{"id":6251,"date":"2021-04-26T10:45:34","date_gmt":"2021-04-26T08:45:34","guid":{"rendered":"http:\/\/www.fondazionemorra.org\/?post_type=tribe_events&p=6251"},"modified":"2021-11-15T10:55:01","modified_gmt":"2021-11-15T09:55:01","slug":"beuys-e-napoli","status":"publish","type":"tribe_events","link":"https:\/\/www.fondazionemorra.org\/en\/evento\/beuys-e-napoli\/","title":{"rendered":"Beuys e Napoli"},"content":{"rendered":"

9th may 2021<\/strong>
\nFACEBOOK LIVE 5.00 p.m.<\/p>\n

With contributions by<\/strong>: Achille Bonito Oliva, Michele Bonuomo, Mario Franco, Petra Richter and Italo Tomassoni
\nWith an introduction of<\/strong> the German Ambassador Viktor Elbling<\/p>\n

11th may 2021- 13th february 2021
\n<\/strong>START 10.00 a.m.
\nCasa Morra \u2013 Archive of Contemporary Art
\n<\/strong>Salita San Raffaele 20\/c, Napoli<\/p>\n

Curated by Giuseppe Morra<\/p>\n

From 11 May to 13 February Casa Morra in agreement with Goethe-Institut Neapel, pays tribute to Joseph Beuys, commemorating the centenary of his birth with the exhibition Beuys e Napoli<\/em> curated by Giuseppe Morra, reflecting on the cultural heritage of the German artist\u2019s visits to Naples and his travels around Italy between 1971 and 1985.<\/p>\n

The Mario Franco Archives will host a showing of five films in succession. Neapolitan film director Mario Franco has assembled the most comprehensive documentary footage of Lucio Amelio and Beuys\u2019s work together, starting with their first exhibition, La rivoluzione siamo noi<\/em> (1971), at the Modern Art Agency. To celebrate its 50th anniversary, the programme opens with a showing of the film of the same name, which will be screened together with Der Tisch<\/em>, a film Beuys donated to the Neapolitan director in its original 16mm format, documenting one of his first actions at the D\u00fcsseldorf Academy (1971). Franco documents other actions resulting from the collaboration between the Neapolitan gallery owner and the German artist, such as \u2018Vitex agnus castus\u2019, for Arena: dove sarebbe arrivato se fosse stato intelligente!<\/em> (1972), and \u2018Diagramma Terremoto\u2019, produced at the same time as Terremoto in palazzo<\/em> (1981). Petra Richter conjures up an evocative image of Beuys in this second action, describing him as a \u201chuman seismograph […] absorbed in tracing the vibrations of an imaginary earthquake, just like an ECG machine records the electrical activity of the human heart\u201d. For the last great exhibition at the Capodimonte Museum, Palazzo Regale<\/em> (1985) \u2013 described by Michele Bonuomo as \u201ca definitive architecture of his entire production, almost […] a testament\u201d \u2013 Franco made a film from his last interview with Beuys, discussing his work and his ties with Naples and Italy.<\/p>\n

Confirming Casa Morra\u2019s aptitude for embarking on unexpected lines of research inspired by findings among archive material, a series of photographs by Gerardo Di Fiore bears witness to Beuys\u2019 incursion into the context of the action \u2018Hic Sunt Leones\u2019 (1972) from the collective exhibition Galleria Inesistente<\/em>, at the same time offering a broader view of the many layers of Neapolitan artistic and cultural life in the nineteen-sixties and seventies.<\/p>\n

The exhibition also includes a selection of multiples<\/em>, part of Beuys\u2019 broader \u201csocial sculpture\u201d project: for him, the problem of \u201cgiving form\u201d is not a question of stylistic research within the autonomous space of art; rather it is resolved in the anthropological possibilities of forming\/organizing every social field, starting from individual creativity. On closer inspection, this is what Achille Bonito Oliva defined as a \u201cSocratic space\u201d during his first key interview with Beuys in 1971. This critical insight is confirmed by the artist himself: \u201cart interests me only insofar as it allows me to dialogue with humanity\u201d. And Beuys ably investigates the constituent possibilities of art in the inclusive and democratic sense in his historic contribution to Documenta 5<\/em> (1972), where he set up an office for the \u201cOrganisation for Direct Democracy by Referendum\u201d, running for a hundred days. Vettor Pisani presented a previously unseen photo documentary of this experience in Kassel.<\/p>\n

The exhibition closes with an addition to the room permanently dedicated to the German artist, set up in 2017 with materials donated by Lucrezia De Domizio Durini: an in-depth look at Difesa della natura <\/em>in Bolognano, where, on 13 May 1984, Beuys set up a space for public talks on the defence of nature and individual creativity. On the occasion of Beuys e Napoli<\/em> Italo Tomassoni revisits this shared experience through an intimate letter to the artist.<\/p>\n

For info and bookings:\u00a0\u00a0\u00a0\u00a0\u00a0<\/strong><\/p>\n

Open by appointment from Tuesday to Friday, 10am-5pm.<\/p>\n

The films will be screened every Wednesday at 18:00 by reservation (except for the months July and August) in the space of the Mario Franco Archives<\/p>\n

casamorra@fondazionemorra.org
\narchivimariofranco@fondazionemorra.org<\/p>\n\n\t\t