MOSTYN Spring Exhibition Season
Derek Boshier, Guadalupe Mountains, 2017. © the artist. Courtesy of Gazelli Art House.
Derek Boshier: It’s Only When the Tide Goes Out…
Selected works and ephemera 1976-2018
S Mark Gubb: The Last Judgement
March 16–June 30, 2019
Artists Talking: March 16, 2:30–3:30pm, Derek Boshier & S Mark Gubb will be in conversation with Chris Fite-Wassilak
Exhibition preview: March 16, 4–6pm
MOSTYN
12 Vaughan Street
Llandudno LL30 1AB
United Kingdom
www.mostyn.org
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MOSTYN, Wales UK is pleased to present two new exhibitions “In Conversation” by Los Angeles based Derek Boshier and Cardiff based S Mark Gubb.
The gallery’s ongoing “In Conversation” series brings together two solo exhibitions and presents the dialogue, collaboration or similarity in exploring themes that can occur between artists. This iteration, which stems from a chance introduction through a mutual friend between Derek Boshier and S Mark Gubb, takes the series a step further with Gubb co-curating the exhibition by Boshier in collaboration with MOSTYN Director, Alfredo Cramerotti.
Derek Boshier, who first came to prominence as part of the British Pop Art movement in the early 1960s, is also known for his work with cultural icons such as The Clash and David Bowie.
The exhibition includes a range of drawings, paintings, prints and videos, along with lesser-known photographic and sculptural works, and ephemera from the artist’s personal collection. Through this broad collection of works and artefacts, the exhibition reveals how Boshier’s creativity steps beyond the studio or gallery space. Containing works from the last four decades of the artist’s career, presented here is a never before seen portrait of an artist whose own work he has described as “art that’s political, not political art.”
The exhibition also includes works and archive photographs made in the 1970s when Boshier lived in the Welsh village of Llangadfan.
Taking Michelangelo’s Sistine Chapel painting of the same name as a starting point and reference,The Last Judgement by S Mark Gubb includes a range of new and existing sculptural works exhibited as an installation.
The exhibition builds on Gubb’s long-standing use of popular culture and history in his work, along with his interest in historical paranoias, created by things such as The Cold War, and in our ability as individuals to influence the world around us, for better or for worse. As part of his research for The Last Judgement, Gubb revisited classic works from art history such as Goya’s “Black Paintings,” key works by Hieronymous Bosch and works by the acclaimed Welsh artist, Edgar Herbert Thomas, the latter a great-great uncle by marriage.
To accompany the season a combined catalogue, funded by the University of Worcester, will be produced containing a new essay by Jonathan Griffin.
Derek Boshier’s exhibition is thanks to generous support of Colwinston Charitable Trust and the assistance of Gazelli Art House, London. S Mark Gubb’s exhibition is supported by the Arts Council of Wales
Alfredo Cramerotti: In and around and about contemporary art
Alfredo Cramerotti: In and around and about contemporary art
Alfredo Cramerotti, MOSTYN Director, will talk about his career as a Curator, the current programme, including the Open 21 exhibition, and future plans for Wales’ foremost contemporary art gallery.
Alfredo Cramerotti is a cultural entrepreneur, writer, curator and broadcaster. Alfredo is the Director of MOSTYN Wales; Head Curator of APT Global–Artist Pension Trust; and Associate Curator of CCANW (Centre for Contemporary Art and the Natural World).
See more information and the programme’s full timetable here.
MOSTYN Open 21 | Call for Submissions
Deadline | 4 March 2019
MOSTYN, Wales UK is delighted to announce the call for submissions for the 21st anniversary edition of the MOSTYN Open contemporary art exhibition, to be shown from July 2019.
£10,000 Prize
Audience Award: £1,000 The NEW ‘Exhibition Award’ will award an exhibition at MOSTYN to the artist/collective that the selectors feel would most benefit at this point in their career.
Confirmed selectors for MOSTYN Open 21:
Jennifer Higgie, Editorial Director, Frieze, London
Katerina Gregos, Independent Curator, Brussels
Hannah Conroy, Co-Director and Curator, Kunstraum, London Alfredo Cramerotti, Director, MOSTYN
And, of course, the visiting public for the ‘Audience Award’.
For more details regarding key dates and submission process, please visit: https://www.mostyn.org/open21
AN INVISIBLE ENERGY DIVES AND PHENOMENA OF CONTEMPORARY ART
PHANTOMOLOGY – THE PHENOMENOLOGICAL ENVIRONMENT | AN INVISIBLE ENERGY DIVES AND PHENOMENA OF CONTEMPORARY ART
Friday 1st February 2019
CUBO, Bologna, Italy
FORCE FIELD, 2016. | performance in collaboration with Paul Prudence. Image courtesy of Phantomology; project curated by Marco Mancuso, Daniela Tozzi and Ilaria Bignotti
for the spaces of CUBO in Bologna.
Panel Discussion
Moderated by: Marco Mancuso and Ilaria Bignotti
With: Ugo La Pietra, Ariane Koek, Alfredo Cramerotti
“Fantomologia” is a term coined by Polish science fiction writer and philosopher Stanislaw Lem, in his essay “Summa Technologiae” of 1964. The theme dealt with is the role of man in relation to a vast and stratified universe, existing beyond of its physical and sensory limitations, differently intelligent and as such capable of creating or breaking down barriers of understanding and dialogue between different elements.
The curatorial project proposed by Marco Mancuso, Daniela Tozzi and Ilaria Bignotti for the spaces of CUBO Unipol, analyzes the concept of environment in a wide and complete way: the technological environment (the installation The Nemesis Machine of the media artist Room) and its comparison with the historical works (Immersioni – Caschi Sonori, Commutatore) by the artist Ugo La Pietra, the sub-atomic environment (the Force Field performance by the duo of science artist Evelina Domnitch and Dmitry Gelfand), the architectural environment (the panel moderated by Daniela Tozzi with Bertram Niessen, Paolo Rigamonti and Salvatore Di Dio) and finally the phenomenological environment (the panel moderated by Marco Mancuso and Ilaria Bignotti with Ugo La Pietra, Ariane Koek and Alfredo Cramerotti)
The phenomenological environment is therefore addressed through the panel entitled “An invisible energy. Immersions and phenomena of contemporary art “, structured in turn as an ecosystem in which to share ideas and topics, a context that brings together artists and curators who for years have been exploring these issues in terms of production, research and market potential.
MOSTYN: Recent Press Coverage 2018
MOSTYN x DRAF Exhibition | Adam Carr and Olivia Lehay in Conversation
View full videos for Adam Carr and Olivia Lehay here
www.davidrobertsartfoundation.com
Alfredo Cramerotti, Mike Perry and Shezad Dawood in Conversation | MOSTYN
MOSTYN Feature| Daily Post
Art & Science Lecture Series | MOSTYN
MOSTYN: Autumn 2018 Exhibition Season
November 17, 2018–March 3, 2019
Opening: November 17, 4–6pm
MOSTYN
12 Vaughan Street
Llandudno LL30 1AB
United Kingdom
Josephine Meckseper
Galleries 4 & 5
One of the foremost female artists of her generation working today, German born and New York based artist Josephine Meckseper melds the aesthetic language of modernism with the formal language of commercial display, combining them with her own images and film footage of historical undercurrents and political protest movements. Throughout her installations and vitrines, by simultaneously exposing and encasing common signifiers, such as advertisements, and everyday objects, next to abstract paintings and sculptures she creates a window into the collective unconscious of our time.
At the core of the exhibition will be a mirrored vitrine, and a set of glass, acrylic sheeting and stainless steel sculptures, along with two dimensional and film work.
The exhibition is curated by Alfredo Cramerotti, MOSTYN Director, and is supported by The Colwinston Charitable Trust. It is the first solo exhibition in Wales for the artist.
Louisa Gagliardi
Under the Weather
Gallery 3
Switzerland born and Zurich based artist Louisa Gagliardi pulls apart the construction of an image, and of our society, in a digital age, while appearing to explore the codes and history of painting. Her works pose questions around ideas of figure and ground, flatness and depth. Working digitally initially—using a freehand digital illustration tool—her pieces are later seemingly translated into paintings. Although brushstrokes might seem apparent, her works are digitally printed, replacing paint for printing ink, canvas for PVC and traditional lacquer for a gel material—mediums that are perhaps more at home with the advertising industry than they are with weighty history of painting. As a whole, the appearance of her pieces is caught in a state between human and machine, reflecting the confused, surreal tone of much of the images and worlds she portrays.
Presenting both new and existing works, this exhibition places a spotlight on the defining factors of Gagliardi’s practice, which has also turned to the location of the gallery itself for inspiration. In various ways, the works explore the urban environment and the countryside, and the conflict that can arise between the two. Dissatisfaction and the inability to be content in the present moment are recurring themes distilled into representations of urban and natural settings.
This exhibition has been curated by Adam Carr, Visual Arts Programme Curator, MOSTYN, and is supported by Swiss Arts Council Pro Helvetia,
This exhibition has been curated by Adam Carr, Visual Arts Programme Curator, MOSTYN, and is supported by Swiss Arts Council Pro Helvetia,
Both exhibitions by Josephine Meckseper and Louisa Gagliardi are part of the Conversation Series, a sequence of two solo exhibitions at MOSTYN that brings together two solo exhibitions and presents the dialogue, collaboration or similarity in exploring themes that can occur between artists.
Both exhibitions by Josephine Meckseper and Louisa Gagliardi are part of the Conversation Series, a sequence of two solo exhibitions at MOSTYN that brings together two solo exhibitions and presents the dialogue, collaboration or similarity in exploring themes that can occur between artists.
In Addition
Participating artists from July 2018:
Nina Beier, Sol Calero, Shezad Dawood, Gabriele de Santis, Diango Hernández, 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.
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.
This project has been curated by Adam Carr, Visual Arts Programme Curator, MOSTYN.
Please find more information here.
51st AICA Congress in Taipei, Taiwan
The Congress is organized by the Taiwan section of AICA (International Association of Art Critics) and will be held on 14-21 November, 2018 in Taiwan.
The Congress Theme Art Criticism in the age of Virtuality and Democracy addresses some key issues concerning the role of art criticism from the perspectives of
- Art criticism in the age of virtuality
- Art discourse facing challenged democracy
For more details, visit https://aicatw-eng.blogspot.com/
Within Digital Culture: The Hyperimage Perspective on Art and Criticism
“Art Criticism in the age of Virtuality and Democracy”
Sub-theme: “Art criticism in the age of virtuality”
Paper for 51st AICA International Congress in Taiwan, 14-21 November 2018 by Alfredo Cramerotti
Curatorial School Malta | Guest Speaker: Alfredo Cramerotti: Curating and Contemporary Art as Social Practices
Curatorial School Malta
September 2018
Alfredo Cramerotti: Curating and Contemporary Art as Social Practices
What I do as a curator is to develop and present statements through the combination of works of art and/or artistic practices that, in my view, ‘connect the dots’ about this or that social, cultural, political or aesthetics matter.
In this context, I have found myself working in a pattern of modes. Sometimes taking a more authorial role and developing concepts and frameworks, some others becoming a conduit for ideas not mine, but translated and transformed by the visual authors. Some other times, facilitating what was already there, and simply heightening the impact or making sure the audience’s experience was in focus. Thus, as a curator, the work undertaken is less about the “what” and more about the “how”.
PART ONE
Keynote: “Conditional Readiness” The Curator and Artist as Social Shaper.
Abstract:
The main idea to discuss is that what a cultural practice does through the audience’s simultaneous experiences shifts from what is represented and originally intended, to a relational-driven form of interaction. This contact stabilizes, only temporarily, a form of mediation that triggers provisional meaning.
We can roughly equate the agency of art with being prepared for something, a “conditional readiness” (MacKay 1969), which implies that one’s understanding of a message is not limited to what to do (in response to it), but is expanded to include what one is ready to do if certain circumstances arise; more an unconscious preparation for an exploration rather than a conscious setting off for a journey.
Meaning is produced neither by the ‘sender’ nor by the ‘receiver’ of the message; it is formed by a readiness to relate to external factors, in terms of ‘performability.’ The agency of art (both in its making and its curating state) therefore arises less from the act of contextualizing and interpreting what we see, and more from the internalized suggestions for possible actions to take; what this performance fosters is a context where we interpret and ‘make sense’ of artistic acts by what they do, the functional aspect.
Examples include a presentation of a few artistic and/or curatorial practices delivered by Cramerotti such as the Maldives Pavilion at the 55th Venice Biennial 2013 and MOSTYN’s History Series Audience Development Programme 2014-17; and artist’s work such as that of Fernando Garcia-Dory, Sarah Pierce, Wochenklausur, the Craftivism movement initiated by Sarah Corbett, Assemble, and others.
PART TWO
Workshop: The Social, Humanitarian, Historical, Scientific as Art.
Day 1 – Participants are invited to develop and present to the group their answers to a set of questions, such as: What does beauty has to do with, for instance, climate change, migration, mental or physical conditions? What is our understanding of aesthetics in relation to ethics? How do we tackle social themes that lend themselves awkwardly to a presentation in the (critical) visual realm?
Day 2 – Starting with case studies such as the Maldives Pavilion and other experiences by the participants, the group will relate their respective projects and highlight what worked and what did not, and why.
Day 3 & Day 4– Based on the brief proposals sent in advance, participants are invited to present to the group their next project plan (exhibition, residency, online platform, public programme, architectural or design commission, educational initiative, symposium, workshop, etc.). This will be a practical, project management-focused ‘tool kit’ that can be used to refine their specific plans.
Day 5 – Alternative scenarios: Could each participant’s project be produced somehow else? Is its digital platform following the concept and the execution, or preceding it? Is the range of artworks / artists / partners / speakers leading to unexplored territories or consolidating an prefigured approach?
More information here.
Sean Scully: Standing on the Edge of the World at Hong Kong Arts Centre | Press Coverage
Forewords | Hyperimages and Hyperimaging
This collection of short essays sometimes dances around issues and takes an oblique approach to the subject of the hyperimage, nevertheless serving to augment our understanding of the idea. What is unique about this book is thirty five pieces of writing, now approaching one theme, which, due to the nature of the commissioning of the individual texts, all enter the subject from different points, with differing influences and different spatial/temporal considerations.
Not only has the accumulation of the texts taken place over time, traversing projects, artists and locations; it has also occurred in tandem with technological developments which have served to shape much of our activity, both quotidian and also professionally as cultural producers.
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