Evgeny Antufiev Organic resistance: body and knife – crossing the border | Press Coverage
MOSTYN
18 November – 18 February 2018
Guardian Guide | Exhibitions Openings: Evgeny Antufiev, 24 November 2017
Mousse Magazine | Evgeny Antufiev: “Miles of Creativity” at Mostyn, Llandudno, November 2017
The Artists Information Company | NOW SHOWING #228: The week’s top exhibitions, 15 January 2018
Daily Post | Creative Surprises to be found around town, 29 December 2017
Daily Post | Spotlight on local arts and crafts, 12 January 2018
https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2FITVWales%2Fvideos%2F1492338550813332%2F&show_text=0&width=476“>ITV Wales Coverage, November 2017
Alfredo Cramerotti in conversation with Francesco Jodice Italian Cultural Institute, London
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
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.
Curators
Khaled Ramadan and Alfredo Cramerotti
More information here.
Sean Scully: Standing on the Edge of the World @ Hong Kong Arts Centre
Curated by Alfredo Cramerotti
28 March 2018 — 29 April 2018
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
Shezad Dawood Leviathan Cycle, Episode 1: Ben (production still) 2017 HD Video, 12’52”. Courtesy of the artist and UBIK Productions
Shezad Dawood
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, Havana, Cuba 2014. Fencing, Treadog Bay, Llŷn Peninsula, Wales 2016.
Mike Perry
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
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).
Modes of Curating / Curating as Research
Curatorial study day led by Alfredo Cramerotti at GSA – The Glasgow School of Art
31 January 2018
I conceive and understand “research” as a form of curating – namely, organizing connections and defining touchstones in contemporary visual culture by means of my work as a writer, speaker and visual project organizer – developing a discourse, or a statement through works of art, which of course can also overwhelm or enhance the project’s rationale.
In the course of this research, I have found myself working in a combination of modes, according to the various tasks I set myself. 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 I was working with. Thus, as a curator, I have acted as meta-artist; the work undertaken is less about the “what” and more about the “how”.
PART ONE
The Curator as Meta-Artist.
Presentation of three curatorial drafts recently delivered by Cramerotti: Michael Takeo Magruder’s De-Coding the Apocalypse at the King’s College Cultural Institute London (2015), Marinella Senatore’s The School of Narrative Dance at MOSTYN (2016), and Shezad Dawood’s Leviathan at Palazzina Canonica / Fortuny Factory Venice (2017). An insight into the research involved in developing the various themes and approaches for these exhibitions, the conversation with the artists, the solutions in relation to the spaces, and the mediation tools adopted in each case.
PART TWO
The Social, Humanitarian, Historical, Scientific, Logistics as Art.
Participants are invited to discuss and present to the group their views / answers to questions such as: What does beauty has to do with, for instance, migration, climate change, mental or physical conditions? What is our understanding of aesthetics in relation to ethics? How do we tackle themes that lend themselves awkwardly to a presentation in the (critical) visual realm? Could the initiative be produced somehow else? Is new media and digital platforms following the concept and the execution or preceding it? Is the selection of artists or speakers leading to unexplored territories or consolidating an approach?
IDEAL-TYPES
An exhibition at HE.RO [Maurits Hertzberger and Gabriel Rolt], Amsterdam, the Netherlands
Exhibition Dates: 27 January 2017 – 31 March 2018
Formulated by Alfredo Cramerotti, with additional input by Elsa Barbieri on behalf of Art Contemporary, Partnership.
Exhibition Launch Evening: Saturday 27 January 2018 from 17.00 hrs
With performances by:
Tomoko Mukaiyama
Gernot Wieland
See full exhibition details here.
HE.RO
BEITELKADE 4, 1021 KG AMSTERDAM
THE NETHERLANDS
OFFICE@HERO-GALLERY.COM
WWW.HERO-GALLERY.COM
Press Coverage for Shezad Dawood’s Leviathan
Shezad Dawood – Leviathan – Fabbrica Fortuny
Link: http://www.rivistasegno.eu/events/shezad-dawood/
Un’ antiguida tra illusioni e leviatani
Il trailer di Leviathan, il nuovo film d’artista di Shezad Dawood
Link: http://www.artribune.com/television/2017/05/video-leviathan-nuovo-film-shezad-dawood/#
“Leviathan”, e resilienza. Ecco il progetto di Shezad Dawood, a cura di Alfredo Cramerotti, al Villino Canonica
di Irene Guida
Link: http://www.exibart.com/notizia.aspIDNotizia=53708&IDCategoria=59
Little Atoms (UK)
Passing but very positive mention, describing the show as “not to be missed”!
Link: http://littleatoms.com/art-design/private-politics-2017-venice-biennale
Un Ospite di Venezia (IT)
Nice local coverage of the film programme in collaboration with MUBI
Link: https://www.a-n.co.uk/news/venice-2017-26-recommended-pavilions-shows-individual-works
Agenda Venezia (IT)
Leviathan featured in their agenda
Link: http://www.agendavenezia.org/it/evento-38029.htm
Exibart (IT), Matteo Bergamini, 11.12.2016
IL FUTURO DELLA VIDEOARTE? TRA HBO E NETFLIX. E INTANTO L’ARTISTA INGLESE SHEZAD DAWOOD ANNUNCIA IL SUO FILM IN DIECI PARTI, APPUNTO
Link: http://www.exibart.com/notizia.asp?IDNotizia=51713&IDCategoria=204
ARTINFO (US), Nicholas Forrest, 12.12.2016
Shezad Dawood to Launch ‘Leviathan’ Film Cycle in Venice
ArtTribune (IT), Santa Nastro, 24.01.2017
Leviathan, parte da Venezia con una serie tv il progetto dell’artista Shezad Dawood
Aesthetica (UK), no byline/15.02.2017
Dystopian Communities
Link: http://www.asff.co.uk/dystopian-communities/
Flash Art (IT), Sara De Chiara, 25.04.2017
Flash Art 50
Link: http://www.flashartonline.it/2017/04/gli-eventi-collaterali/
The Guardian (UK), Hettie Judah, 7 May 2017.
I’ve created a monster! Shezad Dawood on his oceanic epic Leviathan
Il Manifesto (IT), Arianna di Genova, 9.05.2017.
Leviathan featured amongst top picks of the “alternative” guide to the Biennale. Includes Leviathan film still as central image.
Mr Porter/The Knowledge, Hettie Judah, 11.05.2017.
Shezad Dawood featured amongst Mr. Porter’s selection of industry heavyweights to look out for at the Venice Biennale
WHO TO SPOT AT THE VENICE BIENNALE
Link: https://www.mrporter.com/journal/the-knowledge/who-to-spot-at-the-venice-biennale/2132
ATP Diary (IT), Marco Arrigoni, 13.05.2017:
In-depth interview with Shezad and Alfredo on the origins of Leviathan and the issues it tackles.
Shezad Dawood | Palazzina Canonica e Fabbrica Fortuny, Venezia
Link: http://atpdiary.com/shezad-dawood-venice/
Artribune (IT), Ludovico Pratesi, 14.05.2017:
Biennale di Venezia. L’editoriale di Ludovico Pratesi
Al Jazeera (ME), Charlie Angela, 15.05.2017:
Interview with Shezad and filming in the library of the Canonica as part of broadcast feature on the Venice Biennale.
Venice Biennale: Refugee crisis takes centre stage
ArtAsiaPacific (MENASA), HG Masters, 15.05.2017
57TH VENICE BIENNALE, PART 4: COLLATERAL EXHIBITIONS
Link: http://artasiapacific.com/Blog/57thVeniceBiennaleDay4
South China Morning Post (CN), Enid Tsui, 15.05.2017
Venice Biennale 2017 round-up: political undertones everywhere, but it’s not all despair and anger
artnet news, Hettie Judah (US), 14.05.2017
The Turned-On Biennale: An Orgy of Liberal Sex and Liberal Guilt Greets Visitors in Venice
Link: https://news.artnet.com/exhibitions/the-x-rated-biennale-venice-2017-960158
L’Uomo Vogue (IT), Elena Bordignon, May Issue.
DOMUS (IT), no byline, 16.05.2017
Shezad Dawood’s exhibition in Venice is a reflection on where we could be if a deeper understanding of trauma and climate erosion is not found. #BiennaleArte2017
Link: http://www.domusweb.it/content/domusweb/en/news/2017/05/16/leviathan_shezad_dawood.html
BBC Wales (UK), Evening News, 16.05.2017
Link: http://www.bbc.co.uk/programmes/b08ql51q
Sky Arte (IT), Giovanni Zaninotto, 22.05.2017
Vogue India (IN), Shahnaz Siganporia
Socialter (FR), Manon Grad Manoukianand
Crash (FR), Annabelle Leturq
DAWN (PK), Virginia Whiles
Mutual Art: APT Collection
Shezad Dawood | Leviathan, 7 May-24 September 2017 Palazzina Canonica, Venice, Italy
The Artnewspaper
Collaterals and extras: the Biennale’s other shows
Downloadable PDF: TANMay2017
Shezad Dawood: Leviathan; 2017, courtesy of the artist and UBIK Productions
ATP diary – Interview
【娱乐】LEAP Forum Venice
Link: http://www.iqiyi.com/w_19ru524kct.html
Elephant Issue 33 |Shezad Dawood: Leviathan
The Absence of Path
Leviathan Episode 2 – Yasmine
Link: http://www.theabsenceofpaths.com/commission/leviathan-episode-2-yasmine
Socialter
Plongée dans le Monde Catacysmique de Shezad Dawood
Face à la mer
Read full article here
Vogue India | July 2017 Issue
Great lengths
Read full article here
Art Radar | June 2017
Shezad Dawood launches his ten-part film cycle during the 57th Venice Biennale
La Stampa | Venezia l’arte sull’ambiente invade Campi e Calli
Artarius Media | My Art Guide
Shezad Dawood — Venice
Lecture by Alfredo Cramerotti: Hyperimaging
December 1, 2017, at 10:00 AM – 12:00 PM
Konstfack
LM Ericssons väg 14
Box 3601, 126 27 Stockholm
Sweden
As curator, I am exploring how digitalization has made photography heterogeneous, multiple and interrelated to other media; from print to online streaming and processing via software that translates audio and sonic impulse into images. Photography is now an environment of relation-building, identity-shaping: a ‘territory’ not merely digital, and not exclusively online.
The key shift I am exploring in my body of curatorial research is how an image now is ‘performing’ as well as ‘representing.’ Building upon the work of theorists and image makers such as Vilém Flusser, Marshall McLuhan, Franco Vaccari, Hito Steyerl and Lauren Cornell, I combine a series of curated visual outputs including online platforms (www.expandedphoto.com), lectures (like this one), and exhibitions involving contemporary digital practitioners (e.g. Erica Scourti, Oskar Schmidt, Christopher Meerdo, Clare Strand, Margo Wolowiecz, Thomson & Craighead, Thomas Galler, Eva & Franco Mattes, and others).
More Information here.
Noah’s Ark – The Eight Great Moral Imperatives
Noah’s Ark – The Eight Great Moral Imperatives
MFA student Nathalie Gabrielsson presents a cultural format incorporating exhibition, theatre play and conversations.
30 November – 3 December 2017
Teater Tribunalen
Hornsgatan 92, Stockholm
Sweden
The event strives to unravel the relationship between entrepreneurship and alternative forms of governance, social change, environmental and economic sustainability. A forum where to ask questions about how cultural and social models are affected by ideological matrixes of thinking.
The event is produced and organized by the Kybernein Institute (KI), a research think-tank established by Nathalie Gabrielsson to address the overlaps of policy making with cultural production at the intersection between art, business, and economics.
Read more about the exhibition here.
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