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

MOSTYN
12 Vaughan Street
Llandudno LL30 1AB
United Kingdom

www.mostyn.org
www.davidrobertsartfoundation.com

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).

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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

Alfredo Cramerotti and Michael Takeo Magurder for Apocalypse in ART: The Creative Unveiling

www.censamm.org

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.

11.00 – 11.30 Kip Gresham, Master Printmaker at The Print Studio, Cambridge: In the shadow of Durer.

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

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

2.30 – 3.00 Jonathan Evens, Associate Vicar, Partnership Development, St Martin-in-the-Fields, London: A Hard Rain’s A-Gonna Fall

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

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

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

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

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

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

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

MOSTYN

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

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.

 

Registration

To register, kindly apply by following this link: https://goo.gl/forms/PrF7L1tSKf9gLpYR2

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.

 

https://valletta2018.org/curatorial-school-2018/

Mousse Magazine: Marinella Senatore “The School of Narrative Dance and Other Surprising Things” at MOSTYN, Llandudno

Posted in nEws and rEleases, Uncategorized by alcramer on May 7, 2017

http://moussemagazine.it/marinella-senatore-mostyn-2016/

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MOSTYN, Wales UK proudly presents the first solo exhibition in a British institution by Marinella Senatore.

The exhibition presents a selection of the artist’s work from 2009 to today, in a renewed form of installation which will enable visitor participation and active engagement. A special focus is dedicated to The School of Narrative Dance, an ongoing, touring project founded by the artist in 2013 which has received wide acclaim from the public in over ten countries around the world.

For the first time we present, in its original idea, RE:VERB—a multi-layered work consisting of seven videos intended for television broadcast, made with the people of Llandudno during the artist’s residency in North Wales in 2015. This work was commissioned by CALL, and made possible by the collaborative initiative and financial support of the Arts Council Wales Ideas:People:Places grant and Mostyn Estates Ltd.

This is the first solo exhibition of the artist in a British institution and is designed and developed as a panoramic look at her most recent production, and in particular on the increased attention by Senatore towards the involvement of communities. It exemplifies the powerful idea of rethinking places responsible for culture in a more dynamic way. At the same time promoting the active inclusion of the public in the creation and in the use of the artwork, it empowers the individual in relation to social structures and community-gathering systems.

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at MOSTYN, Llandudno
until 17 September 2016

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Marinella Senatore “The School of Narrative Dance and Other Surprising Things” installation views at MOSTYN, Llandudno, 2016

Photo: Dewi Lloyd

 

Shezad Dawood | Leviathan

Posted in nEws and rEleases, Uncategorized by alcramer on May 1, 2017

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Shezad Dawood, Leviathan Cycle (production stills), 2017. HD video. Courtesy of the artist and UBIK Productions.

May 7–September 24, 2017

Shezad Dawood
Leviathan
An episodic narrative

Palazzina Canonica
Riva dei Sette Martiri 1364A, Castello
30122 Venice
Italy
Hours: Tuesday–Sunday 10am–6pm

Fortuny Factory
Giudecca 805
30133 Venice
Italy
Hours: Monday–Friday 10am-1pm, 2pm-6pm

An exhibition of a new and ambitious body of work by artist Shezad Dawood will open in May 2017 to coincide with the 57th Venice Biennale. The show will mark the launch of Leviathan, a ten-part film cycle conceived and directed by the artist that will unfold over the next three years. Leviathan is also being released as a series of written fictions. Episode 1 is available to read at www.leviathan-cycle.com.

The first two episodes of the film will be presented alongside a new series of textile and sculptural works in the newly-restored Palazzina Canonica, the former headquarters of the Institute of Marine Sciences in Venice, which is opening to the public for the first time since the 1970’s. The two-part exhibition will also feature a site-specific intervention in the Fortuny Factory in the island of Giudecca.

Curated by Alfredo Cramerotti, Leviathan is being presented by the Fondazione Querini Stampalia in collaboration with the Institute of Marine Sciences (CNR-ISMAR) and Fortuny in Venice. Following the launch in May, the project will embark on a three-year UK and international tour, culminating in a final presentation of all ten episodes in 2020.

Leviathan is set in an imaginary future whose inhabitants are the survivors of a cataclysmic solar event. Each episode is told from the point of view of a different character and follows them as they drift across Europe, Asia and North Africa, encountering a series of idiosyncratic communities. Filming locations include the Institute of Marine Sciences’ oceanographic platform in the Adriatic Sea, the Natural History Museum in London and an abandoned island in the Venetian lagoon.

In dialogue with a wide range of marine biologists, oceanographers, political scientists, neurologists and trauma specialists, Dawood has been exploring some key fault lines of the present and their possible interconnections. Taking a global and collective approach, Leviathan is a reflection on where we could be if a deeper understanding of trauma and climate erosion is not found, looking at what is not only a humanitarian crisis, but a wider crisis within our biosphere.

The new series of textile paintings has been developed in dialogue with the renowned textile manufacturer Fortuny, and will incorporate several of their hand-made fabrics. Dawood has furthermore been working closely with the Labanof in Milan, an institute that conducts research on personal effects lost by migrants during sea crossings to Lampedusa, in order to help families identify missing relatives. A series of artefacts and objects from the Labanof archive will provide the visual references for the new textile works.

The paintings will be installed in the library of the Palazzina Canonica, as well as in the showroom of the Fortuny factory in the Giudecca, established in 1919 and still operational today. In addition, a large-scale outdoor neon work titled Island Pattern, developed especially for the Fortuny Factory, will be unveiled within the garden façade of the building.

The exhibition in Venice will be accompanied by a lively public programme that will bring together specialists involved in the project for a series of informal discussions akin to the philosophical “agora” in Ancient Greece. These discussions will also be available in digital form through the project’s web platform, creating an archive aimed at scientists, researchers, students and the general public. In addition, a special film programme curated by Shezad Dawood in collaboration with streaming platform MUBI will run throughout the duration of the exhibition, with free film screenings taking place at the Palazzina Canonica.

The third film episode will be released in September 2017 and incorporated into the exhibition. Subsequent episodes will be co-commissioned and presented in partnership with a series of international venues, culminating in the presentation of all ten episodes in 2020.

The project is being developed with the support of Timothy Taylor, Outset Contemporary Art Fund, Galerie Gabriel Rolt, CREAM – University of Westminster, University of Salford Art Collection with support from The Contemporary Art Society and a circle of private patrons.

Acts of Appearance – Photographic Exhibition launch and talk at MutalArt / APT HQ, London, UK

Posted in nEws and rEleases, Uncategorized by alcramer on April 25, 2017
  • Wednesday 26 April 2017, 6pm

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