{"id":8836,"date":"2022-07-05T12:12:15","date_gmt":"2022-07-05T10:12:15","guid":{"rendered":"https:\/\/www.fondazionemorra.org\/evento\/mille-nanni-1-luglio\/"},"modified":"2022-07-08T12:58:12","modified_gmt":"2022-07-08T10:58:12","slug":"mille-nanni-1-luglio","status":"publish","type":"tribe_events","link":"https:\/\/www.fondazionemorra.org\/en\/evento\/mille-nanni-1-luglio\/","title":{"rendered":"Mille Nanni – 1st July"},"content":{"rendered":"

1-3 july 2022 \u2013 Tribute to Nanni Balestrini<\/strong>
\nOPENING 1st JULY 6.30 p.m.
\n1st july \u2013 30th october 2022<\/strong><\/p>\n

Casa Morra. Archivi d\u2019Arte Contemporanea<\/strong>
\nSalita San Raffaele 20\/c, Naples<\/p>\n

A project by Andrea Cortellessa and Giuseppe Morra
\nCurated by Maria Teresa Carbone, Andrea Cortellessa and Ada Tosatti<\/p>\n

6.30 p.m.<\/b><\/p>\n

Inauguration\u00a0Mille Nanni<\/em>, a documentary exhibition curated by Giuseppe Morra. Speeches by Achille Bonito Oliva, Andrea Cortellessa, Gino Di Maggio.<\/p>\n

Film\u00a0Il Suono di un\u2019Isola\u00a0<\/em>by Uliano Paolozzi Balestrini, produced by Almendra Music.<\/p>\n

7.30 p.m.<\/strong><\/p>\n

Gian Maria Annovi and Vittorio Pellegrineschi introduce\u00a0Tristanoil.<\/em><\/p>\n

8.30 p.m.<\/strong><\/p>\n

Readings by Gian Maria Annovi, Alessandra Carnaroli, Carmen Gallo, Marco Giovenale & Michele Zaffarano, and Aldo Nove. Followed by the performance\u00a0Tristano per Nanni<\/em>, music and piano by Girolamo De Simone.<\/p>\n

\u201cTristano per Nanni Balestrini\u201d<\/strong><\/p>\n

Performance by Girolamo De Simone<\/em><\/p>\n

Tristano <\/em>is Nanni Balestrini\u2019s first novel. It was written for Gruppo \u201963 and later published, in one of its various forms, by Feltrinelli. It is, in fact, a mutant or rather a permutant<\/em>, work as the different chapters are organized into juxtaposable nuclei \u2013 sentences that can be combined in a multiplicity of ways, almost in the hope that the narrative movement will no longer be \u201ca transformation following a linear order of development, but a succession of presences\u201d.<\/p>\n

The book is entitled Tristan<\/em>, and the author reminds us of the reason for this choice (the word \u201creason\u201d is loaded with a meaning assumed in perspective; I feel it has the meaning put forward by Deleuze and Guattari in A Thousand Plateaus<\/em>): a love story, where \u201clove is turned upside down in relation to the way one encounters it in Wagner\u2019s Tristan<\/em>: not perdition, destiny, destruction, and slavery, but freedom, choice. Not intrigue, not drama…\u201d [sleeve notes to Tristan<\/em>, Milan 1966].<\/p>\n

And yet, in a \u2013 today not so easy \u2013 reading of the novel (complementing John Cage\u2019s writings, many contained in Silence<\/em>, Wesleyan University Press, 1961), the presence of movement is particularly evident since anything linear is shattered in almost in every sentence, with lexical, content-related, allusive virtuosity… Thus, a \u201cdrama\u201d as movement is still alive here and simply brings us face to face with a change of perspective: it is not a matter of Wagner\u2019s \u201cperdition\u201d or \u201cdestiny\u201d, but of the vague circulation of personal meaning that the reader assigns to the pages (\u201creversible\u201d, in musical jargon, in any number of ways), and which, in its variations, leads to the historicized affirmation of the loss of the subject<\/em>. A subject that becomes multiple and therefore indistinct, distributed such that it does not yet make the meaning evaporate but requires a possibly transversal one between the lines of discourse (one of those possible). A perhaps personal truth, confided by the author to each reader in the virtuosic secret of a word that needs organizational forcing to transform it into an almost filmic sequence…<\/p>\n

This is the thinking that underlies the idea of this performance, Tristan for Nanni Balestrini:<\/em> I look to Wagner\u2019s music, especially Tristan und Isolde<\/em>, but also to the mysterious Elegy<\/em>, marked Schmachtend<\/em>, or soulful<\/em>, languishing<\/em>, in progress, and presented again in linear form and, immediately afterwards without a break, in reverse, with obvious additions of my own in terms of touch and sound. Thus, I present my variously contrived piano versions of Tristan, employing Fluxus<\/em> digression (with the correlation between the sound\/note and its duration, i.e., establishing the fall of each sound according to the spatial distance from the one preceding it), but also \u201cminimal\u201d multiplication… transferring Nanni Balestrini\u2019s writing into music.<\/p>\n

Some sentences from the novel are also read out during the piano performance: I reconstructed some threads of meaning for… themes\/motifs, proceeding in precisely the opposite way to what happens in the music. The result is a captivating and alternating journey, halfway between the \u201csound of the word\u201d (possible and rediscovered meaning) and the \u201csound of the instrument\u201d (a meaning that is proposed and then shattered), dense with a new drama, which intends \u2013 perhaps \u2013 to acknowledge the current state of BEWILDERMENT, which now binds and unites us all.<\/p>\n

Girolamo De Simone<\/em><\/p>\n\n\t\t