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:20170326T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20171029T010000 END:STANDARD 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 END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20191210T183000 DTEND;TZID=Europe/Rome:20191221T210000 DTSTAMP:20260516T031723 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:20260516T031723 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:20260516T031723 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:20260516T031723 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:20260516T031723 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:20260516T031723 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:20260516T031723 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:20260516T031723 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:20260516T031723 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:20260516T031723 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:20260516T031723 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:20260516T031723 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:20260516T031723 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:20260516T031723 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:20260516T031723 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:20260516T031723 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:20260516T031723 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:20260516T031723 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/ LOCATION:NA CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/LaDigestion-e1552575159495.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190322T080000 DTEND;TZID=Europe/Rome:20190322T170000 DTSTAMP:20260516T031723 CREATED:20191109T182608Z LAST-MODIFIED:20210115T152244Z UID:4366-1553241600-1553274000@www.fondazionemorra.org SUMMARY:Teatro delle Bambole - PFERD PERSON _ The irreplaceable frenzy of the verb “Study on the eternity of the body” DESCRIPTION:March 22nd 2019\nSTART: 9:00 p.m.\nMuseo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nResearch project: “The language of insects [Epilogue] – Box 9: Cimicidae”. \nScore by Andrea Cramarossa \nWith Silvia Cuccovillo and Federico Gobbi \nMother’s Home: Teatro delle Bambole \nOur race is made to govern the world. Our race is the only possible race of the human race to which the faculty of free will has been given. Let’s go\, quickly\, towards the dictatorship of this verb. \nThe idea of ​​staging “Pferd Person” starts from the awareness of his loneliness and the state of outcast. Two actors on stage\, a man and a woman\, will face the panic that springs from the vision of emptiness. Nothingness reigns in the material and immaterial substance that builds society and the two want to take their place in the Olympus of power\, in the immanent which is the mirror of a totalizing non-difference in the perception of things. \nTeatro delle Bambole in Naples with the epilogue of the five-year project “The language of insects” (2012-2017). \nTeatro delle Bambole inspired to work on the sound of Gisela Rhomert (Method of Lichtenberger® Institut für angewandte Stimmphysiologie) and the Orgien-Mysterien-Theater of the Austrian artist Hermann Nitsch\, one of the leaders of Aktionismus Wiener. \nThe founder and creator is the actor and director Andrea Cramarossa that after five years of intense personal studies in particular voice search\, the sound and voice applied to the singing and talked (on the relationship between sound and the body\, voice and person\, music and character)\, theorizes on an experimental approach dramatic art through the use and knowledge of the sound. \n\n \n \n \n \n \n \n Teatro delle Bambole\, Pferd Person\, Museo Hermann Nitsch\, Napoli 2019 © photo Andrea Cramarossa Courtesy Fondazione Morra\n \n \n \n \n \n Teatro delle Bambole\, Pferd Person\, Museo Hermann Nitsch\, Napoli 2019 © photo Andrea Cramarossa Courtesy Fondazione Morra\n \n \n \n \n \n Teatro delle Bambole\, Pferd Person\, Museo Hermann Nitsch\, Napoli 2019 © photo Andrea Cramarossa Courtesy Fondazione Morra\n \n \n \n \n \n Teatro delle Bambole\, Pferd Person\, Museo Hermann Nitsch\, Napoli 2019 URL:https://www.fondazionemorra.org/en/evento/teatro-delle-bambole-pferd-person-_-the-irreplaceable-frenzy-of-the-verb-study-on-the-eternity-of-the-body/ LOCATION:NA CATEGORIES:Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/LocandinaMorraL.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190321 DTEND;VALUE=DATE:20190322 DTSTAMP:20260516T031723 CREATED:20201103T143305Z LAST-MODIFIED:20210223T135935Z UID:4423-1553126400-1553212799@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Hans Werner Henze\, incontro con Nina di Majo e Mario Martone DESCRIPTION:March 21st 2019\nMEETING AND PROJECTION from 7:00 p.m. to 9:00 p.m.\nMario Franco Archives c/o Casa Morra Archives of Contemporary Art\nSalita San Raffaele 20/C\, Naples \nReview “Voices and other invisibles\n“Hans Werner Henze: the music\, the friendship\, the game“.\nconversation with Nina di Majo\, Mario Martone and Bruno Roberti\nModerator: Mario Franco\nTo follow: screening of the documentary film \nAfter the opening in Sala Assoli with “Eloquenza delle lacrime” by Benedetto Sicca\, Casa Morra is pleased to host the review “Voci e altri invisibili”.\nThursday\, March 21\, starting at 19.00\, in the Shimamoto Room of Casa Morra there will be a meeting with Nina di Majo and Mario Martone and the screening of the documentary film “Hans Werner Henze: music\, friendship\, the game”. \nThe documentary directed by Nina di Majo tells the life of Hans Werner Henze\, homosexual composer\, German\, resident in Italy\, known for his Marxist political views and their influence on his work. (Gütersloh 1926)\nThe film is a journey through a restless life\, that of a man possessed by music\, his artistic and existential journey\, between momentary losses and continuous transformations\, heartbreaking fractures and flashes of serenity. “Enhancing the beautiful material of the Istituto Luce\, we retrace\, through the composer’s pains and impatience in his father’s house\, the stages of Nazism and the horrors of war – says the director – The study of musical composition will be investigated through interviews with those who knew and studied him (Roland Baoer\, Alessio Vlad\, Nanà Cecchi\, Pierluigi Pizzi\, Gioacchino Lanza\, Ilaria Borletti Buitoni\, Nuria Nono\, Massimo Cacciari) and who collaborated with him. And then the music that takes flight\, in the adored Italy\, the Dionysian and liberating south\, Naples\, the San Carlo\, the Italian glamour (of the years ’55-’75)\, Ischia\, Piedigrotta and the utopia of the Mediterranean life that is realized. In Naples\, the love between Hans Werner Henze and the poetess Ingeborg Bachamnn\, who was born and died told in the reading of the correspondence “Letters from a friendship”. And then\, score after score (Tom Thumb\, The Prince of Homburg\, Der Junge Lord\, Elegy for Two Young Lovers\, Gogo no Eiko)\, poised between experimentalism and tradition\, the story of the composer’s experience and the birth of the “Cantiere di Musica” school in Montepulciano. Henze decides to follow a very personal concept of beauty\, always ready to cross boundaries\, in music\, in politics\, as in private life”. \nHANS WERNER HENZE: MUSIC\, FRIENDSHIP\, THE GAME.\nDirection: Nina di Majo\nProduction: Nina di Majo – Red Velvet\nLIGHT INSTITUTE.\nEditing: Diego Zucchetto. Color Correction Alessandro Abate.\nWith the support of the Film Commission Campania\, Lombardia and Toscana. With the participation of the Istituto Cantiere di Musica of Montepulciano\, which provides archival and photographic material.\n“Letters from a Friendship. Carteggio\, EDT. (Ingeborg Bachamnn- Hans Werner Henze).\nThe Luce Institute makes available to the documentary film its invaluable repertory material regarding the History of Italy between the years 1935 and 1970\, which will be greatly enhanced. This material will be used with elegance and skill to tell the story of the composer’s life amidst the horrors of Nazism\, the beauty of southern Italy\, Naples\, Ischia\, the San Carlo theater in Naples and the glamour of those years\, but also Piedigrotta\, and the parades of floats\, the fishermen and the sea. URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-hans-werner-henze-incontro-con-nina-di-majo-e-mario-martone/ 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/hans-werner-locandina-definitiva.jpg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190320 DTEND;VALUE=DATE:20190321 DTSTAMP:20260516T031723 CREATED:20201103T144427Z LAST-MODIFIED:20210223T135853Z UID:4428-1553040000-1553126399@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Cinema Assoluto o Astratto 3° INCONTRO DESCRIPTION:March 20th 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 \n3RD MEETING \nViking Eggeling\nDIAGONAL SYMPHONIE (1923-24/25)\nDir.: Viking Eggeling; 35mm\, 7’50”;restored by Svenska Filminstitutet / Cinemateket. \nA mythical film that confirms the extraordinary design of Eggeling’s work\, which reproduced the musical scansion of a “sonata” in the controlled abstraction of more than 7000 drawings. A work that is even paradoxical for its rigor and formal coherence\, which remains unique and unrepeatable\, also due to the death\, almost contemporary to the first screening\, of the author who was unable to continue his research. \nHans Richter\nRHYTHMUS 21 (1921?/25)\nDir.: Hans Richter; 35mm\, 65m\, 3’30” (16 fps)\, Münchner Stadtmuseum / Filmmuseum. \nRichter explores the dynamic transformation of signs in time\, a harmonic time that can be linked to musical expression (Richter was\, among other things\, a friend of Ferruccio Busoni). And if in these first experiments he films\, with the technique of carton decoupé animation\, abstract figures\, pure and regular: “the rhythm\, or rather the articulation of the units of time\, constitutes the sensation par excellence that can provoke any expression of movement in the art of cinema”. \nFILMSTUDIE (1926)\nDir.: Hans Richter; ph.: Hans Richter\, Endrejat; music: score from “La Création du monde” by Darius Milhaud; 6′ (16 fps)\, Nederlands Filmmuseum. \nRichter approaches the Surrealist theme in this film based\, by his own admission\, on a dream\, and which represents the expressive-technological means of verifying the reliability of the passage between graphic abstraction and its formal and rhythmic equivalent derived from re-elaborations of reality. \nOskar Fischinger\nSTUDIES NR. 5 in jazz (1929)\nProject for a live musical synchronization. The simple\, essential strokes\, sketched in charcoal and then presented in the further fascinating indistinctness of the negative\, are formed\, grouped\, and pulsate. \nEIN FORMSPIEL / [A FORM-PLAY] (1927)\nDir.: Oskar Fischinger; 35mm\, color\, 6’10” Deutsches Filmmuseum. \nOne of Fischinger’s experiments in the pre-sound era\, to be sonorized in performances by musicians with a multimedia effect\, as we would say today. The fascination of abstraction in constant mutation\, with many specular passages\, with the pulsating and continuous explosion of regular figures in evolution. Part of the material here colored with the classic systems of silent\, will become the experimentation of the system Gasparcolor. \nMÜNCHEN-BERLIN WANDERUNG [Journey from Munich to Berlin] (1927)\nDir.\, ph.: Oskar Fischinger; 16mm\, 4′ (18 fps)\, Deutsches Filmmuseum. \nJumping images of faces\, bodies\, animals\, clouds\, landscapes\, burnt frames\, memories of his journey between the two cities\, which in the concrete abstraction typical only of cinema\, evoke the representation of the process of memory. Fischinger uses the single-frame technique\, as will later be done by the most important filmmaker of the American underground\, Jonas Mekas. \nMan Ray\nLE RETOUR A LA RAISON (1923)\nIn this film the American artist\, who had just moved to Paris\, uses the technique of rayography (contact photography) of which he was the pioneer. We see on the screen of everyday objects such as springs\, nails\, night lighting\, the writing “dancer” with cigarette smoke\, light and shadow on the wall and finally the naked breast of Kiki de Montparnasse\, muse-model in many works of Man Ray. \nEMAK BAKIA a cinépoéme [Leave Me Alone] (1926)\nWith Kiki de Montparnasse and Jacques Rigaut \nA long series of images according to the incongruous surrealist juxtaposition\, rayograms and rotating optical effects: lights\, flowers\, nails. Wooden constructions and cardboard silhouettes that mimic human movement. A woman in a car drives along country roads. Farm animals. She gets out of the car and dances to the sound of a gramophone: dancing legs\, sea\, swimming fish\, geometric shapes\, cut glass. A man removes his starched collar. A girl has flashily painted eyes. When she opens her eyelids\, we discover her real eyes. \nFernand Léger\nLE BALLET MECANIQUE (1924)\nD. Fernand Léger\, Dudley Murphy; photography: Dudley Murphy\, Man Ray; music: Georges Antheil. \nGeorge Antheil\, a desecrating and original musician dictates the rhythm of the film. The disjointed silhouette of the Tramp presents the mechanical ballet. A woman is swinging on a swing in the garden. Objects break in: a straw hat\, numbers\, wine bottles\, a white triangle. Kiki’s lips shine. Wheels\, pendulums\, a convex mirror that swings; a pendulum\, a kaleidoscope; white geometric shapes on a black background; eyes that open and close; a male head appears in the kaleidoscope; the mold for a pudding\, a flower; a parrot; geometric shapes\, a spinning top in the kaleidoscope; marching feet; passing car; merry-go-rounds; pistons and plungers; spinning top\, kitchen whips; woman climbing stairs (repeated many times); enigmatic smile; zeros\, words (“on a volé un collier de perles de 5 millions”); eye; spinning doughnut; words and numbers; a puppet that approaches and recedes; circle; the woman’s face in the kaleidoscope that changes from serious\, to sad\, to happy; moving objects; pots in a row; geometric installation; sphere; mannequin legs; Finally\, the Tramp returns and the film ends with the girl on the swing sniffing a flower while smiling. URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-cinema-assoluto-o-astratto-3-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/ARCHIVI-MARIO-FRANCO-CINEMA_ASTRATTO__3.jpg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190315T180000 DTEND;TZID=Europe/Rome:20190406T180000 DTSTAMP:20260516T031723 CREATED:20201103T145330Z LAST-MODIFIED:20210223T141337Z UID:4385-1552672800-1554573600@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Adelaide Di Nunzio “La Pelle” DESCRIPTION:March 15th – April 6th 2019\nOPENING at 6:00 p.m.\nArchivi Mario Franco c/o Casa Morra Archivio d’Arte Contemporanea\nSalita San Raffaele 20/C\, Napoli \nCurated by Valentina Rippa\nInspired by Curzio Malaparte’s novel “La pelle” \nArchivi Mario Franco at Casa Morra in Salita SanRaffaele 20/C\, Napoli will host “The skin” an exhibition by Adelaide Di Nunzio curated by Valentina Rippa; Opening friday the 15th of March at 6.00pm. The event\, what has the patronage of Goethe Institut Neapel and Museo Cappella Sansevero\, will be open to the public until the 6th of April 2019. This project was inspired by Curzio Malaparte’s eponymous novel “The Skin”. The exhibition is a fictionalization of war-time Naples. Black and white photos visualize the sense of melancholia\, fear and insecurity that the inhabitants of the Southern Italy city experienced in 1943.\nPhotos are accompanied by the video “Hosios. Bread eaters” realized in collaboration with Daniele Rosselli and the duo of electronic music retina.it. The photos and video feature protagonists internationally renowned actors and artists  such as Alessandra Asuni\, Giovanni del Monte\, Federica Di Lorenzo\, Duccio Giordano Effimerus\, Eddy Fiorillo\, Rosalyn Hart\, Marialuna Papa\, Stefano Fico\, Cristina Messere\, Peppe Papa\, Marco Palumbo\, Massimo Pastore\, Riccardo Pisani\, Daniele Rosselli\, Fabio Rossi\, Ramona Tripodi\, Imma Villa\, Riccardo Greco\, Marcello de Bossa\, Roberto Tranchese\, Luca Capasso\, Filippo Pernice\, Claudio Cesarano. \n“The tragic events of the Second World war are the background of the exhibition\, but with her acute eye the artist does not focus on the ruins and rubbles. She discovers unexpected details of intimacy and subjectivity\, she portrays surreal elements\, awaking different emotions so that the spectator averts his or her gaze from the atrocities of the war. The light that spreads and illuminates\, opening white bursts in the darkness and in the silent scene holds an echo of hope and life. An ancestral force prevails on despair\, frost and starvation. The artist knows how to reconcile misery and decorum\, the tragic and surreal\, offering a range of images pervaded by a visual delirium \, theatricality and grace. The evocative complexity of her research widens reaching out to cinema and literary fascinations.” \nValentina Rippa \nAdelaide Di Nunzio lives between Cologne (Germany) and Naples (Italy). The first exhibition of this project was realized in Cologne in October with a great media and public success. She was born in Naples in 1978. She graduated at Academy of Arts in Naples and she moved to Milan to attend the photography and contemporary photographic design at Photography School “Richard Bauer”. She has devoted herself to different genres of photography\, from stage photos (music and theatre)\, to journalistic news and reportages. She is also a teacher of graphics and art of photography. Currently\, she is working on projects both in the field of art photography and reportage. Her approach to images is always socio-anthropological in search of symbols and evocations in order to realize an emotional communication through which viewers are stimulated to reflect on the subject.\n\n \n \n \n \n \n \n Adelaide Di Nunzio dal progetto fotografico “La Pelle” tratto dal’ omonimo libro di Curzio Malaparte misure 50/70 cm stampa fine art su carta cotone Hahnemuhle cornice in legno nera edizione: 5 copie e una copia d’artista\n\n \n \n \n \n \n Adelaide Di Nunzio dal progetto fotografico “La Pelle” tratto dal’ omonimo libro di Curzio Malaparte misure 50/70 cm stampa fine art su carta cotone Hahnemuhle cornice in legno nera edizione: 5 copie e una copia d’artista\n \n \n \n \n \n Adelaide Di Nunzio dal progetto fotografico “La Pelle” tratto dal’ omonimo libro di Curzio Malaparte misure 50/70 cm stampa fine art su carta cotone Hahnemuhle cornice in legno nera edizione: 5 copie e una copia d’artista\n \n \n \n \n \n Adelaide Di Nunzio dal progetto fotografico “La Pelle” tratto dal’ omonimo libro di Curzio Malaparte misure 50/70 cm stampa fine art su carta cotone Hahnemuhle cornice in legno nera edizione: 5 copie e una copia d’artista\n \n \n \n \n \n Adelaide Di Nunzio dal progetto fotografico “La Pelle” tratto dal’ omonimo libro di Curzio Malaparte misure 50/70 cm stampa fine art su carta cotone Hahnemuhle cornice in legno nera edizione: 5 copie e una copia d’artista\n \n \n\n  URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-adelaide-di-nunzio-la-pelle/ 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/invito-ADELAIDE-DI-NUNZIO.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190222T100000 DTEND;TZID=Europe/Rome:20190520T200000 DTSTAMP:20260516T031723 CREATED:20201109T185500Z LAST-MODIFIED:20210115T170102Z UID:4387-1550829600-1558382400@www.fondazionemorra.org SUMMARY:In the Volcano - Cai Guo-Qiang e Pompeii DESCRIPTION:February 23rd  – May 20th 2019\nOPENING February 23rd\, 4:30 p.m.\nMANN – Museo Archeologico Nazionale di Napoli\nPiazza Museo 19\, Napoli \nCurated by Jérôme Neutres \nAn explosion of fireworks and colours in Pompeii’s Amphitheatre to relive the tragic and\, at the same time\, vital dynamics of the eruption of Mt. Vesuvius\, in a timeless poetic journey telling the story of the destruction and rebirth of Pompeii.\nIt will be a unique performance by artist Cai Guo-Qiang\, who on February will execute his “Explosion Studio” in the arena of the Amphitheatre. It will be an artistic explosion whose different phases will bring to life again not only the tragedy that devastated Pompeii but also its fortunate discovery\, bringing to light exceptional historical and archaeological finds.\nThe works created from this explosion event\, together with the video of the performance\, will then be transferred to the MANN (National Archaeological Museum of Naples) from February 22nd (with a vernissage at 4.30pm) until May 20th\, 2019. Spread throughout the museum (from the Farnese Collection to the frescoes section\, from the lobby to the mosaic collection)\, Cai Quo-Qiang’s works will narrate the indissoluble link between past and present\, and between Eastern and Western culture.\nThe project’s art curator is Jérôme Neutres\, director of La Réunion des Musées Nationaux Grand Palais and president of the Musée du Luxembourg in Paris.\n“In the Volcano. Cai Guo-Qiang and Pompeii” hosts at the Archaeological Park of Pompeii is made possible with special support of Morra Foundation.\nWith this double artistic engagement\, Chinese artist Cai Guo-Qiang thus continues his work in Italy after the success of his firework performance in Florence (“Cai Guo-Qiang. City of Flowers in the Sky”) and the solo show “Flora Commedia alle Gallerie degli Uffizi”\, running until February 17th\, 2019 as part of Cai Guo-Qiang’s larger project\, “An individual’s Journey through Western Art history”.\nWinner of numerous cultural awards\, including the Golden Lion at the 48th Venice Biennale\, Cai was also in charge of the special and visual effects at the opening and closing ceremonies of the 2008 Summer Olympics in Beijing.\nHis artistic output\, which has always involved different media\, from drawing to installations\, from video performances to painting\, then began to focus on the special use of gunpowder that brings strength and vitality to the creative expression in his explosion installations.\nThe explosion at the Amphitheatre of Pompeii will be a one-of-its-kind event thanks to the uniquely awe-inspiring location: the event will be re-presented and visible to the public during the Exhibition at the MANN\, of which it will form an integral part.\nAt the Amphitheatre\, copies of objects linked to daily life and art in Pompeii will be suspended on a large 30-metre white canvas\, resting on a platform; these will include reproductions of sculptures from the MANN collections\, such as the Venus Callipigia\, the Farnese Hercules and Atlas\, and the bust of Pseudo-Seneca. There will be small original canvases\, produced at Casa Morra; they will be filled\, in the wake of the gunpowder explosion\, with drawings and colours inspired by the findings housed at the Archaeological Museum.\nThe Pompeii exhibition with the evocative title “Canvas of Civilization” is in three parts – small explosions will disrupt the artefacts arranged on the canvas\, marking it violently and inexorably\, with the same ruthlessness that has left its mark on human lives; after a brief pause\, there follows “Sigh”\, using coloured fireworks lined up along the canvas and pointing towards the sky as though in an unrelenting volcanic eruption\, fireworks that will recall the sound of a heavy sigh\, that of the rise and fall of human civilization. After another short break\, peace will reign once more. Then “Excavation” will begin – amid the last fumes; the artist and his team will bring to light the “archaeological ruins”.\n“Pompeii is a place of the contemporary\, I take a loan this thought of Massimo Osanna\, to whom we owe the promotion of this project\, which I find very significant.” – declares the interim Director of the Archaeological Park of Pompeii\, Alfonsina Russo – Pompeii\, suspended in time\, has always captured the imagination and creative spirit of artists of all ages\, reminding us that the tragic event of 79 AD was impressed by the collective memory for eternity\, not only for its unique history and testimony of an era\, but also because of the profound sense of fragility and impotence we constantly refer to “.\nAfter the Explosion Studio in the Amphitheatre\, the “In the Volcano” journey will come to its natural conclusion with the exhibition at the MANN: the long canvas used for the performance in Pompeii will be on display in the Museum lobby\, stretching out among the arches and vaults like a protective veil to welcome the public until March 11th.\nIn addition to the great masterpieces of ancient statuary\, copies of the Farnese Hercules and the Venere Callipigia\, reinterpreted by Cai through the colours of the explosion\, will also be installed\, and the three busts of Pseudo-Seneca in various colours as symbol of the different identities of Seneca the Young – tragic poet\, philosopher and involuntary mentor of dictators – in an interplay with the various architectural forms that will attract the gaze of the visitors.\nThere will be many surprises in store for those who follow the path traced by Cai Guo-Qiang through the Archaeological Museum: the evanescent traces of gunpowder on canvas will evoke references to the figures of classical iconography\, just as the presence of the extraordinary installations in the various rooms will invite reflection on the continuity between past and present.\nWhile vases and terracotta objects will be displayed on simple platforms\, evoking the everyday life of the Ancient Romans\, the reproduction of a boat\, anchored to the wall and placed alongside the frescoes of Pompeii\, will disclose the timeless secret of an ongoing artistic journey. \nCai Guo-Qiang was born in 1957 in the city of Quanzhou\, China. He trained at the Shanghai Theatre Academy and has worked with a variety of artistic media including drawing\, installation\, video and performance. During his stay in Japan\, from 1986 to 1995\, he explored the properties of gunpowder in his drawings\, undertaking a journey of research that led to the development of today’s explosion events. Drawing upon Eastern philosophy and contemporary social issues as a conceptual basis\, his artworks respond to culture and history and establish an exchange between viewers and the larger universe around them. His explosion art and installations are imbued with a force that transcends the two-dimensional plane to engage with society and nature.\nCai Guo-Qiang was awarded the Golden Lion at the 48th Venice Biennale in 1999\, the Culture Award at the 20th Asian Culture Prize in Fukuoka in 2009\, and the Barnett and Annalee Newman Foundation Awards in 2015. He won the Bonnefanten Prize for Contemporary Art (BACA) in 2016. In 2012\, he was among the five winners of the prestigious Praemium Imperiale\, which recognises lifetime achievement in the arts across categories not covered by the Nobel Prize. In addition\, he was named as one of the five artists to receive the first U.S. Department of State Medal of Arts for his outstanding commitment to international cultural exchange. Cai also served as Director of Visual and Special Effects for the Opening and Closing Ceremonies of the 2008 Summer Olympics in Beijing. His solo exhibitions and projects include Cai Guo-Qiang on the Roof: Transparent Monument at the Metropolitan Museum of Art\, New York in 2006 and his retrospective I Want to Believe\, which opened at the Solomon R. Guggenheim Museum\, New York in 2008.\nHis first solo exhibition in Brazil\, Da Vincis do Povo\, toured across three cities in 2013. Travelling from Brasilia to Sao Paulo before reaching his final destination in Rio de Janeiro\, it was the most visited exhibition by a living artist worldwide\, with one million visitors. In June 2015\, Cai created the explosion event Sky Ladder Off\, on Huiyu Island\, Quanzhou\, China\, which became the star of the 2016 documentary produced by Netflix\, Sky Ladder: The Art of Cai Guo-Qiang\, directed by Academy Award winner Kevin Macdonald.\nCai Guo-Qiang: Fireflies was his largest public art project in the United States in the past decade\, launched in Philadelphia in September 2017\, while the most recent explosion event\, Color Mushroom Cloud\, was held on December 2nd in Chicago. Solo exhibitions in 2017 included Cai Guo-Qiang: October at the Pushkin State Museum of Fine Arts\, Moscow; and The Spirit of Painting. Cai Guo-Qiang at the Prado at the Museo del Prado\, Madrid.\nHe currently lives and works in New York.\n\n \n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. Explosion Studio\, Pompei\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. Explosion Studio\, Pompei\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. Explosion Studio\, Pompei\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. Explosion Studio\, Pompei\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. Explosion Studio\, Pompei\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. Explosion Studio\, Pompei\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. Explosion Studio\, Pompei\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. Explosion Studio\, Pompei\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. Explosion Studio\, Pompei\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. Explosion Studio\, Pompei\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. Explosion Studio\, Pompei\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. Explosion Studio\, Pompei\, 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. 2019 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. MANN Museo Archeologico Nazionale di Napoli\, 2019 © photo Wen You Cai\, Courtesy Cai Studio\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. MANN Museo Archeologico Nazionale di Napoli\, 2019 © photo Wen You Cai\, Courtesy Cai Studio\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. MANN Museo Archeologico Nazionale di Napoli\, 2019 © photo Wen You Cai\, Courtesy Cai Studio\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. MANN Museo Archeologico Nazionale di Napoli\, 2019 © photo Wen You Cai\, Courtesy Cai Studio\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. MANN Museo Archeologico Nazionale di Napoli\, 2019 © photo Wen You Cai\, Courtesy Cai Studio\n \n \n \n \n \n In the Volcano: Cai Guo-Qiang and Pompeii. MANN Museo Archeologico Nazionale di Napoli\, 2019 © photo Wen You Cai\, Courtesy Cai Studio\n \n \n\n\n \n \n  URL:https://www.fondazionemorra.org/en/evento/in-the-volcano-cai-guo-qiang-e-pompeii/ LOCATION:MANN – Museo Archeologico Nazionale di Napoli\, Piazza Museo\, 19\, Napoli\, Italia CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/Cai-Guo-Qian-MANN-23febbraio.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190220 DTEND;VALUE=DATE:20190221 DTSTAMP:20260516T031723 CREATED:20201103T150558Z LAST-MODIFIED:20210223T135710Z UID:4430-1550620800-1550707199@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Cinema Assoluto o Astratto 1° INCONTRO DESCRIPTION:February 20th 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 \n1st MEETING – Dada and Surrealist Cinema  \nOn Wednesday\, February 20\, the Archivi Mario Franco of Casa Morra\, in the Materdei area\, will inaugurate a weekly review on Absolute or Abstract Cinema. The first appointment is dedicated to the first two representations of Dadaist and Surrealist cinema\, presented in chronological order\, as they were presented in the last event of July 7\, 1923 coordinated by Tristan Tzara\, La Soirée Du Coeur À Barbe: A Visual Study of New York City Manhatta (1921) by Charles Sheeler and photographer Paul Strand\, one of Richter’s Rhytmus and one of Man Ray’s Rayograms\, made by scattering objects such as nails and thumbtacks\, exposed to light directly on film. \nOn May 3\, 1925\, in Berlin\, in the halls of the UFA\, were screened Diagonal Symphonie\, abstract animation film by Viking Eggeling\, the Opus of Ruttmann\, who was the first theorist of the “painting in motion\,” and two films of a new experimental path: Ballet Mécanique\, by Fernand Léger made in 1924 with interventions by Man Ray\, and Entr’acte\, by René Clair\, conceived by Francis Picabia as a short cinematic interlude within the Ballet of Rolf de Maré’s Swedish Company\, Relache (meaning “rest”)\, so named to confuse the audience into thinking of a closing night of the theater. \nThen\, every Wednesday there will be a series of film programs on the so-called “absolute cinema” or “abstract cinema”; films of the historical avant-garde of the 1920s and experimental cinema of the 1960s from Fluxus to the Underground up to the experiences of Andy Warhol. URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-cinema-assoluto-o-astratto-1-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_1_-DADA_SURREALISTA-Ritratto-Tristan-Tzara-by-Tihanyi-P.jpg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190130 DTEND;VALUE=DATE:20190131 DTSTAMP:20260516T031723 CREATED:20201103T151333Z LAST-MODIFIED:20210223T135450Z UID:4391-1548806400-1548892799@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Cavalli si nasce\, un film di Sergio Staino DESCRIPTION:January 30th 2019\nSTARTING PROJECTION at 6:00 p.m.\nArchivi Mario Franco c/o Casa Morra Archivio d’Arte Contemporanea\nSalita San Raffaele 20/C\, Napoli \nThere will be present Eugenio Bennato and Pietra Montecorvino \nWe at the Archivi Mario Franco are delighted to host a screening of the film Cavalli si nasce\, at 6pm on Wednesday 30th January\, 2019. Directed by Italian cartoonist and director Sergio Staino\, the film boasts a cast including Vincent Gardenia\, David Riondino\, Paolo Hendel\, Delia Boccardo\, Franco Angrisano\, Beniamino Placido\, Pietra Montecorvino\, Paco Reconti\, and Roberto Murolo. \nCavalli si nasce addresses the eternal contradiction between the scientific and rationalist world view and an irrational but “strongly altruistic and passionate” understanding\, as the director himself puts it. The film grew out of an idea of Staino’s when\, at the age of twenty-five\, he was part of a social/town planning team looking at the territorial problems of the Cilento area\, and focuses on how human beings can be overcome by their emotions and feelings. The “beauty of the locations\, the charm of the ancient sheep tracks\, the tiny Romanesque churches\, and the fascinating Baroque complexes” (Sergio Staino) lead us to “move from one feeling of solidarity to another without attempting to pigeonhole the events in which we are involved into any precise scheme or to interpret them with a cold sense of detachment” (Sergio Staino). \nThe dichotomy between reason and instinct is represented by the film’s two protagonists: Ottavio\, the cultured Florentine prince educated in the enlightened Habsburg-Lorraine school and enchanted with Goethe’s Journey to Italy\, played by David Riondino\, and his young servant and friend\, Paolo\, played by Paolo Hendel. The two travel round the south of Italy\, following in the footsteps of the great German writer\, and fall into a series of adventures and scrapes that engender a sense of indignation and rebellion\, especially in Paolo. The story is set in 1832\, the year of Goethe’s death and at the time when the Age of Enlightenment was transitioning into Romanticism. \nThe film\, which won the 1989 Nastro d’Argento for best soundtrack\, has an original score composed by Eugenio Bennato and Carlo d’Angiò. The music accompanies the viewer through the story: the “algebraic constructions” of Eugenio Bennato\, deliberately interrupted and disrupted by the cracked and emotional voice of Charles of Anjou\, set the rhythm of the entire film. “I had the music in my head even before working out the story in a complete script.” “The task of the music\, in my opinion\, was to bring out this dichotomy (the rational/irrational)\, in a commixture that would juxtapose the song of the farm workers and the refined music of the aristocratic salons; the desperate vocal timbre of Arab songs and atmospheres full of disturbing romantic sensuality”. \nSergio Staino is a draftsman\, writer\, director\, and interpreter of contemporary culture. A restless soul aligned with the Marxist left\, he is a “historical” cartoonist with l’Unità\, of which he is a former director\, but his strips have appeared in countless Italian newspapers and magazines. He lives and works in Scandicci in Tuscany. His most recent publications include the satirical graphic book Alla ricerca della pecora Fassina\, Giunti Editore\, the biography Io sono Bobo with Montanari and Galati\, Della Porta Editori\, and his book Il Pesce with Silvio Greco\, with Slow Food editions\, as well as the illustrations for the book Mamma quante storie by Andrea Satta\, Edizioni Enciclopedia Italiana. In 2017 he decided to discover how a blog works while trustingly awaiting the rebirth of l’Unità from its ashes. URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-cavalli-si-nasce-un-film-di-sergio-staino/ 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/Cavalli-si-nasce_Sergio-Staino_30-gennaio-2019_Archivi-Mario-Franco_Napoli-P.jpg ORGANIZER;CN="Archivi Mario Franco":MAILTO:archivimariofranco@fondazionemorra.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20190117T110000 DTEND;TZID=Europe/Rome:20190120T170000 DTSTAMP:20260516T031723 CREATED:20201109T190625Z LAST-MODIFIED:20210115T171214Z UID:4393-1547722800-1548003600@www.fondazionemorra.org SUMMARY:Exodus\, escape from Libya Stalker - The Scream\, listening to inhumanity DESCRIPTION:January 17th – Januay 20th 2019\nOPENING JANUARY 17th\, 11:00 a.m.\nChiostro di S. Domenico Maggiore\nVico San Domenico Maggiore\, Napoli \nPalermo and Naples\, Orlando and De Magistris\, two historic cities of southern Italy\, and their mayors\, are leading the civil and institutional resurgence of Italy and Europe against the criminalization of refugees and migrants.\nAlong with their rejection of the Italian government’s “security decree” and its closure of Italian ports to migrants rescued at sea\, the two cities are echoing the desperate appeals of thousands of migrants stranded in Libya. These migrants describe a reality that governments and mainstream media have minimized and even concealed: a living hell\, in which men and women are reduced to slavery and subjected to violence\, kidnapping\, forced labour and torture. Many of them\, convinced by now that Europe offers them no hope\, are ready to be repatriated.\nThe mayor of Naples\, Luigi De Magistris\, will participate in an event\, “The Scream\, listening to the inhuman”\, in the cloister of San Domenico in Naples from 16 to 20 January\, from 11 to 18.30. The event has been created by Exodus\, escape from Libya and Stalker\, and aims at amplifying and disseminating the appeals of migrants that have been sent over many months through social media to Michelangelo Severgnini**.\nDuring the event\, the Mayor will speak by phone link directly with some of the migrants in Libya\, to assure them\, the country and Europe of his commitment to highlighting the gravity of their plight and the urgent need to activate an airlift that will allow the exodus of all migrants\, as requested by the migrants themselves. The gravity and urgency has gone largely unmentioned\, despite the fact that the Italian government and the European Union bear direct responsibility for what is happening in Libya.\nThe mayor of Palermo\, Leoluca Orlando\, gave his support to a similar event\, “The Scream of Palermo”* held during the international summit on Libya\, in Palermo in November.\nThe project in Naples is organized in collaboration with the Fondazione Morra and “l’Orientale”\, University of Naples. \n \n  URL:https://www.fondazionemorra.org/en/evento/exodus-escape-from-libya-stalker-the-scream-listening-to-inhumanity/ LOCATION:Chiostro di S. Domenico Maggiore\, Vico San Domenico Maggiore\, Napoli\, Italia ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/L-Urlo-in-ascolto-dell-inumano-P.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20181218 DTEND;VALUE=DATE:20181219 DTSTAMP:20260516T031723 CREATED:20201112T164217Z LAST-MODIFIED:20210115T171724Z UID:4433-1545091200-1545177599@www.fondazionemorra.org SUMMARY:Mario Costa - L'uomo fuori di sé DESCRIPTION:December 18th 2018\nSTART: 5:30 p.m.\nSala conferenze del Museo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nA conference starting from a book.\nSpeaking: Mario Costa\, Vincenzo Cuomo\, Maria D’Ambrosio\, Matteo D’Ambrosio e Filippo Fimiani. \n  \nThe Hermann Nitsch Museum will host Mario Costa. L’uomo fuori di sé (The man outside himself)\, a conference with philosopher Mario Costa and experts from different esthetic fields.\nThis event will be an opportunity to discuss the essays presented by Mario Costa to International debates on the aesthetic-anthropological impact of new technologies.\nWith reference to his recent books\, and those dedicated to him\, the author and the experts will reflect on the new theoretical thought created by Costa\, already in the early Eighties of the last century\, focusing on concepts such as “communication aesthetics”\, “technological sublime”\, “communication block”\, “aesthetics of flux” and now\, “technological outsourcing”. \nIn particular\, the event will be centered on these recent books: \nMario Costa\, L’uomo fuori di sé. La fotografia\, il fonografo e il telefono nella Parigi del XIX secolo\, Mimesis\, Milano 2018\nMario Costa\, Artmedia. L’oggetto estetico dell’avvenire. Storia di un progetto scientifico\, Kaiak Edizioni\, Tricarico 2017\nAA.VV.\, Arti e tecniche nel Novecento. Studi per Mario Costa\, Kaiak Edizioni\, Tricarico 2017\nMario Costa\, Technology\, communication and aesthetics of de sublime\, in AA.VV.\, Viva Voce. Conversations with italian philosophers\, State University of New York\, 2017 \nMario Costa (Torre del Greco 1936) is a philosopher and an innovator of the aesthetic studies. His books Il sublime tecnologico (1990/1998)\, L’estetica dei media (1990/1999)\, La disumanizzazione tecnologica (2007)\, Dopo la tecnica (2015)\, known in Italy and abroad\, launched an international debate on the transformations produced by new technologies in Art and Aesthetic\, and opened the path to a philosophy of the technique completely unnoticed in Italy. Professor of Aesthetics at University of Salerno\, where in 1985 he founded and directed “Artmedia”\, a permanent Laboratory on the relation between techno-science\, philosophy and aesthetic. In the same years\, he also taught at “L’Orientale” University of Naples and at “Sophia-Antipolis” University of Nizza. \n  \nBOOK SYNOPSYS\nMario Costa\nL’uomo fuori di sé. La fotografia\, il fonografo e il telefono nella Parigi del XIX secolo\n(The man outside himself.Photography\, phonograph and telephone in Paris at the XIX Century)\nMimesis\, Milan 2018\nThe book focus on the aesthetic-anthropological effects produced\, at the XIX Century\, by the first technologies of image and sound\, that are photography\, phonograph and telephone\, considering Paris the preferred place of observation. Moving on a double level of historical explorations and theory\, Costa sheds light on our origin and the path we are following.\nMario Costa\nArtmedia. L’oggetto estetico dell’avvenire. Storia di un progetto scientifico\n(Artmedia. Future aesthetic object. History of a scientific project)\nKaiak Edizioni\, Tricarico 2017\nThis book traces the history of “ARTMEDIA”\, Permanent Media and Communication Aesthetics Laboratory/Seminary created by Costa at University of Salerno. From 1985 to 2009\, ten international conferences on “Artmedia” took place in Salerno\, Naples and Paris\, involving artists and theorists from all over the world.\nVincenzo Cuomo and Igor Pelgreffi (curated by)\nArti e tecniche nel Novecento. Studi per Mario Costa\n(Arts and techniques in the Twentieth. Studies for Mario Costa)\nKaiak Edizioni\, Tricarico 2017\nAn hommage to Mario Costa with essays by Roberto Barbanti\, Maurizio Bolognini\, Vincenzo Cuomo\, Matteo D’Ambrosio\, Diana Danelli\, Paolo D’Angelo\, Alice de Carvalho Lino\, Derrick de Kerckhove\, Roberto Diodato\, Filippo Fimiani\, Fred Forest\, Fabio Galadini\, Dario Giugliano\, Giuseppe O Longo\, Aldo Marroni and Carla Subrizi. And a drawing by Gianfranco Baruchello.\nMario Costa\nTechnology\, communication and aesthetics of de sublime\, in AA. VV. Viva Voce. Conversations with Italian philosophers\nState University of New York\, 2017\nThis is a long interview with Mario Costa\, within a collective volume in English that includes other twenty-two interviews\, in which Costa exposes the principles of his aesthetics and philosophy of technology.\nThe book aims to allow the major Italian philosophers to expose\, through a series of questions and answers\, the fundamental lines of their thought. URL:https://www.fondazionemorra.org/en/evento/mario-costa-luomo-fuori-di-se/ 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/2020/11/Mario-Costa_Luomo-fuori-di-se_copertina_2018_Mimesis.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20181126T110000 DTEND;TZID=Europe/Rome:20191126T170000 DTSTAMP:20260516T031723 CREATED:20201022T140633Z LAST-MODIFIED:20210115T172014Z UID:4436-1543230000-1574787600@www.fondazionemorra.org SUMMARY:TEATRINGESTAZIONE - C.R.A.S.I. Permanent Interdisciplinary Workshop of Theatre and Performing Arts Education and research project\, practice and theory DESCRIPTION:november 2018 – november 2019\nFIRST MEETING NOVEMBER 26th 2018 from 11:00 a.m. to 5:00 p.m.\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nAs part of the activities promoted by the Fondazione Morra within the spaces of Casa Morra Archivio d’ArteContemporanea\, TeatrInGestAzione\, Gesualdi | Trono’s theater company\, starts the Permanent Interdisciplinary Workshop of Theatre and Performing Arts\, in collaboration with Lorenzo Mango\, professor of the History of Modern and Contemporary Theater of the University of L’Orientale of Naples. The Permanent Workshop is an education and research project which includes various pedagogical activities during the year; it is part of a larger and more complex project which takes the name of C.R.A.S.I. – Centro Internazionale di Ricerche per le Arti della Scena (International Theatre and Performing Arts Research Center)\, in synergy with the Fondazione Morra. A place whereTeatrInGestAzioneexperiments and explores the multiple dimensions of its work. \nThe Workshop includes a preliminary phase and three independent and parallel paths\, starting from November 2018 until November 2019\, interspersed with openings to the audience.\nThe primary path is based on standing periods of work\, focused on the artistic practice of TeatrInGestAzione\, led by Anna Gesualdi and Giovanni Trono\, and other members of the Co. The second punctuated by encounters\, based on different theories and praxis\, with experts of disciplines and studies that we consider complementary to the theatre (History\, architecture\, philosophy\, economy). The third one includes several intensive pedagogic practices\, welcoming visions from the contemporary international independent performing arts (directors\, choreographers\, performers). \nC.R.A.S.I. is a place for a hybrid activity of research\, training\, creation\, which can give rise to fruitful dialogue\, proposing itself as an alternative of constancy\, rigour and discipline\, to lead participants to a preparation needed to cultivate artistic autonomy. \nThe workshop is for us the time and place of mutual understanding\, nourishment; the time of the honesty\, of fragility; the place of the care\, of training. Through it\, we aim to build a kind of presence that is based on the agility of listening\, on receive and reaction; an opportunity to acknowledge ourselves and give rise to a project in common\, and maybe find that we can share a more extended time in the future. Here at Casa Morra\, TeatrInGestAzione will be a living body exhibited at work. (Gesualdi | Trono) \n\n \n \n \n \n \n \n C.R.A.S.I.\, Casa Morra Archivio d’Arte Contemporanea\, Napoli 2018\,\n\n \n \n \n \n \n Napoli\, Italia\, 18 gennaio 2013. Una scena dello spettacolo “Corpus” rappresentato dalla compagnia teatrale “Alto Fragile”. La performance si è svolta al Palazzo delle Arti di Napoli. Ph. Angela Grimaldi\n \n \n \n \n \n C.R.A.S.I.\, Casa Morra Archivio d’Arte Contemporanea\, Napoli 2018\,\nTeatrInGestAzione\nCourtesy Fondazione Morra\n \n \n \n \n \n C.R.A.S.I.\, Casa Morra Archivio d’Arte Contemporanea\, Napoli 2018\,\nTeatrInGestAzione\nCourtesy Fondazione Morra\n \n \n \n \n \n C.R.A.S.I.\, Casa Morra Archivio d’Arte Contemporanea\, Napoli 2018\,\nTeatrInGestAzione\nCourtesy Fondazione Morra\n \n \n\n  URL:https://www.fondazionemorra.org/en/evento/teatringestazione-c-r-a-s-i-permanent-interdisciplinary-workshop-of-theatre-and-performing-arts-education-and-research-project-practice-and-theory/ 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/teatringestazione-casa-morra-2018.jpg ORGANIZER;CN="TeatrInGestAzione":MAILTO:info@teatringestazione.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20181123T160000 DTEND;TZID=Europe/Rome:20181123T210000 DTSTAMP:20260516T031723 CREATED:20201113T112107Z LAST-MODIFIED:20210115T172407Z UID:4440-1542988800-1543006800@www.fondazionemorra.org SUMMARY:SMASHING THE MYTH - Performing art from Croatia DESCRIPTION:November 23rd 2018\nOPENING from 4:00 p.m. to 11:oo p.m.\nMuseo Hermann Nitsch \nScala Filangieri\nQuartiere Intelligente  \n  \nCurated by Adriana Rispoli and Zvonimir Dobrović. \nEvent organized by Quartiere Intelligente and Domino Project in partnership with Museo Hermann Nitsch\nWith the support of Ministero della Cultura della Repubblica di Croazia. \nWe thank for the collaboration DeA Capital for the Ex Olivetti Consortium of Pozzuoli\, Ciro Esposito e Alessandra Gigante. \nSMASH! this is the fil rouge of the exhibited works and the intentions of its organizers. With a positive meaning\, Smashing the Myth celebrates destruction as a semantic act for the construction of new realities\, for overcoming limits and categorizations\, and for the breaking down of physical and identity boundaries. Performance as a preferred artistic expression contains the characteristics of dissolution of language and of osmosis between different forms of art and\, on this occasion\, it is presented trough its innumerable methods: from intervention in urban space to the direct involvement of the body\, from symbolic action to audio visual synaesthetics\, finding in the first experiments of video performance in Eastern Europe a sort of generational baptism. Smashing the myth presents a cross-section of Croatian art today somehow iconoclastic and provocative that gives back a strong and combative image of a generation of artists who\, on the one hand proudly affirms their roots\, on the other hand rightfully claims an idea of ​​art free from the dark economy and from the dominance of capital. Constantly questioning the value and the power of art in society\, it is also evident in their artistic research the direct comparison with the history of art in a wide sense: from the Russian utopia of the early twentieth century to the bitter irony on the contemporary art market today\, passing through the breakdown of barriers between art and life. \nARTISTS: Igor Grubić\, Bruno Isaković\, Sanja Iveković\, Siniša Labrović\, Alen Sinkauz – Nenad Sinkauz\, Sandra Sterle. \n  \nPROGRAM \nMUSEO HERMANN NITSCH\nVico Lungo Pontecorvo 29/d\, Napoli \nFrom h. 4:00 p.m. to 9:00 p.m. \nIgor Grubić | Smash the Myth\nBruno Isaković | Fade Into\nSanja Iveković | Inter nos\nDalle 19.00 alle 21.00 \nSiniša Labrović | Artist Index \nIgor Grubić: Smash the Myth\nPhoto and banner from the public intervention at Ex Olivetti Factory\nMUSEO HERMANN NITSCH \nWhatever could be the chosen medium or the modality of intervention up to including the personal style of life\, Igor Grubic consistently applies a political vision to his way of living and therefore to make art. Smash the Myth is in some way a tautology with which Grubic declares\, paraphrasing the radical ideology of the Russian poet of the revolution Vladimir Mayakovsky\, that the NON-POLITICAL art does not exist because any artistic expression\, or even a simple thought\, can only be a political gesture and must reflect the responsibility that artist has toward society. The choice to expose yourself to an audience – and to choose to which kind of audience to be exposed\, including that of the mere art market – is itself a political act. The Smash the Myth series consists of micro-interventions in urban spaces where Grubic\, in a temporary and sometimes illegal way\, affixes a banner to iconic places in various cities. Started in the mid-90s with the project Micro-museum of Revolutionary Heritage\, the series has touched several cities such as Berlin at the Soviet War Memorial in Treptower Park and Dresden in front of the Academy of Fine Arts\, and now arrives in Naples in the mythical Olivetti factory. Founded in 1955 on a project by the rationalist architect Luigi Cosenza\, the former Olivetti Factory is a symbol of the humanistic vision of an enlightened industrialist whose business mission was directly linked to the well-being of its workers. With a socialist setting ante litteram for Italy\, Adriano Olivetti\, in Pozzuoli as in the other Italian locations of his factories\, had wanted for his employees a place in symbiosis with nature and equipped with all the necessary services deeply convinced that work is a social redemption tool. Within this small eden for workers\, Grubic has chosen to affix his “motto” on what had once been the library place par excellence for the enrichment of the spirit. \nIgor Grubić (Zagreb Croatia 1969) is known for his political and moral activism and for his operations in public spaces\, often born in a mysterious atmosphere of anonymity\, which aim to generate new meanings such as the 366 series Liberation Rituals (2008) or Black Peristyle (1998). Active since the 90s his work includes performance\, photography and video and since 2000 he starts working as a film producer.\nHis works have been exhibited in numerous exhibitions and international institutions including Manifesta 4 (Frankfurt); Tirana Biennial 2; 11.Istanbul Biennial; 4.Fotofestival (Mannheim); Manifesta 9 (Genk); Gwangju Biennale 20th Anniversary Special Project; ‘East Side Stories’ Palais de Tokyo (Paris); Thessaloniki biennale 5- Ident-alter-ity; ‘The Value of Freedom’\, Belvedere 21 (Vienna); ‘Zero Tolerance’\, Moma PS1 (NY). In Italy\, among others\, he participated in Present Future at Artissima in 2001 and at Il Piedistallo vuoto and Gradi di Libertà exhibitions respectively at the Museo Civico Archeologico and at Mambo in Bologna in 2014 and 2015. He took part at the video program Q.I. VEDO at Quartiere Intelligente in 2016 with the film Monument.\nHe will represent Croatia at the next 58th Venice Biennale.\nBruno Isaković: Fade Into\nMUSEO HERMANN NITSCH \nFade Into is a durational performance series responding to permanent collections and exhibitions in museums and galleries. Artist selects an artwork and through durational performance builds a live installation around its specific political and artistic relevance. During five hours of this performance a whole range of readings of the chosen artwork and their connotations become a canvas on which the performer projects his voice and body. The building elements of this intervention are charged with textual references questioning the specific artwork’s medium\, context\, content and history and its different particularities. By reading these textual references aloud to the museum visitors\, artist fills the space with intangible perspectives as well as corporeal aspects which are attached to the selected work of art and its context. Physical contours and boundaries between corporeal and intangible are gradually blurred as the performer’s body fades into a color that dominates the space. This happens through slow\, meticulous and repetitive movements with which the artists paints his whole body over a period of a couple of hours before the movements subside and we are left with the sculptural stillness of the performer. Embodiment of all hinted and expressed meanings emerges as a live installationthat offers a paradigm shift to museum visitors in relation to a particular space and work in the musem.\nThis work has been performed in Reina Sofia in Madrid\, Museum of Modern Art Bologna\, Zagreb Contemporary Art Museum and Glucksmann Gallery in Dublin always using a different artwork as the focal point. \nBruno Isaković is a Zagreb based performer and choreographer living. He graduated with a degree in contemporary dance from Amsterdam School of the Arts in 2009. From 2011 to 2015 he was a member of Contemporary Dance Studio\, the oldest Croatian contemporary dance company. He is also the Founder and Artistic director of Sounded Bodies Festival in Zagreb dedicated to exploration of relationships between voice and movement\, sound and body. Isaković regularly teaches workshops and dance classes. (Bilgi University of Performing Arts – Istanbul\, Contemporary dance department at The Academy of Dramatic Art – Zagreb\, TSEKH Summer School – Moscow\, etc.) He has received various scholarships\, as well as Jury Award and Best Solo Dance at Solo Dance International Festival in Budapest and Croatian national award 2016 as a best choreographer for his show Denuded.\n  \nSanja Iveković: Inter nos (1978)\nVideo\, 60 minutes\, black and white\, sound\nCourtesy MSU\, Zagreb\nMUSEO HERMANN NITSCH \nOne of the early works of Sanja Iveković\, and the first one in which she included video-camera recording of the performans\, called Inter nos emphasizes the technically established interaction with audience. This participative work consists of two rooms connected by two closed TV circuits without an audio link and an entrance space where a direct transmission takes place for the audience. “During the entire action I am shut in a room\, thus being invisible to the audience. Visitors enter the second room one at a time. A private dialogue develops between us\, as I interfere with the visitor’s screen image\, which provokes his or her individual reaction. Concurrently\, the audience receives only the participant’s image.” (Sanja Iveković)\nThis form of relationship between artist and audience\, angle of viewing as well as an interaction between object and observer played great roll in her works. \nSanja Iveković (b. 1949\, Zagreb) has been reworking the construction of media images to reveal and subvert the constellations of power they conceal and use them for her own purposes since her first appearance in the context of “New Art Practice” in Yugoslavia in the early 1970s. Iveković is primarily concerned with the exploration of images relating to women. The artist has extended her feminist image and media critique to an analysis of the institutional conditions and rituals of the art world. Her performances from this period actively involve the audience as a real presence and absence. Iveković was among the first artists in Yugoslavia to combine performance and video art. In the 1990s her work became more politically orientated and she also initiated important projects as a political activist. Iveković has shown in numerous international exhibitions\, among them the three most recent Documentas in Kassel\, Tate London and MOMA.\n  \nSiniša Labrović: Artist Index\nMUSEO HERMANN NITSCH \nThis performance comes at the right moment as it leans upon the ongoing discussion about the systems of art market(ing)\, or if we allow ourselves a bit of spice\, the myths of art markets. This discussionhas been persistently present for a long time but only since recently has it been possible for work to be auctioned\, shredded to everyone’s surprise and immediately revalued to be worth double. That is the surprising\, even creative\, element of the arts market – we knew it had the power to absorb\, but no one expected this level of suction strength. Therefore\, it seems that to have a gallerist\, to be offered\, namely to have one’s work offered at one of the important art fairs is a condition for survival and success in the contemporary art scene. The performance celebrates those who have made it\, those who have a name\, those who are indexed. Simultaneously\, this performance weeps for those who stayed behind and who form the sea of no-names. Sorrow for the ones left behind mixes well with grains of envy of the others. \nSiniša Labrović is multimedia artist from Sinj\, a small town in Croatia. He has been creating work since 2000 and his emergence in Croatian arts landscape has been explosive\, to say the least. His work has been engaging the imagination of the audience\, media andt hewhole artisticcommunity in Croatia since the very start. Siniša’s work can be described as political\, raw\, direct\, humorous and brilliant in its simplicity – but most of all it has always been daring. His performances dealt with and tackled pedophilia\, corruption\, abuse of political power or mythologie of nationalism\, as well as genuinly philosophical questions of purpose\, (in)significance of human experiences or social responsability. But whatever the subject of the work may have been\, it was made stronger and appealing by anunpretentious commons se that communicated and resonated with the public even beyond what contemporary performance art formats often manage to do. In 2005 he attracted the attention of world media (Reuters\, BBC\, Ansa\, New York Post\, The Guardian\, The New York Times\, NBC\, ABC) with his work „Flock.org“ in which sheep were the actual contestants in a reality show. His works are in the collections of Museum of Contemporary Art Zagreb\, Fine Arts Gallery Split\, Museum of Modern Art Dubrovnik and numerous private collections. In 2009 he exhibited at the 11th Istanbul Biennial and in 2012 he represented Croatia on 13th VeniceArchitectureBiennale\, titled CommonGround\, together with Pula Group\, Hrvoslava Brkušić\, Igor Bezinović and Boris Cvjetanović.\n  \nSCALA FILANGIERI | QUARTIERE INTELLIGENTE\nScala Montesanto 3\, Napoli\nFrom h. 9:15 p.m. to 9:30 p.m. \nSandra Sterle | Visiting Reality \nThe project Visiting Reality first started in Belgrade in 2012. It continued in Paris in the same year. The concept starts from the idea that the national identity is the myth that constructs the contemporary world to such an extent that people actually start to believe that that’s what they are. We all are aware that history is more complex and the pure fact that we identify with certain people just because of borders that surround the piece of land can also be taken as a simplifying joke. The fact is that during her life as an artist she expected to expand and envision the complexity of the self and the contemporary world. Instead\, the artist happens to be surrounded by a concept of decay from within the social and political environment that she lives in. This performance in a way compares the national mythology of two countries by using national symbols constructed from the cheap touristic souvenirs\, that often even end up being quite similar. By smashing them on stage and creating sort of dust from these objects\, forming an abstract reality of sorts\, one is finally able to start “reading” beyond the “material” as it comes closer to complexity that our lives are made of. The performance of course utilizes the idea of destruction as a manner to create\, instead of the more traditional principle of construction\, putting these two forces under examination. \nSandra Sterle is an artist from Split who works with film\, installation\, interventions\, photographyand performance. She is professor of performance art and video at the Arts Academy in Split\, Croatia. She graduated from the Sculpture Department of the Academy of Visual Art in Zagreb and continuedher studies at Department of Film and Video at Kunstakademie inDusseldorf\, 1995-96 ( with prof. Nan Hoover). Her works were exhibited and performed in numerous international art institutions like: Museum of Contemporary Art\, Zagreb; Kunsthalle Fridericanum\, Kassel; Museum Ludwig\, Aachen; Museum voorModerne Kunst\,Arnhem; Gate Foundation\, Amsterdam; W139 Gallery\, Amsterdam;Museo de Arte& Disegno Contemporaneo\, Costa Rica; MuseoNational Centro de Arte Reina Sofia\, Madrid; Instytut SztukiWyspa\,Gdansk; Berlin Academy\, Berlin; Museet for Samtidskunst\, Roskilde;Fundacio Antoni Tapies\, Barcelona; Location 1 Gallery New York;Artist Space\, New York; etc. Her works are part of several public archives and collections of MMSU\, Rijeka\, Art Gallery\, Split and private collections.\n  \nQUARTIERE INTELLIGENTE\nScala Montesanto 3\, Napoli\nFrom h.9:30 p.m. to 10:30 p.m. \nAlen Sinkauz e Nenad Sinkauz\nVideo by Ivan Marusic Klif\nAudio-visual performance \nThe performing style of Alen and Nenad Sinkauz draws the audience immediately into their skilled improvisational technique that is a well developed process of instantly creating unexpected compositions. The sound and visual elements of their concerts are further defined by the very architecture and acoustic characteristics of the space in which they play as these condition the outcome of each performance. Due to a complex processing of main sources of sound like guitars\, bass\, different objects\, microphones and pick-ups\, in addition to “field recording”\, the amplifier system as well as the resonance quality of the space both become a significant part of the complete sound image. This performance is a synergy\, in every sense of this word\, between all elements that are brought together not only on stage but everywhere in the space. The music material that is being created by this continuous build up and upgrade of sounds generates the familiarity of industrial\, techno and noise\, but is at the same time wrapped in an abstract atmosphere which over time takes on unassuming and always different forms. This performance plays with our expectations and trust as it allows us to follow the sounds that we may find recognizable but also lets us discover the unexpected on our own before picking us up again and taking us deeper into the very structure of sound. \nAlen Sinkauz and Nenad Sinkauz are originally from Pula in Istria and have graduated and post-graduated studies in musical philology and ethnomusicology in Padova\, Italy. As composers and performers over the last 20 years they took part in various musical\, theatre\, contemporary dance\, multidisciplinary\, radiophonic\, sound art and film projects. Their artistic work\, especially when playing live\, is mostly oriented towards exploring unconventional musical forms\, improvised and creative music.\nThey composed the score for the highly acclaimed feature film Zvizdan/The High Sun directed by Dalibor Matanić (The jury prize “Un certain regard” at Cannes Film Festival\, 2015) and for the Croatian-Norvegian film Goran directed by Nevio Marasović (Golden Arena award for the best soundtrack at Pula Film Festival\, 2017). In the past two years they have been responsible for soundtracks to half a dozen Croatian and international films including composing music for short animated movies “Technement” by BrankoFarac and “Kako se kaliočelik / How steel was tempered” by Igor Grubić.\nIn 2002 Sinkauz brothers founded a band East Rodeo which involves an international group of jazz and rock musicians bringing together avant-rock\, electronic\, noise and improvised music and they released three albums featuring internationally acclaimed musicians such as Marc Ribot\, Greg Cohen and Warren Ellis. In 2010 Sinkauz brothers started the international festival of experimental and improvised music in Pula\, called Audioart which takes place annually.\nThey played and presented their works at countless festivals\, galleries\, clubs and different venues across the USA\, Europe and Japan.\n  \n\n \n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 \n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Smashing the Myth – performance art dalla Croazia\, Museo Hermann Nitsch\, Napoli\, 2018 © photo Amedeo Benestante Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/smashing-the-myth-performing-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/2020/11/Smashing-the-Myth-invito.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20181111T210000 DTEND;TZID=Europe/Rome:20181111T230000 DTSTAMP:20260516T031723 CREATED:20201113T114318Z LAST-MODIFIED:20210115T172747Z UID:4443-1541970000-1541977200@www.fondazionemorra.org SUMMARY:PSYCHOPLUM! a multimedia opera by DANIELE DEL MONACO DESCRIPTION:November 11th 2018\nSTART: 9:00 p.m.\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nPsychoplum! is a live multimedia performance written by the italian composer Daniele Del Monaco and produced in 2012 by the italian experimental collective LCP. The performance starts out from an original script for an electro-acoustic trio with a live video interaction. The 2018 version was totally revisited and arranged for a quartet featuring Marco Cappelli Acoustic Trio and Daniele Del Monaco at the keyboards. Most of the experimental sounds and complex musical forms of the past version turned into songs. The performance tells a story through music and projected images. The Celebraloids species is involved in exploring other planets via the Tellyhand\, which travelling aboard a Psychoplum\, in a kind of intergalactic Odyssey\, captures images from the various worlds explored and delivers them in the King’s presence. From Tellyhand’s innocent and “pure” perspective\, we can discover different universes full of ironic references to our own world. The video material was created through a mixed technique\, using both traditional animation processes and typical video-art techniques. \nThe Marco Cappelli Acoustic Trio (with Ken Filiano\, bass and Satoshi Takeishi\, percussion) explores the “chamber music” sound of Marco’s classical prepared guitar in combination with Ken’s powerful acoustic bass playing and Satoshi’s very special set of percussion. Formed back in 2009 by three of most active improvisers in the New York avantgarde music scene\, gained a reputation through many appearences in New York’s venues as well through two fortunate European tours in 2011 and 2013. The Acoustic Trio repertoire is mostly based on the music that Marco Cappelli writes inspired by the characters of noir writers.\nhttp://marcocappelli.com/projects/marco-cappelli-acoustic-trio/\nDaniele Del Monaco\nComposer\, keyboard player and sailor based in Venice\, born in 1977. He is author of chamber music\, symphonic music\, operas\, music for theatre\, electronics\, electro-acoustic\, multimedia operas\, music for films\, song\, interactive installations. He’s also an interpreter\, improviser\, teacher\, music producer\, band-leader and organizer. In 2007 he started the activity of indipendent producer.The most representative works are: Guernica\, 2007; Simurgh\, 2007 (with Flavio Albanese); Prove di fuga dalla terra\, 2008; Psicosusina Turboaccelerata 2013; Caligola\, 2014; The Zone\, 2014 (with Blixa Bargeld and Theodosii Spassov). For most of them he wrote also the libretto.\nMarco Cappelli\nMarco has lead since the middle 90ies an extraordinary artistic path\, becoming familiar with rigorous written music as well with free improvisation languages: nowadays Marco Cappelli works as contemporary music interpreter\, as side musician for other artists’ projects\, as well as composer and band leader and with his original music. The diversity of Marco’s performances is due to a fascinating array of collaborations: Anthony Coleman\, Michel Godard\, Butch Morris\, Franco Piersanti\, Jim Pugliese\, Enrico Rava\, Marc Ribot\, Adam Rudolph\, Elliott Sharp\, Giovanni Sollima\, Markus Stockhausen\, Cristina Zavalloni\, Raiz… and many more\nKen Filiano\nKen performs throughout the world\, playing and recording with leading artists in jazz\, spontaneous improvisation\, classical\, world/ethnic\, and interdisciplinary performance\, fusing the rich traditions of the double bass with his own seemingly limitless inventiveness. His lengthy discography includes his widely-praised solo CD\, subvenire; for this and numerous other recordings\, critics have called Ken a “creative virtuoso” a “master of technique” “a paradigm of that type of artist …who can play anything in any context and make it work\, simply because he puts the music first and leaves peripheral considerations behind”.\nSatoshi Takeishi\nDrummer\, percussionist\, and arranger is a native of Mito\, Japan. He studied music at Berklee College of Music in Boston\, Massachusetts. While at Berklee he developed an interest in the music of South America and went to live in Colombia. He spent four years there and forged many musical and personal relationships. In 1986 he returned to Miami\, U.S. where he began working as an arranger/producer as well as a performer. His interest expanded to the rhythms and melodies of the Middle East where he studied and performed with Armenian-American oud master Joe Zeytoonian. Since moving to New York in 1991 he has performed and recorded in vast variety of genre\, from world music\, jazz\, contemporary classical music to experimental electronic music.\n  \n  URL:https://www.fondazionemorra.org/en/evento/psychoplum-a-multimedia-opera-by-daniele-del-monaco/ 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/PSYCHOPLUM-INVITO_page-0001.jpg END:VEVENT END:VCALENDAR