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:20150329T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20151025T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20160327T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20161030T010000 END:STANDARD 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 END:VTIMEZONE BEGIN:VEVENT DTSTART;VALUE=DATE:20190130 DTEND;VALUE=DATE:20190131 DTSTAMP:20260516T051121 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:20260516T051121 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:20260516T051121 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:20260516T051121 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:20260516T051121 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:20260516T051121 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 BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20181026T080000 DTEND;TZID=Europe/Rome:20190502T190000 DTSTAMP:20260516T051121 CREATED:20201113T102741Z LAST-MODIFIED:20210115T174031Z UID:4446-1540540800-1556823600@www.fondazionemorra.org SUMMARY:Knowing Places DESCRIPTION:October 26th 2018\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nA transdisciplinary course on reading and engaging with places through art \nSapere i Luoghi (‘Knowing Places’)\, a project organized by Fondazione Morra\, Fondazione Lac o Le Mon\, and Cantiere Giovani\, winner of the 2018 call for proposals for the “PRENDI PARTE! Agire e pensare creative” initiative run by the Directorate General for Contemporary Art and Architecture and Urban Suburbs (DGAAP) of the Ministry for Cultural Heritage and Activities to promote cultural inclusion among young people in areas characterized by situations of economic and social marginality\, gets to the very heart of transdisciplinary-community education. It will use various contemporary artistic idioms to provide methodologies and tools for a new reading of – and engagement with – places through research\, experimentation and artistic expression. \nThe 20 participants\, chosen from 89 applicants in the public selection process for young people\, especially those in the NEET category\, i.e.\, young people who neither study nor work\, will have the opportunity to attend lectures and workshops where they will be able to investigate the concepts and practices of place and identity\, \nterritory and map\, and differences and opportunities\, with input from Prof. Pasquale Persico. Encouraging contamination between the contemporary and the non-contemporary\, Prof. Rossella Bonito Oliva will focus on the possibility of building new crossing points by reversing the relationship between the inner city and the outskirts\, taking the Archives as the point of departure to attain a new\, shared\, imagination. These reflections will lead to the community-based explorations conducted by Nicoletta Ricciardelli\, who will be working with the group in the Avvocata District\, which\, being home to the Museo Archivio Laboratorio Hermann Nitsch\, the Associazione Shozo Shimamoto\, and the Casa Morra-Archivio d’Arte Contemporanea\, will form a basic training ground and a centre of artistic research. That of the “Art District” will become a geography of the imaginary and the virtual thanks to Prof. Mario Franco and “his” film locales: artistic manipulations that “invent” spaces for narrative purposes\, experimenting with the possibility of changing routes and place names\, bringing the sea into the backstreets of Naples\, spaceships into churches\, and surrealist dreams and Dadaist reversals into the story of everyday life. For tutors Loredana Troise and Raffaella Morra\, these collective investigations will turn the territory into “an area sensitive to the inrush of experience\, shaped by what we might call ‘thought from outside’\, to quote Foucault: a fence where a convergence is established between the soul and the forms\, between language and life. \nFrom this point of view\, the workshops run by Cesare Pietroiusti and Emilio Fantin will be of particular importance. With the help of Maria D’Ambrosio\, they will take place in Casa Morra in the Avvocata District and the enchanting Vigna di San Martino\, a piece of urban agricultural land in the heart of the city of Naples\, with vineyards\, citrus\, and other species of fruit trees. The topic of inquiry will by art itself\, the living forms and aesthetics of the process; how contemporary art can relate to places; the difference between site-specific and context-specific; artistic intervention in the urban context\, possible strategies and historical examples; the concept of “relational” and the importance of relating to others. \nLastly\, the experience of community will be consolidated by a residency at the Foundation Lac O Le Mon in San Cesario di Lecce\, in an early twentieth-century farmhouse now given over to autonomous experimentation with self-sustainable and self-organized art and education. The activities will be developed within this framework through discussions on theory and project design\, in a circular exchange of knowledge and new ideas\, of collective reception and production. The work group will therefore be invited to design projects where sharing counts more than individual authorship. It will be a formative experience but also one of artistic production in which the participants will be guided indirectly in the realization of an individual project as well as in the co-production of a collective work representative of the experience. \nThe workshop experience begins in Naples on March 4 and runs until April 7\, 2019. Tutoring will be provided during the production and design of the individual projects before the residency in San Cesareo di Lecce in Apulia\, where “community” and “land” will be the key words until May 2. \nThe fruits of the experience gained outside the city will be on display at Casa Morra – Archivio d’Arte Contemporanea from May 20\, with the preparations for the closing exhibition of the project\, a “demonstration” of the in-out-in transformation process as experienced and interiorized by the participants. \nThe “exhibition of the places included” is scheduled to open on June 1\, 2019. \nBando Iscrizione Sapere i Luoghi (Beneficiari Ammessi) \nAbout the Fondazione Lac o Le Mon\nThe Lac o Le Mon Foundation is a non-profit organisation dedicated to contemporary art and culture founded in late 2015 by artists Emilio Fantin\, Luigi Negro\, Giancarlo Norese\, Cesare Pietroiusti\, and Luigi Presicce. Shortly after its creation\, the Lac o Le Mon Foundation acquired a marvellous building\, renamed Casa Cafausica\, with a large plot of land located on the border between San Cesario di Lecce and Cavallino (in the south-east of Italy). Today\, it is the site of an experimental arts training centre running laboratory activities\, community experiences\, trans-disciplinary activities\, and promoting a culture of sustainability through bringing together and being together\, joint projects\, and osmosis between disciplines\, knowledge and skills.\nwww.lacolemon.wordpress.com \nAbout Cantiere Giovani\nCantiere Giovani is a non-profit organisation founded in 2001 in Frattamaggiore (Na) thanks to a group of young people who\, pooling their social\, educational and cultural experiences in Italy and Europe\, decided to take up the challenge of setting up a secular and independent organisation in the Neapolitan hinterland. The “Il Cantiere” project\, a socio-cultural centre for social aggregation\, has been recognised by the Council of Europe as being one of the most successful in getting young people involved in active citizenship. Cantiere Giovani is a member of the Coordination Committee for International/UNESCO Voluntary Service\, the European Italian Voluntary Network\, and the ITER Network. It promotes the resources of young people by combining social and cultural commitment to support processes of change and emancipation. It shares the running of Piazzetta Durante\, a space for social\, cultural and artistic experimentation.\nwww.cantieregiovani.org | www.piazzettadurante.it \n  URL:https://www.fondazionemorra.org/en/evento/knowing-places/ LOCATION:Casa Morra – Archivio d’Arte Contemporanea\,  Salita S. Raffaele\, 20C\, Napoli\, 80136\, Italia CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/Sapereiluoghi-2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180920T170000 DTEND;TZID=Europe/Rome:20180920T210000 DTSTAMP:20260516T051121 CREATED:20201113T122449Z LAST-MODIFIED:20210115T174240Z UID:4449-1537462800-1537477200@www.fondazionemorra.org SUMMARY:M’ILLUMINO D’IMMENSO The staircase of Palazzo Cassano Ayerbo d’Aragona DESCRIPTION:September 20th 2018\nSTART: 5:00 p.m.\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele\, 20/C – Napoli \nDipartimento di Architettura e disegno industriale\, Università della Campania ‘Luigi Vanvitelli’ and Fondazione Morra present the book signingedited by Ornella Zerlenga. \nAt 18:30 the event will continue with the ‘inauguration of the photographic exhibition”dis-symmetries of a staircase” by Igor Todisco \nThe exceptionality of the case presented in this monograph includes the presence of an authoritative expert: Alfonso Gambardella\, the greatest international scholar of the architect Ferdinando Sanfelice\, to whom the project of the staircase in Palazzo Cassano Ayerbo d’Aragona in Naples refers. \nThe archival sources that document the transformations of the noble palace\, currently Casa Morra – Archivio d’Arte Contemporanea\, and the name of the architect who conceived its impressive eighteenth-century staircase are uncertain. The grandeur of the staircase consists of being both materially and immaterially ‘out of scale’\, a narrative event of boundless emotion in the ‘immense’ concept of architectural space. With a hexagonal plan\, the design of the planimetric and altimetric layout is the result of the skilful ability of the designer to articulate elementary geometric forms in a plastic and dynamic space\, vibrating with structural tensions as well as multiple symmetrical and asymmetrical visions. These are all elements that can be traced back to Ferdinando Sanfelice. \nThis book originates from the interest in the staircase of Palazzo Cassano Ayerbo d’Aragona of both the editor\, Ornella Zerlenga\, as well as the director of Fondazione Morra\, Giuseppe Morra. The research is developed on the basis of the memorandum of understanding signed between the Fondazione Morra and the Department of Architecture and Industrial Design of the University of Campania ‘Luigi Vanvitelli’ to not only collaborate scientifically\, but also to carry out initiatives that will positively influence the cultural growth of the territory. \nIn this sense\, the surveying and representation of the grandiose staircase of Palazzo Cassano Ayerbo d’Aragona\, in its spatial unity and methodological systematization of monographic research\, was carried out for the first time in 2017 by a research team of the aforementioned Department\, scientifically coordinated by Ornella Zerlenga with Vincenzo Cirillo and undertaken by Gianluca Delle Rose\, Brigida Di Costanzo\, Gessica Friello. \nIntroduced by the institutional roles\, Teresa Carnevale (President of the Fondazione Morra)\, Giuseppe Paolisso (Rector UniCampania)\, Luigi Maffei (Director of the Department)\, this book includes contributions by Pasquale Persico\, economist and co-creator of the social redevelopment plan “Il Quartiere dell’Arte”; Massimo Pica Ciamarra\, co-author of the reuse project of the building open to the neighbourhood; Igor Todisco whose ‘points of view’ conclude the description of a spatially changing staircase. \nThe book\, in Italian and English language\, was published by La scuola di Pitagora. \n\n \n \n \n \n \n \n M’illumino d’immenso\, Casa Morra\, Napoli 2018 photo Daniele Galdiero.\n \n \n \n \n \n M’illumino d’immenso\, Casa Morra\, Napoli 2018 © photo Daniele Galdiero Courtesy Fondazione Morra\n \n \n \n \n \n M’illumino d’immenso\, Casa Morra\, Napoli 2018 © photo Daniele Galdiero Courtesy Fondazione Morra\n \n \n \n \n \n M’illumino d’immenso\, Casa Morra\, Napoli 2018 © photo Daniele Galdiero Courtesy Fondazione Morra\n \n \n \n \n \n M’illumino d’immenso\, Casa Morra\, Napoli 2018 © photo Daniele Galdiero Courtesy Fondazione Morra\n \n \n \n \n \n M’illumino d’immenso\, Casa Morra\, Napoli 2018 © photo Daniele Galdiero Courtesy Fondazione Morra\n \n \n \n \n \n M’illumino d’immenso\, Casa Morra\, Napoli 2018 © photo Daniele Galdiero Courtesy Fondazione Morra\n \n \n \n \n \n M’illumino d’immenso\, Casa Morra\, Napoli 2018 © photo Daniele Galdiero Courtesy Fondazione Morra\n \n \n \n \n \n M’illumino d’immenso\, Casa Morra\, Napoli 2018 © photo Daniele Galdiero Courtesy Fondazione Morra\n \n \n \n \n \n M’illumino d’immenso\, Casa Morra\, Napoli 2018 © photo Daniele Galdiero Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/millumino-dimmenso-the-staircase-of-palazzo-cassano-ayerbo-daragona/ 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/MILLUMINO_DIMMENSO_invito_ITA.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180727T210000 DTEND;TZID=Europe/Rome:20180727T230000 DTSTAMP:20260516T051121 CREATED:20201113T143953Z LAST-MODIFIED:20210115T174618Z UID:4452-1532725200-1532732400@www.fondazionemorra.org SUMMARY:Terry Riley & Gyan Riley DESCRIPTION:July 27th 2018\nSTART: 9:00 p.m.\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c \nComing soon on a three-stage tour of Europe: Barcelona (at the Sónar festival)\, then for the first time in Naples\, closing in London (at the Oval Space).\nFor his Italian exclusive\, Terry Riley will perform at the piano and synth with his son Gyan on guitar in the eighteenth-century courtyard of Casa Morra. This event has\, of course\, been organised in conjunction with E-M ARTS by the Morra Foundation\, always keen to propose contemporary neo-avant-garde events in the city. Naples welcomes this great contemporary musician\, inventor of ‘repetitive’ minimalist music\, followed by many other minimalist musicians and popular music ensembles for this unique event.\nHe has spent the last few years on tour with his son Gyan alternating between the typical folk and jazz repertoire and\, of course\, moments of minimal avant-garde.\nThe fascinating Casa Morra – Archivio d’Arte Contemporanea di Napoli offers an exceptional opportunity to listen to and understand the intricate sound structures of the Terry Riley and Gyan Riley duo who\, unleashing intense and vibrant energy\, reach out with their particular artistic communication in a ‘neurotic’ and stimulating way.\nTerry expands the boundaries of a chosen structure and\, with Gyan’s ‘incitements’\, they embark together in unusual directions towards spontaneous and hypnotic creative marathons. This sonic force interacts with the spatial environment and the vigour of the audience\, providing an impactful experience that touches the depths of the soul.\nFor Terry Riley\, music is a way to make a connection with a strong and still indistinct power. Gyan is a virtuoso classical guitarist whose music is influenced by the rhythmic structures of North Africa and Spain. He is an expert in the art of improvisation.\nFather and son create a performance of intuitive matching in which they influence each other in an intense and intimate emotional flow. The harmonic structures generated by the piano and guitar\, guided by the human spirit\, create deep sound textures that intertwine through their reciprocal ability to improvise.\nFor Terry and Gyan\, sound matter is an incessant process coming from the unknown\, made up of modular movement and simple rhythms to be understood as a constant and universal pulse. \nThe founder of minimalism\, Terry Riley spans six decades of avant-garde music\, always faithful to himself\, inventing such flexible processes and structures that\, like his popular Indian ragas\, endure through time and have influenced a wide range of seemingly distant and irreconcilable styles\, from Miles Davis and John Coltrane’s modal jazz to the Canterbury sound of Soft Machine\, to the psychedelia of Pink Floyd\, and the modules of Philip Glass and Steve Reich\, taking on board the rock of The Who and the kosmische music of Tangerine Dream.\nFamous for introducing the ‘repetition of Western musical motifs’\, he devised the first experiments with tape loops and delay systems\, leaving an indelible mark on experimental music.\nHe started performing as a solo pianist in the 1950s\, when\, a classmate of La Monte Young\, he was studying composition in San Francisco and Berkeley. In the ‘60s he organised sound performances that lasted until dawn\, well before underground raves.\nIn 1963\, after graduating from Berkeley\, he published Music for the Gift for the show written by Ken Dewey\, using two tape recorders to create tracks with a tape delay-feedback system called Time Lag Accumulator\, playing Chet Baker’s version of Miles Davis’ So What in loop. This loop effect triggered his interest in repetition as a means of musical expression\, and in 1964 he completed his most famous work\, In C\, an acknowledged milestone in electronic music.\nIn 1968/69 with A Rainbow in Curved Air he foreshadowed ambient music\, and in 1970\, during his first trip to India to study with vocal master Pandit Pran Nath\, he began research on trance sounds.\nDuring the same period\, he made friends with David Harrington of the Kronos Quartet and was involved in numerous concerts for string quartet and orchestra; their Salome Dances for Peace (1989) earned Riley and Kronos a Grammy nomination.\nIn 2005 he worked with poet Michael McClure in I Like Your Eyes Liberty\, and in 2008 he published two works: Cusp of Magic and Banana Humberto (with the Sri Moonshine label).\nWith his son Gyan he released an album of live concerts (Sri Moonshine) in 2011 and\, later on\, Aleph\, for the Korg Triton 88 synthesizer originally created for the Aleph-Bet Sound Project at the Jewish Museum of San Francisco\, released by Tzadik in 2012.\n2015 saw the founding of the The Rileys duo: Terry & Gyan began a world series of concerts for piano\, synth and guitars. These concerts were a celebration of complex improvised structures containing elements of minimalism\, jazz\, ragtime\, and North Indian raga\, musical combinations that became the Rileys’ hallmark.\n“Nothing I have done in this life has given me more satisfaction than improvising on these songs with Gyan. Nothing I have done can match the intuitive synchronicity we have shared many times on the stage. Gyan supplies a brilliant counterpoint to the strands and moods of these pieces always surprising me with a virtuosity that serves and energizes his musical invention. I could not have dreamed up a better marriage of mind and spirit than this collaboration.”  Terry Riley\nhttp://terryriley.net\nGrowing up in a highly stimulating and experimental environment thanks to his father\, renowned composer Terry Riley\, Gyan chose the guitar as his instrument for life after winning his first one in a lottery at the age of 12. Once he had learned all the songs in his audio cassette collection by ear\, becoming a skilled performer\, he developed a passion for learning techniques and decided to enrol at the San Francisco Conservatory of Music.\nIn this context he had the opportunity to study with David Tanenbaum and Dusan Bogdanovic\, with whom he played on tour. Upon graduation in 2002\, Gyan made his debut with the album Food for the Bearded.\nGyan’s varied work focuses on complex compositions\, improvisation\, and both the classical and contemporary repertoire. He has worked with the Kronos Quartet\, New Music USA\, the Carnegie Hall Corporation\, the American Composers Forum\, and the New York Guitar Festival.\nOver the years\, he has travelled Europe\, Canada\, Latin America\, and the United States on numerous tours\, both as a soloist and in various ensembles with talented musicians. He has performed with Zakir Hussain\, Lou Reed\, John Zorn\, the Kronos Quartet\, Iva Bittova\, Bang On A Can All Stars\, the San Francisco Symphony\, the Philadelphia Chamber Orchestra\, and with his father\, composer/pianist/singer Terry Riley\, as on the 45th Anniversary of In C at the Carnegie Hall Performances in New York in 2009.\nIn New York\, Gyan performed with the Probosc duo\, the Eviyan trio and the Dither electric guitar quartet. He has composed and released four solo CDs and many ensemble/collaborative recordings with the New York Tzadik Records label.\n“… the improvisational nature of what we do demands that we’re always in that sort of listening mindset… We can’t ever really go out of it! A big part of that is also based on whatever energy we’re getting from the audience\, the space\, the acoustics\, and the overall experience. That can all have a big impact\, and it affects how we respond.” Gyan Riley\nhttp://gyanriley.com\n  URL:https://www.fondazionemorra.org/en/evento/terry-riley-gyan-riley/ 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/Terry_and_Gyan_Riley_invito_pages-to-jpg-0001.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180629T190000 DTEND;TZID=Europe/Rome:20180629T213000 DTSTAMP:20260516T051121 CREATED:20201113T160428Z LAST-MODIFIED:20210115T174814Z UID:4455-1530298800-1530307800@www.fondazionemorra.org SUMMARY:Thomas De Falco - MATERIE DESCRIPTION:June 29th 2018\nSTART from 7:00 p.m. to 9:30 p.m.\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nPerformance and Textile Installation curated by Lucrezia Longobardi. \n“My tree\, I speak to you and I tell you my secret thoughts. All my truth\, all my rustic desires\, you know everything about me and the troubles of the simpler life\, the one closest to you.” \nCit. Paul Valery \nOn the monumental octagonal scale of the Palazzo Cassano Ayerbo D’Aragona\, on 29 June 2018 will take shape\, after a period of residence held in this same place\, the performance and textile installation of the artist Thomas De Falco. A vision played on the dialogue between human and natural forms\, in their original reciprocity\, will decline through a mixed landscape of sculptural bodies and tapestries\, in which the performers become sculptural extension\, protuberance of the support through wrapping used as connectors of the two worlds\, and their turn\, a counter-representation of nature itself\, in a dreamlike and all-encompassing scenario. \nMaterie\, an evocative title of the plurality of the supports of life\, in an active dialogue with the architecture of the place\, tries to anchor itself to the stability of a monument making itself home\, where the stability of the moment is precarious and difficult to find. And the woman\, and her pain\, participate in this narrative as an absolute symbol. The latter is not bound to instability understood with a negative meaning\, but as an act of overcoming despite the dismay of affliction. At this point the parallels with the city emerge naturally and make a poetic and delicate vision of this semantic union. The woman\, which reflects the genre with which the “sex” of nature is recognized\, becomes an emblematic body for this identification between gesture and essence\, like the “femmena” city that hosts this work and inspires its main features. \nA work is inseparable from its historical and political context. \nA contemporary work\, therefore\, is an accent within a wider discourse\, a great symphony of voices and winds that animate it\, of reflections that spirally converge in the concept of Zeitgeist. \nNaples is a port. A threshold on the Mediterranean. On its waters have sailed ancient myths\, the exploits of the Greek heroes\, Ulysses\, but every age has its epics. And they always surpass the contours of reality to assume a hyper-ethical dimension\, epic. Pasolini in 1964\, with his “Prophecy”\, thought of tracing the contours of a contemporary Mediterranean mythology. We have woven that myth of elements from tragic radicality. Fixing the border warp in the plot of the sea. \nIt is from here that\, for exquisitely historical reasons\, the work of Thomas De Falco finds the trigger\, crossing the conceptual limit of a symbol that is a point of separation and union at the same time. The border\, in his work\, shows\, therefore\, all its structural consistency of ligatures\, seams. And in this sense it reverses its sense with respect to the common vision. The border becomes suture\, bone callosity\, welding. \nThe refined design made by the cotton that wraps\, tightens the natural material\, recalls a deeper meaning on the border\, shifts its meaning from the contemporary to the original meaning\, returning to the language its own complexity and thus its intelligence. In this way\, the true freedom of the observer is re-established in comparison with the integrity of the symbol. \nIn a game made of warps and knots\, woven ties and anchored to the support\, natural elements that become epicenter and equilibrium\, an exercise of relationships is consummated which is a completely physical\, all-physical metaphor of the most atrocious of today’s shortcomings. In their constant dialogue\, the materials of Thomas De Falco act together without being able to do one without the other\, in an alchemy of the material that goes far beyond the object and intertwines the roots of their different origins\, their symbolic stratigraphy. \nThe city itself\, for a work that is born site-specific\, becomes matter that\, at contact\, declines its resonance. Of Naples is the female dimension that the artist can not avoid to face. Her pity of exhausted shore\, lapped by a sea in pain\, finds in the feminine attribute the power to inflate an ancestral and regenerating energy that from the port rises and unravels through the alleys\, blood vessels\, nervous system of a human community that he has learned to overcome the lacerations through practice\, evolving until it exists\, in the condition in which the most excruciating pain coincides with the state of normality. Because of this devotion to the natural absolute\, Naples refuses the differences\, its children are all the same. The distinction passes through a system of seams\, balances\, stitches\, which have crossed the flesh not without pain. \nDe Falco then draws\, in space\, an anthropo-rama composed of performers of different ethnic groups\, evoking an idea of ​​a natural human family made indissoluble by visible ties\, interweaving of roots\, contacts\, articulations composed in a maternal embrace\, in a pity that of the feminine has everything and of the city the color. \n1. Le jardin noir\, wrapping on canvas with iron leaf and branch of ficus. 50x70m \n2. Untitled\, leaves with visible stitching in plastic with wrapping and branch. 125 x110m \n3. Untitled\, leaves with visible stitching on canvas with wrapping. 2x2m \n4. Untitled\, leaves with visible stitching in plastic with wrapping. 1\,90×1\,30m \nThe performer:\nAmie Zuore\nTraore Ladifa\nTraore Mariam\nKetcha Wandji Tracy Jonen\nKarim Tintore\nNoemi Perlingieri\nVlad Marchese\nAlessandra Aliberti\nJem Perrucchini\n  \nI musician:\nGiuseppe Vietri\nPietro Santangelo\nValentina Ciniglio\nGiulio De Asmundis\nGiuseppe di Taranto\nSara Piccegna\nViviana Ulisse\nGiusi Arvonio\nThe assistants of the artist:\nElisabetta Genoni\nFabiola Skraqi\nBeatrice Schivo\n\n \n \n \n \n \n \n Performance Materie\, Casa Morra Archivio d’Arte Contemporanea\, Napoli\, 2018 \n \n \n \n \n \n Performance Materie\, Casa Morra Archivio d’Arte Contemporanea\, Napoli\, 2018 © photo Elisa Partenzi Courtesy Fondazione Morra\n \n \n \n \n \n Performance Materie\, Casa Morra Archivio d’Arte Contemporanea\, Napoli\, 2018 © photo Elisa Partenzi Courtesy Fondazione Morra\n \n \n \n \n \n Performance Materie\, Casa Morra Archivio d’Arte Contemporanea\, Napoli\, 2018 © photo Elisa Partenzi Courtesy Fondazione Morra\n \n \n \n \n \n Performance Materie\, Casa Morra Archivio d’Arte Contemporanea\, Napoli\, 2018 © photo Elisa Partenzi Courtesy Fondazione Morra\n \n \n \n \n \n Performance Materie\, Casa Morra Archivio d’Arte Contemporanea\, Napoli\, 2018 © photo Elisa Partenzi Courtesy Fondazione Morra\n \n \n \n \n \n Performance Materie\, Casa Morra Archivio d’Arte Contemporanea\, Napoli\, 2018 © photo Elisa Partenzi Courtesy Fondazione Morra\n \n \n \n \n \n Performance Materie\, Casa Morra Archivio d’Arte Contemporanea\, Napoli\, 2018 © photo Elisa Partenzi Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/thomas-de-falco-materie/ 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/THOMAS-DE-FALCO-materie-casa-morra-invito_page-0001.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180622T140000 DTEND;TZID=Europe/Rome:20180706T190000 DTSTAMP:20260516T051121 CREATED:20201113T162635Z LAST-MODIFIED:20201216T165934Z UID:4460-1529676000-1530903600@www.fondazionemorra.org SUMMARY:Jeanne Liotta - Break the sky DESCRIPTION:June 22nd – July 6th\, 2018\nOPENING JUNE 22nd h. 2:00 p.m.\nCapriata del Museo Hermann Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nJeanne Liotta’s video-installation In This Immense Space Hidden Things Appear Before Us and works on paper are showed at Museo Nitsch’s roof room (in collaboration with Microscope Gallery New York). \nIn This Immense Space Hidden Things Appear Before Us\, 2018\, live feed augmented reality video installation that like Yoko Ono’s 1966 Sky TV – to which the work pays homage – brings a live feed of the sky outside into the roof room. Liotta’s appropriation and use of new technologies allow for her piece to extend beyond the limits of the visible sky. Video imagery shot in real time by smartphones installed onto the building’s roof are superimposed with computer generated renditions of the actual planets\, stars\, constellations and other celestial bodies as well as space stations\, “junk”\, and other known objects in Earth’s orbit. \nThe live video feeds on view during the Museo afternoon hours – from early afternoon daylight to evening darkness – facilitate the experience of our movement on Earth\, especially as shown in relation to other planets and star systems: our location in Napoli rotating at approximately 750 mph on a planet orbiting the sun at 67\,000 mph in a solar system circling the galaxy at 483\,000 mph\, etc. \nAlso on view are selections from two related watercolor and ink on paper series and a series of photograms by the artist. \nThe Bruno Studies watercolors are based on the silhouette of the statue of Giordano Bruno that stands in Rome’s Piazza Campo de’ Fiori\, where in 1600 he was burned at the stake for refusing to revoke what were considered heretical views such as insisting that our sun is just one of many and the universe is infinite\, and often incorporate text of his writings in De l’Infinito\, Universo e Mondi (1584). \nThe Nightly Studies – a watercolor\, gansai and sumi ink on paper series – find Liotta making her own chartings of the observable sky at night from various locations around the globe during her research. The artist’s detailed\, multi-layered use of shades of blue along with her minimal and gestural application of black ink on the page draw visual connections between the human and the cosmic scales: splatters of ink form the Milky Way\, a tiny dot of paint a distant galaxy. \nThe series of photograms Articuli made by hand in the artist’s darkroom are inspired by the imagery and texture of the Copernican diagrams (woodcuts) of the Italian philosopher and former Dominican friar Giordano Bruno. Among his ideas were that the sun is a star\, that other stars have similar solar systems to ours\, and that the universe is infinite. Additional info about Bruno’s articuli: 42 iconographic woodcuts accompanied Giordano Bruno’s 1588 printed monograph Articuli centum et sexaginta Adversus Matematicos (One hundred and sixty articles against mathematicians). The diagrams are not strict representations of celestial mechanics but descriptive and imagistic tools for a heliocentric world picture\, which Bruno imagined not as singular but as a multi-dimensional space of infinite possibilities. \nJeanne Liotta makes films\, videos\, including video-projections\, works on paper\, and photographic works with thematics often located at the intersection of art\, science\, natural philosophy\, and ephemerality. Her most known 16mm film of the night skies\, Observando El Cielo\, received numerous awards including the Tiger Award at the Rotterdam International Film Festival\, and was voted among the top films of the decade by The Film Society of Lincoln Center. In 2013 Anthology Film Archives presented The Real World at Last Becomes a Myth\, a complete retrospective of her works in film and video\, and in 2014 she received a commission to work with NOAA climate scientists in Boulder\, CO to create 360-degree media work for Science on a Sphere. Her “one-cut” collages The Tiffany One-Cuts culled from pages of the New York Times were incorporated into installations by artist Nancy Shavers at Derek Eller Gallery (2016) and Padiglione USA/La Biennale di Venezia (2017).\nhttp://www.jeanneliotta.net/ \n\n \n \n \n \n \n \n Installation view\, Break the sky\, Museo Hermann Nitsch\, Napoli 2018 \nJeanne Liotta \nCourtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/jeanne-liotta-break-the-sky/ 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/INDEPENDENT-FILM-SHOW-18th-Edition-cartolina-LIOTTA_page-0001.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180621T203000 DTEND;TZID=Europe/Rome:20180623T203000 DTSTAMP:20260516T051121 CREATED:20181113T165513Z LAST-MODIFIED:20210305T144113Z UID:4464-1529613000-1529785800@www.fondazionemorra.org SUMMARY:INDEPENDENT FILM SHOW 18th Edition DESCRIPTION:June 21st\, 2018\nVigna San Martino\nCorso Vittorio Emanuele 340\, Napoli \nJune 22nd and 23rd\, 2018\nBelvedere Museo Nitsch\nVico Lungo Pontecorvo 29/d\, Napoli \nINDEPENDENT-FILM-SHOW-18th-Edition-PROGRAM-2018 \nIndependent Film Show 18th edition\, an international show dedicated to experimental film\, coordinated by Raffaella Morra\, organised by E-M ARTS associazione culturale\, increases the sensorial experiences of its guests who for three days can participate at 16mm films screening (many are Italian premiere)\, at a concert by Bernhard Schreiner\, and the expanded cinema performances by Jeanne Liotta\, Canecapovolto\, Bea Haut\, and Helga Fanderl starting June Thursday 21st at the Vigna San Martino\, Friday 22nd and Saturday 23rd 2018 at the Museo Nitsch. \nFrom June 22nd to July 6th Jeanne Liotta’s video-installation In This Immense Space Hidden Things Appear Before Us and works on paper are shown at Museo Nitsch’s roof room (in collaboration with Microscope Gallery New York). \nOn 21st June\, summer solstice offers the chance to perform the first program at the precious Vigna San Martino and grants a selected audience to participate\, only on invitation\, to long projection night and live expanded cinema performances until sunrise. \nJeanne Liotta intersects art\, science and natural philosophy in a comprehensive science project\, following Ralph Waldo Emerson’s theories: projected and modified by the artist\, Affect Theory (2013)\, composed of two films in planetary and satellite position\, and Path of Totality\, realized after the total solar eclipse of August 2017\, transport us within a celestial alignment. \nShaped on a philosophical confraternity model in Catania on 1992\, Canecapovolto experiments with the “cognitive dissonance”\, circuit bending and radio drama\, collages on paper… its identity and its message is found among the grey areas between hearing and vision: the HD video Nembutal (2015) is prelude to NAGNAGNAG performance which uses the circuit bending\, or the modification of musical circuits\, children toys\, etc. and the short-circuit as expressive procedure to suggest chaos! Music and noise suddenly become categories with unstable boundaries. It is a point of no return. Circuit bending is to Music as Found footage is to Cinema. \nFree your perceptions curated by Raffaella Morra\, is a mind journey or a deep study of the film apparatus and their possible representations produced by interaction with the observer\, who participates in an adventure of perception free from preconceptions and classifications. \nThese ten films and videos explore knowledge’s boundaries: Christin Turner’s HD video Vesuvius at Home (2017) reveals a symbiosis between cinema\, memory and the spiral of time\, and Bernhard Schreiner’s Victory to Loss Ratio (2013-14) tries to get images and sounds synchronized in our mind; in Heat Shimmer (1978) Arthur and Corinne Cantrill transform the landscape of central Australia into varying degrees of shimmers; in Sphinx on the Seine (2009) Paul Clipson meditates on a series of brief and enigmatic images from around the world. In My Moon Her World (1995) Vicky Smith combines animation with live action treated – pixellated\, refilmed\, in slow motion\, and in Réminiscences (2001-2020) by Olivier Fouchard the pictures shot at Auvergne during the spring 2001 take on the appearance of dreaming things with unreal colors and the addition of found footage; Anja Dornieden & Juan David González Monroy’s Comfort Stations (2018) is a psychological test found by chance and without known authors; Christopher Becks and Emmanuel Lefrant’s film I don’t think I can see an island (2016) is a symbolically authentic non-Euclidean adventure; Take-Off (2006) is a collaborative project originated from the work-in-progress between Katherine Liberovskaya and the composer Al Margolis who activate a relation between images\, sounds and editing processes; Semiconductor’s Heliocentric (2009) uses time-lapse photography and astronomical tracking to plot the sun’s trajectory through a series of landscapes. It is usually almost impossible to visualize how the earth moves around the sun\, even though we know it is true\, instead we ‘see’ the sun moving around us. \nBea Haut is an artist and film-maker in an expanded form\, multimedia and often reactive to the environment\, her works allude to perception of inter-related moments\, spaces and actions in-between. On Friday\, June 22nd for the program Matters of Being Bea Haut selects eleven films by UK film-makers who try to penetrate the enigmatic film materiality\, evoking an interactive zone between object and subject in which arises an entanglement of aliveness\, existence and event. \nWilliam Raban’s Cripps at Acme (1981) is a documentation of a performance by Steve Cripps\, a wildly misbehaved\, and perhaps genuinely unhinged artist of that time. John Smith’s The Hut (1973) is an experiment with visual rhythms which animates still photographs of a decaying building. Through rhythmic intercutting\, Tanya Syed’s film Chameleon (1990) moves silently towards a point of confrontation with the outside world\, shockingly emphasized by the film’s only sound. Inger-Lise Hansen’s Talking to a Stone (1993) creates a fragile and illusionistic balance between the forces of creation and destruction in time. Bill Leslie’s 9 Objects (2016) is part of a project with a deceptively simple title\, ‘what happens to sculpture when it is filmed and photographed?’ which explores in practice the potential relationships between sculptural objects and different representational media. Two films by Laura Hindmarsh: Self Registration (2015) is the act of self-alignment using hand contact printing and Finding Focus (2016) shot at Lake George in Australia to give solutions to the myths which surround the lake’s sudden fluctuation in volume. In Button Box Blast (2016) Mary Stark films an explosion of a box of buttons in a random pattern of optical lights and sounds. Jenny Baines’s two films\, both double 16mm projection\, document two short performances: Untitled (Insertional) (2014) 2 bolex\, a rope\, two artists and a tree\, and Untitled (# 1 25/25 x 10/4) (2016) run around to a tree repeatedly whilst tied to it. Vicky Smith’s Small Things Moving in Unison (2018) confronts the purely plastic problems that persist in the manually made film\, of registering marks in the same place over a series of frames. \nTo deepen the dynamics of film creation\, in the program Mattering and Uttering Bea Haut reveals her film work by selecting ten b/w films: working with 16mm film in a materialistic and do-it-yourself way allows a responsivity to concurbetween the artist and her materials. This becomes an entanglement of thinking\, being and doing\, activating an agency in both the self and the material. The program starts with Pending (2016)\, a 100ft length of film (30.48-meter) is formed by the audience into a ‘live loop’ before being taken up and played out by the projector\, thus creating an empathy between spectators and artist. \nOn Saturday June 23rd the beautiful sunset from the Belvedere Museo Nitsch is the ideal set for the concert The magnetism of knowing and not knowing by Bernhard Schreiner: a performance in which the sound structures are developed live on the basis of ‘instant composition’ (call it improvisation if you wish)\, using a concert zither\, effect- and loop-pedals\, software (for live-input-processing) and a lot of small parts to interfere with the strings of the zither (mallets\, brushes\, metal springs\, slide\, bow\, etc.). \n“…Once a satisfying self-mixing structure is developed\, it might be left alone for some time (or not)\, possibly allowing myself to step back and listen to the evolving self-mixing transformations. I might get back to further interfere with the setup\, overdub\, etc. or even restart the concert from zero (or not).” (Bernhard Schreiner) \nHelga Fanderl continues to innovate Super 8mm film techniques and since the mid-80s has realized over six hundred films\, each lasting about three minutes\, and edited in-camera. Her films arise from intense observation and honed improvisatory approach that depends on rapid reactions and split-second timing. \nConstellations is a temporary montage of twenty-four films (1992-2016) exemplifying some aspects of Helga Fanderl’s poetic that evoke correspondences and contrasts\, thus experiencing an intense form of microcosm and in the silent flow of the frames we may float in a limbo of mental associations without time and space. \n“…Handling the projector\, changing one or more reels\, focusing and framing the images\, introducing my programs and talking about my filmmaking – all this creates a live event and a unique performance corresponding to the poetics of my filmmaking”. (Helga Fanderl) URL:https://www.fondazionemorra.org/en/evento/independent-film-show-18th-edition/ LOCATION:Museo Hermann Nitsch\, Vico Lungo Pontecorvo 29/d\, Napoli\, 80135\, Italia CATEGORIES:Museo Nitsch,Vigna San Martino ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/INDEPENDENT-FILM-SHOW-18th-Edition.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20180616 DTEND;VALUE=DATE:20180617 DTSTAMP:20260516T051121 CREATED:20210304T135217Z LAST-MODIFIED:20210304T141039Z UID:5538-1529107200-1529193599@www.fondazionemorra.org SUMMARY:La Digestion – musica ascoltata raramente II Edizione DESCRIPTION:16th June 2018\nSTART 12:00 p.m.\nRiot Studio\nVia San Biagio Dei Librai 39\, Napoli \n12:00 p.m. -18:00 p.m. \nI’m sitting in a room – program of audio screenings\n@ Complesso di San Domenico Maggiore\nfree entrance \n19:30 p.m. \nMaurizio Argenziano [IT]\nNS: Giovanni Lami & Enrico Malatesta [IT]\n@ Riot Studio\nticket: 5\,00 euro \nThe final event of “La Digestion – musica ascoltata raramente”\, the sound art festival organized by Phonurgia\, Fondazione Morra and E-M Arts\, is aimed at listening and rediscovering some of the most representative sonic works of the present and the past\, in the extraordinary setting of the convent where Tommaso D’Aquino lived and taught. The event aims to promote a series of listening sessions of significant works of concrete and acousmatic music\, trying to promote even in Italy a practice already widely used in Europe\, that of the so-called “cinema for the ears”. An experience of collective and dedicated listening\, not linked to the performative moment of music\, but aimed at a revaluation of listening as a fundamental moment of the cultural and sensorial formation of the individual. The listening program will include works by composers such as Lionel Marchetti\, Jar Moff\, Rudolf Eb.er\, Jerome Noetinger & SEC_\, Trevor Wishart\, Valerio Tricoli\, DSM\, Heith & Jesse Osborne Lanthier\, Les Enerves\, plus a section organized by the traveling festival of acusmatic listeners Helicotrema\, with whom La Digestion has just inaugurated a collaboration. \nIn the evening\, then\, the concerts of Giovanni Lami and Enrico Malatesta from Emilia and of the Neapolitan guitarist Maurizio Argenziano\, in the beautiful setting of the Riot Studio at Palazzo Marigliano\, place dedicated to contemporary sound and visual languages. \nThe immersive performance “New Surface” by Giovanni Lami and Enrico Malatesta\, made of microsounds with a slow and metamorphic poetics\, will take place in the garden of the Riot from 19.30 to 22.30; during the performance the audience will be free to move between the outdoor and indoor spaces\, organically integrating with the soundscape built by the two musicians. Following\, the disruptive solo of one of the most original and influential Neapolitan guitarists will transform the scene into a metaphysical battlefield\, where the electric curtain will give life to sensitive architecture and remind us that sound\, like electricity\, is something intangible yet extremely concrete. URL:https://www.fondazionemorra.org/en/evento/la-digestion-musica-ascoltata-raramente-ii-edizione-5/ LOCATION:Riot Studio\, Via San Biagio Dei Librai\, 39\, Napoli\, 80138 ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/03/brochuredigestion-DEF-front.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180613T093000 DTEND;TZID=Europe/Rome:20180806T183000 DTSTAMP:20260516T051121 CREATED:20201113T153045Z LAST-MODIFIED:20210428T152025Z UID:4467-1528882200-1533580200@www.fondazionemorra.org SUMMARY:Shozo Shimamoto - Time Rack DESCRIPTION:June 13th – August 6th\, 2018\nOPENING JUNE 13th h. 6:00 p.m.\nFondazione Sant’Elia\nVia Maqueda 81\, Palermo \nCurated by Achille Bonito Oliva \n“A colour without matter does not exist. When we are about to create\, we do not throw away the brush; there is no hope of emancipating colours. Without the paintbrush the colourants will come to life for the first time. Any tool may be used to good effect in place of a paint brush: one’s bare hands or the paint spatula would be a start. To these we might add the objects that members of the Gutai group use\, such as watering cans\, umbrellas\, vibrators\, abaci\, skates\, and toys\, not to mention feet\, guns\, or anything else. And amid all these\, the paintbrush may even reappear\, because there is certainly room for something from the past in innovative work like this.” \nShozo Shimamoto | ‘Gutai’ Bulletin n.6\, Ōsaka\, 1957 \nIn the mid-fifties\, the Japanese artist Shozo Shimamoto [Osaka\, 22nd January 1928 – 25th January 2013]\, began his adventure in the small city of Ashiya\, producing a creative work in public; it was a garden where he and other artists carried out works of art consisting of performances where the work came into being before the eyes of the audience\, with all the interference of a live event. Distancing themselves from the surrealist tradition and the influence of Duchamp\, the Gutai group powerfully established themselves in terms of a new form of creativity centred around impulse. \nAchille Bonito Oliva’s wide-ranging retrospective dedicated to the Japanese artist opens in Palermo at 6 pm on June 13th and runs until 6th August at the Fondazione Sant’Elia. The ‘SHOZO SHIMAMOTO/TIME RACK’ exhibition is a project by the Morra Foundation with the technical\, logistic\, and organisational support of the Shozo Shimamoto Association and the cooperation of the Fondazione Sant’Elia. A colour catalogue containing articles of particular historical and critical significance accompanies the exhibition\, which offers an in-depth study of Shimamoto’s artistic career from his first innovative experiments in the 40s and 50s up to the performances of his last years. During the 1950s\, Shimamoto spent his life in Japan – in the East – but he spent the first part of the twenty-first century mainly in the West\, where he did his most important performances. The dialectic between these two periods points to an extraordinary\, important\, and single artistic process. During the 50s\, Shimamoto began working as a painter\, and\, in his search for a new way of seeing and doing painting\, he also began working on actions that would gradually transform into happenings. His work throughout his last years in Italy took quite the opposite direction: he used large-scale stage construction as an integral part of his performance\, as reflected in the production of works that are the result of a public representative moment. ‘The aim is to expand the aesthetic space of the action as far as possible\, encompassing both earth and sky. (…) Ultimately\, Shimamoto is a nomadic samurai of art able to hit the mark thanks to the intelligent chance of a creative process seeking to pierce the inertia of the world and energise the community of men’\, writes Achille Bonito Oliva. \nThe works on show at the Fondazione Sant’Elia\, from Shimamoto’s early output with the Gutai group to the beautiful explosions of colour of the Campania period\, are of great historical importance. The exhibition also brings his works on paper from the 1950s to the Italian public for the very first time. This retrospective dedicated to the works of Shozo Shimamoto is one of the high points of the many events organised as part of the Palermo Italian Capital of Culture 2018 programme. \n\n \n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 Shozo Shimamoto © photo Amedeo Benestante Courtesy Fondazione Morra\n \n \n \n \n \n Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Spazio nel Tempo\, Fondazione Sant’Elia\, Palermo\, 2018 \nShozo Shimamoto \n© photo Amedeo Benestante \nCourtesy Fondazione Morra\n \n \n\n \n  URL:https://www.fondazionemorra.org/en/evento/shozo-shimamoto-time-rack/ LOCATION:Fondazione Sant’Elia\, Via Maqueda\, 81\, Palermo\, Italia CATEGORIES:Associazione Shōzō Shimamoto ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/shozo-shimamoto-palermo.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180519T210000 DTEND;TZID=Europe/Rome:20180519T230000 DTSTAMP:20260516T051121 CREATED:20201113T180707Z LAST-MODIFIED:20201216T172747Z UID:4472-1526763600-1526770800@www.fondazionemorra.org SUMMARY:LA DIGESTION – musica ascoltata raramente II Edizione DESCRIPTION:May 19th\, 2018\nSTART h. 9:00\nBasilica di San Giovanni Maggiore a Pignatelli\nRampe San Giovanni Maggiore\, Napoli \nh. 7:00 p.m. conversation with Prof. Carmelo Colangelo (Università di Salerno) \nLocation and line up of excellence for the fifth round of “La Digestion – musica ascoltata raramente”\, a festival for the most innovative languages of contemporary sound\, result of the synergy between the Phonurgia and EM-Arts associations and the Morra Foundation. \nThe event of May 19th will see the two masters of the German experimentation in dialog with the magnificent spaces of the Basilica of San Giovanni Maggiore Pignatelli. As in the case of the 3 February event\, the performance will be accompanied by a theoretical moment\, in conversation with the philosopher Carmelo Colangelo\, in an attempt to delve into the meanings that the sound opens\, thanks to its archetypical force that insinuates it in the practices\, in the imaginary\, in the cultures. \nRashad Becker is considered among the most original electronic musicians of the last years\, because he is able to create extremely complex\, but extremely musical sound textures\, which recall deconstructed fanfare and abstract sculptures. In fact\, part of his compositional process consists in translating into music the geometric systems that govern\, for example\, the models of organization of social groups or linguistic models. He is at the same time one of the most respected global sound engineers\, having worked on over 1200 records. Housed in the most prestigious international festivals\, it is for the first time in Naples. \nThomas Köner is a multimedia artist with an unmistakable personality. His music is a cross between ambient and drone\, created from incredible recordings made by the artist in some of the most remote places on the planet\, such as the Arctic Polar Circle or the Amazon Rainforest. The intensity of his music projects the audience into an abysmal\, almost static dimension\, pushing the listening to its most peripheral and primitive regions.\nThe dry and severe poetics of Becker and the lacerated and immersive environments of Koner seem to be suspended at the two opposite vertices of sonic art\, but they find common ground in the power and immersiveness of live performance and echo resonant in the listeners’ experience.\nThe event is realized thanks to the support of the Goethe Institut of Naples\, under the patronage of the City of Naples and the kind concession of the Basilica by Fondazione Ordine degli Ingegneri di Napoli. \nRashad Becker\, is one of the finest thinkers of living sound. \n“Rashad Becker’s work is probably the closest thing we currently have to an overwhelming glance through a break in the fabric of reality” – Brainwashed magazine. \nHis compositions are multi-layered narrations populated by a set of sound entities\, some pleased\, some shy\, some agitators\, others ready to surrender. Often there is a tragic-comic touch\, like a cartoon version of what might be a requiem from a dream (or even a dance of fertility from another dimension).\nThe most recent works include the Traditional Music Of Notional Species cycle\, published in two volumes on PAN and a work in several parts entitled Based On A True Story that draws scores from historical events in a sort of “sound staging”. In this context\, it is currently commissioned by the New York ensemble Alarm Will Sound and the string ensemble Berlin Kaleidoskop.\nRashad is mainly active as a solo artist\, but he is in a series of permanent collaborations alongside Eli Keszler\, Moritz von Oswald and as a member of the Moleglove formation. Other and more sporadic collaborators were Okkyung Lee\, Andre Vida\, Ashley Paul and Valerio Tricoli. \nhttps://soundcloud.com/pan_hq/rashad-becker-dances-vii \nThomas Köner (Bochum\, 1965) is a German musician and artist. \nDuring his studies\, he devoted himself to the intensive research of sound in the recording studio. His first impulse was to avoid the rhythm and the melody and concentrate instead on the phenomenon of the color of the sound. To intensify the sound experience\, he decided to work with other media\, in the beginning collaborating with the film artist Jürgen Reble (Alchemie 1992). Later\, he began composing soundtracks and accompanying old silent films with live electronic music for the Louvre Museum in Paris. Köner’s interest in combining visual and sound experiences to extend the effectiveness of his sound works allowed him to arrive at the installation and led him to collaborate with Max Eastley\, in which the combination of sound sculpture and performance became central. “List Of Japanese Winds” by Max Eastley and Thomas Köner is an installation commissioned by the Hayward Gallery in London. The Center Georges Pompidou commissioned the sound work for an installation by the filmmaker Yann Beauvais.\nAnother field of sound exploration and radical sound design is Köner represented by the club culture\, which Köner considers an ideal platform for intensive and physical listening. His project Porter Ricks\, along with Andy Mellwig\, is acclaimed in the techno world\, with commissions for “Nine Inch Nails” and even a remix of Claude Debussy for Universal Music. \nCarmelo Colangelo works at the Department of Philosophy at the University of Salerno. He was a scholar and assistant at the Faculty of Letters of the University of Geneva. Starobinski has translated the volume Action and reaction. Life and adventures of a couple (Einaudi 2001). He is the author of numerous essays\, including Limite and melancholy. Kant\, Heidegger\, Blanchot (Loffredo 1998)\, as well as articles about Kafka\, Merleau-Ponty\, Canetti\, Bataille\, Levinas\, Maldiney. His latest work The appeal of appearances is dedicated to Jean Starobinski. URL:https://www.fondazionemorra.org/en/evento/la-digestion-musica-ascoltata-raramente-ii-edizione/ LOCATION:Basilica di San Giovanni Maggiore Pignatelli\, Napoli\, Italia CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/locandina_koner-becker_P.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180515T180000 DTEND;TZID=Europe/Rome:20180530T180000 DTSTAMP:20260516T051121 CREATED:20210304T141730Z LAST-MODIFIED:20210304T142107Z UID:5550-1526407200-1527703200@www.fondazionemorra.org SUMMARY:Portflux DESCRIPTION:15th may – 30th may 2018\nOPENING 15 MAGGIO 6:00 p.m.\nArchivi Mario Franco c/o Casa Morra Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nCurated by Loredana Troise \nOpening of the Portflux exhibition\, curated by Loredana Troise\, at the Mario Franco Archives in Casa Morra on Tuesday 15th May 2018 at 6 pm. At the opening of the exhibition\, which is part of ‘Vietato Vietare 1968/2018’ Proiezioni\, incontri\, mostre a cinquant’anni dal 1968 (‘Forbidden to Forbid 1968/2018’ Screenings\, encounters\, and exhibitions fifty years on from 1968)\, there will also be an opportunity to see the documentary ‘Antologia Fluxus’ (by various artists\, 120 min). \nMario Franco\, curator of the review and founder of the Archives\, asks\, \n‘Why a review and an exhibition on the Fluxus collective among the commemorations recalling the events of fifty years ago?’ Because the ‘imagination in power’ of 1968 also meant the meeting and mixing of arts\, techniques\, disciplines\, languages\, and materials\, as well as their liberation from the requirement to produce meaning and to stop narrating the world in a descriptive\, linear\, and complete manner\, starting from a reflection on language\, on ways of narrating\, as the world itself has changed so quickly and profoundly: the metropolises have become a remarkable ‘training grounds’ for a mobile and multiple outlook. An idea of multimediality began to find its way into an awareness of the inadequacy of just one medium\, a single art\, a specific and sectorial technique to represent this plurality of stimuli\, this dense network of interconnections. The Gesamtweldbild (total image of the world) takes up and extends the Wagnerian concept of Gesamtkunstwerk. Fluxus assembles different techniques and materials: collages\, poetic texts\, architecture-sculptures-environments to unbind cultural habits and perceptual automatisms\, to tease out unexplored possibilities from different languages\, attempting to assemble them in a new way\, creating combinations as rich and complex as thought (or the world). An anthology of the movement’s films includes the body-artistic previews of Yves Klein\, moving on to show the origins of the video-art of Nam June Paik with Allen Ginsberg\, Charlotte Moorman\, Alan Schulman\, and the Living Theatre. This is followed by a short concert of music by John Cage on the Holocaust\, the experimental film ‘T.O.U.C.H.I.N.G.’ by Christopher Sharits\, two performances by Joseph Beuys\, George Maciunas (who founded Fluxus\, giving it its name in 1961)\, the Viennese actionism of Günther Brus\, plus John Lennon & Yoko Ono\, and Vito Acconci. \nThe screenings are accompanied by Loredana Troise’s exhibition of graphic works by key artists of the Fluxus movement. \nIn the words of curator Loredana Troise: \n14 extraordinary graphic works making up the Portflux portfolio (Factotum Art edition) and closely connected with the “Forbidden to Forbid 68/18” project are showing at the Mario Franco Archives. An adventurous and unpublished diary of the eye with indefinite boundaries pointing to the restless threshold of the present\, between incarnations and transits\, imagination\, and the re-functionalisation of forms. Sarenco\, Diego Strazzer and Giuseppe Morra came up with the idea for the Portflux collection in the 1980s. It is the result of an intense and unique experience born from intersections\, travels\, and relationships between researchers and fluxeur artists in the eighties: ‘each work in the portfolio’\, explains Giuseppe Morra\, ‘is a chapter born out of a long history of collaboration\, friendship\, and directly shared events: nothing to do with the logic of “making art”\, but freely directed towards emancipated and independent semiotic revisions’. Giving order to a complex and varied visual and emotional itinerary\, rich in sequences and layers of interpretation\, the works\, which are often marked by traces of the tangible (such as Ben Vautier’s key\, Philip Corner’s piano keys\, or Bob Watts’ stamps) show the splendour of a syntactic self-sufficiency perceivable as an uninterrupted and fleeting polyphony that can never be fully documented. Beyond the inclinations of each of the 14 artists represented in the exhibition\, the open structures of Portfluxus experience passages and flexions that preclude any opening towards fabulation or illusionism. Rather\, they reveal the process of happening; the unfolding of the event as a flow and the image – not understood as a ‘fact’ constituted and brought to its conclusion – but as a process in the making\, capable of infiltrating stratified temporalities where we can rediscover the directions in which culture is moving today. We therefore thought of setting up an ‘installation’ similar to a frontier without distracting media and superstructures: one that can be crossed by moving beyond traditional criteria\, with the same spirit of randomness that characterised the movement. In this way\, the Mario Franco Archives\, as well as being a place of study\, documentary analysis\, and research\, prove to be an extraordinary gateway through which we can perceive the changing and metamorphic appearances of time-space. URL:https://www.fondazionemorra.org/en/evento/portflux/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/03/Portfluxdefinitiva.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20180511 DTEND;VALUE=DATE:20180512 DTSTAMP:20260516T051121 CREATED:20210304T142552Z LAST-MODIFIED:20210304T142606Z UID:5552-1525996800-1526083199@www.fondazionemorra.org SUMMARY:Serena Russo. Presentazione del libro Cenere DESCRIPTION:11 maggio 2018\nINIZIO ORE 19:00\nCasa Morra- Sala Shimamoto\nSalita San Raffaele 20/c\, Napoli \nA Palazzo Cassano Ayerbo D’Aragona\, sede di Casa Morra -Archivio d’arte contemporanea\, è stato presentato venerdì 11 maggio 2018 alle ore 19:00 Cenere\, il primo libro della giovane scrittrice napoletana Serena Russo.\nIl piccolo volume intitolato Cenere\, edito nel 2017 dalla Casa Editrice Aletheia\, è una raccolta intima di racconti brevi all’interno dei quali la narrazione\, si intreccia non solo nella quotidianità vissuta dall’autrice\, ma anche in una concatenazione di pensieri\, ricordi\, sogni\, desideri e invenzioni. Per Serena Russo: “Questa non è una semplice raccolta di racconti. Piuttosto una scatola di frammenti di ogni tipo\, che sarà difficile richiudere una volta aperta”. In occasione della presentazione\, moderata da Loredana Troise che dialoga con Serena Russo\, la serata prosegue con un reading tratto da alcuni brani del libro letti da Simona Cocchia e Angelo Trifari e da un intermezzo musicale di Julia Primicile Carafa (clarinetto\, chitarra e voce) e Belardino Cerabona (violino). \nSerena Russo (Napoli\, 1984) laureata in lingue e letterature comparate presso l’Orientale di Napoli\, ha inoltre conseguito un dottorato in cinema e letteratura presso l’Università di Granada\, in Andalusia. Attualmente lavora a Valencia\, in Spagna\, come insegnante di inglese e di italiano per stranieri. Scrive recensioni di film e libri per vari siti web. Cenere è la sua prima raccolta di racconti. URL:https://www.fondazionemorra.org/en/evento/serena-russo-presentazione-del-libro-cenere/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/03/CENERElocandina.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180417T120000 DTEND;TZID=Europe/Rome:20180519T190000 DTSTAMP:20260516T051121 CREATED:20201116T103327Z LAST-MODIFIED:20201216T173447Z UID:4475-1523966400-1526756400@www.fondazionemorra.org SUMMARY:Cesare Pietroiusti - Scuola del disegno e della pittura in assenza di talento DESCRIPTION:April 17th  – May 19th\, 2018\nOPENING APRIL 17th h. 12:00 a.m.\nCasa Morra – Archivio d’Arte Contemporanea\nSalita San Raffaele 20/C\, Napoli \nWe inaugurate at Casa Morra the new workshop and exhibition project conceived and coordinated by the artist Cesare Pietroiusti.\nThe School of drawing and painting in the absence of talent\, in collaboration with the Academy of Fine Arts in Naples\, consists of a project that retrospectively retraces elements of Pietroiusti’s artistic research\, and will be composed of two distinct yet related moments: a performance-workshop and a conclusive exhibition.\nThe workshop\, with the participation of a group of students from the Academy of Fine Arts of Naples\, will consist in retracing the techniques that Cesare Pietroiusti used (between 1982 and 1986) to realize his first (and almost only) pictorial works\, starting from the preparation of the canvases and leading to the copying of images projected through slides\, creating the new works in the most faithful way possible to the originals.\nThe students will also be able to design and realize one or more series of large quantities of drawings made with heterodox techniques and materials (fire\, beer\, salt water\, etc.)\, according to methods already used by the artist for “free productions and distributions” of drawings since 2005.\nAll the works realized will be the object of the final exhibition.\nThe performing workshop and the exhibition will follow each other temporally on the monumental staircase\, and in the adjacent spaces\, of the Palazzo Cassano Ayerbo D’Aragona – Casa Morra. The public will be able to appreciate the different phases of work and\, in particular: \nfrom 17 to 24 April 2018\, from Tuesday to Friday from 12 a.m. to 7 p.m.\nPerforming workshop School of drawing and painting in the absence of talent\nwith the students of the Academy of Fine Arts of Naples \nfrom 25 April to 19 May 2018\, from Tuesday to Friday from 10 a.m. to 5 p.m.\nFinal exhibition of the School of drawing and painting in the absence of talent \nCasa Morra is thus transformed into a theater of operations similar to a factory: a multifocal situation is put in place\, in which the different tasks occur simultaneously in distinct points of the space\, underlining the natural performative vocation of the staircase itself. \nOn the School of drawing and painting in the absence of talent\nIn addition to the laboratory and performative elements\, Cesare Pietroiusti addresses the theme of the retrospective in a lateral way\, reflecting on how it might be possible to operate on the history of one’s artistic career without having to exhume one’s works of the past in a conventional or fetishistic way. While facing the taboo of remaking a work of another time\, the artist proposes a new interpretation of the concept of contemporaneity that\, in a dialectical re-examination with the past\, becomes the simultaneous and convergent presence of different times and meanings. The author’s hand tends to disappear\, in an operation where one contemplates the non-necessity\, for an artist\, to possess a talent that can be expressed with a manual and technical skill. On the other hand\, this project reflects the same lack of talent of Pietroiusti himself\, which\, in his time\, led him to use a slavish way of copying slide projections onto canvas and paper. \nWith the participation of: Eleonora Alabiso\, Cristiana Amato\, Gianmarco Biele\, Elsa Bigliardo\, Laura Bonito\, Antonella Calabrese\, Elena Chirico\, Enrica Rosi Crispo\, Maria Teresa De Cristofaro\, Luisa De Donato\, Giovanni Ferrara\, Sara Fiorentino\, Valeria Gentile\, Francesca Iovane\, Natalya Savino Kochetova\, Valentina Manzo\, Emanuela Palmieri\, Roberta Passaro\, Chiara Perna\, Alessandro Piromallo\, Chatrin Ponticelli\, Gianmarco Trotta\, Maria Ulino\, Aurora Vivenzio\, Huang Yuan\, Haoran Zhou.\nCesare Pietroiusti Born in Rome in 1955\, he began his artistic research in 1977\, when he started working in Sergio Lombardo’s Jartrakor Study Center\, actively participating in the definition of an ‘eventualist’ art. In the second half of the eighties\, together with Salvatore Falci\, Stefano Fontana\, Pino Modica and Domenico Nardone\, he gave life to the experience of the Gruppo di Piombino which saw\, about a decade before the birth of ‘relational’ art\, the involvement\, through an aesthetic stirring\, of an unconscious public. Since then he has founded and coordinated research centers and residency programs\, conferences and experimental laboratories. He has exhibited in private and public spaces\, either official or unofficial\, in Italy and abroad. In 1997 he published\, with the Edizioni Morra\, Non-functional Thoughts\, a collection of about one hundred apparently absurd ideas\, formulated as precise instructions for the realization of artistic projects. In the first decade of the 21st century his work focused on the theme of exchange and on the paradoxes that may lie within the western social system\, underlining in particular the peculiarity of the money-commodity economic relationship. Since 2004 he has distributed tens of thousands of autographed drawings for free\, sold stories\, ingested banknotes at the end of public auctions and then returned them to the rightful owner after their excretion\, organized gastronomic evenings where at the end of lunch the public was paid\, set up exhibitions where the works were sold in exchange for ideas and not for money. Among others\, he exhibited his works at: Art in General\, New York (2001); Ikon Gallery\, Birmingham (2007); Athens Biennial (2009); MAXXI\, Rome (2010); Moscow Museum of Modern Art (2011)\, Hayward Gallery\, London (2012)\, Sandretto Foundation\, Turin (2014)\, Bozar\, Brussels (2014)\, Maga\, Gallarate Museum (2016)\, Kunstverein Arnsberg (2016)\, and was co-curator of the exhibition “Sensibile Comune. The living works”\, GNAM\, Rome (2017). From 2004 to 2015 he was a Visual Arts visiting professor at the IUAV in Venice and\, from 2009 to 2016\, MFA Faculty at Lesley University\, Boston. Two years ago\, as a member of the collective “Lu Cafausu”\, he gave life to the Lac or Le Mon Foundation (San Cesario di Lecce).\n\n \n \n \n \n \n \n Scuola del disegno e della pittura in assenza di talento\, Casa Morra\, 2018 \n \n \n \n \n \n Scuola del disegno e della pittura in assenza di talento\, Casa Morra\, 2018 Cesare Pietroiusti © photo Jacopo Seri Courtesy Fondazione Morra\n \n \n \n \n \n Scuola del disegno e della pittura in assenza di talento\, Casa Morra\, 2018 Cesare Pietroiusti © photo Jacopo Seri Courtesy Fondazione Morra\n \n \n \n \n \n Scuola del disegno e della pittura in assenza di talento\, Casa Morra\, 2018 Cesare Pietroiusti © photo Jacopo Seri Courtesy Fondazione Morra\n \n \n \n \n \n Scuola del disegno e della pittura in assenza di talento\, Casa Morra\, 2018 Cesare Pietroiusti © photo Jacopo Seri Courtesy Fondazione Morra\n \n \n \n \n \n Scuola del disegno e della pittura in assenza di talento\, Casa Morra\, 2018 Cesare Pietroiusti © photo Jacopo Seri Courtesy Fondazione Morra\n \n \n\n  URL:https://www.fondazionemorra.org/en/evento/cesare-pietroiusti-scuola-del-disegno-e-della-pittura-in-assenza-di-talento/ LOCATION:Casa Morra – Archivio d’Arte Contemporanea\,  Salita S. Raffaele\, 20C\, Napoli\, 80136\, Italia CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/Cesare-Pietroiusti_ph-Ivo_Corra_2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180331T180000 DTEND;TZID=Europe/Rome:20180331T230000 DTSTAMP:20260516T051121 CREATED:20201116T145448Z LAST-MODIFIED:20210304T134342Z UID:4478-1522519200-1522537200@www.fondazionemorra.org SUMMARY:La Digestion - musica ascoltata raramente II Edizione DESCRIPTION:March 31st\, 2018\nh. 6:00 p.m.\nCimitero delle Fontanelle\nVia Fontanelle\, 80 – Napoli \nInstallation/performance by Rie Nakajima & Pierre Berthet [JP/BE] \nh. 9:00 p.m.\nChiesa di San Giuseppe delle Scalze\nSalita Pontecorvo\, 65 – Napoli \nMinor Tom (MichałLibera\, Hilary Jeffery\, Gianpaolo Peres) [PL/UK/IT] play Ted Hughes’ Snow\nDavid Toop [UK] \nContinue the journey through the most evocative places of the city of Naples for the fourth appointment of La Digestion – musica ascoltata raramente\, festival dedicated to the innovative languages ​​of contemporary sound art\, and realized by the synergy between the Phonurgia association\, the Morra Foundation and the EM Arts cultural association.\nThe day of March 31 will feature a double musical event that will animate\, in the afternoon\, the magical Cimitero delle Fontanelle\, in the Sanità district\, and in the evening the beautiful Church of San Giuseppe delle Scalze\, in Montesanto\, with the unmissable concert of David Toop\, member of the legendary Flying Lizards\, milestone of the most creative and eclectic European new wave\, and now a refined experimenter and sound theorist.\nThe “thread” of this imaginary and real journey will be the “sound objects”. Mysterious and organic objects used by Rye Nakajima and Pierre Berthet that\, between the tunnels and bones of the Cimitero delle Fontanelle\, will play Dead Plants / Living Objects\, sound installation and performance in which\, in between vibrations and evocations\, inorganic matter comes to life through the sound. In the evening will be the everyday objects to enliven the Chiesa delle Scalze\, transforming\, in the expert hands of David Toop\, into original and polysemic electroacoustic sound sources. The English master\, already partner of Brian Eno and collaborator of the biggest names of improvisation\, from Derek Bailey to Evan Parker\, from Hugh Davies to John Zorn\, has developed\, during his forty years of career\, a poetic and deep musical language\, made of found objects\, small instruments\, field recordings and transverse flute\, to transform listening into an event of inner discovery. Finally\, objects of a memory not too distant but full of nostalgia\, those of rural Calabria\, will be evoked by the words of the English poet Ted Hughes\, translated in music by the trio Minor Tom. The poetry “Snow”\, inspired by the songs of the swordfishermen documented by the ethnomusicologist Alan Lomax in 1954\, becomes the material for the composition of a “live” radio drama\, thanks to the work of Polish musician Michał Libera accompanied by trombonist Hilary Jeffery and by vocalist Gianpaolo Peres.\nThree variations of sound poetry\, three unique moments between musicality\, language and gesture\, able to creep in there where listening meets with the thought\, opening up new meanings and intense experiences.\nIt is the will of the festival to inscribe the performative moment in a more complete education and reflection activity\, that leaves lasting traces on the city’s territory. To this end on March 30th the artist David Toop will be protagonist of a live radio conversation (open to the audience) and in the afternoon will lead a workshop dedicated to listening entitled “Listening is Intimacy” at Casa Morra. The workshop\, whose cost is 10 euros\, is open to musicians of any instrument and level. For information and reservations: info.phonurgia@gmail.com\nThe event is organized thanks to the moral patronage of the City of Naples\, which has granted the use of the Fontanelle Cemetery\, and thanks to the collaboration with the Associazione Le Scalze\, which for years has been carrying out the activities of the Church of San Giuseppe delle Scalze in Montesanto. \nDavid Toop [UK]\nDavid Toop (born 1949\, Enfield) has been developing a practice that crosses boundaries of sound\, listening\, music and materials since 1970. This practice encompasses improvised music performance\, writing\, electronic sound\, field recording\, exhibition curating\, sound artinstallations and opera. It includes seven acclaimed books\, including Rap Attack (1984)\, Ocean of Sound (1995)\, Sinister Resonance (2010) and IntotheMaelstrom (2016)\, the latter a Guardian music book of the year\, shortlisted for the Penderyn Music Book Prize.\nBriefly a member of David Cunningham’s pop project The Flying Lizards in 1979\, he has released thirteen solo albums\, from New and Rediscovered Musical Instruments on Brian Eno’s Obscure label (1975) and Sound Body on David Sylvian’s Samadhisound label (2006) to Entities Inertias Faint Beingson Lawrence English’s ROOM40 (2016). His 1978 Amazonas recordings of Yanomami shamanism and ritual were released on Sub Rosa as Lost Shadows (2016).\nIn the early 1970s he performed with sound poet Bob Cobbing\, butoh dancer Mitsutaka Ishii\, artist Marie Yates\, poet/performer Carlyle Reedy and drummer Paul Burwell\, along with key figures in improvisation\, including Derek Bailey\, Evan Parker\, Georgie Born\, Hugh Davies\, John Stevens\, Lol Coxhill\, Frank Perry and John Zorn.In recent years he has returned to collaborative performance\, working with many artists and musicians including Rie Nakajima\, Akio Suzuki\, Aki Onda\, Max Eastley\, Tania Chen\, John Butcher\, Ken Ikeda\, Elaine Mitchener\, Henry Grimes\, Sharon Gal\, Camille Norment\, Sidsel Endresen\, Alasdair Roberts\, Thurston Moore\, Extended Organ (with Paul Mc Carthy and Tom Recchion) and a revived Alterations\, the iconoclastic improvising quartet with Steve Beresford\, Peter Cusack and Terry Day first formed in 1977. He has also made many collaborative records\, including Buried Dreams and Doll Creature with Max Eastley\, Breath Taking with Akio Suzuki\, Skin Tones with Ken Ikeda and co-productions (with Steve Beresford) for Frank Chickens\, the 49 Americans and Ivor Cutler.\nMajor sound art exhibitions he has curated include Sonic Boom at the Hayward Gallery\, London (2000) and Playing John Cage at the Arnolfini Gallery\, Bristol (2005-6). In 2008\, a DVD of the Belgian film – I Never Promised You a Rose Garden: A Portrait of David Toop Through His Records Collection – was released by Sub Rosa\, and in 2017 his autobiography – Flutter Echo: Living Within Sound – was published by Du Books in Japan. His most recent record release is Dirty Songs Play Dirty Songs\, released on Audika in October 2017.\nHe is currently Professor of Audio Culture and Improvisation at London College of Communication.\nhttps://davidtoopblog.com/\n \n  \nHilary Jeffery\, trombone\nGianpaolo Peres\, voice\nMichal Libera\, concept\, reading\nThe piece is a musical setting for Ted Hughes’ “Snow”. It is based on a single swordfisherman’s call of Vincenzo Puntillo recorded in 1954 by Alan Lomax in Scila (Calabria). I too don’t fully understand the connection.\nMichal Libera is a music curator and dramatist working on sound settings for more or less literary stories. Hilary Jeffery and Gianpaolo Peres started working together on Minor Tom in January 2016 in the wake of David Bowie’s departure. Their music plumbs the depths of blues and treads the lesser known path of dhrupad in a futuristic synthetic setting. Together with Michal Libera they have developed a new performance “Snow” for the occasion of  La Digestion Festival in Chiesa delle Scalze on 31 March 2018\, which will be their stage debut. Further performances as well as a release on Silent Records are planned for the near future.\nhttps://soundcloud.com/michal_libera\n \n  \nPierre Berthet & Rye Nakajima [BE/JP]\nArtists that move on the border between music\, installation and performance; their work will be organically implanted in the fascinating setting of the Fontanelle Cemetery\, in a game of resonance\, vibrations and evocations. Their project with the evocative title “Plantesmortes set objects vivants” is an attempt to relate to the soul of things by listening to their sound. Their work has been presented in festivals\, museums and art places all over the world.\nhttp://pierre.berthet.be URL:https://www.fondazionemorra.org/en/evento/la-digestion-musica-ascoltata-raramente-ii-edizione-2/ LOCATION:Chiesa San Giuseppe delle Scalze\, Salita Pontecorvo\, 65\, Napoli\, Italia CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/LA-DIGESTION-31-MARZO-2018-POSTER.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180301T183000 DTEND;TZID=Europe/Rome:20180330T183000 DTSTAMP:20260516T051121 CREATED:20210304T145251Z LAST-MODIFIED:20210304T145456Z UID:5572-1519929000-1522434600@www.fondazionemorra.org SUMMARY:The Yellow Truck DESCRIPTION:1st march – 30th march 2018\nOPENING 1st MARCH 6:30 p.m.\nArchivi Mario Franco c/o Casa Morra Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nCurated by Chiara Reale \nThe Yellow Truck\, a photographic exhibition by Robert Herman\, curated by Chiara Reale\, opens on Thursday 1st March 2018\, at 6:30pm\, at Casa Morra – Archivi Mario Franco together with the new film festival curated by Mario Franco entitled ‘Il Cinema allo Specchio’ focusing on ‘film talking about film’. \nRobert Herman is one of New York’s most important contemporary street photographers\, with photographs and publications on show in numerous key American and European art galleries. \nThis totally new exhibition\, ‘The Yellow Truck’\, brings together 20 photographs narrating the production phases of ‘Vigilante’\, a B Movie set and produced in New York in the 1980s. The shots on show in the exhibition are dedicated to the many professionals who work hard to ensure that the machine of cinema keeps rolling; people who never come to the fore but always\, and inevitably\, remain but rapidly scrolling names among the credits. \nThe short film ‘Story for Lisa’ 2 (USA\, 1979\, 16mm Colour/Black and White\, 14 mins)\, written and directed by the artist\, helps the viewer enter Herman’s world and gain a better understanding of what he means by ‘film making’. \nAs the curator of the exhibition\, Chiara Reale\, explains: ‘the narrative characteristics of Robert Herman’s photography are very close to those of the language of film\, a language that the artist began to learn from an early age. Herman grew up in Brooklyn amid the dusty armchairs and the smell of celluloid in his father’s small arthouse cinema where he began his education by watching the films of Antonioni\, Fellini\, and Rafelson. He enriched and later consolidated his studies at the New York University Film School\, where his experience would have a decisive impact on the development of his aesthetic code\, discernible in his photography to the present day. \nIn ‘The Yellow Van’\, the indissoluble link between cinema and the artist’s photography is addressed openly\, revealing the points of tension and the raw nerves in this relationship. The exhibition consists of shots taken by Robert Herman\, a street photographer who lives and works in New York\, during the production of Vigilante\, a B movie for which not all the people involved would end up being paid\, with backstage shots and stills that tell the story of an almost atavistic love for a world that was\, to cite Herman himself\, his ‘life and salvation\, with all its distortions’. \nHis goal to reveal the darker sides of the film ‘establishment’ is set in motion at the ‘Il Cinema allo Specchio’ film festival: 14 films will be screened every Wednesday and Thursday evening from March 1st to April 26th  starting on March 1st after the opening of the exhibition with Wim Wenders’ ‘Alice in the Cities’. Entry to the Archives and screenings is free and open until all places are taken. \nThe curator of the exhibition\, Mario Franco\, explains that the ‘so-called “metacinema” is cinema that shows and talks about itself and describes how its organisation\, the production processes\, and the economics of film actually work; it recounts the evolution of its history. It is a type of cinema that\, in appearance\, decides to uncover the deception\, to reveal the trick\, behind every film. Of course\, many great filmmakers have reflected on their work\, on beauty\, but also on the compromises and existential crises of their work. (Godard with Contempt\, Fellini with 81/2\, Truffaut with Day for Night). \nFilms set in the world of cinema also include works dedicated to its rudimentary beginnings as an industry (Nickelodeon) or those set in the Hollywood of the late 1920s\, when the first talkies came out\, and silent actors feared for their careers in one of the most significant moments in the history of film production\, at a time when expressive gesture was becoming obsolete in the face of the possibilities offered by sound. It is interesting to note how Singing in the rain (1952) exploits the potential of sound and Technicolor\, while The Artist resurrects black and white for a silent film that focuses entirely on the soundtrack\, even in 2011. But in homage to Herman’s photographs documenting a B movie whose workers and actors went unpaid\, and that was interrupted due to production problems\, here is a film\, The state of things\, where Wenders tells a similar story\, or Burton’s Ed Wood\, that tells the story of the strange career of the ‘worst director in the history of cinema’\, a grotesque hymn in praise of ugliness that invites us to reflect on film genres and sexual ambiguity and to abandon any prejudice as we ask ourselves what can legitimately be defined ‘art’. Another film dedicated to Robert Herman\, raised in the cinema run by his father\, is The last picture show by Peter Bogdanovich\, a young critic in the 1970s in love with the cinema and its legendary characters. It is also dedicated to the city of New York to which Herman devoted much of his photographic work. \nIn the tradition of our Archives\, which have the habit of showing films that are difficult to see elsewhere\, we will also show a hitherto unseen image of New York in a performance by Steve Reich\, a homage to its streets and the sounds of the Big Apple. Reich is one of the fathers of minimalism\, winner of the 2009 Pulitzer Prize and the 2014 Golden Lion at the Venice Music Biennale. Reich dedicates his music to Manhattan and then leads us to the rehearsals and finally to the theatre performance. This too is a metalinguistic discourse\, focused on the very act of composing: an ‘emotional’ point of view that ‘shows itself showing’ and ‘looks at itself looking’. Self-reflection\, that may be summarised in the idea that creation can question itself on the very nature of the creative act\, is typical of modernity\, perceived as an integral part of producing meaning in literature\, theatre\, painting\, and cinema. URL:https://www.fondazionemorra.org/en/evento/the-yellow-truck/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2021/03/invito-conferenza-stampa.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20180203T210000 DTEND;TZID=Europe/Rome:20180203T230000 DTSTAMP:20260516T051121 CREATED:20201216T183003Z LAST-MODIFIED:20201216T183814Z UID:4495-1517691600-1517698800@www.fondazionemorra.org SUMMARY:La Digestion - musica ascoltata raramente II Edizione DESCRIPTION:February 3rd\, 2018\nSTART h. 9:00 p.m.\nCasa Morra Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nOtomo Yoshihide [JP] and Elio Martusciello [IT] \nAt 6:00 p.m. conversation with Prof. Carlo Serra (Università della Calabria) \nContinues the second edition of “La Digesiton – musica ascoltata raramente”\, a festival that explores the most innovative languages ​​of contemporary sound art\, result of the synergy betweenthe Phonurgia and EM-Arts associations and the Fondazione Morra.\nThe event of February 3 will constitute the attempt to establish a new format\, in which the musical moment will be accompanied by a theoretical one\, in the will to think of sound as a fundamental instrument of individual and social construction.\nThe protagonists of the day will be the performer Otomo Yoshihide\, the master Elio Martusciello and the philosopher of music Carlo Serra.\nThe afternoon conversation with the latter will be a reflection on the centrality of listening in the processes of contemporary subjectivation\, an argument that feeds on the practices of the two musicians who will perform in the evening in the splendid setting of Casa Morra.\nYoshihide explores the dimension of the production and transformation of live sound\, through the use of hacked and “played” turntables in an unconventional manner\, taking the risks of creating a sound whose nature is unpredictable\, Martusciello focuses on the relationship of sound with space\, time and the individual. As Martusciello himself explains: «To develop listening means to question oneself\, to deconstruct one’s listening perspective\, to widen one’s space-time horizon. The ear is configured as the sense of hospitality and acceptance\, an instrument of openness and transcendence ». Here is the practice of improvisation with its social implications\, its ability to produce community connects and participates in the philosophy of hospitality.\nTo think of sound as something not given\, but to create and discover continuously in community and which suggests union\, ultimately means thinking of oneself as essentially “in relation”. \nOtomo Yoshihide [Japan]\, one of the most important living improvisors\, collaborator among others of Luc Ferrari\, JimO’Rourke\, ButchMorris\, Ryuichi Sakamoto\, founder of the seminar projects of the 90s Ground Zero and ISO and the ONJO (Otomo New Jazz Orchestra) . He uses turntables as the main tools to eclipse sound materials in an eclectic and ultra-dynamic way\, as well as to produce sounds in an unconventional way. Taking advantage not only of vinyls\, but also of metal objects\, spring systems\, electrical short-circuits and feedback\, Otomo operates a detournement of the sound device that allows him to produce live manipulations\, montages\, cut-ups typical of concrete studio music ; an operation of hacking not only towards the instruments but towards the sound itself\, freed from the cages of the form and exploded in a thousand directions.\nAlso active as a composer of soundtracks and experimenter at 360 degrees\, his voice is unique in the international music scene\, capable of revolutionizing both concrete and electro-acoustic music\, as well as improvisation and free-jazz; among the initiators of the legendary Japanese noise movement\, it is also in that context a unique example of contamination between visceralness\, research\, extremism and elegance. \nLuc Ferrari said of him: “Finally\, men like Otomo Yoshihide … when I heard him the first time\, he was making music that was concrete\, but in real-time. – what we were doing in the studios 50 years ago “.\nhttp://otomoyoshihide.com/en/\n \n \nElio Martusciello (Napoli\, 1959) is a musician\, composer and teacher of electronic and electroacoustic music. Considered among the greatest Italian exponents of experimental music\, for years he has been directing his research to a careful analysis of sound and its relations with space\, time and the individual. He teaches electronic music at the San Pietro a Majella Conservatory of Naples.\nHe has presented works at GRM (Paris)\, at Synthèse (Bourges)\, at Henie Onstad Arts Center (Oslo)\, at PAN aroma (São Paolo do Brasil) and has collaborated with experimental musicians and composers such as: Alvin Curran\, Thomas Lehn\, Jerome Noetinger and various others.\n \nCarlo Serra (Milano\, 1959) Researcher at the University of Calabria\, where he teaches Aesthetics and Philosophy of Music\, he graduated in philosophy on the relationship of Giovanni Piana with a thesis on The conception of musical space in the thought of Jacques Chailley. From the year 2001 to the year 2008 he was Coordinator of the Permanent Seminar of Philosophy of Music. Also until 2008 he was the director of the series “Il Dodecaedro”\, with Giovanni Piana\, Paolo Spinicci and Elio Franzini. URL:https://www.fondazionemorra.org/en/evento/la-digestion-musica-ascoltata-raramente-ii-edizione-4/ LOCATION: Salita S. Raffaele\, 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/3-Febbraio-2018-otomo_hi.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20171129T190000 DTEND;TZID=Europe/Rome:20180222T190000 DTSTAMP:20260516T051121 CREATED:20201117T114521Z LAST-MODIFIED:20210223T141315Z UID:4481-1511982000-1519326000@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - ANAMORPHOSIS\, CONTAMINATIONS\, BETRAYALS DESCRIPTION:November 29th\, 2017 – February 22nd\, 2018\nSTARTS PROJECTIONS 7:00 p.m.\nArchivi Mario Franco c/o Casa Morra Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Napoli \nFilm has always formed its language through a process of interrelationships with literature and pre-existing theatrical\, musical\, and pictorial forms in original and innovative ways. ‘Contamination’ between different expressive spheres must not allow us to forget that a film should be considered as a work in itself\, moving beyond the concept of ‘fidelity’ or ‘betrayal’ of the original work. Rather\, we can speak of an anamorphosis\, a distortion of perspective that modifies and allows a warped vision but brings innovative and often illuminating perceptions. (Like the new reading\, for example\, of Cortàzar’s story in Antonioni’s vision in Blow Up). Anamorphosis\, then\, is a conjugation of perspectives\, an exploration of semantics\, like Epstein’s film versions of Poe’s short stories\, the alleged duel between Mozart and Salieri as presented in Forman’s film\, Welles’ dizzying Baroque in Kafka’s ‘The Trial’\, etc….. \nDownload the program URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-anamorphosis-contaminations-betrayals/ LOCATION:Casa Morra\, Salita San Raffaele 20C\, Napoli\, 80136 CATEGORIES:Casa Morra ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/07/foto1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20171124T210000 DTEND;TZID=Europe/Rome:20171124T230000 DTSTAMP:20260516T051121 CREATED:20201117T105336Z LAST-MODIFIED:20201216T184942Z UID:4499-1511557200-1511564400@www.fondazionemorra.org SUMMARY:La Digestion - musica ascoltata raramente II Edizione DESCRIPTION:November 24th\, 2017\nOPENING DOORS AT 8:00 p.m. STARTING AT 9:00 p.m.\nChiesa di San Giuseppe alle Scalze\nSalita Pontecorvo 65\, Napoli \nFrancisco Meirino [CH] + Kanaka [IT] \nLa Digestion- musica ascoltata raramente is pleased to announce the opening of the second season\, after the first year’s success characterised by innovation and experimentation. The festival\, a result of the synergy between the cultural no profit associations Phonurgia and E-M Arts and the Fondazione Morra\, gives attention to the most innovative languages of contemporary sound art focusing\, for this edition\, on the relation amid sound and space. During the six events of the festival\, that occur between November 2017 and June 2018\, some Neapolitan locations\, among the oldest\, hidden and unconventional places\, will be rediscovered and reinterpreted through the sound-works of international artists\, thus becoming a performing scene to establish contact with the local and the international music culture\, between listeners and architectural environments. \nFrom the psycho-acoustics by Florian Hecker to the sound sculpture by Thomas Koner\, from OtomoYoshihide’s detournement of turntables to electroacoustics objects by David Toop\, and to audio environment/performance by Pierre Berthet and Rye Nakajima planned in the mysterious Cimitero delle Fontanelle\, La Digestion second edition takes a course in the contemporary experimentation by exploring the power of sound\, that becomes concrete\, physical and sensitive. Significant for the incisiveness of the festival\, for the willingness to establish solid relations with the city’s cultural life\, is the patronage granted by the Comune di Napoli\, as well as the partnership with the Goethe Institut and with the Pro Helvetia Swiss Foundation for culture. \nAfter the incredible preview by master William Basinski in the reopened Chiesa di San Potito\, the official launch of the second exciting edition is Friday\, November 24th with the powerful electronic textures by swiss musician Francisco Meirino and the futuristic audio-video by italian Kanaka\, set in the suggestive Chiesa San Giuseppe alleScalze in Montesanto district\, thanks to the collaboration of Associazione Le Scalze. \nA video-mapping work and an immersive sound landscape by Kanaka group revive the wonderful architecture of the church\, and to follow Francisco Meirino proposes a powerful and dynamic quadriphonic live set that combines sound impact and incredible richness of detail. \nThe poetry of the swiss composer is\, in fact\, absolutely original: particularly concerned with the malfunctions of electronic equipment\, Meirino operates a special recording and composition work of the sounds generated by these desuete machines\, highlighting the collapse of a world only apparently dominated by technological efficiency. Thanks to its originality and its incredible handling and composition of the most diverse soundtracks\, Francisco Meirino is one of the most important sound artists of the experimental music landscape\, appreciated in festivals all over the world. \nLa Digestion second edition has among its many aims the dedication to offer the public the opportunity to approach a kind of music rarely heard\, and not only through performance evenings but also through meetings devoted to engaged listening and conferences with theorists and specialists of this language. Artists in mini-residence have also the chance to wander among the historic stones of Naples\, in order to familiarize with the Neapolitan structures and\, thus\, create a specific setting for audio performance. Workshops\, labos and radio interviews will also be elements of a one-year work that aims to mark new pathways into city’s cultural life.\nThis innovative and multidisciplinary format would offer unique sound experiences\, plunging into a search for a “concrete music” that\, recognised in international context\, has trouble to establish itself in the city. The invitation is to tune into a music to be heard with body and mind\, a music to be entertained with astonishment\, a music to be digested URL:https://www.fondazionemorra.org/en/evento/la-digestion-musica-ascoltata-raramente-ii-edizione-3/ LOCATION:Chiesa San Giuseppe delle Scalze\, Salita Pontecorvo\, 65\, Napoli\, Italia CATEGORIES:Casa Morra,Museo Nitsch ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/24-11-2017-la-digestion_LOCANDINA-MEIRINO-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20171014T190000 DTEND;TZID=Europe/Rome:20171123T190000 DTSTAMP:20260516T051121 CREATED:20201117T120302Z LAST-MODIFIED:20210223T141245Z UID:4503-1508007600-1511463600@www.fondazionemorra.org SUMMARY:Archivi Mario Franco - Sogni Incubi Deliri DESCRIPTION:October 14th – November 23rd\, 2017\nSCREENINGS START AT 7:00 p.m.\nArchivio Mario Franco c/o Casa Morra Archivio d’Arte Contemporanea\nSalita San Raffaele 20/c\, Naples \nFondazione Donnaregina per le arti contemporanee\, as part of PROGETTO XXI (ed.2017\, realized within the framework of the project Itinerari del Contemporaneo – Confronti\, promoted and financed by Regione Campania) presents SOGNI INCUBI DELIRI\, the first film review from the Mario Franco Archives\, curated by Mario Franco\, and realized in collaboration with Fondazione Morra\, at the headquarters of Casa Morra – Archivio D’Arte Contemporanea in salita San Raffaele 20 c\, Naples. URL:https://www.fondazionemorra.org/en/evento/archivi-mario-franco-sogni-incubi-deliri/ 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/Sogni-Incubi-Deliri-Rassegna-Cinematografica_-Archivi-Mario-Franco-L-age-d-or.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20170705T190000 DTEND;TZID=Europe/Rome:20170722T190000 DTSTAMP:20260516T051121 CREATED:20201117T124340Z LAST-MODIFIED:20201216T190640Z UID:4507-1499281200-1500750000@www.fondazionemorra.org SUMMARY:Hamza Halloubi - How Far is Far? DESCRIPTION:July 5th  –  July 22nd 2017\nOPENING JULY 5th h. 7:00 p.m.\nSala Conferenze del Museo Hermann Nitsch \nVico Lungo Pontecorvo 29/d\, Napoli \nCurated by Alessandra Troncone \nThe opening of the solo exhibition How Far is Far? by Hamza Halloubi\, curated by Alessandra Troncone\, will take place at the Hermann Nitsch Museum in Naples at 7.00 pm on Wednesday\, 5th July 2017. The exhibition has been organized in conjunction with a residency by the artist at Casa Morra in Naples and will present a selection of videos for the first time in Italy. \nThe work of Hamza Halloubi (born in Tangier\, 1982\, currently living in Brussels) encompasses both personal and historical narration using video as a fluid medium\, able to condense reality into images and stories that fluctuate between the factual and the poetic. In his works\, highly complex topics such as exile\, the silences of history\, and the relationship between art and politics are addressed from a personal point of view. Their concreteness can be felt\, but never occupies the foreground.  A constant in his work is the feeling that something is missing\, producing an atmosphere of suspension as the artist’s voice guides us through stories where private memories\, historical events\, and existential questions flow together into one narrative. \nThe exhibition has been conceived specifically for the spaces within the Museo Hermann Nitsch and will contain older as well as more recent videos. The entire project is built up around the polarity between static elements and movement\, between horizontality and verticality\, to create one whole and new narrative. The videos will include To Leave (2011)\, a powerful image of a departure filmed in Tangier\, the artist’s hometown\, and Letter to Aura (2012)\, also shot in Morocco; here\, a wall seen from a window is the starting point for a reflection on emigration and limitations placed on free movement. \nHamza Halloubi (Tangier\, 1982) studied at La Cambre in Brussels\, where he currently lives. He took part in a residency programme at the Rijksakademie van beeldendekunsten in Amsterdam (2015-2017). He has also held solo exhibitions at the Museum De Pont in Tilburg\, the c-o-m-p-o-s-i-t-e in Brussels\, KIOSK in Ghent\, and the BOZAR- Palais des Beaux-Arts in Brussels\, among other venues. He has participated in many group exhibitions\, such as the Marrakech Biennale 5 (2014)\, the Thessaloniki Biennial (2015)\, the Close-Up exhibition at the EYE Filmmuseum in Amsterdam (2016)\, and the exhibition In the Belly of the Whale at the Witte de With in Rotterdam (2016)\, among others.\n  URL:https://www.fondazionemorra.org/en/evento/hamza-halloubi-how-far-is-far/ 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/Hamza-Halloubi.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20170622T200000 DTEND;TZID=Europe/Rome:20170624T200000 DTSTAMP:20260516T051121 CREATED:20201117T151406Z LAST-MODIFIED:20201216T205706Z UID:4515-1498161600-1498334400@www.fondazionemorra.org SUMMARY:INDEPENDENT FILM SHOW 17th Edition DESCRIPTION:June 22nd  – June 24th\, 2017\nSTARTING PROJECTIONS AT 8:00 p.m.\nMuseo Hermann Nitsch \nVico Lungo Pontecorvo 29/d\, Napoli \nINDEPENDENT FILM SHOW 17th edition\, an international show dedicated to independent experimental cinema\, coordinated by Raffaella Morra\, organised by E-M ARTS associazione culturale\, takes place on June Thursday 22nd\, Friday 23rd and Saturday 24th 2017 at the Museo Nitsch programming the screening of three 16mm films programs and three expanded cinema performances. Since 2001\, the Independent Film Show projects the most progressive film experiences\, acting as a cultural propeller for the development of mentalities sensitive to complex perceptual phenomena\, beyond the rigid visual and auditory rules.\nINDEPENDENT FILM SHOW 17th edition’s characteristics are the inventive technique of photographic impression and shooting\, the handcrafted film manuality amplified by Do It Yourself\, the experimentation of new natural organic development agents\, the frames’ rhythm and\, if essential\, the inclusion of audio tracks. The collision between image and perceptual sensation may appear accidental\, but the film-makers invited at IFS apply a resistance to linear perception\, each orienting their own visual understanding in different directions.\nIn the program Innovative paths in the un-known\, Raffaella Morra has selected seven films combined by a strong attraction for the film emulsion and for the alchemic transformations\, in particular unusual chemical processes that inscribe images on film emulsion. Two films made by pioneers of experimental cinema: Two Pictures is a tactile and textured work of cinematic abstraction by Rose Lowder and Carl E. Brown; In the Shadow of Marcus Mountain by Robert Schaller is shot entirely with a homemade pinhole camera and edited largely in-camera through the use of a rhythmic score.\nAmong the recent film investigations\, that attempt to penetrate the enigmatic film materiality and the different emotional states: Dan Browne’s Waterfilm is a complex relation between sound\, image\, and editing processes connected to issues of memory’s legitimacy; Julie Murray’s ELEMENTs is an exploration of a location visited by incidental shadowy figures\, related one to another through the rhythm of their gestures; in Rhus Typhina by Alexandra Moralesová & Georgy Bagdasarov a plant is the main protagonist and acts as film development agent; Sandy Ding’s River in Castle offers repeated references to magic\, often comparing his films to initiation rituals; Josh Lewis’s Doubt # 2 explores boundaries of manual knowledge\, bodily struggle and persistent enigma of material.\nIn cooperation with La Digestion – rarely heard music festival\, Hangjun Lee’s 16mm films are accompanied by Chulki Hong and Will Guthrie’s four-tone sound improvisation. In The Cracked Share\, audience is overwhelmed by a strange array of chemical distorted images coupled with assaultive flicker lights\, a wave of explosive colours and unknown shapes intersected by Hong and Guthrie’s improvisation noise. Phantom Schoolgirl Army investigates the material conditions of photography (photographic plate\, magnesium) and its “conventions” (visuality of portraits\, functions of flash)\, aesthetically reconstructing the dialectic of stillness and motion embedded in the cinema. \nOn Friday\, June 23rd will be screen Nicolas Rey’s Differently\, Molussia\, adapted from the book Die molussische Katakombe by German philosopher Günther Anders\, written between 1932 and 1936\, a book which the filmmaker never read. Hand processed\, out-of-date film stock in nine chapter-titled segments is separated into reels and randomized during projection. The film recounts stories and allegorical thoughts by political prisoners in an imaginary fascist state called Molussia. The film’s nine sections ruminate on capitalism\, imperialism\, and resistance. \nIn the expanded cinema performance Scarface by Greg Pope the manipulation of 16mm projection\, slide projection\, contact microphones and guitar pick-ups are combined in the architectural space. Improvisation and randomness are also factors in a dynamic process where we witness the destructive treatment of analogue film with a death cult magic lantern show. \nOn Saturday\, June 24th A Bright Darkness includes three films and the expanded cinema performance by Anja Dornieden and Juan David González Monroy\, who go by the moniker Ojoboca. They use film manipulation processes and suggestive techniques to create Horrorism a simulated method of inner and outer transformation. In an interview\, Juan David González Monroy explains: “…Basically\, cinema is a machine that talks to you\, tells you a story. Given the dynamics of the cinema\, the machine is programmed by the filmmakers to personally talk to each individual member of the audience. We started thinking about cinema this way by accident\, but since this is what cinema in essence does\, we thought we would focus on that aspect of it. Of course\, the machine might be insane\, it might be lying\, it might be trying to convince you of different ways to view the world\, or it might just be trying to entertain you by telling you a good story”. \n  \n  URL:https://www.fondazionemorra.org/en/evento/independent-film-show-17th-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/2020/11/locandina-2017.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20170503T180000 DTEND;TZID=Europe/Rome:20170702T180000 DTSTAMP:20260516T051121 CREATED:20201117T172533Z LAST-MODIFIED:20210527T125258Z UID:5023-1493834400-1499018400@www.fondazionemorra.org SUMMARY:Lucrezia Longobardi - Lo Spazio Esistenziale. Definizione #1 DESCRIPTION:3 maggio – 2 luglio 2017\nOPENING 3 MAGGIO ORE 18:00\nPalazzo delle Sperimentazioni\nCorso Vittorio Emanuele 341\, Napoli \nLa Fondazione Morra è lieta di presentare la prima mostra del ciclo Lo spazio esistenziale. Definizioni\, a cura di Lucrezia Longobardi.\nIl progetto rappresenta il primo approccio per la stesura di un programma più vasto\, volto a indagare aspetti del rapporto tra l’uomo e lo spazio. In questo primo movimento il dispositivo è legato alle forme semplici\, le composizioni che abbiamo imparato a riconoscere per poterci misurare con l’esistere.\nAttraverso un unico apparato visivo\, i lavori scelti tessono una narrativa intima del rapporto uomo-casa. Una disseminazione minima che permette la fruizione del luogo in cui le opere\, quasi mimetizzate\, partecipano alla riflessione comune sullo spazio esistenziale declinato nella sua forma più domestica.\nGli artisti scelti per analizzare e far parte dell’apparato di questa ricerca si confrontano da anni con quelli che sono i luoghi per la vita\, spazi e volumi che costituiscono il riferimento di una comunità\, come di un singolo. Un’attività dedicata allo studio dei luoghi e del rapporto che questi instaurano con l’uomo e la sua esistenza\, partendo da quelle che sono le private esperienze\, come nel caso di Gregor Schneider o Francesca Woodman\, entrambi artefici di un feticcio intimo\, o come Renata Lucas e Gian Maria Tosatti\, che\, da manipolatori urbani alterano le comuni percezioni\, o ancora come Scola e Patella\, con i quali attraversiamo sensorialmente la memoria del quotidiano. \nSi ringraziano per la realizzazione di questa mostra: la Fondazione Morra\, Guido Costa Project\, My private-Milano\, lo Studio Gallo\, Silvia Scola\, Massimo Vigliar della Surf Film\, Santa Fede Liberata.\nUn ringraziamento particolare va a Gian Maria Tosatti. \n\n \n \n \n \n \n \n Ettore Scola\, \n \n \n \n \n \n Ettore Scola\, Lo Spazio Esistenziale. Definizione #1\, Palazzo delle Sperimentazioni\, Napoli\, 2019 © Photo Elio Di Pace Courtesy Fondazione Morra\n \n \n \n \n \n Francesca Woodman\, Lo Spazio Esistenziale. Definizione #1\, Palazzo delle Sperimentazioni\, Napoli\, 2019 © Photo Maddalena Tartaro Courtesy Fondazione Morra\n \n \n \n \n \n Renata Lucas\, Lo Spazio Esistenziale. Definizione #1\, Palazzo delle Sperimentazioni\, Napoli\, 2019 © Photo Maddalena Tartaro Courtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/lucrezia-longobardi-lo-spazio-esistenziale-definizione-1/ LOCATION:Palazzo delle Sperimentazioni\, Corso Vittorio Emanuele 341\, Napoli\, 80135\, Italia ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/03-05-2017-Lucrezia-Longobardi_Lo_spazio_esistenziale.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20170405 DTEND;VALUE=DATE:20170406 DTSTAMP:20260516T051121 CREATED:20201119T114041Z LAST-MODIFIED:20210223T101759Z UID:4510-1491350400-1491436799@www.fondazionemorra.org SUMMARY:Perspectives on Portraits and Place: The films of Adele Friedman DESCRIPTION:April 5th\, 2017\nSTARTING PROJECTIONS AT 7:30 p.m.\nMuseo Hermann Nitsch \nVico Lungo Pontecorvo 29/d\, Napoli \n“For more than three decades\, Chicago filmmaker Adele Friedman has been forging and refining an original vision with her silent portraits in which wide-angle cinematography and obsessive panning spread out the spaces of apartments and gardens\, creating a sensuous panorama of the ordinary.”  Fred Camper \nTonight’s program spans 38 years\, beginning with an early portrait from 1979. Included in the show are portraits and films of place: nature\, gardens\, architecture\, rivers.\nThese films are perspectives\, as seen by the filmmaker and presented to the viewer.\nCompositions of space between people\, objects\, interiors and exteriors\, all within the film frame\, are a critical element of what one is seeing in film. These compositions change constantly with movement\, both of the subjects and by the filmmaker\, allowing for interpretation and reinterpretation.\nThe portrait films are about cultural people and how their lives are informed by their interiors and artistic tastes. They surround themselves with what moves them. People do not leave their culture at the museum or the office; they bring it home and live with it. It is part and parcel of the daily fabric of their lives.\nAlso included in this program is an early dreamscape which explores the structural narrative of dreams and the subconscious.\nFriedman chooses to work in 16mm because of the delicate\, soft quality of light revealed through film\, conveying the layers and nuances of value and color. The films are silent\, urging the viewer to focus entirely on the projected image. \nAdele Friedman received her M.F.A. and her graduate degree in Art History from the School of the Art Institute of Chicago. Her films are distributed by Light Cone in Paris\, and she has exhibited internationally over the past 33 years\, including E-M Arts in Napoli as part of the Fôret exhibition; Scratch Projection in Paris; Oesterreichisches Filmmuseum\, Vienna\, Austria; Munich Stadtmuseum-Filmmuseum\, Germany; Frankfurt Deutsches Filmmuseum Kommunales Kino\, Germany; Arsenal\, Kino der Freunde der Deutschen Kinemathek\, Berlin; Fylkingen\, Turbidus Film\, Stockholm\, Sweden; Innocent Eyes and Lenses Film Festival\, Tokyo\, Japan; Big as Life: An American History of 8mm Film\, The Museum of Modern Art\, New York; The 26th New York International Film Festival; Millennium Film Workshop\, New York; The Onion City Experimental Film and Video Festival\, Chicago; The Museum of Contemporary Art\, Chicago; among many other exhibitions. This is her first one-person show in Italy.\n\n \n \n \n \n \n \n Adele Friedman\, Red Cloud\, 2017\nCourtesy Fondazione Morra\n \n \n \n \n \n Adele Friedman\, Untitled 1982\nCourtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/perspectives-on-portraits-and-place-the-films-of-adele-friedman/ 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/INVITO_OK_page-0001.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20160930T190000 DTEND;TZID=Europe/Rome:20161111T200000 DTSTAMP:20260516T051121 CREATED:20201106T135352Z LAST-MODIFIED:20201216T210910Z UID:4513-1475262000-1478894400@www.fondazionemorra.org SUMMARY:Maurizio Elettrico - Supernaturalis Historia DESCRIPTION:September 30th – November 18th 2016\nOPENING SEPTEMBER 30th h. 7:00 p.m.\nPAN – Palazzo delle Arti di Napoli\nVia dei Mille 60\, Napoli \nSupernaturalis Historia. Saga sulla Divina Natura del Potere Bioaristocratico (Saga on the Divine Nature of Bioaristocratic Power) is an exhibition curated by Eugenio Viola that brings together a corpus of works taking their inspiration from Lo scoiattolo e il Graal (The Squirrel and the Grail) the monumental erotic epic saga in seven volumes conceived\, written and illustrated by Maurizio Elettrico over the last ten years. \nElettrico is a complex artist: erudite\, flamboyant\, irreverent\, ironic\, blasphemous\, and iconoclastic\, whose research feeds on a theory and practice of art conceived as transgression\, while the always emphatically aesthetic formal aspect emerges from the hybridisation of boldly heterogeneous motifs and languages expressed through a variety of media that blend past and present\, the complexity of myth\, and the deviations of a secular sacrality. In this way\, different stimuli converge into a glittering\, playful and seductive imagination that not infrequently slides into a self-satisfied and ostentatious decorativism. As in his literary work\, of which Lo scoiattolo e il Graal is a prime example\, Elettrico contaminates different and very divergent literary genres: from the epic to fantasy\, the historical novel to the cyber-erotic\, to produce a narrative overflowing with theological\, philosophical\, heraldic\, esoteric and alchemical references. The artist describes a futuristic and iniquitous world of war\, love\, sex\, political intrigue\, and religious extremism\, where magic or science overcome human and natural limitations in general. \nThe seven volumes\, like the works exhibited here (paintings\, sculptures\, drawings and installations)\, produce a perverse mythology\, populated by a number of self-aggrandising characters ideologically supported by overweeningly fanatical and intolerant religions. This is a hyperhumanist and dystopian future\, where the earth is dominated by a new human species\, the result of sophisticated genetic manipulations: “Bioaristocracy”\, with a powerful artistic-demiurgical vocation\, able to model both inorganic and living matter. Thanks to their “divine nature”\, the Bioaristocratics reign over the other two human species that inhabit the Earth: the “Naturals”\, similar to today’s humans\, and the “Wild”\, who look human but have animal intelligence.Hence the title of the exhibition\, which\, on the one hand\, with a nod to the “classically” classificatory\, makes ironic reference to Pliny the Elder’s Naturalis Historia (77-78 CE)\, referring on the other hand also to the sci-fi component\, amply represented in the three books\, as in all Elettrico’s works: both are enriched and supported by the short circuit arising from the unsettling encounter between archaism and futurism. \nBearing in mind this double register – the verbal and the visual\, the works on display alternate with a generous array of texts. The first three volumes of the series\, exhibited as elements of an installation\, make up a monumental storyboard. The works\, visually designed to suggest unusual combinations and alarming metamorphoses\, in turn underpin a potentially infinite set of meta-narratives\, creating a clever set of references and reflections that set off a continuous exchange of sign and signified between only apparently different forms of expression\, in reality converging in a daring combination that Elettrico imposes on events and characters through subtle variations and games\, as well as explosive representational displacements. \n\n \n \n \n \n \n \n Installation View\, Supernaturalis Historia\, PAN –\n \n \n \n \n \n Installation View\, Supernaturalis Historia\, PAN – Palazzo delle Arti di Napoli\, 2016 \nMaurizio Elettrico\n© photo Amedeo Benestante\nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Supernaturalis Historia\, PAN – Palazzo delle Arti di Napoli\, 2016 \nMaurizio Elettrico\n© photo Amedeo Benestante\nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Supernaturalis Historia\, PAN – Palazzo delle Arti di Napoli\, 2016 \nMaurizio Elettrico\n© photo Amedeo Benestante\nCourtesy Fondazione Morra\n \n \n \n \n \n Installation View\, Supernaturalis Historia\, PAN – Palazzo delle Arti di Napoli\, 2016 \nMaurizio Elettrico\n© photo Amedeo Benestante\nCourtesy Fondazione Morra URL:https://www.fondazionemorra.org/en/evento/maurizio-elettrico-supernaturalis-historia/ LOCATION:PAN – Palazzo delle Arti di Napoli\, Via dei Mille 60\, Napoli\, Italia ATTACH;FMTTYPE=image/jpeg:https://www.fondazionemorra.org/wp-content/uploads/2020/11/INV0391_ELEM10-fronte.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20160623T210000 DTEND;TZID=Europe/Rome:20160625T210000 DTSTAMP:20260516T051121 CREATED:20201120T103530Z LAST-MODIFIED:20201216T214155Z UID:4528-1466715600-1466888400@www.fondazionemorra.org SUMMARY:INDEPENDENT FILM SHOW 16th Edition DESCRIPTION:June 23rd – June 25th\, 2016\nSTARTING PROJECTIONS AT 9:00 p.m.\nBelvedere del Museo Hermann Nitsch \nVico Lungo Pontecorvo 29/d\, Napoli \nINDEPENDENT FILM SHOW 16th edition\, an international show dedicated to independent experimental cinema\, coordinated by Raffaella Morra\, takes place on June Thursday 23rd\, Friday 24th and Saturday 25th 2016 programming the screening of three 16mm films and video programs and three live expanded cinema performances at the Museo Nitsch Belvedere. \nA resistance to fixity of classification and genre is expressed during three days of Independent Film Show 16th edition that endorsees the blending of practises\, the unfinished\, the mistake\, the chance of discovery; for this cinema\, there is no exact definition\, nor a nomenclature\, however the method continues to be handmade\, the favourite material is 16mm film and\, when possible\, the share of the creative act of live expanded cinema performances. The physical mechanisms of film construction\, such as the different photographic impression techniques\, the chemical transformations of film and the metamorphosis process of light\, remain the investigation fulcrum around which to build your own journey. An experience of disorientation can assault the inexperienced or occasional viewer\, which penetrates in a territory characterized by unexpected. There is no single answer\, nor the illusion of verisimilitude to trust\, instead\, it is necessary to allow a whirlwind of sensations that stimulate an unusual perceptual activity\, imprinted in memory. \nThe concrete materiality of the film strips and the mechanics of projection are firmly in the hands of the film-makers\, that control the minute details of creation and\, with the closure of large companies\, such as Kodak\, the incipit is Do It Yourself\, furthermore appropriating of the production stages. A significant impulse to collaboration and inventive between artisanal film labs has significantly expanded the experimental possibilities of film-makers. Independent Film Show 16th edition is an exploration between the experiences of these laboratories: Explorative Journey program selected by Raffaella Morra is a brief excursus on recent films made at the Etna and the Abominable in France\, the Filmwerkplatts in Rotterdam and Nanolab in Australia. \nKarel Doing\, founder of Studio één Lab in 1990 and currently with Bea Haut Film in Process (in Naples two IFS editions\, with live performances titled Four Eyes\, 2006 and Darkloupe\, 2012)\, selects Cinematica Erratica program\, a celebration of sabotaged film language\, that embrace wrong shots\, techniques and sounds that normally would be seen as inaccurate and faulty. Absurdism is used as a strong antidote against existing codes of conduct\, absence is used to evoke a renewed sense of wonder\, and by colliding the natural with the technological\, borders are blurred. \nHand and Machine presents six recent film works from Australian DIY cine-experimentalists Richard Tuohy and Dianna Barrie\, exploring the primitive apparatus of cinema and the relation between hand and machine. In particular\, they created Chromaflex\, a new photo-chemical technique which allows selectively controlled negative and positive colour and black and white images on the same strip of film. What is more\, the technique allows these selection decisions to be made in full light. \nOn Thursday\, June 23rd (11:00am-03:00pm) and Friday June 24th (hours 03:00-08:00pm)\, the Chromaflex method will be argument of the workshop\, organized in collaboration with ARK-FILM lab TerzoPianoAutogestito (at Palazzo Gravina / registration required). \nIn live expanded cinema performances\, the knowledge of projective apparatus\, the environment\, the improvisation and the chance comprehend in a dynamic process\, triggered by public participation: on Thursday June 23rd Portraits by 70FTP (Andrea Saggiomo)\, on Friday June 24th Palindrome Series and Pattern/Chaos by Karel Doing\, on Saturday June 25th Dot Matrix and Inside the Machine by Richard Tuohy. URL:https://www.fondazionemorra.org/en/evento/independent-film-show-16th-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/2020/11/23_06_2016_indipendent_Film_Show_15_edition.jpg END:VEVENT END:VCALENDAR