STANDPOINT FUTURES at Chisenhale Studios
Standpoint Futures is a residency programme for visual artists, providing high calibre, tailored opportunities for discussion and interaction with the London art world. Applications are invited for the 2017 programme.
Each residency is 6 weeks long, working at new residency partners Chisenhale Studios in Bow, London E3. Standpoint Futures awards artists a free studio and accommodation during their residency, all advisor and mentoring meetings, plus a contribution to expenses of £100 per week.
The residencies will run from mid January – July 2017.
The submission portal will go live on Monday 1 August.
Above: Studio 4 at Chisenhale Studios, where Futures artists will be based in 2017. Credit: Tessa Whitehead, Studio4 Installation, 2015
Studio visitors to our residency artists in 2015 included Jonathan P Watts, Morgan Quaintance, Anthea Hamilton, Katie Guggenheim (Chisenhale Gallery), Marianne Forrest (Auto Italia), Milovan Farronato (Fiorucci Arts Trust), Dr Katherine Angel (Historian/Writer), Dr Betti Marenko (Central Saint Martins), Eddie Peake, Francesca Gavin, Andrea Francke, Amy Budd (Raven Row), Beatrice Gibson (LUX), Lindsay Seers, Nick Crowe, Ruth Ewan, Colin Perry (Writer), David Hoyland (Seventeen Gallery), Rachel Anderson (Artangel), and Anna Gritz (South London Gallery).
In the frame of the solo project ‘697 MADRI’ by Stefano Cagol, Alfredo Cramerotti holds the lecture ‘The expanded image. The mutation of the role of contemporary photography’
‘The expanded image. The mutation of the role of contemporary photography’
Lecture: August 6, 2016, 18.00 hrs
697 MADRI (697 mothers) refers to the 697 young soldiers died in the First World War in this border area of Trentino South Tyrol and buried by the Austro-Hungarian Monumental Military Cemetery in Bondo.
On July 2nd, 2016 the artist Stefano Cagol called all the women to come to the small village of Bondo (700 inhabitants) in the middle of the Alps and the Dolomites for a participatory performance. Hundreds of women came from all the region and outside and walked and staid on the monumental granite stairs recalling the personal and family suffering beyond flags, troops and belongings. They became part of a new monument to life and this action has been fixed by video and photographic images by the artist.
Now the artworks are on view till September 17th, 2016 by the Antica Chiesa di San Barnaba – Ancient Church of Saint Barnaba in Bondo, together with an installation (aluminum and sound) that recall, with sharp edges, the extreme conditions of the soldiers waging war on the top of these mountains that actually appear as a natural paradise.
In this border region, in a small village in the middle of the Alps, in a symbolic place recalling the continue conflicts and the human consequences of wars, it is extremely relevant the presence of Alfredo Cramerotti for a lecture about the role of images nowadays. Lecture: August 6, 2016, 18.00 hrs
Alfredo Cramerotti is the Director of MOSTYN, the main art center in Wales; he was born in Trentino and this is the first time he comes back for an art event. Cramerotti and Stefano Cagol had the chance to collaborate for the Maldives National Pavilion at 55th Venice Biennale: Cagol as participating artist and Alfredo Cramerotti as part of the curatorial collective CPS-Chamber of Public Secrets.
The lecture ‘The expanded image. The mutation of the role of contemporary photography’ by Alfredo Cramerotti is realized with the participation of Franco Marzatico, Superintendent for Cultural Heritage of the Autonomous Province of Trento.
THE PROMOTING INSTITUTION
The project and the collateral program are promoted by the Scuola Musicale Giudicarie: www.scuolamusicalegiudicarie.it
With the support of the municipality of Sella Giudicarie, BIM Valle del Chiese, BIM Sarca-Mincio-Garda, with the participation of Associazione Nazionale Alpini and Osterreichisches Schwarzes Kreuz.
The iconographic and historical research is curated by Giulia Robol.
Roven n°12: Les Rituels du dessin: SUR LE RITUEL. CINQ QUESTIONS À IRMA BLANK
by Alfredo Cramerotti, Irma Blank, Joana Neves [Ed.]
15 March 2016
Daily Post: What’s On / Q&A
20 February 2015
Jonathan Shanklin, who discovered the Antarctic ozone hole, will be speaking about this important scientific breakthrough and his family links to the current MOSTYN exhibition, The School of Art, Science and Technical Classes, on 30 July 2016, 2:00pm at The Imperial Hotel, Llandudno.
Tickets £8. Telephone 01492 868191 to book.
Bydd Jonathan Shanklin, a ddarganfu’r twll yn yr osôn yn yr Antarctig yn sgwrsio am y darganfyddiad gwyddonol, pwysig hwn a’i gysylltiadau teuluol ag arddangosfa gyfredol MOSTYN, Yr Ysgol Gelf, Gwyddoniaeth a Dosbarthiadau Technegol, 30 Gorffennaf 2016, 2.00yh yng Ngwesty’r Imperial, Llandudno
Tocynnau £8. Ffôn 01492 868191 i archebu lle.
The ozone hole is ‘healing’ according to new research published this week in the journal Science.
Jonathan Shanklin from BAS was one of the scientists who was part of the discovery in 1985. He says:
“It is very clear that the Montreal Protocol is working, that it is clearly leading to a reduction in the amount of ozone destroying chemicals in the atmosphere, and that this reduction is probably leading to a recovery of the Antarctic ozone layer. Nevertheless we will still have ozone holes for perhaps another half century.”
Makoto, Ulisse II
A project by Virtualgeo and Museo Archeologico Nazionale di Venezia, curated by Alfredo Cramerotti.
18 November 2015 to 31 January 2016
The Venice Archaeological State Museum will host Ulysses II, a contemporary sculpture by Japanese artist Makoto to dialogue with the Ulysses one part of Grimani collection. The exhibition opens on November 18 at noon with Daniele Ferrara, Director of ‘Polo Museale del Veneto’.
Video trailer by Makoto
29 December 2015
11 November 2015
11 November 2015
13 November 2015
14 November 2015
17 November 2015
by Valentina Bernabei
17 November 2015
17 November 2015
17 November 2015
17 November 2015
by Arianna Testino
17 & 20 November 2015
18 November 2015
MIBACT – Ministero dei beni e delle attività culturali e del turismo
18 November 2015
18 November 2015
Corriere della Sera
19 November 2015
La Repubblica_Nuova Venezia
19 November 2015
21 November 2015
by Giovanna Dal Magro
27 November 2015
by Luigi Stefanelli
1 December 2015
EXPO VIDEO exhibition during EXPO CHICAGO (September 17 – 20, 2015)
EXPO VIDEO Curator Alfredo Cramerotti on the Past, Present, and Future of Experimental Film
by Dylan Kerr
16 Sept 2015
by Tali Jaffe, executive editor, and Sabrina Wirth
18 September 2015
Jessica Stockholder’s Once Upon a Time, at IN/SITU 2014
EXPO Chicago, The International Exposition of Contemporary & Modern Art, showcases Chicago’s rich cultural history with a multi-sensory visual art event program with more than 140 art galleries. Visitors can experience temporary public art along the lakefront and throughout Chicago neighborhoods with EXPO IN/SITU Outside, curated by Louis Grachos and international films curated by Alfredo Cramerotti with EXPO VIDEO.
fair? Is that part of EXPO VIDEO’s purpose?
Alfredo Cramerotti: What I think is important is to not ‘forget’ that art implies a number of things – the thinking, the making, the displaying, the mediating, and yes, the collecting / selling / buying of it. In an art fair is crucial to understand where ‘value’ comes from. It’s wise to be aware where this value and potential growth comes from. It doesn’t start with money. Capital always follows action, as Iggy Pop brilliantly put it in his (so far, only) lecture, last year in London.
TJ: Is this the first program you’ve curated in a commercial setting? Does that affect your approach at all?
AC: It’s not the first time. I have curated solo shows for artists I know and appreciate since long in commercial galleries before, because I’ve been asked by them. I am also curating a group show in a commercial gallery in Vienna, just before EXPO VIDEO, because they invited me to put up a very interesting project about, you guess, art & capital. I’m writing the catalogue text now. They gave me carte blanche, and actually, none of the represented artists feature in the show and they were absolutely fine with that. I find the commercial context different, of course, but it depends a lot about your approach as curator, your vision for the project, your capability to negotiate the elements of the exhibition, and the relationship with both galleries and artists. I enjoy to ‘jump ship’ every now and then. It gives me a different perspective that might be useful in my institutional role too.
TJ: In speaking about the viewing experience, you say the viewer is at the center of the work. Can you elaborate on that please.
AC: I always try to put myself in the viewer’s shoes, when I plan a show. I take onboard the viewer’s experience in encountering the wall text, the colours on the galleries, the people along the spaces, sitting on a sofa or standing to watch a video (How long does it last? Do I have enough time? Do I want to see this one now or have a look at the rest of the exhibition first? Etc.), being able to read the information without struggling to understand them, and also being free to ignore them if I wanted. When I curate a show, I am the first audience. If something doesn’t ring true or right, it needs to change. Especially in a film & video show, it’s easy to forget that we put an enormous ask on the viewer; it’s possibly the most difficult exhibition to experience. That’s why I position the viewer at the centre of the work – in terms of content, interpretation, time, experience of viewing, possibility to come and go at leisure, and of choosing different times and modes of viewing.
TJ: There are a number of ways for viewers to experience the video program, including an app. Is that unusual, to be able to choose the format you experience an artwork?
AC: Yes, it might be unusual to some extent, but it goes back to what I was mentioning before – putting the viewer at the centre. If a work is conceived as an app, and that work is perfect for a curatorial concept and an idea for an exhibition, then why not include it? It is stretching the boundaries for what film & video can be, and how can be experienced. The same goes for the four viewing pods present in EXPO VIDEO. There are works which I haven’t included in the two screening rooms’ loops because I have a clear feeling they would work better on a digital screen, in the middle of an open area. It’s a matter of taking responsibilities for the choice of the work but also for the experience of that work.
TJ: Can you tell us about your concept “aesthetic journalism”?
AC: The scholarship about the theory and practice of “aesthetic journalism” refers to a concept I created, starting from my work as an artist, to investigate the relationship between contemporary exhibitions and elements of interview, documentary, fiction and reportage. In short, I speculate on the mutual convergence of art and media into a new cross discipline of “aesthetic journalism”. Turned out it has a strong resonance with many contemporary artists’ approaches and practices. The proof is that the book has been listed as recommended reading in many American and European universities, and I have constant lecture requests worldwide – even if the book was published in 2009. It’s a nice feeling being able to identify and unravel a cultural trope.
I am following up now with the idea of “expanded photography: the hyperimage”, which investigates digital culture’s impact on artistic and curatorial practices. I’m not there yet – still working on it.
TJ: There’s a great range in video lengths, from 1:32 to 30 minutes. Is it riskier or more challenging with the longer video works?
AC: Neither really. Depends of the work. Depends how it sits with the rest of the programme. Depends, also, on what narrative sequence one creates in the viewer’s mind, and how that mind actually makes that sequence work. Always an attempt, always changing.
TJ: I’m curious about the ages of the artists included. Can you tell us the youngest and eldest among them?
AC: I actually don’t know the age of the twenty artists or so, never researched an artist’s work based on her or his age. They probably go from 20 to 70 but that’s just a guess.
TJ: Are there any emerging artists you have your eye on at the moment?
AC: Yes, I have eyes and ears open all the time. That’s part of my job. Danilo Correale (based in NY) is one. Tamar Guimaraes (based in Copenhagen) another. Renhui Zhao (based in Singapore) a third. Marinella Senatore (based in Paris) a fourth. Marc Rees (based in Cardiff) a fifth. The list can go on, but I stop here.
/Dialogues: EXPO VIDEO | Alfredo Cramerotti In Conversation panel discussion, featuring Alfredo Cramerotti, Director | MOSTYN and 2015 EXPO VIDEO Curator; Malerie Marder, Artist; and Cauleen Smith, Artist. Moderated by Duncan MacKenzie, Bad at Sports.
by Stephanie Cristello
5 Oct 2015
Project G x 2
by George Gozmon + Guy-Vincent
17 October 2015