alcramer [Alfredo Cramerotti]

MOSTYN x DRAF (David Roberts Art Foundation): Upcoming Exhibitions

Posted in nEws and rEleases, Uncategorized by alcramer on July 11, 2018

She sees the shadows
July 14–November 4, 2018

In Addition
Editions by artists
March 3, 2018–February 27, 2021

Louisa Gagliardi / Josephine Meckseper
Opening November 16, 2018

12 Vaughan Street
Llandudno LL30 1AB
United Kingdom

MOSTYN, Wales UK is pleased to present a group exhibition of works by over 40 contemporary artists from the David Roberts Collection, marking the first off-site collaboration by David Roberts Art Foundation (DRAF).


Magali Reus, Parking (Legs At Eye Level), 2014. Courtesy the Artist and David Roberts Collection. Photo: Plastiques.

She sees the shadows

Works by: Caroline Achaintre, Horst Ademeit, Fiona Banner, Sara Barker, Phyllida Barlow, Neil Beloufa, David Birkin, Karla Black, Carol Bove, Martin Boyce, Lea Cetera, Susan Collis, Thomas Demand, Jason Dodge, Boyle Family, Theaster Gates, Isa Genzken, Rodney Graham, Harry Gruyaert, Jeppe Hein, Marine Hugonnier, Pierre Huyghe, Matthew Day Jackson, Tatsuya Kimata, Rachel Kneebone, Elad Lassry, Bob Law, Nina Beier & Marie Lund, Kris Martin, Marlie Mul, Nika Neelova, Man Ray, Magali Reus, Pietro Roccasalva, Analia Saban, Erin Shirreff, Monika Sosnowska, Oscar Tuazon, Gavin Turk, Franz West, Douglas White

Curated by Adam Carr (MOSTYN) and Olivia Leahy (DRAF)
Gallery 3, 4 & 5

“She sees the shadows… she even counts the tree-trunks along a promenade by the shadows, but sees nothing of the shape of things.”(1)

In 1886, a 22-year-old woman in Lyon saw the world around her for the first time. Objects instantly recognisable by touch were hard to distinguish with her new sight, and shadows appeared more concrete than solid forms. Her doctors described the sudden strangeness of familiar environments, and her singular experience of the world as a newly-sighted person.

In his 1932 book Space and Sight, Marius Von Senden collated the patient’s experiences alongside testimonies of similar cases dating from 1020 to the present. These captivating accounts, which later inspired writers including Maggie Nelson and Annie Dillard, express how something familiar can show a previously unacknowledged beauty when seen in a new way.

She sees the shadows is a group exhibition of works from the David Roberts Collection that resonate with the ideas found in Space and Sight. Each artist has re-conceived day-to-day objects and materials in unexpected ways—a bench, plug socket, grate, section of railing or broom—inviting viewers to see alternative qualities and narratives therein.

Each of the works in a collection, like the testimonies compiled by Von Senden, speak of personal experiences and moments. She sees the shadows is accompanied by a new publication with responses to the project from writers Orit Gat, Claire Potter and Sally O’Reilly and artists David Birkin, Jason Dodge, Marine Hugonnier, Marlie Mul, Magali Reus and Douglas White.

(1) M. Von Senden (trans. P. Heath), Space and Sight: the perception of space and shape in the congenitally blind before and after operation, 1932, Methuen & Co. Ltd.: London, 1960.


In Addition

Participating artists from July 2018:
Nina Beier, Sol Calero, Gabriele de Santis, Alek O., Jonathan Monk, Simon Dybbroe Møller and Marinella Senatore
Gallery 2

Each participating artist has produced work using paper and has been asked to reconsider the traditional model of producing an edition, where each version of a work is identical. Although appearing formally similar, each In Addition piece will offer deviations and nuances that set apart each edition as a unique work, thereby playing with ideas of the original, the copy and work made in series.

In Addition is permanently installed as an exhibition in MOSTYN’s Gallery 2, and will change shape over time as editions are purchased and as further artists participate in the future. MOSTYN is a charity registered in the UK and proceeds from the sales of the editions will be invested back into the gallery’s exhibition and engagement programme.


Louisa Gagliardi / Josephine Meckseper

Gallery 3, 4 & 5

Opening November 16, 2018, solo exhibitions by Josephine Meckseper and Louisa Gagliardi, curated by Alfredo Cramerotti (Director, MOSTYN) and Adam Carr (Visual Arts Programme Curator, MOSTYN), which are the first for both artists in a UK public institution.


CenSAMM Symposia Series 2018 – Centre for the Critical Study of Apocalyptic and Millenarian Movements

Posted in nEws and rEleases, Uncategorized by alcramer on July 2, 2018

Apocalypse in ART : The Creative Unveiling

The word ‘apocalypse’ originally indicated an ‘unveiling’, and the speaker in the Book of Revelation is a ‘seer’. This is perhaps one of the reasons that this ancient text (and others like it) have generated such a ferment of creative responses in the visual arts – as well as those other non-visual strands of the arts which have their own way of engaging our mind’s eye.

The rich variety of types of artistic unveiling (visual, musical, dramatic, literary) makes an engagement with the creative arts a deeply valuable way of understanding and appreciating the idea of apocalypse, alongside more traditionally academic modes of enquiry.

This conference seeks to explore our relationship to art, its practice, its study and what the arts unveil to us. As artists or as audiences of art we can be profoundly transformed by our encounters with artistic creativity; indeed, we can find ourselves using the language of revelation to describe such encounters, regardless of our individual faith, religion or beliefs. Mark Rothko is quoted as saying, “the people who weep before my pictures are having the same religious experience I had when I painted them.”



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Thursday June 28th

9.00 – 9.30 Registration and coffee

9.30 – 9.40 Welcome

9.40 – 10.40 Keynote Speaker:  Christopher Rowland, Dean Ireland’s Emeritus Professor of the Exegesis of Holy Scripture, University of Oxford.

John Saw these things Reveald in Heaven On Patmos Isle’: the Book of Revelation anticipates Blake’s Apocalypse.

The words and images of William Blake (1757-1827) typify the meaning of  ‘apocalypse’. Indeed, ‘unveiling’ that which is ‘veiled’, whether in our minds and habits, in Christian doctrine and practice, and political structures and ideology,  are at the heart of Blake’s work. Blake never used the word ‘apocalypse’ or ‘apocalyptic, though Samuel Taylor Coleridge used the word of Blake when he described him as an ‘apo-, or rather ana-calyptic Poet, and Painter’. The Book of Revelation, theparadigmatic apocalypse, profoundly influenced Blake’s texts and images. It is no surprise that images from Revelation make their appearance among his images, especially the pictures he painted of biblical scenes. How Blake interpreted the Apocalypse in his art will be the particular concern of this paper, though attention will be given to the wider influence of apocalyptic themes in his thought.

One aim of this conference is to explore what the art unveils to us. That is entirely in tune with what Blake intended in his texts and images. Blake wrote to a client, who wanted an explanation of his images, that this was unnecessary and was a task for the viewer. His role as an artist was to paint that which was ‘not too explicit as the fittest for Instruction, because it rouzes the faculties to act’.


10.40 – 11.00 Coffee break

11.00 – 11.30 Kip Gresham, Master Printmaker at The Print Studio, Cambridge.

In the shadow of Durer.

I am a printmaker so it’s natural that Durer’s woodcuts figured large in my understanding of the printed mark and the visionary nature of The Revelation.

Back in the late 80’s I made a small portfolio called ‘The Seven Seals’. It was a set of images with calligraphy by my wife Jane. These were a response to, rather than illustrations of, the text.

Some years later Chris Rowland asked me to make illustrations for his Epworth commentary. The illustrations were more figurative and directly referential and were meant to punctuate the commentary. Both groups of works draw on a number of sources.

With hindsight, all this seems somewhat inadequate but perhaps it has a small place in the unravelling of a great mystery.


11.30 – 12.00 Elena Unger, Department of Art and Critical Studies at Goldsmiths University of London.

Desert Time: The Silence at the Heart of Apocalypse

This paper is framed by the desert, a place which is inextricably bound to its apocalyptic or revelatory temporality. Many who have entered the desert; prophets, mystics and artists alike, have done so seeking communion with time, and perhaps even an experience of how time is revealed to itself. Through a study of Søren Kierkegaard’s notion of repetition, Giorgio Agamben’s notion of Rhythm, Walter Benjamin’s messianic language and the concept of divine simulacra, this essay explores a spatial and linguistic dimension within apocalyptic temporality. Within this dimension, a fragment of the divine is encapsulated and revealed through the work of art. The work of Agnes Martin, a hermetic and visionary painter is explored. Martin expresses the silence and unknowing at the centre of time and of mystical experience. The poet Stephane Mallarme is also considered, with a specific focus on his concepts of the “immortal word” and “Le Livre”, in connection with Walter Benjamin and Gershom Scholem’s divine language. Through mystical experience, the artist is subsumed into an atemporal and apocalyptic dimension within time. The silence at the center of time becomes an access point to the divine, and through that the artist poetizes.  What they produce captures in its originary structure the essence of the apocalyptic.


12.00 – 1.00 Lunch

1.00 – 2.00 Keynote Speaker: Michelle Fletcher, Research Associate on The Visual Commentary on Scripture at King’s College London where she is also a Research Fellow. Author of Reading Revelation as Pastiche: Imitating the Past (London: Bloomsbury, 2017).

Visualising the Apocalypse as a Thing of the Past

The Apocalypse, the final book of the New Testament, has a reputation as a blueprint for the future and a map of things to come. It has spawned countless time-charts, end-time predictions, and cries that its events are coming, soon! Yet when we look a little closer, a creeping realisation that things are not quite as future-focused as they first seem sets in. D. H. Lawrence felt this, observing that the text’s fabric was imbued with a sense of the already seen: “the best poetry is all the time lifted from Jeremiah, or Ezekiel, or Isaiah, it is not original.” He has a point. The Apocalypse is awash with language and images from books of the Old Testament; indeed, it is by far the most Old Testament-saturated text of the New Testament corpus. However, it never directly quotes any of these past texts, but instead blends, imitates, and combines them into something far more allusive.

How art can enliven our understanding of this past-saturated Apocalypse is the focus of this paper. Artists and artworks will act as our guides as we explore this ancient text, providing new lenses through which to view its dazzling images and destruction-scapes. Our visual memories will be evoked as we delve into the aesthetic inheritance of our chosen objects, and the work of Kazimir Malevich, Umberto Eco, Todd Haynes, and Sergio Leone will all be brought into the fray as we question what effect and affect re-viewing the past in new locations has on audiences, ourselves included. And this in turn will allow us to question what the Apocalypse may have been evoking in ancient audiences when it told of destruction in the near future, in ways that were strangely familiar. Therefore, through art and apocalypse this paper will argue that while the future might seem dark and unavoidable, it is the past the casts the longest shadows.


2.00 – 2.30 Break

2.30 – 3.00 Jonathan Evens, Associate Vicar, Partnership Development, St Martin-in-the-Fields, London.

A Hard Rain’s A-Gonna Fall

Bob Dylan grew up with the apocalyptic imagery of the Hebrew Scriptures and the cold war experience of hiding under school desks in the era of nuclear threat. When he began composing and performing, he combined this apocalyptic angst with the hobo lifestyle of his hero Woody Guthrie. His songs embody the idea and experience of journeying in the face of the coming apocalypse. In the best of Dylan’s songs we encounter a contemporary Pilgrim, Dante or Rimbaud on a compassionate journey, undertaken in the eye of the Apocalypse, to stand with the damned at the heart of the darkness that is twentieth century culture. Dylan’s manifesto is ‘A Hard Rain’s A-Gonna Fall’. In this song he walks through a surreal and unjust world, seeing ahead a gathering apocalyptic storm, and resolves to walk in the shadow of the storm and sing out what he sees. From ‘Slow Train Coming’ onwards Dylan equated the apocalypse with the imminent return of Christ (also known as the Second Coming). The return of Christ in judgement is the slow train that is coming around the bend and in the face of this apocalypse he calls on human beings to wake up and strengthen the things that remain. Yet, for much of his career, while consistently writing in the face of a coming apocalypse, Dylan did not specifically equate that apocalypse with the imminent return of Christ. Apocalyptic change in Dylan’s work can be understood as generational conflict, Cold War conflicts, nuclear holocaust, Civil Rights struggles, and more. The generic message is that apocalyptic change is coming and we need to think where we stand in relation to it. That message is as relevant today in terms of economic meltdown, climate change or peak oil, as to the Second Coming, whether imminent or not.

3.00 – 3.45 Round table discussion with artist, Michael Takeo Magruder and Alfredo Cramerotti (Director of MOSTYN Wales and curator of “De/ coding the Apocalypse”)

3.45 – 5.00 Tour of “De/coding the Apocalypse” by Michael Takeo Magruder and tour of the Panacea Museum.


Friday June 29

9.00 – 9.30 Registration and coffee

9.30 – 9.40 Welcome

9.40 – 10.40 Keynote Speaker: Eleanor Heartney, author and journalist, contributing editor to Art in America and Artpress, New York.

Revelation as Inspiration: The American Apocalypse

The Book of Revelation has a special hold on the American eschatological imagination.  Revelation’s enthralling hallucinogenic imagery and compelling narrative reinforce the sectarian, exceptionalist and often Manichean beliefs that are shared by America’s myriad religious sects, many of which contributed to Donald Trump’s victory. This talk will focus on contemporary American artists who have directly borrowed imagery and motifs from this apocalyptic text. They include both outsider artists like Howard Finster and William Thomas Thompson for whom the Book of Revelation is fact, and mainstream artists who have mined the text for metaphors for contemporary dilemmas. Among these are figures like Roger Brown and Keith Haring, both from evangelical backgrounds, and both deeply influenced by outsider art, who employed motifs from Revelation to express the conflicts between their childhood faith and their gay identity. Raymond Pettibon, raised as a Christian scientist, has explored the connections between the Book of Revelation and various American pathologies, ranging from serial killer Charles Manson to the Iraq War’s Shock and Awe.   Jim Shaw, as one part of a multi-faceted career, has studied and reinvented the ephemeral products of America’s esoteric mythologies and beliefs. Paul Pfieffer, child of Methodist missionaries, and lapsed Catholic Ed Ruscha present fusions of popular culture and eschatological theology in which Apocalypse appears, not as a fiery denouement, but as a radical void. All these artists provide a distinctly American spin on the Apocalypse. Their work presents a mix of hope and despair in which echoes of the founders’ utopian conviction that America would be Revelation’s “New Jerusalem” mingle with a history of brutal conflicts cast by their protagonists as salvos in Revelation’s final battle of Good and Evil.


10.40 – 11.00 Coffee break

11.00 – 11.30 Rebekah Dyer, PHD candidate, School of Divinity, University of St Andrews.

Reserved for Fire: Creative fire performances at David Best’s Temple and Shetland’s Up-Helly-Aa festival

In the New Testament passage of 2 Peter 3, fire unveils a new cosmic order. The writer announces that the heavens, the earth, and all the elements will be burned up to reveal a new creation. Everything we know, says the writer, is ‘reserved for fire.’ Translators and interpreters of this passage have debated whether this cosmic fire brings annihilation, purification, or a measure of both. Is this apocalyptic vision a prophecy of total destruction, or something more?

Artistic engagement with the creative capacity of fire can provide nuanced perspectives on this otherwise unsettling imagery. In this presentation, I will share insights gleaned from two recent fire-based performances: the art installation and ceremonial burning of Temple by David Best (Derry/Londonderry, 2015) and Up-Helly-Aa, Shetland’s annual fire festival. In both Temple and Up-Helly-Aa, local people come together to build — and then burn —a communal work of art. They do not burn these structures to dispose of them, but as an act of solidarity and renewal.

Our journey through these fire-based performances will unveil the imaginative potential of apocalyptic fire imagery in sources such as 2 Peter 3. I argue that fire may be more than an agent of destruction which merely paves the way for a subsequent act of creation. Instead, fire can form part of the creative act itself. Fire may become both catalyst and facilitator for transformation, renewal, and (re)creation of ourselves, our communities, and the cosmos.


11.30 – 12.00 Lilla Moore, Lecturer at BA programme in Mysticism and Spirituality, Zefat Academic College and Cybernetic Futures Institute (UK).

Technoetic Aesthetics of Revelation and Transcendence – The Horse in the Mind

The presentation utilizes the sensibility of technoetic aesthetics in order to demonstrate an interpretive study of imagery issuing from contemporary cultural and technological innovative products and events, such as Blade Runner 2049 and SpaceX Starman, the Tesla Roadster launch. It refers in particular to the theme of horse, horseman, and rider depicted explicitly or implied through aesthetic metaphors. These images seem to conjure current apocalyptic and revelatory meanings as well as amplify a sense of collective longings for transcendence.

Firstly, the term ‘technoetic’ was coined by the British artist and theorist Roy Ascott, and pertains to combinations of tech and nous, technology and mind. In principle, technoetic aesthetics bypasses the surface image of the world and allows an interpretive creative process that considers the interrelations of technology and mind and their various religious contexts. Hence, it may be relevant to imply that in the mystical traditions of Kabbalah, e.g., Abraham Abulafia and Tikunei haZohar, the horse and rider are both associated with the mind, the capacity of thought, and the Divine Intellect. In a technoetic framework, both the horse and the rider could metaphorically represent the powers of technology and mind, and the new interrelations of artificial, human and divine intelligence.

Secondly, on this technoetic premise, the analysis unfolds the revelatory function of the horse in the mind of K, the protagonist of the post-apocalyptic film Blade Runner 2049, and its aesthetics of transcendence as a product of mind technology. It is followed by a creative reflection on the broadcast of SpaceX Starman and the colour scheme of the ‘transcendent rider’ in relation to the colours of the four horses in a Judeo-Christian context. Overall, the aesthetics that associate the horse with technology and mind reframe, and may further evolve, the religious imagination and art of revelation and transcendence.


12.00 – 1.00 Lunch

1.00 – 2.00 Keynote Speaker: Natasha O’Hear Lecturer in Theology & Visual Art at ITIA, University of St Andrews. With Anthony O’Hear, author of Picturing the Apocalypse: The Book of Revelation in the Arts Over Two Millennia (Oxford University Press, 2015).

Visualising the Biblical Vision

Inspired by the purported visions of the Panacea Society’s Mabel Barltrop (of which there are, as far as I know, no images), in which she received her daily ‘scripts’, this paper will explore the different ways in which biblical visions have been conceptualised and visualised by a range of artists from the medieval to the modern era. Taking John’s visions in Revelation as a starting point, we will trace the artistic conception of the vision as something experienced physically to something that is altogether more internal and personal. Hans Memling’s image of John on Patmos (The Apocalypse Panel) will be presented as a turning point, the moment at which we are presented with the content of the visionary’s mind rather than viewing him physically interacting with and encountering his visions. This will be augmented by images of other biblical visionaries such as Daniel and Ezekiel and their visionary experiences. These images are both an important part of the visual reception of apocalyptic texts, as well as an important key to understanding the phenomenology of the biblical vision. I will argue that images, by virtue of their synchronic format, afford us an insight into visionary ‘unveiling’ in a way that textual discussion and analysis alone cannot.


2.00 – 2.30 coffee

2.30 – 3.00 Massimo Introvigne, Managing Director of CESNUR, the Center for Studies on New Religions.

Filming the Age of Kingdom: The End Times and the Movies of The Church of Almighty God

Severely persecuted in China, The Church of Almighty God started opening in 2014 churches in several countries where its members escaped and were seeking refugee status. One unexpected consequence of the diaspora was a flourishing of artistic activities in South Korea, Spain, and elsewhere, as some of the members who had escaped from China had received an education in the arts there. In addition to painting, the production of movies and musicals flourished, and some of the Church’s productions won awards in international Christian festivals. The paper examines how the Church’s millenarian beliefs are represented in some of its movies and paintings.


3.00 – 3.30 Matthew Askey, artist, curator, and Anglican priest. Currently serving as school chaplain at Southwell Minster, Nottinghamshire’s cathedral.

The Cross and the Zombie Apocalypse: Two Images for our Time

In this paper I will examine recent artworks by four British-based contemporary artists (Richard Meghan, Nahem Shoa, Siku, Matthew Askey) which help us to explore our current cultural understandings of the apocalyptic. Each of these artists have in common their act of drawing upon the meeting of two contrasting and seemingly contradictory sources, images and ideas – that of the theology of the Christian Cross and the phenomenon of the Zombie Apocalypse – and linking them together. Taking as a starting point Christian Mediaeval Doom paintings I will show how this imagery has remained embedded in today’s cultural consciousness, becoming intermixed with more recent image/ideas, drawing upon the humourous and the absurd in the making of apocalypse imagery which is both global in scope and post-nuclear in flavour. I shall explore connections between these two contrasting strands of embedded cultural meaning which find common ground in the visual, through the willingness of both in embracing contemporary cultural imagery, and ask the question what this meeting of contrasts might reveal to us of our sense of apocalypse in today’s world.

3.30 Closing comments.

Shezad Dawood & Mike Perry // In Conversation at MOSTYN

Posted in nEws and rEleases, Uncategorized by alcramer on June 25, 2018

Saturday 23 June, 2018


12 Vaughan St | Llandudno | LL30 1AB | UK

11am Exhibition Tour | 2:30pm Conversation with Artists

The two artists, currently showing at MOSTYN, each address contemporary issues around environmental sustainability and the impact of human activity on our natural world.

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OPEN CALL: International Curatorial School 2018 in Malta – Social Practices in Contemporary Art and Curating

Posted in Uncategorized by alcramer on June 9, 2018

Curatorial School 2018: Social Practices in Contemporary Art and Curating

Monday 3rd September-Friday 7th September, 2018

09.00 – 15.30

University of Malta Valletta Campus

The Valletta 2018 Curatorial School is a one-week intensive programme featuring leading curators and experts from major international arts and academic institutions. The course includes daily lectures for the whole group and workshops for smaller groups of students. The theme for this year’s Curatorial School is ‘Social practices in contemporary art and curating’, which will focus on artistic and curatorial practices which engage directly with audiences or specific groups of people. Social practice art is typically collaborative, performative and interdisciplinary, bringing together various fields like ethnography, community arts, activism and experimental forms of curating. Presentations by individual speakers and workshops will deal with the following topics, amongst others:

  • How might the curator produce projects that include participatory elements and manifest in the museum over a period of time?
  • How can political involvement within and beyond institutions be formulated and staged with the aim to stimulate social change?
  • How can we build a collective understanding of a territory when territories are fractured?
  • How can curators activate and intervene in real-life contexts?
  • How can the curatorial account for multiple sites of contact?
  • How can art practice intersect with politics and activism meaningfully?

Further your curatorial career through insightful lectures and professional networking opportunities. The programme includes daily interactive workshops.


Lecture Programme: Guest Speakers

Paul O’Neill

Jeanne van Heeswijk

Michael Birchall

Nina Möntmann

Kelly Large

Alfredo Cramerotti


Workshops will be held daily and will also be followed up with visits to contemporary art galleries in Valletta. Participants are offered the opportunity to respond to tasks put forward by guest curators and receive extensive feedback on aspects of curating, researching, producing and presenting new ideas.

Workshop themes include:

  • Curating the social: participants, constituents and (new) publics
  • The Social, Humanitarian, Historical, Scientific as Art
  • What we have in common
  • Curatorial Politics and the Question of Serviceability
  • CURATORIAL PUBLICS: ESCAPING AND TWISTING AND TURNING Recent Turns in Curating, Education, and Public Art Practice
  • Training for the Not Yet.

The workshops are intended for small groups of students. Applicants must indicate their preferred workshops in the application form (in order of preference 1-3) and all students will be allocated one workshop (not necessarily first preference). Students attending workshops are expected to participate actively and present their own curatorial and artistic ideas.



To register, kindly apply by following this link:

The fee to attend the Curatorial School is €110. We are pleased to offer a discounted student rate of €60 for students currently enrolled in studies.

Registrations are open until the 21st of June 2018.

Forms of Tension

Posted in nEws and rEleases by alcramer on June 1, 2018

Ewa Axelrad // Profile of the Artist

By Alfredo Cramerotti


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Download the full Artist Profile here



Evgeny Antufiev Organic resistance: body and knife – crossing the border | Press Coverage

Posted in nEws and rEleases by alcramer on May 21, 2018

Alfredo Cramerotti in conversation with Francesco Jodice Italian Cultural Institute, London

Posted in nEws and rEleases by alcramer on May 14, 2018



Francesco Jodice, What We Want, Phi Phi Ley, R18, 2003

Saturday 19 May 2018 | 6pm

39 Belgrave Square SW1X 8NX


The exchange between the artist Francsco Jodice and the curator Alfredo Cramerotti is centred on the question of “fragments”. What we usually expect is a linear explanation of the phenomena we encounter (in the Western philosophical tradition) but in reality there are areas of our existence that we can only give meaning to by approaching them in a circular way.

The snapshot of a system (in this case, a given society) is also the snapshot of the people who compose it, and especially of the artist who works on “giving sense” to that system in which he is living.

For the Love of Air Liquid

Posted in nEws and rEleases by alcramer on April 29, 2018

acramerotti april exhibition

Opening exhibition 18th – 30th April 2018, Chamber of Public Secrets’ new media art production and exhibition space, Media Art Research Center (MARC), Antalya

Fernissage 18th April 2018 at 17:00 – 19:00
Artists: Ferhat Ozgur,  Stefano Cagol, Ursula Biemann, Oliver Ressler, Khaled Ramadan and Hanna Ljungh
Curated by Khaled Ramadan and Alfredo Cramerotti


For the love of air liquid
Water’s impact on human happiness

I his book, Blue Mind, biologist Wallace J. Nichols published the surprising science showing how being near, in, on, or under water can make us happier, healthier, more connected and better at what we do.
Nichols analyzes the emotional, behavioral, psychological and physical connections that keep humans so mesmerized by water. He studies seas and oceans, lakes and rivers, and even swimming pools, and urges people to get closer to water if they wish to change their neurological, psychological and emotional experiences. Nichols draws on science, art, and narrative, as well as plenty of experience, to explain his blue mind in detail. Not just what it is, but how we can enter into this state, and, perhaps most importantly, why we should do so.

In order to know why water is one of our sources of happiness, or even a source of misery, we need to observe and analyze a very complex social science in conjunction with natural science: human relation to nature and the natural.
When we intend to shape nature, it changes and influences our living conditions. Due to this out-of-balance climatological interrelationship several vital elements of our survival are being affected. Water is becoming scarcer in some parts of the world while in other parts people suffer from the extra quantities of water falling from the sky or pumping from underneath.

In the scenarios of the world’s water bodies, only 3 percent of the water on the earth’s surface is fresh and drinkable, while 97 percent of the water is salty. The 3 percent fresh water is shared amongst the billions of the world’s population. Water shortage will soon hit cities and towns across the world, and the problem is increasing as populations are increasing. Industrialization and pollution are causing damage, and the greenhouse effect is having a negative impact, which leads to climate change that directly affects water sources. In an increasingly crowded and congested world, water supply has become scarcer and more contaminated.

Waste from industries and human settlements in most underdeveloped countries are drained into rivers and seas, leading to dying oceans. A good example of this is the Mediterranean Sea. Another example is one of Asia’s longest rivers, the Mekong River, where thousands of people have settled by the riverbank. The same analogy can be applied to the Nile River in Africa and to other rivers across the world. Lakes, rivers, seas and oceans used to be a source of human happiness and prosperity, but mass contamination, overfishing, and water scarcity have reduced many of them to transportation highways.

The exhibition,For the Love of Air Liquid, presents an opportunity to address the issue of water in a time of a crashing climate. The works of the invited artists examine our fascination with the water scene in detail. They are dedicated to helping us understand and enjoy a selection of contemporary art that provides inspiration and knowledge.

Khaled Ramadan and Alfredo Cramerotti

More information here.

Sean Scully: Standing on the Edge of the World @ Hong Kong Arts Centre

Posted in nEws and rEleases by alcramer on March 26, 2018

Curated by Alfredo Cramerotti

28 March 2018 —  29 April 2018

scully invite

Born in Dublin, Ireland, in 1945, Sean Scully spent most of his childhood and adolescence in south London, where, before he was even ten years old, he knew he would devote his life to making art. Shortly after leaving school in the mid 1960s, he enrolled at Croydon College of Art, and it was here that he first encountered Abstract Expressionism and Op Art. Influenced by figures on both sides of the Atlantic, including Mark Rothko and Bridget Riley, Scully abandoned his early figurative work, and during his studies at Newcastle University in the late 1960s and early 1970s, began formulating his own abstract language, based on the grid. It was not until he moved to the United States in the mid 1970s, however, where he encountered minimalism, that he first broke free from the grid, and from what he has described as ‘the binding, horizontal and vertical’. It was at this time that he produced his first works that were composed entirely of horizontal bands and lines. Writing from Zurich in March 2006 about this significant epiphany in his nascent oeuvre, Scully reflects: ‘It’s habitual to think of abstraction as abstract. But it’s not, it’s a self-portrait. A portrait of personal conditions, one could say. I left London, and its stability, for New York, and its instability. Correspondingly, I dropped the vertical out of the paintings, along with my own “personal” architecture, so that I could travel along my own horizon’.

Now dividing his time between New York, Germany and Spain, Scully’s journey with the languages of abstraction has evolved into a veritable odyssey, the horizontals and horizons perhaps pursued most clearly today in Scully’s ongoing series ‘Landline’, which brings ideas of abstraction into dialogue with the landscape. Alongside several notable examples from this series, the exhibition also includes works from another major series, ‘Wall of Light’, which began in 1998 and brought together horizontal and vertical bars in part inspired by several trips by the artist to Mexico since the early 1980s, and the remarkable qualities of light he observed falling on ancient stone walls there. ‘Walls, especially old ones, are custodians of memory, witnesses to the passages of human beings, surfaces that bear the traces of history’, he has said.

With an emphasis on new and recent works, including some exhibited for the first time, the exhibition ‘Sean Scully: Standing on the Edge of the World’ features a number of pieces from the past thirty years, selected and arranged by curator Alfredo Cramerotti. The works range from large-scale paintings to small works on paper, accompanied by a number of photographic prints, which, as Cramerotti explores in his illuminating essay for this catalogue, reveal not only some of the complex dynamics at work in Scully’s practice as regards relationships of colour and form, but also encourage viewers to consider the notion of ‘edges’, and in particular the connections between edges in his paintings and those in architecture and in nature. With both the built environment and the natural world, through his paintings, drawings, photographs and sculptural works, Scully invites us to stand on the edges and to look back in through the prism of abstraction.

More information available here.

Programme information provided by: Hong Kong Arts Centre, Timothy Taylor, London and New York, and Ben Brown Fine Arts, London and Hong Kong

Upcoming Exhibitions at MOSTYN

Posted in nEws and rEleases by alcramer on March 1, 2018
12 Vaughan Street
Llandudno LL30 1AB
United Kingdom
Shezad Dawood Leviathan Cycle, Episode 1: Ben (production still) 2017 HD Video, 12’52”. Courtesy of the artist and UBIK Productions

Shezad Dawood

3 March1 July 2018

Leviathan is an episodic narrative around notions of borders, mental health and marine welfare issues of foremost concern, resonating profoundly with both coastal locations and contemporary life.

A ten-part film cycle that will unfold over the next three years, the work draws connections between human activity and marine ecology. Three films have already been premiered in Venice, in conjunction with the 57th Art Biennale, with a fourth to be released in early September 2018.

In dialogue with a wide range of marine biologists, oceanographers, political scientists, neurologists and trauma specialists, Leviathan explores interconnections between these fields of work and will be presented through sculpture, textiles, museum specimens, films, conversations and online resource material.

As part of the first iteration of Leviathan after its Venice debut, Dawood will also show a newly commissioned painting drawing upon this specific context, and work with community groups based on the coastal location asking questions about how these issues might come to evolve in a future 20 to 50 years from now, and what that future might look like.

The exhibition is curated by Alfredo Cramerotti, MOSTYN Director, in dialogue with the artist.


Shoe-22,-Playa-Santa-Maria,-Havanna,-Cuba-2014_Fencing_0Shoe 22, Playa Santa Maria, Havana, Cuba 2014. Fencing, Treadog Bay, Llŷn Peninsula, Wales 2016.

Mike Perry

Land / Sea
3 March1 July 2018

Mike Perry’s work engages with significant and pressing environmental issues, in particular the tension between human activity and interventions in the natural environment, and the fragility of the planet’s ecosystems.

This major new exhibition brings together recent bodies of work addressing how the natural biodiversity of landscapes and marine environments is undermined and made toxic by human neglect, agricultural mismanagement and the pursuit of short-term profit at the expense of long-term sustainability.

Combining conceptual aesthetics with a pressing concern for the marine environment, Perry’s images shed a different light on the health of the seascapes one might see in tourist brochures.

Môr Plastig (welsh for ‘Plastic Sea’) is an ongoing body of work that classifies objects washed up by the sea into groupings; bottles, shoes, grids, abstracts, and others. By using a high-resolution camera to capture the surface detail, the artist allows the viewer to ‘read’ markings and scars etched into the objects by the ocean over months and, in some cases, years. The viewer is intrigued and challenged by how a polluting object can be so aesthetically appealing.

In Perry’s words, “in addition to seeing these pieces as symbols of over-consumption and disregard for the environment, I also see them as evidence of the beauty and power of nature to sculpt our world”.

Land/Sea is originally produced by Ffotogallery, Cardiff, and curated by David Drake, Ffotogallery, and Ben Borthwick, Plymouth Arts Centre. The exhibition in MOSTYN has been developed in dialogue with Adam Carr, Visual Arts Programme Curator, and Alfredo Cramerotti, Director. The accompanying publication includes contributions from the writers George Monbiot and Skye Sherwin.


 Jonathan Monk, Picture Postcard Posted From Post Box Pictured, 2014.

In Addition

an exhibition of artist editions
3 March3 March 2018

Participating artists from March 2018:
Nina Beier, Sol Calero, Gabriele de Santis, Alek O., Jonathan Monk, and Marinella Senatore


We are pleased to present ‘In Addition’, a new edition series of works, by internationally renowned artists, available to purchase at an affordable price.
MOSTYN is a charity registered in the UK and proceeds from the sales of the editions will be invested back into the gallery’s exhibition and engagement programme.

Each participating artist has produced work using paper and has been asked to reconsider the traditional model of producing an edition, where each version of a work is identical. Although appearing formally similar, each In Addition piece will offer deviations and nuances that set apart each edition as a unique work, thereby playing with ideas of the original, the copy and work made in series.

In Addition will be permanently installed as an exhibition in MOSTYN’s Gallery 2 from March 2018, and will change shape over time as editions are purchased and as further artists participate in the future.

In Addition has been curated by Adam Carr (Visual Arts Programme Curator, MOSTYN).

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