{"id":5143,"date":"2013-04-01T23:15:15","date_gmt":"2013-04-01T23:15:15","guid":{"rendered":"https:\/\/www.fondazionemorragreco.com\/?p=5143"},"modified":"2026-03-28T16:28:35","modified_gmt":"2026-03-28T16:28:35","slug":"shana-moulton","status":"publish","type":"post","link":"https:\/\/www.fondazionemorragreco.com\/en\/shana-moulton\/","title":{"rendered":"Hybrid Naples: l’ordine delle idee deve procedere secondo l’ordine delle cose"},"content":{"rendered":"\n

Hybrid Naples: l’ordine delle idee deve procedere secondo l’ordine delle cose<\/h1><\/div>\n\n\n\n

Hybrid Naples: l’ordine delle idee deve procedere secondo l’ordine delle cose<\/h2><\/div>\n\n\n\n
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<\/div>\n\n\n\n

04.04.2013<\/p><\/acf-view-69c7eeaa0e29e>\n\n

07.06.2013<\/p><\/acf-view-69c7eeca60039><\/div>\n<\/div><\/div>\n\n\n\n

\n
Shana Moulton<\/a><\/div>

Shana Moulton<\/p>

 <\/p>\n

In the context of\u00a0 Progetto XXI<\/h6>\n<\/div><\/acf-view-69c7e4f2dc843><\/div>\n\n\n\n
\n

Featuring new solo projects by Max Frisinger (Berlin) and Shana Moulton (New York), Fondazione Morra Greco is proud to present the first installment of a series of exhibitions entitled Hybrid Naples: L’ordine delle idee deve procedere secondo l’ordine delle cose<\/em>.<\/p>\n

The main title of the series reflects on the city of Naples as a continuously rebuilt monument to hybridity. “The open city feels like Naples, the closed city feels like Frankfurt”, wrote Richard Sennett in 2006. Naples here is understood as a city remaining adaptable by improvisation, accommodating diversity and dissonance (for better or worse) rather than over-determined homogenization. But rather than just a current state of things, the idea of an \u2018open\u2019, hybrid Naples also implies 3000 years of history: of a place where Greek, Etruscan, Roman, Spanish, German, Dutch, and many other presences have left their mark.
\nAs a cultural reality and technique, hybridity \u2013 the crossing and intermingling of different cultural influences and elements \u2013 has become a factor dramatically accelerated by contemporary technological environments, from the importance of social media to artists using affordable digital technology. It directly affects what today we understand as being contemporary art: potentially, anything. However, this broadness of possible methods and motifs for current artists should not be understood as randomness. This is what the subtitle of the show is meant to remind of: “the order of ideas must follow the order of things”. It is a quote by the great Neapolitan philosopher Giambattista Vico (1668\u20131744). It stems from his famous main work Scienza nuova<\/em> (New Science<\/em>, 1725), in which he argues that civilization develops in recurring cycles. This axiom “the order of ideas must follow the order of things” asks us to consider that the shared experience of the conditions under which we live gives rise to shared ideas \u2013 rather than the other way round (an anticipation of Karl Marx\u2019 famous “being determines consciousness”).<\/p>\n

Taking this thought as a cue for the exhibition, it means that the artist\u2019s experience and its reflection in their internal thought processes will give rise to the ideas expressed in their respective projects \u2013\u00a0rather than these ideas being randomly preconceived products \u2018parachuted in\u2019, or merely being the outcome of prescriptive instructions by a curator demanding illustrations of hybridity or any such thing.<\/p>\n

The first installments by Max Frisinger and Shana Moulton are cases in point. Both artists work with a dizzying variety of methods and motifs, yet their “order of ideas” clearly follows an “order of things” \u2013 even if that order is quite unusual or eccentric.<\/p>\n

While Frisinger\u2019s pieces will mainly occupy the first floor of the Foundation building, Shana Moulton\u2019s video projections and sculptures will be on display in the basement.<\/p>\n

California-born Moulton, who lives and works in New York, has been working for years with her alter ego and on-screen as well as performance character, Cynthia. Cynthia, one could say, is both Moulton\u2019s super-ego as well as her id: the comical yet sincerely melancholic expression of her \u2018secret desires\u2019 as well as a reflection of the conformative norms of culture. Cynthia is, as the artist has said, “me in the bathroom; it\u2019s me worried about aging; it\u2019s me looking at a beauty magazine.” In developing this alter ego character, Moulton has explored the depths and shallows of globalized vernacular culture, specifically the oddly exotic as well as exoticizing world of New Age lifestyle, beauty appliances, or home decoration. Whether it\u2019s wind chimes, badly designed dresses or cheesy video green screen effects \u2013 nothing sold to supposedly enhance our wellbeing is safe from Moulton\u2019s deadpan adaption. Her work is disturbingly funny, the way great American stand-up comedy is funny; but just as great stand-up, it\u2019s also profound and speaks to the realities in which we currently live \u2013 where absurd cultural hybrids are produced by the minute.
\nIn Naples, Moulton will present, alongside assorted sculptural objects responding to the city environment, several new video projections, including Swisspers<\/em> (2013), which will feature Cynthia removing make-up to the extent that she carves away her flesh, using a beauty product called Swisspers, while performing ASMR (Autonomous Sensory Meridian Response), which involves whispering or a soothing voice to induce a tingling sensation in the head and neck of the viewer. ASMR has become an Internet phenomenon, with thousands of people posting online videos which can get millions of YouTube hits.<\/p>\n

From the first installment of Hybrid Naples<\/em> on, the exhibition series in four stages, featuring eight new solo projects, though conceived as singular statements, should form loose resonances and some tighter connections, in relation to the concrete setting of the Foundation as well as the city, and to the digitized culture of communication, commodities and travel that connects it to the rest of the world. Thus the aim of the project is itself hybrid in character: neither solo exhibitions nor group show, neither ‘prescriptive’ themed curatorial endeavor nor ‘random’ succession of individual projects, Hybrid Naples<\/em> seeks to offer a different model for how art can be shown and produce meaning without having to be illustrative.<\/p>\n

 <\/p>\n

 <\/p>\n

All images Courtesy Fondazione Morra Greco, Napoli
\n\u00a9 Amedeo Benestante<\/p>\n<\/div>

\"Shana<\/a><\/div>
\"Shana<\/a><\/div>
\"Shana<\/a><\/div>
\"Shana<\/a><\/div>
\"Shana<\/a><\/div>
\"Shana<\/a><\/div>
\"Shana<\/a><\/div>
\"Shana<\/a><\/div>
\"Shana<\/a><\/div>
\"Shana<\/a><\/div><\/div><\/div>\n<\/div>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Hybrid Naples: l’ordine delle idee deve procedere secondo l’ordine delle cose Hybrid Naples: l’ordine delle idee deve procedere secondo l’ordine delle cose<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_uag_custom_page_level_css":"","footnotes":""},"categories":[4],"tags":[25],"class_list":["post-5143","post","type-post","status-publish","format-standard","hentry","category-past","tag-shana-moulton"],"blocksy_meta":[],"acf":[],"yoast_head":"\nHybrid Naples: l'ordine delle idee deve procedere secondo l'ordine delle cose - FONDAZIONE MORRA GRECO<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.fondazionemorragreco.com\/shana-moulton\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Hybrid Naples: l'ordine delle idee deve procedere secondo l'ordine delle cose - 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