{"id":24789,"date":"2025-02-17T09:22:43","date_gmt":"2025-02-17T08:22:43","guid":{"rendered":"https:\/\/mario-amura.com\/?p=24789"},"modified":"2025-03-04T14:43:56","modified_gmt":"2025-03-04T13:43:56","slug":"dove-corriere-della-sera-napoli-explosion-mario-amura-e-il-suo-progetto","status":"publish","type":"post","link":"https:\/\/mario-amura.com\/en\/dove-corriere-della-sera-napoli-explosion-mario-amura-e-il-suo-progetto\/","title":{"rendered":"Dove – Corriere della Sera<\/span>
Napoli Explosion: Mario Amura and His New Year\u2019s Project Dedicated to Vesuvius"},"content":{"rendered":"
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by Teresa ManciniIl visual artist Mario A<\/span><\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The visual artist Mario Amura recounts his Napoli Explosion project, inspired by the fireworks surrounding Vesuvius on New Year\u2019s Eve: \u201ca handful of minutes to capture the essence of what is happening and to tell its story.\u201d An unpredictable adventure. Between art and reportage.<\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"Mario\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Mario Amura Captures the Fireworks Explosion on New Year\u2019s Eve from Mount Faito<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The oldest depiction of Vesuvius is two thousand years old. It once adorned the wall of an ancient Pompeian residence, the House of the Centenary, and today it is preserved at the Mann, the National Archaeological Museum of Naples.\nThe volcano is painted as a gentle conical hill, adorned with chestnut trees and flourishing vineyards, oblivious to the days of fire and ash of 79 A.D. that would forever imprint universal memory, transforming it into a powerful symbol, both feared and celebrated by the community that gathers around it.\nIn the views of Turner, Marlow, Voltaire, and Warhol it is colored with incandescent lava. But in Napoli Explosion, Mario Amura\u2019s photographic project, Vesuvius reveals itself differently: it is an unmoving guardian that seems to silently observe an explosion of light, this time generated by humans.\n\u201cEvery day, from the window of my room, my childlike gaze rested upon that imposing presence, capable of instilling respect and nurturing wonder,\u201d begins Amura, a photographer, director of photography, and visual artist who grew up in Torre Annunziata, in a house overlooking the volcano.\nThe Mountain would, unsurprisingly, become the setting for one of his future artistic explorations, intertwining with a career that spans theater and cinema, where he has \u201cilluminated\u201d the sets of directors such as Luca Guadagnino, Paolo Sorrentino, Saverio Costanzo, and Vincenzo Marra.<\/p>

The Fireworks and the Bangs: A Way to Exorcise an Ancestral Fear<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00a0Mario Amura, photographer, director of photography, and visual artist.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Mario Amura, photographer, director of photography, and visual artist.\nBut let\u2019s return to that irresistible call: \u201cAfter years away from Naples, in 2006 I decided to spend New Year\u2019s Eve on Vesuvius with some friends. While I was taking photos among the ancient pines, I saw the fireworks burst in the distance,\u201d he recounts. It is a revelatory moment, an opportunity to question the symbolic link between that threatening presence and the pyrotechnic rituals: \u201cPerhaps the Neapolitan people have transformed fireworks into a way to exorcise an ancestral fear, I tell myself,\u201d he adds.<\/p>

This insight becomes an anthropological research: \u201cElsewhere, fireworks are shows orchestrated by pyrotechnic masters for the public \u2013 he continues \u2013 Here, instead, they are a firsthand experience that becomes a collective rite.\u201d<\/p>

The Fireworks Captured from Mount Faito<\/b><\/p>

In 2010, Amura changed his perspective, moving to Mount Faito: from there on New Year\u2019s Eve Vesuvius appears enveloped in luminous explosions: \u201cI understood that a project could be born, an unusual visual narrative,\u201d he explains.<\/p>

Since then, every December 31 he returns to the summit overlooking the Bay of Naples with his dearest friends, historians, philosophers, intellectuals who have become his travel companions: they form the Napoli Explosion crew, following his directions like those of a conductor: \u201cto capture this unique spectacle with the lenses of our cameras. We will wait for midnight on Faito again this year,\u201d he anticipates.<\/p>

A Symbolic Explosion That Reflects the Great Contemporary Fears<\/b><\/p>

The images that come to life overturn the classical iconography of an erupting Vesuvius: here the volcano remains silent, a spectator and a backdrop to a luminous celebration. It appears as a mute, jewel-encrusted giant. Those shots, vibrant with glows and color, seem like paintings.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The work \u201cNapex 7303222\u201d, from 2017, immortalizes the icon of Naples, the Vesuvius volcano submerged in the explosion of fireworks celebrating New Year\u2019s Eve.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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From a personal, almost secret narrative, the work that Mario Amura has been cultivating over 13 years \u201cevolving over time, in search of the feeling of light\u201d has been noticed, captivating art critics and inaugurating a public dimension: thirty-seven large-scale works, mounted on lightboxes, were presented in recent months at the Capodimonte Museum, with one of them becoming part of the permanent collection.<\/p>

\u201cAmura\u2019s technique is extraordinary: he captures a symbolic explosion that reflects the great contemporary fears,\u201d wrote Sylvain Bellenger, curator of the exhibition, who chose this show as one of the last projects of his mandate leading the Museum and Real Bosco.<\/p>

Another painting is visible in the spaces of the Pio Monte della Misericordia, in the heart of Naples\u2019 historic center, where one can admire Caravaggio\u2019s celebrated masterpiece, The Seven Works of Mercy.<\/p>

A Handful of Minutes to Tell the Whole Essence<\/strong><\/p>

The fireworks that surround the volcano, captured in the shots, sometimes become nebulous shapes, or animals, starry landscapes, marine backgrounds. But Amura\u2019s material is not a narrative constructed on a script, nor is there any graphic elaboration of the images. It remains, in every respect, a reportage: \u201cWe only have a handful of minutes a year to capture the essence of what is happening and to tell its story. An unrepeatable, real occasion, tied to the here and now,\u201d clarifies the creator of Napoli Explosion.<\/p>

\u201cIt is a creation distant from the gestural abstraction of an author like Pollock, whose splashes on canvas follow gravity \u2013 he adds \u2013 Each firework, however, creates a trace that reflects not only the light in the sky but also the intention and the hand that guided it.\u201d Behind every gesture, who knows, there may be joy, irony, fear, hope for the new year to come.<\/p>

\u201cNapoli Explosion Is an Ode to the City\u201d<\/strong><\/p>

Salvatore Settis, archaeologist and art historian, president of the Louvre\u2019s Scientific Council, has written that Napoli Explosion is \u201can ode to the city,\u201d because it presents \u201ca pictorial-photographic work that prodigiously unfolds, faithful to the rules of reportage.\u201d And it is for this reason that, this year, the professor will join with the enthusiasm of the scholar in the artistic reportage experience on Mount Faito.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Napex 22318. Mario Amura 2022. Museum and Real Bosco di Capodimonte Collection.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The \u201cCandid Photography\u201d Inspired by Henri Cartier-Bresson<\/p>

Mario Amura also recounts having been inspired by the \u201ccandid photography\u201d of a master like Henri Cartier-Bresson, whom he met when he was a boy: \u201cThe photographer must be invisible, respectful, an observer who does not interfere,\u201d he emphasizes. Even Amura\u2019s past as a director of photography was fundamental in this regard: \u201cCinema taught me to see the world through the eyes of others. A lesson learned from Giuseppe Rotunno, my teacher at the Experimental Center of Cinematography, of whom I later became an assistant.\u201d<\/p>

Amura\u2019s Projects<\/p>

Although the direction of lights no longer fascinates him, Mario Amura confesses: \u201cI would like to return to cinema, but as a director.\u201d There is so much material, however, that he is working on. Since 2005, with the advent of digital photography, he has begun to explore new languages, merging photography and cinema to tell the invisible: \u201cI have developed the idea of narrating emotional flows through photographic sequences, a sort of \u2018contemporary photo novel\u2019 \u2013 he explains \u2013 images that capture fragments of reality, synchronized with music, where I merge two opposite concepts: photography that suspends the moment and cinema that lets it flow.\u201d<\/p>

For the project StopEmotion, still unpublished, he gathered images from Bosnia, India, China, France, England, and Cambodia, while since 2007 he has been working on Fujenti, an original reportage built over time and still in progress.<\/p>

And if among the places with a special energy Amura unhesitatingly mentions the Bagnoli Pier, \u201ca seaside promenade, a nearly one-kilometer walk suspended between sky and water,\u201d here we are ready to move once again to Vesuvius to capture one last suggestion: \u201cWhen I first took my daughter to the foot of the volcano, she was four years old \u2013 today she is eight \u2013 I said to her: \u2018Look, Lea, this is Vesuvius; it carries within it fire, lava,\u2019 trying to describe it between myth and legend. A few days later, I told her again: \u2018Here, Lea, Vesuvius, say hello to it.\u2019 And she, with the innocence and simplicity of a child, replied: \u2018Yes, let\u2019s say hello, but in a soft voice.\u2019 Those words struck me more than a thousand theories: the volcano is not just a mountain, but a living presence that immediately inspires reverence. And it reminds us of our deep bond with nature and with the universe.\u201d<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tRead the article on viaggi.corriere.it<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

Il visual artist Mario Amura racconta il suo progetto Napoli Explosion, ispirato dai fuochi d\u2019artificio attorno al Vesuvio nella notte di Capodanno: \u201cuna manciata di minuti per cogliere l\u2019essenza di ci\u00f2 che accade e raccontarlo\u201d. Un\u2019avventura imprevedibile. Tra arte e reportage<\/p>","protected":false},"author":1,"featured_media":20330,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[210],"tags":[],"class_list":["post-24789","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-napoli-explosion"],"yoast_head":"\nDove - Corriere della Sera - Il visual artist Mario Amura racconta il...<\/title>\n<meta name=\"description\" content=\"Dove - Corriere della Sera - Il visual artist Mario Amura racconta il suo progetto Napoli Explosion, ispirato dai fuochi d\u2019artificio...\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/mario-amura.com\/en\/dove-corriere-della-sera-napoli-explosion-mario-amura-e-il-suo-progetto\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dove - 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