Seeing Through the Affects of Violence. Part 2 @ Künstlerhaus Büchsenhausen
(hybrid event: on-site & streaming on Zoom and on Facebook [register via Eventbrite]
Seeing Through the Affects of Violence. Part 2
Alfredo CRAMEROTTI (curator), Natalia GUMENYUK (journalist), Mykola RIDNYI (fellow)
Using various media such as photography, film, installation and text, Mykola RIDNYI’s artistic practice employs historical research methods and the investigation of current political events. Ridnyi counters the sensational visualization and aestheticization of brutality with a distanced critical approach by addressing the representation of violence without its reproduction. In the post-truth era, facts have to be constantly checked, but the traditional way of presenting information needs to be questioned as well. Is there still a space for trust in both critical journalism and socially engaged art? In the second edition of a discussion series in the context of his Fellowship in Künstlerhaus Büchsenhausen, the artist talks with Natalia GUMENYUK, Ukrainian journalist, author, and founder of the Public Interest Journalism Lab, and Alfredo CRAMEROTTI, author, curator, and director of MOSTYN Contemporary Art Centre in Wales about the contradictions and similarities in the visual approaches of artists and journalists.
The broadcasting of violent images has always been at the core of the news business, the media’s modus operandi. However, with the invention of 24/7 TV cable news in the 1990s, and the later appearance of social media and live-streaming, the global audience is constantly exposed to a multitude of images of violence of both domestic and international conflicts. While the commercialization of news forces journalists to edit news videos in a way that resemble action movies, the normality of human existence is cut out to keep the audience hooked by better selling visuals. In her talk, Natalia GUMENYUK will address the following questions: is it at all possible to ‘un-edit’ the world we see in order to put violence in its place? Are we ready to sacrifice the aesthetics of violent and emotional imagery to bring back a raw version of reality at the risk of being boring?
In his book Aesthetic Journalism, Alfredo CRAMEROTTI describes different strategies of the interaction of aesthetics and information, such as witnessing, interactivity, hijacking and disclosing. He claims that ’aesthetic journalism works by combining documents and imagination: the necessity of the former and the desire of the latter [sic], since desirability is almost an antidote to the often senseless accumulation of information’. In his talk, Cramerotti will explore how the artist can find ways to ’import’ journalism into art and reintroduce an artistic approach to the information industry. The talk will posit a reflection on the concept of public opinion – does it work as an aggregate, and is it open to critical understanding?
PLEASE NOTE: This is a hybrid event. Up to 17 people can participate in the event in Künstlerhaus Büchsenhausen. Participating in the event on site is possible only in accordance with the current legal COVID-19 regulations. In addition, the event will be streamed. If you would like to directly participate in the discussion, please register via Eventbrite. You will receive the Zoom link automatically. Otherwise, you will be able to follow the event on Facebook.
Current information on events taking place at Künstlerhaus Büchsenhausen in the context of the exhibition Transgressions of the Real can be found on our website.
Participants:
Mykola RIDNYI is an artist, filmmaker and essayist based in Kyiv, Ukraine. He works across media, ranging from early political actions in public space to the fusion of site-specific installations, photography and the moving image which constitute the current focus of his practice. In recent films he experiments with nonlinear montage, and a collage of documentary and fiction. His way of reflecting social and political reality draws on the contrast between fragility and resilience of individual stories and collective histories. A connection with alternative times and phenomena, the influence of the past to the present and future, and the pressing polemic of manipulating historical memory born out of contemporary political agendas are among the main issues revealed in his engagements, initiatives, and projects.
Ridnyi has been a founding member of the SOSka group – an art collective originated from Kharkiv, Ukraine. He is a contributing editor of Prostory, an online magazine about art and society. His works has been exhibited in Venice biennale for contemporary art, The School of Kyiv – Kyiv biennale, Pinakothek der Moderne in Munich, daad galerie in Berlin, Transmediale in Berlin, Zentrum fur Kunst und Media in Karlsruhe, Galerie fur Zeitgenossische Kunst in Leipzig, Museum of Modern Art in Warsaw, Bonniers konsthall in Stockholm and others. He has been a scholar of Akademie der Kunst in Berlin, Iaspis in Stockholm, Gaude Polonia in Krakow and others.
http://www.mykolaridnyi.com/
Natalia GUMENYUK is a Ukrainian author, documentary filmmaker, and journalist specialized in conflict reporting, human rights and foreign affairs. She is a founder and runs the Public Interest Journalism Lab to popularize public spirit journalism and overcome polarization. Its method combines social research and visual storytelling. Since the Revolution of Dignity and the beginning of the war in Ukraine, she has been reporting on events in the Donbas and on a few journalists regularly traveling to occupied Crimea. In 2020 Gumenyuk published a book consisting of reportages, The Lost Island. Tales from Occupied Crimea based on six years of her reporting. The book has been published in German.
She has worked as a reporter in more than 60 countries and is the author of the book Maidan Tahrir. In Search of a Lost Revolution (2015), based on her reporting in the Arab Spring. Gumenyuk is co-founder of Hromadske TV and was from 2013 – 2020 a special correspondent for this TV station. She is German Marshall Memorial Fund Fellow 2017 and Draper Hill Fellow at Stanford University (2018).
Alfredo CRAMEROTTI is an author, curator, and director of MOSTYN, Wales UK and Adviser to the British Council Visual Arts Acquisition Committee and the Art Institutions of the 21st Century Foundation. He curated radio and television formats in Germany and Denmark, three national pavilions at the Venice Biennale, EXPO Film & Video in Chicago, and the biennials Sequences VII in Reykjavik, Iceland and Manifesta 8, Region of Murcia, Spain. He serves as Vice-President of AICA (International Association Art Critics), President Cand. of IKT (International Association Curators Contemporary Art), Co-Chair of VAGW (Visual Arts Group Wales), Executive Committee Member of ICOM UK (International Council of Museums), and is a member of CIMAM (International Committee for Museums and Collections of Modern Art). He holds a PhD in Communication Design and Photography and has had over 200 texts published on art, media and curatorial practice, contributing to a large number of books, catalogs, monographs and online journals. Alfredo is Editor-in-Chief of the Critical Photography book series (Intellect Books), and his own publications include Curating the Image: Notebook for a Visual Journey (2020); Forewords: Hyperimages and Hyperimaging (2018); Unmapping the City: Perspectives of Flatness (2010); and Aesthetic Journalism: How to Inform without Informing (2009, published in the Büchs’n’Books series). In 2007-08, Alfredo Cramerotti was Fellow in Künstlerhaus Büchsenhausen, where he worked on the book Aesthetic Journalism.
Visual Arts Group Wales (VAGW): Regional Conversations 11-12-13 May 2021
What do we need for a vibrant visual arts sector and how will it support your work, artistic practice and interests?
Calling all independent artists / makers / technicians / practitioners / curators / producers / arts workers / hobbyists / early career / community groups, or anyone with an interest in visual arts. What do you need a visual arts network to do for you? Join the conversation!
In May 2021, Visual Arts Group Wales (VAGW) is hosting three conversations exploring the conditions for a thriving and supportive visual arts network for Wales. We will focus on priorities highlighted by VAGW’s 2020 survey ‘COVID-19 and visual arts in Wales’ and seek a deeper understanding of your current challenges, successes and issues.
More info and to book a place:
http://www.vagroupwales.org/en/2021/04/02/regional-conversations-an-opportunity-to-discuss-the-visual-arts-landscape-with-visual-arts-group-wales/
New publications from MOSTYN: Richard Wathen and Nick Hornby
New Eyes very Time
Rooted in the historical canon of painting, Richard Wathen’s (b. London, 1971; lives and works in Suffolk, United Kingdom) work focuses largely on portraiture, portraying figures in states of hesitation and contemplation: listening at walls, pretending to sleep, moon bathing, or engaging in other apparent states of uncertainty. Wathen’s works depict the tumultuous and complex array of negative human emotions, from anxiety and sorrow to despair, brought on by the socioeconomic pressures of contemporary living. The intensity created through the use of small details is powerful and emotional as an expressive gesture. His works subvert the genre of figurative painting through a bold play between representation and abstraction, between the solid density of the matte surface and the fragility of the figures represented.
The catalogue presents a selection of the large- and medium-format works that can be read as an investigation of the human condition in an age when an image is considered a stand-in for a sentient being. With essays by Alfredo Cramerotti, Juan Bolivar and Rebecca Geldard.
Link here
Zygotes and Confessions
A a new publication devoted to the work of London-based artist Nick Hornby, and has been produced to accompany his first solo exhibition in a public gallery. The exhibition, which shares its title with the publication, is presented at MOSTYN, Wales, UK, from November 2020 to April 2021.
Hornby is known for his monumental site-specific works that combine digital software with traditional materials such as bronze, steel, granite and marble. In this publication he presents a substantial new body of smaller, more intimate work comprising three discrete yet interrelated series of works inspired by the history of sculptural busts, modernist abstractions and mantelpiece ceramic dogs. United by glossy photographic surfaces created by means of an industrial process in which his marble and resin composite sculptures are dipped into liquid photographs, these new works explore themes of portraiture, the body, identity, sexuality and intimacy in the digital era. A number of the works have been made in collaboration with fashion photographer Louie Banks.
Along with a foreword by Helen Boyd, Head of Marketing and Publisher Relations at the Casemate Group, the publication features a text by MOSTYN director Alfredo Cramerotti and an essay by London-based publisher, editor and writer Matt Price. Price writes: ‘With one eye on the sculpture of the past and the other on that of tomorrow, technology is at the heart of London-based Nick Hornby’s practice and is central to the production of his often imposing, mind-bending and futuristic-looking sculptures. Using materials such as bronze and marble, his work points back towards the Renaissance or the nineteenth century, yet his use of resin and digital technology positions him very much in the present, exploring languages both figurative and abstract, often simultaneously.’
The texts are presented in both English and Welsh. Newly commissioned studio photography of the works by Ben Westoby, along with installation views of the exhibition commissioned by MOSTYN from Mark Blower, illustrate the publication, which has been designed by Joe Gilmore / Qubik. The publication is co-published by MOSTYN, Llandudno, and Anomie Publishing, London, and distributed internationally by Casemate Art, a division of the Casemate Group.
Link here
“Conflict Reporting” on Third Text, Volume 35, Issue 2 (2021)
Conflict Reporting
Aestheticising Objectivity
By Alfredo Cramerotti & Lauren Mele
Pages 248-262 | Published online: 29 Jan 2021 | Published in print: February 2021
Abstract
In 2001, artists Broomberg and Chanarin documented a day in the Iraq war. The result was a visual yet non-descript narrative, achieved with light and presence; a physical documentation of their journey titled The Day Nobody Died. In 1968 photojournalist Eddie Adams captured Saigon Execution in Vietnam, also a war-time image but with the lens of reportage. The former is a rendition of their experience, not bound by the constraints and facets of aestheticising fact. The latter was presented as news and was the receiver of outrage and scrutiny as such. This article explores how representations of humanitarian crises and wartime are complicit in their perpetuation, and how art demonstrates an attempt at representing such events as futile. We seek to establish a link between what is viewed and what is reported; what is seen and what remains outside the picture; an attempt to unravel what the difference is between viewing and witnessing.
Abstract available at https://doi.org/10.1080/09528822.2021.1873003
MOSTYN: WE ARE RECRUITING
Learning and Engagement Curatorial Fellow
Would you like to work alongside our team at MOSTYN?
MOSTYN is seeking a Learning and Engagement Curatorial Fellow to work alongside the team. We are seeking someone with the experience and skills to bring cultural and societal issues to life through the arts, introducing as wide an audience as possible to the benefits and opportunities of contemporary art. The postholder will research and formulate plans for ambitious and experimental approaches to reaching new audiences and widening engagement with our communities. Download the full job description and application process here The closing date for applications is noon, Sunday 28 February 2021. Interviews are expected to take place w/c 8 March 2021.
https://www.mostyn.org/news/we-are-recruiting-learning-and-engagement-curatorial-fellow
New book by Alfredo Cramerotti: Curating the Image – Notebook for a Visual Journey [Distanz Verlag, Dec 2020]
From the publishers’ webpage:
“Unconscious Informing” – For over twenty years, the curator Alfredo Cramerotti (b. Trento, Italy, 1967; lives and works in Llandudno, Wales) has built an extensive collection of visual materials divided into multiple categories. Newspaper clippings, postcards, drawings, flyers, articles, advertisements, other media materials: Cramerotti finds something of interest wherever he looks. He clusters and collages his finds along five independent thematic foci: design approach, alpine culture, leadership, houseplants, and the gaze. Cramerotti’s interest in creating a system of order and reference takes inspiration from the work of Aby Warburg. He uses his collection of imagery to study formal principles of commercial visual culture, adding ironic observations and drawing connections to media trends. With an essay by the curator.
Curating the Image. Notebook for a Visual Journey (download short extract)
Supported by The Ampersand Foundation, L’Artisan Parfumeur , Maria and Theodore Fatsis, Penhaligon’s, Adam Prideaux and Carolin Scharpff-Striebich. Designed by Laura Catania. Published by Distanz Verlag, Berlin.
New publications by Intellect as part as the Critical Photography book series, edited by Alfredo Cramerotti
Fortunes of War: Photography in Alter Space
By Eric Lesdema Series edited by Alfredo Cramerotti
£49.00 | 120 pages | 7 Oct 2020
An extended edit of Eric Lesdema’s photographic series of the same name, with 83 colour photographs and essays from leading academics which analyse how his work provides an alternative approach to documentary photography. Twenty-first-century interpretations and applications of photography are questioned, as are warfare and its cultural framework.
An extended edit of Eric Lesdema’s photographic series of the same name, with 83 colour photographs and essays from leading academics which analyse how his work provides an alternative approach to documentary photography. Twenty-first-century interpretations and applications of photography are questioned, as are warfare and its cultural framework.
Eric Lesdema’s photographic series Fortunes of War was awarded the UN Nikon World Prize in 1997. Originally a series of fifteen images, this extended edit includes 83 colour photos, accompanied by a series of essays by leading academics in the field. The essays explore ideas raised by the prescient nature of the work, offering a highly original and engaging debate about its alternative approach to documentary photography, which views photography as an alternate space with the potential to project events rather than record them. In exploring an approach that cuts against the traditional concept central to documentary photography since its inception, the book thus raises important questions about twenty-first century interpretations and applications of photography and media. With thought-provoking research and a diverse array of essay contributions, Fortunes of War proposes new lines of interdisciplinary investigation, reflection and inquiry.
Photography as Critical Practice: Notes on Otherness
By David Bate Afterword by Liz Wells Series edited by Alfredo Cramerotti
£45.00 | 300 pages | 15 Dec 2020
A collection that combines visual works with critical essays around the theme of everyday life to explore the concept of otherness and highlight photography as a form of critical practice. Put together in this way, the book images and text work in dialogue with one another to construct a new perspective on questions of otherness and alterity.
The ‘other’ is a topic of great interest within and across contemporary photographic practice and theory, yet it remains neglected outside the now well-established field of postcolonial studies. This volume brings together photography and written essays that relate to aspects of otherness and visual work. Presented together, the images and critical writings work in concert to construct a new social perspective on questions of otherness and alterity and to highlight photography as a form of critical practice.
In a departure from existing conceptions of otherness in postcolonial discourse, Photography as Critical Practice places emphasis on the human condition not as a liberal concept, but as something formed and framed by a broader dimension of social, sexual and cultural otherness. In this way, the book provides a fascinating new vista on the otherness of photography.
New exhibitions and forthcoming events at MOSTYN from November 2020
A new exhibition season at MOSTYN. Exhibition Dates:
14 November 2020 – 18 April 2021
HANNAH QUINLAN AND ROSIE HASTINGS
In My Room / Yn Fy ‘Stafell
Commissioned by Focal Point Gallery, In My Room is presented in partnership with MOSTYN and Humber Street Gallery, Hull.
Hannah Quinlan and Rosie Hastings’ first solo institutional exhibition In My Room brings together film, fresco painting and works on paper. As a new body of work, In My Room develops the artists’ inquiry into the politics, histories and aesthetics of queer spaces and culture. This inquiry builds on their travels across the UK whilst making ‘UK Gay Bar Directory (UKGBD)’ 2016, a moving image archive of gay bars, responding to the systematic closure of LGBTQ+ dedicated social spaces. To Quinlan and Hastings, it became apparent through this research that the gay scene caters predominantly to white gay men. This prompted them to consider how this scene strengthens the historic male access to capital and power within the urban landscape.
Rosanna Mclaughlin as been commissioned by Focal Point Gallery to write an accompanying essay, ‘Now You See Me’. Please see her essay in here. Curator: Juliette Desorgues, Curator of Visual Arts, MOSTYN.
NICK HORNBY
Zygotes and Confessions / Sygotau a Chyfaddefiadau
Supported by The Moondance Foundation.
Hornby brings high-tech processes to figuration, pulling historical, material forms into the era of screen culture. His works defy conventional distinctions of form and media and exhibit instead what Hornby terms ‘meta-cubism.’ In this pluralistic approach to perception neither image nor form takes centre stage. The sculptures are produced using digital and industrial processes, but retain the artist’s touch through their final process whereby a liquified image is applied to each work. Gender and sexual identity are explored by the artist in this new series for the first time. Whilst Hornby’s work has previously resisted autobiographical connotations here he explores a sense of personal intimacy or ‘confessions.’
Curator: Alfredo Cramerotti, Director, MOSTYN. A monograph on Nick Hornby, edited by Matt Price, will be published by Anomie in 2021. An exhibition catalogue of Zygotes and Confessions is available for sale at MOSTYN shop from December 2020.
RICHARD WATHEN
New Eyes Every Time / Llygaid Newydd Bob Tro
Rooted in the historical canon of painting, Wathen’s work focuses largely on portraiture, depicting figures in states of hesitation and contemplation: listening at walls, pretending to sleep, moon bathing, or engaging in other apparent states of uncertainty. Wathen’s works depict the tumultuous and complex array of human emotions, from anxiety and sorrow to despair, brought on by the socio-economic pressures of contemporary living. The intensity created through the use of small details is powerful and emotional as an expressive gesture. His works subvert the genre of figurative painting through a bold play between figuration and abstraction, between the solid density of the matt surface and the fragility of the figures represented.
Curator: Alfredo Cramerotti, Director, MOSTYN. An exhibition catalogue of New Eyes Every Time is available for sale from MOSTYN shop from February 2021.
DIGITAL PROGRAMME Autumn 2020:
QUEER IS NOT A LABEL
23 November – 28 November 2020
QUEER IS NOT A LABEL, is a series of six online performances to be published here on MOSTYN’s website, and on our Instagram channel at 6pm (GMT) daily from 23rd to 28th November 2020.
www.mostyn.org/event/queer-not-label
Supported by Fluxus Art Projects.
QUEER IS NOT A LABEL is a series of events at the crossroads between art, music and performance, initiated and founded in Paris in 2019 by Kévin Blinderman (artist, curator) and Paul-Alexandre Islas (artist, sex worker, DJ), that supports and celebrates radical gender-questioning artists. For this collaboration with MOSTYN, the series includes online performances by Noemi, DJ Fingerblast, Nuh Peace, Bunny Intonamorous, Neurokill, and TRISTAN.
LUMIN RADIO: LOCAL 37
7, 14, 21 December 2020
MOSTYN presents Local 37, a three-part radio series developed in collaboration with LUMIN, an artist-run radio and publisher led by Sadia Pineda Hameed and Beau W Beakhouse.
www.mostyn.org/event/lumin-radio-local-37
This project was made possible through funding from the Arts Council of Wales’s National Lottery Fund.
The radio series will be broadcast weekly on 7th, 14th and 21st December 2020 at 6pm GMT and will be hosted here on MOSTYN’s website. A full line-up of contributors will be announced shortly.
Local 37 is a fictional underground radio station transmitting dialogue and strategies for the artist as worker. Inspired by the Filipino Labour Union founded in the US in 1933, later called ‘Local 37’, and Carlos Bulosan’s short text ‘The Writer as Worker’, this radio series inhabits the intersections of creation, transmission, and anti-colonial and working-class collectivisation. Local 37 is a manifesto for the artist, building ‘a world of mutual cooperation, mutual protection, mutual love.’
Press coverage for CIÒ CHE VEDO: nuova figurazione in Italia // WHAT I SEE: new figurative art in Italy @ MART Galleria Civica Trento, Italy
L’Adige newspaper, 13 February 2020
Corriere del Trentino, 13 February 2020
Artribune magazine, 17 February 2020
Il Venerdì di Repubblica magazine, 28 February 2020
Trentino newspaper, 3 March 2020
Arte Mondadori magazine, March 2020
Il Giornale dell’Arte newspaper
Exibart magazine, 18 April 2020
Sarah Entwistle at Museo Nivola: “You should remember to do those things done before that have to be done again”, curated by Alfredo Cramerotti
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| Museo Nivola is pleased to present the first institutional solo exhibition in Italy of Sarah Entwistle, comprising of an entirely new body of work that includes tapestries, objects and 2D works. The exhibition, You should remember to do those things done before that have to be done again, curated by Alfredo Cramerotti, borrows its title from a love letter written in the mid 1960’s by Sarah Entwistle’s grandfather and fellow architect, Clive Entwistle (1916-1976), a contemporary of Costantino Nivola. For the artist, a daily ‘remembering’ has been the practice of calibrating time and place through the collection of discarded objects and material fragments. In recent years this ritual has started to glitch into the historicity of her grandfather’s archive around which her work orientates. Approaching its contents as mutable allows the artist to continually revise and reconstruct new narrative lines. Objects are exchanged into it, and pieces extracted out. In this often-confronting process of merging biographies Entwistle feels a continual tussle for proprietorship as the boundary of a lived history being ruptured. For this exhibition at Museo Nivola, the artist creates a large-scale sculptural arrangement of objects that record the movement of a year, and her first visit to Orani. Presenting an aggregation of objects that have formal associations with a ‘historical-present’, she draws arcs and tangents between the works of Nivola, the artist’s grandfather (both European emigrants to New York) and her own life and practice. Many of the elements displayed where gathered on her first over-land travel to Orani from her home in Berlin. Further pieces have been accumulated in the year since from London, Berlin, Morocco, Athens and Sicily. Found and hand-made elements that collectively create an archeology of shapes, materials, tones and textures. Arranged in the gallery, three monolithic stone and marble plinths display these constellations of artefacts, positioned to form resonant arcs and axis. Stacked around the gallery periphery, large compressed blocks of raw wool in various dyed hues can be laid on by visitors; from there, a series of suspended paper hangings can be viewed. The collaged hangings use differing textures, opacities, paper weights and sizes to create an abstract tonal enclosure of sepia and blues. A series of three hand-woven panels produced by local Sarule weavers; Lucia Todde, Rosaria Ladu, Pasquala Piredda are allocated to each table arrangement. The weavings are a further illustration of the artist’s continued fascination with the process of translation and interpretation from the drawn medium to a handmade physical object, where slippages in form, scale and colour occur. The intention with this collaborative production is for the composition and outcome to be determined and translated through the eye and expertise of the weavers, and in this less deterministic process new views emerge. Through this body of work Entwistle is searching for a line of sight that synchronizes personal histories, geographical regions and shared material practices. Sarah Entwistle originally trained as an architect at The Bartlett, UCL and Architectural Association, London. She is the 2014 recipient of the Le Corbusier Foundation Grant for Visual Artists and in 2015 presented a solo exhibition at the Le Corbusier Foundation in Paris. The exhibition coincided with the publication of her experimental biography, Please send this book to my mother, Sternberg Press, 2015. She was the recipient of the Graham foundation for the advanced studies in fine art, Chicago, 2014; the Artists’ International Development Fund, Arts Council England, 2017; and Main Prize winner for the Mostyn Open 21, MOSTYN. Museo Nivola in Orani (Nuoro), located in the middle of a park in the heart of Sardinia, is devoted to the work of Costantino Nivola (Orani, 1911–East Hampton, 1988), an important figure in the international movement for the “synthesis of the arts” (the integration of the visual arts and architecture) who also played a key role in the cultural exchange between Italy and the United States in the second half of the 20th century. The museum has a permanent collection comprising more than 200 sculptures, paintings, and drawings by Nivola and organizes temporary exhibitions focused primarily on the relationship between art, architecture, and landscape.www.museonivola.it Sarah Entwistle. You should remember to do those things done before that have to be done again. Curated by Alfredo Cramerotti Museo Nivola, Orani, (NU), October 31, 2020 – February 28, 2021Opening October 31Please note that due to the Covid-19 restrictions, there won’t be a formal vernissage. Main sponsor: Fondazione di SardegnaInstitutional Partner: Regione Autonoma della Sardegna, Comune di Orani, Distretto Culturale del Nuorese.Handling and installation: Art Handling Services by Luca Pinna – Seneghe OR; Tiemme srl -SassariTechnical Sponsor: Cantine Tenute Bonamici Mamoiada.Thanks to: Brundu Edili Orani, Cusinu Marmi Orani, Arte del Ferro di Pierpaolo Ziranu Orani, Tessile Crabolu Nule and the weavers from Sarule Lucia Todde, Rosaria Ladu and Pasquala Piredda. |
alcramer [Alfredo Cramerotti] 
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