{"id":4299,"date":"2020-12-14T17:26:01","date_gmt":"2020-12-14T16:26:01","guid":{"rendered":"http:\/\/www.fondazionemorra.org\/?post_type=tribe_events&p=4299"},"modified":"2021-01-14T17:34:20","modified_gmt":"2021-01-14T16:34:20","slug":"underneath-the-arches-adrian-melis-terra-asciutta","status":"publish","type":"tribe_events","link":"https:\/\/www.fondazionemorra.org\/en\/evento\/underneath-the-arches-adrian-melis-terra-asciutta\/","title":{"rendered":"UNDERNEATH THE ARCHES – Adrian Melis, Terra Asciutta"},"content":{"rendered":"

September 27th – November 15th 2020<\/strong>
\nOPENING SEPTEMBER 26th, 11:30 a.m.
\nAcquedotto Augusteo del Serino<\/strong>
\nVia Arena Sanit\u00e0 5, Naples<\/p>\n

Curated by Chiara Pirozzi and Alessandra Troncone<\/p>\n

Underneath the Arches<\/strong><\/em>, the program for contemporary art that takes place at the archeological site holding the remains of the Acquedotto Augusteo del Serino<\/strong> in the area Borgo Vergini\u2013Rione Sanit\u00e0 in Naples, announces its third exhibition. Under the artistic direction of Chiara Pirozzi<\/strong> and Alessandra Troncone<\/strong>, and in collaboration with Associazione Vergini Sanit\u00e0<\/strong>, Underneath the Arches<\/strong><\/em> presents a site specific intervention by Adrian Melis<\/strong> (Havana, 1985), titled Terra asciutta<\/strong><\/em> (Dry Land<\/strong><\/em>). Adrian Melis’ artistic research is based on the analysis of specific socio-economic contexts, starting from Cuba, his homeland, and moving to the European countries where he has worked in recent years. Using themes and dynamics related to work, Melis creates mechanisms that exploit initial scarcities as a possible productive force, in some cases creating real production lines that involve third parties in achieving his objectives. With his project titled Terra asciutta, created specifically for Underneath the Arches, the artist analyses and reveals the gap between the “active” and necessary function that the Roman Aqueduct had in the past, and the “passive” and conservative role that the same structure has nowadays. Through a strongly symbolic action, Adrian Melis triggers a new process, capable of restoring vitality and functionality to the place, thus transforming the archaeological heritage into a productive rather than just contemplative site. The artist reactivates the original flow of water by recruiting a workforce in the Vergini-Sanit\u00e0 area and through the experimental use of Foley art techniques. The poetic enterprise, which is even vain in its fleetingness, involves the audience in an immersive experience, both on the occasion of the opening, when a performative action will be under way, and during the exhibition, through an environmental installation conceived site-specifically by the artist.
\nUnderneath the Arches aims to activate a dialogue between archeology and contemporary art, and to establish a relationship between the local material and immaterial culture and the artistic research of international artists. Its main objective is to promote both existing cultural heritage and new production in contemporary art. In the fascinating space of the ancient Roman aqueduct, discovered in 2011 and located underneath a historical building called Palazzo Peschici Maresca, international artists are invited to create temporary and site-specific installations in dialogue with the space itself and the surrounding area. This project is created with the contribution of Regione Campania<\/strong>, under the Matronage of Madre Museum \/Fondazione Donnaregina per le arti contemporanee<\/strong> of Naples, and under the patronage of the Academy of Fine Arts<\/strong> in Naples. It is kindly supported by Fondazione Morra<\/strong> and MANN-Museo Archeologico Nazionale di Napoli<\/strong>.<\/p>\n

Adrian Melis<\/strong> was born in Havana, Cuba, in 1985. He graduated from the University of Art in Havana, Cuba. He is a former resident at the Rijksakademie of Amsterdam (2014\/2015). Selected solo shows include: 2768. 23,53. 8. 1958. 57%. 1000, Pori Art Museum (2020), Selective Memory, Adn Galeria, Barcelona (2018); Absolute silence does not exist, Fundaci\u00f3n Cerezales, Le\u00f3n (2018); Surplus Production Line, Adn Galeria, Barcelona (2015); STOCK,\u00a0 MAS\u2013Museum of Modern Art, Santander (2013); New Production Structures, Adn Galeria, Barcelona (2012) which received the GAC Award for Best Exhibition in a Private Gallery in Barcelona; The Value of Absence, Kunsthalle Basel (2013). Selected group shows: After Leaving|Before Arriving, 12th<\/sup> Kaunas Biennale (2019); Hors Pistes, Centre Pompidou, Paris (2015); Bread and Roses, Museum of Modern Art of Warsaw (2015); Atopolis, Man\u00e8ge de Sury and WIELS contemporary Art Centre, Mons (2014); How To Work, Kunsthalle Basel (2012); FGAP, Pinchuk Art Center, Kiev (2014); Untitled (Two Takes on Crisis), de Appel Arts Centre, Amsterdam (2016); Artlab, Queens Museum of Art, New York (2014); 10th Shanghai Biennale, Shanghai (2014). His works are in private and public collections, including: MAS-Museo de Arte Moderno y Contempor\u00e1neo de Santander y Cantabria (Spain), MACBA-Museud’Art Contemporani de Barcelona (Spain), Collection Alain Servais (Belgium), Collection Lema\u00eetre (France), Collection A. de Galbert (France), Collection Teixeiras da Freitas (Portugal).<\/h5>\n
Discovered in 2011, the tract of a Roman aqueduct<\/strong> found underneath Palazzo Peschici Maresca in Naples, owned by the Arciconfraternita dei Pellegrini, represents a key archeological find to tracing the entire trajectory of the ancient construction. The aqueduct was built in 10 AC and was an extraordinary work of hydraulic engineering at the time. It was more than 100 km long and supplied<\/h5>\n\n\t\t