one rule: no latecomers! \nKubelka’s nine films are the result of a lengthy endeavour; each one lasts around an hour and is a meticulous production created with limited economic means but in absolute freedom\, without the constraints of producers or market rules. For him\, film is plastic and\, like a tailor\, the film-maker cuts it by hand with scissors and then glues the frames together. As he explains\, “…cinema as a machine has no movement. The projector emits pulses of light: twenty-four per second. To be precise\, each pulse lasts about one forty-eighth of a second followed by another forty-eighth of a second of darkness. In this fraction of time the projector shifts the next frame and projects it. But while the frame is being projected it does not move\,” and the ability to divide time into regular elements and to provide twenty-four different items of visual information and twenty-four different sound bites per second is an extraordinary resource for humanity\, frustrated by commercial entertainment cinema. \nFor Kubelka\, one minute of film is 1\,440 frames that must be read one by one\, so his films can be enjoyed over again\, allowing us to appreciate their wealth of composition; they cannot be digitalised\, which is most unfortunate\, since this means that he cannot distribute them as he would like and thus loses many young viewers. \nThe film-maker\, like the sculptor\, bases his work on a process of subtraction and exclusion\, on the ‘negative’. He isolates the few useful elements of his outline\, leaving an infinite amount of debris on the ground and putting time to good use. \n“…The hand\, the involvement of the body\, is fundamental. We know that the development of the hand took man to the highest spiritual levels. There is no such thing as abstract thought. Everything comes into being in relation to the body and materials. In other words\, if I work with film I seize the ideas that this medium suggests to me”. \nPeter Kubelka is no stranger to Naples\, its surroundings\, and traditional cuisine as a regular visitor in the company of friends\, both for pleasure and to present his work\, which has been formative for younger generations. One recalls in particular his concert/conference Musica Sopra Origini held in the chapterhouse of the Basilica of San Lorenzo Maggiore in 2002\, and prior to this his concerts at the Church of Santa Chiara and the Archaeological Site in Cuma in 1995\, not to mention his eight-day course with Jonas Mekas titled Cinema Independente/Cinema d’Avanguardia/Cinema fatto da una sola persona\, and the 1978 Fotogrammi: film metrici a parete exhibition at Studio Morra. \n  \nPROGRAMME OF EVENTS\nThursday 23rd May 2019 at 6.30pm FILM METAFORICI\nMOSAIK IM VERTRAUEN\n1954-55\, sound\, 35mm\, b/w and colour\, 16’\nUNSERE AFRIKAREISE\n1961-66\, sound\, 16mm\, colour\, 12’30”\nPAUSE!\n1977\, sound\, 16mm\, colour\, 12’30”\nDICHTUNG UND WAHRHEIT\n2003\, mute\, 16mm\, colour\, 13’\nSaturday 25th May 2019 at 6.30pm FILM METRICI\nADEBAR\n1957\, sound\, 35mm\, b/w\, 69’’\nSCHWECHATER\n1958\, sound\, 35mm\, colour\, 1’\nARNULF RAINER\n1958-60\, sound\, 35mm\, b/w\, 6’24’’\nANTIPHON\n2012\, sound\, 35mm\, b/w\, 6’24’’\nMONUMENT FILM\n2012\, sound\, 35mm\, b/w\, 2 projectors\, 2 speakers\, 2 projectionists\, 6’24”\, 4 times\n\n \n \n \n \n \n \n Peter Kubelka. Film Metrici e Film Metaforici\, Casa Morra\, Napoli\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/peter-kubelka-film-metrici-e-film-metaforici/ 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/2020/11/KUBELKA-FONDAZIONE-MORRA.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190521T080000 DTEND;TZID=Europe/Rome:20190528T170000 DTSTAMP:20260516T021632 CREATED:20201026T100540Z LAST-MODIFIED:20210115T142452Z UID:4377-1558425600-1559062800@www.fondazionemorra.org SUMMARY:Laboratorio Avella - Segni di un Percorso DESCRIPTION:May 21st – May 28th 2019\nOPENING MAY 21st  \nNILOTYPE\nVico San Nicola a Nilo 5\, Napoli \n\n \n \n \n \n \n \n btr\n \n \n \n \n \n btr URL:https://www.fondazionemorra.org/en/evento/laboratorio-avella-segni-di-un-percorso/ LOCATION:NILOTYPE\, Vico San Nicola a Nilo\, 5\, Napoli\, Italia CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/png:https://www.fondazionemorra.org/wp-content/uploads/2020/10/mostra.png END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190515 DTEND;VALUE=DATE:20190516 DTSTAMP:20260516T021632 CREATED:20201103T132525Z LAST-MODIFIED:20210223T135325Z UID:4399-1557878400-1557964799@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Cinema Assoluto o Astratto 10° INCONTRO DESCRIPTION:May 15th 2019\nSTARTING PROJECTIONS at 6:00 p.m.\nMario Franco Archives c/o Casa Morra Archives of Contemporary Art\nSalita San Raffaele 20/C\, Naples \n10° MEETING Living the cinema between dream and technology \nBuster Keaton\nThe Ball No. 13 (Sherlock Jr.)\n1924\nblack and white \nKeaton is a young projectionist in a cinema\, but dreams of becoming a detective. In the projection booth he falls asleep. He dreams of entering the screen becoming the protagonist of the film that projects. Judged among the best films of world cinema\, Sherlock Jr (The Ball No. 13) has exceptional gags that have influenced artists and authors in subsequent years (Allen is the most famous example with The Purple Rose of Cairo). Full of daring gags at a furious pace\, the film is brilliant and amazing even today. Keaton addresses the nature of cinema\, reflecting on the ownership of the film machine with a cohesive plot and stunning athleticism (Keaton did not use stunt doubles)\, great artistic virtuosity and avant-garde exploration of the eternal dichotomy between reality and illusion. \nZbigniew Rybczynski\nSTEPS – The Stairs\n1987\ncolor \nwith Daniel Chapman\, Chase Coleman\, Reed Coleman\, H. Roger Daisley\, Drew Dix\, John Figley\, Peggy Freidman\, Nicholas Muglia\, Catherine Ryan\, Lev Shekhtman \nOne of the most representative artists in the history of video and experimental cinema in recent decades\, Polish artist Zbigniew Rybczynski has based his experience with cinema in a perennial confrontation with the constant technological changes in the means of reproduction. In STEPS (1987)\, Rybczynski places a group of tourists directly “inside” the mythical staircase sequence of Sergei Ejzeštejncon’s The Battleship Potëmkin\, one of the most well-known and analyzed sequences in the history of cinema. The interaction between the film and its “visitors” (in advance of many digital experiments) has a visionary flavor and echoes of surrealist\, irreverent and ironic\, especially when the old black and white film begins to interact with the unhinged visitors. URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-cinema-assoluto-o-astratto-10-incontro/ 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/cinema_astratto_15_maggio.jpg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190508 DTEND;VALUE=DATE:20190509 DTSTAMP:20260516T021632 CREATED:20201103T133756Z LAST-MODIFIED:20210223T141219Z UID:4402-1557273600-1557359999@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Cinema Assoluto o Astratto 9° INCONTRO DESCRIPTION:May 8th 2019\nSTARTING PROJECTIONS at 6:00 p.m.\nMario Franco Archives c/o Casa Morra Archives of Contemporary Art\nSalita San Raffaele 20/C\, Naples \n9° MEETING – Luis Buñuel \n  \n \nThe Discreet Charm of the Bourgeoisie\nOriginal title Le charme discret de la bourgeoisie\nA film by Luis Buñuel\nwith Fernando Rey\, Paul Frankeur\, Delphine Seyrig\, Bulle Ogier\, Stéphane Audran\, Jean-Pierre Cassel b/w\n1972 \nThe Spanish master\, nearing the end of his long career\, makes a film in France that maintains the freshness of his early works. Apparently without a plot\, it reproposes as in a loop the same scene: the protagonists\, a handful of lustrous and refined snobs. Three men and three women\, each with a prominent place in the social scale: the ambassador Fernando Ray\, the rich businessman and his beautiful wife\, the young “upstart” with a particular penchant for cocktails extra-strong! They meet around a table\, but after the aperitifs and the first mouthful of foi grais they are interrupted and postponed to the next appointment\, leaving the scene in escapes sometimes daring\, sometimes sly\, but all ridiculous. A fierce criticism of the bourgeoisie\, in the Oscar-winning masterpiece 1972. \n  \n\nLuis Buñuel\nActive from the 1920s to 1977\, Buñuel\, from his surrealist beginnings in France\, revolutionized the language of film\, imposing himself as a tireless scourge of human hypocrisies\, which he addressed with a lucid\, fiercely ironic and never conventional gaze. Reviewing and rethinking his films means going through the entire culture of the 20th century: literature and figurative arts\, modernism and avant-garde\, psychoanalysis and surrealism\, critical thought and protests.\n  URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-cinema-assoluto-o-astratto-9-incontro/ 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/immagine_il_fascino_discfreto_della_borghesia.jpg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190504 DTEND;VALUE=DATE:20190505 DTSTAMP:20260516T021632 CREATED:20201109T171459Z LAST-MODIFIED:20210223T141159Z UID:4382-1556928000-1557014399@www.fondazionemorra.org SUMMARY:Ada Lombardi - "Contemporary Art. Eastern and Western: 1945 to Present" DESCRIPTION:May 4th 2019\nSTART: 6:00 p.m.\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nAttend book launch Ada Lombardi\, Mario Franco\, director and cinema historian\, Andrea Viliani\, Director of MADRE-Museo d’Arte Contemporanea Donnaregina in Naples\, Loredana Troise\, from Dipartimento Arti Visive – Fondazione Morra\, coordinates the presentation. \nThe book\, published in 2018 by StreetLib\, traces a summary of Contemporary Art from the second Post-war period to the present day in the confrontation between East and West. \nSpecifically\, the study of Ada Lombardi was inspired by Virginia Woolf’s essay\, “A Room of One’s Own”\, in which the author retraces women’s literary history and claims\, for women in 19th-century in England\, the possibility to participate to cultural field\, till that moment exclusive male prerogative. \nFrom Virginia Woolf’s thesis for which\, where there aren’t tools and possibility (economic self-sufficiency\, same human rights as men\, etc)\, it’s impossible develop creativity\, especially in those roles or social classes block by lack of freedom\, Ada Lombardi bases her study on Contemporary Art\, like it has developed mainly in some specific Countries\, and how the evolution of art is linked not only to historical events\, but to an ongoing dialogue between East and West. This dialogue has intensified since the Second World War\, reflecting the end of European colonialism\, and the growing economic power of the global East. \nAda Lombardi has chosen to take an unusual approach to speak about Contemporary Art: using historical and sociological analysis as a starting point\, and examining the cultural similarities\, rather than the cultural barriers. Thanks to this approach\, the book maps out a world where artistic influence is not confined by mere borders\, or worse\, from approaches based on cultural prejudice. \nDuring the book launch\, some films by Jonas Mekas\, from the Mario Franco Archives\, will be project on screen in loop. \n  \nAda Lombardi is a professor of the History of Contemporary Art at the Academy of Fine Arts in Rome. Born in Rome and educated at the University La Sapienza of Rome\, Lombardi has written books\, essays and catalogues. She has curated exhibitions\, including the visual arts sections of the Venice Biennale in collaboration with the Japan Foundation. She has been a professor of Art History since 1991. URL:https://www.fondazionemorra.org/en/evento/ada-lombardi-contemporary-art-eastern-and-western-1945-to-present/ 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/ada-lombardi.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190424 DTEND;VALUE=DATE:20190425 DTSTAMP:20260516T021632 CREATED:20201103T134451Z LAST-MODIFIED:20210223T141505Z UID:4405-1556064000-1556150399@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Cinema Assoluto o Astratto 8° INCONTRO DESCRIPTION:April 24th 2019\nSTARTING PROJECTIONS at 6:00 p.m.\nMario Franco Archives c/o Casa Morra Archives of Contemporary Art\nSalita San Raffaele 20/C\, Naples \n8° MEETING – Luis Buñuel \nThe Exterminating Angel\nOriginal title El angel exterminador\nA film by Luis Buñuel\nWith Silvia Pinal\, Enrique Rambal\, Jacqueline Andere\, José Baviera\, Augusto Benedico.\nb/w duration 95 min\nMexico 1962 \nA group of middle-class people are invited after the Opera to have dinner at a friend’s house. At the end of the evening\, when it’s time to go home\, the people fail to cross an imaginary line beyond the living room they are in. Days pass\, and everyone loses first their manners\, then their personalities\, then their dignity. A Freudian nightmare\, mixed with an ironic social criticism\, although Buñuel\, warned critics against investigating esoteric hidden meanings. In the film there is the theme\, repeatedly proposed by the Spanish director\, the vices of the bourgeoisie\, hypocrisy through which they try to exorcise the fear of life and death. Luxury and culture are fictitious elements\, ostentation of false values. The work\, based on a play by José Bergamin entitled Los Naufragos\, has a strong contemporary feel due to both the winning idea (a sort of dramatic Big Brother in a bourgeois living room) and the surreal\, distressing narrative. Buñuel has always been an experimenter who has made an original contribution to the culture of the twentieth century. \n  \nLuis Buñuel\nActive from the 1920s to 1977\, Buñuel\, from his surrealist beginnings in France\, revolutionized the language of film\, imposing himself as a relentless scourge of human hypocrisies\, which he addressed with a lucid\, fiercely ironic and never conventional. Reviewing and rethinking his films means going through the entire culture of the 20th century: literature and figurative arts\, modernism and avant-garde\, psychoanalysis and surrealism\, critical thought and protests. URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-cinema-assoluto-o-astratto-8-incontro/ 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/langelo_sterminatore.jpg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190417 DTEND;VALUE=DATE:20190418 DTSTAMP:20260516T021632 CREATED:20201103T135443Z LAST-MODIFIED:20210223T140253Z UID:4409-1555459200-1555545599@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Cinema Assoluto o Astratto 7° INCONTRO DESCRIPTION:April 17th 2019\nSTARTING PROJECTIONS at 6:00 p.m.\nMario Franco Archives c/o Casa Morra Archives of Contemporary Art\nSalita San Raffaele 20/C\, Naples \n7° MEETING – Luis Buñuel \nWuthering Heights \nOne of the least seen films of Buñuel. \nStarting from the famous novel by Emily Bronte\, Buñuel builds in “Abismos de Pasion” (this is the original title) a gothic tale suspended between life and death and a love that exceeds death in an unforgettable erotic-necrophoric sequence. The concept of “amour fou” to which the Spanish director refers\, constitutes one of the theoretical cornerstones of surrealism\, a love totally free from any attempt made by the bourgeois morality and the Church to force it into fixed patterns. (The concept of “amour fou” was theorized by André Breton in 1937). Wagner’s “Tristan and Isolde” underscores the film’s tragic progression and justifies the necrophilic ending that\, “is far beyond and many cannot understand it” as Buñuel himself said. The version we present here\, in its original subtitled version\, does justice to Buñuel’s atmosphere\, betrayed by the Italian dubbing. URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-cinema-assoluto-o-astratto-7incontro/ 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/archivio-mario-franco-cime-tempestose_bunuel.jpg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190410 DTEND;VALUE=DATE:20190411 DTSTAMP:20260516T021632 CREATED:20201103T140009Z LAST-MODIFIED:20210223T140219Z UID:4413-1554854400-1554940799@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Cinema Assoluto o Astratto 6° INCONTRO DESCRIPTION:April 10th 2019\nSTARTING PROJECTIONS at 6:00 p.m.\nMario Franco Archives c/o Casa Morra Archives of Contemporary Art\nSalita San Raffaele 20/C\, Naples \n6° MEETING Luis Buñuel \nSimon of the desert\nDirector: Luis Buñuel\nStarring: Claudio Brook\, Silvia Pinal\, Hortensia Santoveria\, Enrique Del Castillo\, Jesus Fernandez\nMexico\, 1965 \nA Silver Lion winner at the 1965 Venice Film Festival\, the film is an unfinished masterpiece that tells the story\, set in 400 A.D.\, of a stylised monk who spends six years on top of a column in the Syrian desert. The unusual length (45 minutes) was due to production problems that pushed Buñuel to end the project prematurely. The devil (played by the beautiful Silvia Pinal\, wife of the producer) will have reason with the ascetic will of the monk\, throwing him in full 1900\, in a New York nightclub. \nLas Hurdes – Land without bread\nDirector: Luis Buñuel\nCommentary based on Las Hurdes by Maurice Legendre. Music: Symphony No. 4\nOp. 98 by J. Brahms. Spain\, 1933\, 30′. \n“Cinematic essay of human geography” through a region of Spain\, only 100 km from Salamnaca\, barren and inhospitable. A barren\, infernal place\, dominated by diseases – malaria\, goitre – where “dwarfs and cretins” abound on the roads and mule tracks\, the result of the lack of hygiene and incest. A reportage commissioned by an anarchist friend\, Ramon Acin (later shot with his wife by the Francoists)\, of an almost unbearable violence\, considered one of the most beautiful political documentaries ever made. The film was banned for a long time in Franco’s fascist Spain and boycotted both in Italy and in France also because of its short duration. \n\nLuis Buñuel\nActive from the 1920s to 1977\, Buñuel\, from his surrealist beginnings in France\, revolutionized the language of film\, imposing himself as a relentless scourge of human hypocrisies\, which he addressed with a lucid\, fiercely ironic and never conventional. Reviewing and rethinking his films means going through the entire culture of the 20th century: literature and figurative arts\, modernism and avant-garde\, psychoanalysis and surrealism\, critical thought and protests. URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-cinema-assoluto-o-astratto-6-incontro/ 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/mario_franco_10_aprile.jpg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190403 DTEND;VALUE=DATE:20190404 DTSTAMP:20260516T021632 CREATED:20201103T140949Z LAST-MODIFIED:20210304T133119Z UID:4416-1554249600-1554335999@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Cinema Assoluto o Astratto 5° INCONTRO DESCRIPTION:April 3rd 2019\nSTARTING PROJECTIONS at 6:00 p.m.\nMario Franco Archives c/o Casa Morra Archives of Contemporary Art\nSalita San Raffaele 20/C\, Naples \n  \n5° MEETING – Surrealism in Cinema (Man Ray\, Luis Buñuel\, Jean Cocteau) \nMan Ray\nL’ETOILE DE MER\n1929 (original version with Italian subtitles). \nMan Ray shows the poetry by Robert Desnos\, writer who joins very young in the Surrealist movement and published a his own book. La liberté ou l’amour (1927) convicted and censured because its erotic theme. He was part\, with Aragon\, of Communist French Party. Died in Terezin\, Czechoslovakia\, in 1945 after he was deported in a Nazi concentration camp. \nLuis Buñuel\nUN CHIEN ANDALOU\n1929 (original version\, Italian subtitles). \nThe most famous movie of historic Avant-gardes. A surrealist masterpiece. The cut-eye is cinema’s metaphor as art of the vision but also the assumption of different and new perceptive systems\, disruption of passive and static statement of the public. \nJean Cocteau\nLE SANG D’UN POÈTE\n1930 (sound\, original version). \nThe first work committed by the Viscount Charles de Noailles (patron of the Surrealists\, producer of the L’Age d’or by Buñuel too). The movie had to be subjected to the hostile reactions of the clerical and the middle-class. It was the first French movie to use the voice-over that suggest the presence of an hidden world\, which revelation make credible the world showed in the screen\, introducing into the public the abandon of the laws of a poetry universe\, which is less bounded to the plausibility boundaries. \n« Mirrors should think longer before they reflect. » (J. Cocteau) URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-cinema-assoluto-o-astratto-5-incontro/ 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/CINEMA-ASSOLUTO-O-ASTRATTO-MARIO-FRANCO-5.jpg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190327 DTEND;VALUE=DATE:20190328 DTSTAMP:20260516T021632 CREATED:20201103T142621Z LAST-MODIFIED:20210223T141429Z UID:4419-1553644800-1553731199@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Cinema Assoluto o Astratto 4° INCONTRO DESCRIPTION:March 27th 2019\nSTARTING PROJECTIONS at 6:00 p.m.\nMario Franco Archives c/o Casa Morra Archives of Contemporary Art\nSalita San Raffaele 20/C\, Naples \n4° MEETING – Surrealism in Cinema (René Magritte\, Max Ernst\, Man Ray\, Fernand Léger) \nHomage to René Magritte: a rare interview with the great artist and Les Amants\, the only film he shot\, in an amateur way\, with his wife Georgette Berger (1952). \nDesire by Max Ernst (1949) Classic example of “amour fou” with a pair of lovers undecided between dreams and frustrations. Ernst himself participates in the film. In color\, as a censor authority with a red sash on a ceremonial dress. \nLe mistyère de chateau de dès by Man Ray (1929) Inspired by a line from Mallarmé: “a throw of the dice will never abolish chance\,” the film is dedicated to the Viscountess of Noailles\, Man Ray’s patron\, and her luxurious residence. \nFernand Léger’s The Girl with the Prefabricated Heart (1949) Léger pokes fun at the American use of serial marriages\, staging a pantomime of mannequins to the tune of a popular song sung by Libby Holman. \nAmong the avant-garde movements of the 1920s\, the most “revolutionary” was the Surrealist movement. The territory that the artists of Surrealism set out to explore was that of the unconscious. It is the most popular artistic movement of the 1900s. The term has become so popular that today “surreal” is commonly used to designate that which is strange\, supernatural or unexpected. One of the basic beliefs of surrealism\, as stated in the 1924 “Manifesto” of André Breton\, its creator\, was the “amour fou”: that is\, obsessive love\, the kind of love that overwhelms the senses and drags uncontrollably in the vortex of feelings. For Breton\, the dream is the place where all the drives and desires repressed by the censorship represented by the bourgeois norm are manifested. The Surrealists want to bring out the unconscious side of each\, a primitive and disruptive side of the established order. In its highest expressions\, the surrealist cinema is really a subversive art that brings to the extreme consequences the dreamlike and paradoxical vision of the great similar painting of a Dali\, a Magritte\, a Max Ernst. We could also say that all cinema is a bit surrealist if it is true that the screen is like an open window on the dreams\, nightmares\, monsters\, ghosts and forbidden passions of all of us. URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-cinema-assoluto-o-astratto-4-incontro/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/56169818_2103810703251121_2426338123429445632_n.jpg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190323T080000 DTEND;TZID=Europe/Rome:20190505T170000 DTSTAMP:20260516T021632 CREATED:20191109T180113Z LAST-MODIFIED:20210115T154348Z UID:4348-1553328000-1557075600@www.fondazionemorra.org SUMMARY:LA DIGESTION - Musica ascoltata raramente III edizione DESCRIPTION:March 23rd – May 5th 2019\nFIRST DATE MARCH 23rd\, 8:00 p.m.\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Naples \nThe third edition of the festival LA DIGESTION – musica ascoltata raramente (rarely listened to music)\, will take place from the 23rd of March to the 4th of May 2019. Dedicated to research music and new languages in contemporary sonar art. The festival was created by the association Phonurgia (founded by four young Neapolitans Giulio Nocera\, Mimmo Napolitano\, Renato Grieco and Andrea Bolognino)\, in collaboration with the association E-M Arts and the Morra Foundation. \nAlready established as a reference point for research music from a wide variety cultures\, the festival again has performers recognized internationally for their artistic excellence. The festival opens with concerts from David Moss and Tomoko Sauvage\, two influential composes in contemporary sonar experimentation. Performances will be held at Casa Morra\, a place of experimentation and learning that has always been open to interdisciplinary events. The Paris based Japanese artist\, Tomoko Sauvage\, is fascinated by the sound of fluids; in her work she makes use of bulbs and specially made microphones to amplify the falling of water droplets to create a “natural synthesizer”\, giving life to a rarified and liturgical atmosphere. Inspired by the music of Anayampatti Ganesan\, the celebrated Indian jal tarang virtuoso\, a percussion instrument made of water filled bowls\, Sauvage amplifies drops\, bubbles and waves by means of microphones and creates hypnotic and dreamlike sonar landscapes. World renowned vocalist and composer\, David Moss\, collaborator of Luciano Berio\, John Zorn and Frank Zappa\, as well as director and cofounder of the Institute for Living Voices in Berlin\, gives a solo performance using voice in a flamboyant and innovative manner to be then accompanied by a choir composed of local volunteers and taught by David Moss himself in a workshop organized the previous day. David Moss is a pioneer in the medium of solo concertos for vocalists and maestro of sonar poetry and the power and passion of the human voice in its seductive physicality and surprising forms is expressed in every performance of the Provokalia Choir in a kaleidoscope of phrases\, loops\, patterns\, timbres\, chants and vocal dances. Casa Morra becomes once more a place for research and experimentation\, establishing itself as a multi-faceted space open to the knowledge and diffusion of performance and multi-media art. \nThe Festival is increasingly a platform turned towards the exploration of themes and currents that have criss-crossed contemporary experimental music. An entire day is dedicated to musique concrète\, the compositional practice involving the use of concrete sounds and noises recorded from daily-life and then creatively transformed. The majestic nave of the Saint Potito Church will be the fifth scenography of François Bonnet’s concerts\, known as a musician under the name of Kassel Jaeger and Director of INA-GRM of Paris\, a space native to musique concrète\, and of Lionel Marchetti and Jérôme Noetinger – some of the most influential figures in the movement and creators of the so-called cinema pour l’oreille (cinema for the ear)\, a sonar modality with affinities to the work of the maestro of Audiovision\, Michel Chion\, and to the Metamkine collective. The three artists will make the nave a temple to multi-channel listening\, an acusmonium\, an architecture of loud speakers that give body to an authentic tri-dimensional acoustic experience. The concerts will be preceded in the afternoon by a round table discussion during which the three artists will reveal some of the secrets of their artistic work. \nWith the intention of reconstructing the aesthetic dimension and exploring the theoretical aspects of music\, The Digestion proposes a free seminar over three days held by the philosopher Carlo Serra\, Professor of the Theory of Imagination and Sound and of Philosophy of Music at the University of Calabria. The seminar will invite reflections on the sound-world relation and on listening as a learning dimension\, equipped with the intellectual tools of Philosophy and Ethomusicography. \nFor its third edition\, La Digestion welcomes two new European figures active in the research and promotion of Sonar Art: In Situ Contemporary Art Foundation from Sokolowsko\, Poland\, and N.K. Projekt from Berlin\, with which a new project is generated\, MUSICA SANAE\, aimed at the exploration of the relationship between music and medicine\, and on a more general level that between Art and the care for one self through the realization of sound works\, installations and ad hoc research work given to some of the most representative artists and researchers on the contemporary international scene. \nThe approach to sonic material becomes visual\, cinematographic and corporeal since it is the body that offers itself as a cross-roads for communication\, sound\, and imagination. The exceptional location will be the beautiful and prestigious Maschio Angioino that has opened up its internal and external spaces to sound\, gesture\, and word\, transforming itself into a “Citadel of Music”. The porosity of the archaeological excavations meeting the austere structure of the Sala dei Baroni in a reference of reverberations that will echo around the castle over the two days. Performances of the MUSICA SANAE project will be from the following artists: Okkyung Lee\, Felicia Atkinson\, Anthony Pateras Pseudacusis (with C. Mallozzi\, R. La Foresta\, M. Majkowski\, G. Lebik\, T. Bertoncini\, L. Capece)\, FIS\, C.M. Von Hausswolf\, Croatian Amor\, Rudolf Eb.er\, Erik Bunger\, Luciano Chessa\, Michal Libera\, Barbara KingaMajewska& Tony Di Napoli\, Eks\, E-cor\, InconsolableGhost\, lesénérves\, SeppoRenvall. \nThe Festival program will be enriched further by a selection of films presented by Raffaella Morra and by sonar massage sessions held by the French duo Phonoscopie and available through advance booking. \nTHE PROGRAM\nDavid Moss [USA/DE] + Tomoko Sauvage [JP/FR]\nMarch 23th\nCasa Morra\, Salita S. Raffaele\, 20C\nKassel Jaeger + Lionel Marchetti & Jérôme Nœtinger [FR]\nApril 13th\nChiesa di San Potito\, Via Salvatore Tommasi\, 65\nSeminario a cura del prof. Carlo Serra\nfrom 16th to 18th\nCasa Morra\, Salita S. Raffaele\, 20C\nMusica Sanae – festival su musica e medicina [Napoli\, Sokolowsko\, Berlino]\nMay 3th and May 4th\nMaschio Angioino\, Via Vittorio Emanuele III\n\n \n \n \n \n \n \n David Moss\, LA DIGESTION Musica ascoltata raramente 3 edizione\, Casa Morra\, Napoli 2019 \n \n \n \n \n \n David Moss\, LA DIGESTION Musica ascoltata raramente 3 edizione\, Casa Morra\, Napoli 2019 \n \n \n \n \n \n David Moss\, LA DIGESTION Musica ascoltata raramente 3 edizione\, Casa Morra\, Napoli 2019 URL:https://www.fondazionemorra.org/en/evento/la-digestion-musica-ascoltata-raramente-iii-edizione/ CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/LaDigestion-e1552575159495.jpg END:VEVENT END:VCALENDAR