Curatorview [Alfredo Cramerotti]

Bedwyr Williams’s short (delightful) interview with Dazed in the September 2013 issue

Posted in nEws and rEleases by Curatorview on August 22, 2013

Bedwyr Williams: On Self-Portrait, Laughing

Dazed & Confused

1 September 2013

by Richard Gerstl



Regional arts venues: less out in the sticks, more out on a limb

Posted in nEws and rEleases, shortEssays/cortiSaggi [English/Italian] by Curatorview on July 14, 2013

Running an arts space outside the city is challenging but, once you realise the range of your potential audience, rewarding too

Guardian Professional
5 July 2013

by Alfredo Cramerotti
Sliced Eye, Rubiks Cube, Flawless Skin, Cardiac Muscle Cell, Orion Nebula-M42, Snow Crystal, 2012

MOSTYN works to find imaginative solutions that draw in national and international visitors (even journalists) while retaining strong links with their local audience. Pictured work by Nikolaus Schletterer. Photograph: Nikolaus Schletterer/MOSTYN


As anyone who has worked in the sector will tell you, running an arts space outside major cities is a hugely rewarding experience, not least because of the challenges that arise from reaching out to an audience in ways that can’t rely on a ready-made critical mass of potential visitors in the immediate area.

MOSTYN is Wales‘ largest gallery dedicated to contemporary art with an audience of roughly 80,000 per year, but being located in the 18,000-strong Victorian sea town of Llandudno and surrounded by a predominately rural area brings with it issues that an equivalent metropolitan space might not need to consider so carefully.

Another part of the challenge is encouraging journalists to visit. The three hours direct train from central London is less an issue than the bias towards reviews focusing on galleries and events in the bigger cities. Obviously there is a responsibility for media to cover stories of interest to as wide an audience as possible, but responses range from “I don’t know where I’d put it” (the same review pages you would put any show on) to “we’re fully booked up covering a major event”.

It’s not that these exhibitions or events don’t warrant media attention, but major institutions and blockbuster events hardly need the publicity to encourage public interest.

So, how are we tackling these issues? Like many other organisations reliant on quality of programming, audience engagement, media coverage and visits to secure funding, we are working on finding imaginative solutions that draw in national and international visitors (even journalists) while retaining strong links with our local audience.

A key element of this is an ambitious curatorial programme featuring world known artists from Wolfgang Tillmans to Elizabeth Peyton. We’ve also initiated a major international exhibition programme including co-curating this year’s Wales in Venice show at the 55th Venice Biennale with Oriel Davies Gallery and the Arts Council Wales – an incredible platform for all involved.

Upcoming shows will draw on our history by inviting artists to indirectly respond, through their work, to the history of the MOSTYN building which has gone from being a gallery for female artists when it launched in 1901 to a WW1 drill hall and piano storage, before returning to a gallery space in 1979.

Partnership is a vital part of our engagement work, showcased by linking with initiatives such as the Artes Mundi visual arts exhibition and prize, the biggest in the UK at £40,000. We are also part of Plus Tate, a major UK network which includes 20 contemporary art organisations outside London.

Building on the success of last year’s Plus Tate-funded Ninjas initiative for 11 to 13-year-olds, we successfully applied to be one of five national partners to be part of Tate’s Circuit programme, a national youth network for the visual arts. Funded by the Paul Hamlyn Foundation, Cylch/Circuit seeks to spark a long-term transformation in the way that young people aged 15 to 25 engage with art and take control of their own learning.

The demographic here is older on average than in cities, and we are developing ways to include those who might not normally visit a contemporary art gallery through exhibitions and events which have a cross-art form approach.

For example, our current show YOU is a conceptually strong group show (Felix Gonzalez Torres, Aurélien Froment, Jeppe Hein, Július Koller, Rivane Neuenschwander) that questions the idea of what art is: the viewer ‘produces’ the artwork through their visit. It’s had an amazing response from families who would never think to visit an art gallery, lured in with an event outside the venue during the Llandudno Victorian Extravaganza when the town was heaving with visitors.

On a marketing level, besides the reviews and articles on specialised art press, particularly helpful are features on magazines, blogs and websites such as ThisIsTomorrow and WeHeart since they are bringing MOSTYN out into the eyeline of the style and culture conscious nationally and internationally.

What have we learned that might be useful for other organisations in a similar situation? Surely, understanding that an organisation such as ours does not have a single, cohesive public but multiple audiences (including our staff, not to forget) who demand attention and have different ways of engaging.

This is not to say that we have to please everyone, but we do have to have a firm strategic direction and a flexible range of delivery via the three main areas of exhibitions, engagement and learning – equally important and each with a dedicated curator and budget.

It’s also crucial to seek and establish a range of platforms and partners that match our values and make the most of our programme in space and time: from local residents, schools and higher education to wider partnerships across the country and abroad.

It’s a long-term strategy, and long-term planning matters for our exhibitions, partnerships and funding agreements alike. Currently we are planning well into 2017 but potentially, a cultural institution like a gallery should look into society 20 or 50 years from now and then work back.


Alfredo Cramerotti is the director of MOSTYN contemporary art gallery in Llandudno – follow it on Twitter @MOSTYN_Wales_

This content is brought to you by Guardian Professional.

Biennale Updates: cronache dall’effimero per la prima volta del Padiglione Maldive in Laguna

Posted in nEws and rEleases by Curatorview on June 22, 2013 [Italian only]

30 May 2013

by Francesco Sala


Alle otto del mattino non c’è nessuno lungo Riva di Ca’ di Dio. Pochi temerari in tenuta da jogging, i ragazzini che si trascinano a scuola, un paio di turisti. E poi un blocco di ghiaccio. Sbarca dal Canale dell’Arsenale, trascinato a forza di muletto; prende a sciogliersi, inesorabile, una goccia alla volta. È il monolite con cui Stefano Cagol significa la sua partecipazione alla Biennale di Venezia, ospite di quel Padiglione Maldive che ha trovato casa –alla sua prima volta in Laguna –in uno stabile semi-abbandonato in viale Garibaldi. Verrà il giorno in cui le Maldive non si saranno più, sommerse un centimetro alla volta dall’innalzamento del livello degli oceani; la raccolta messa insieme dal collettivo CPS – Chambers of Public Secrets indugia sul titanico precariato di una terra in crisi di identità, storica piattaforma tra Oriente e Occidente che esorcizza nell’arte la sua eutanasia.

Aggressività post-espressionista per The Disappearance di Wael Darwesh, che colpisce sulla tela con antica disperazione; gli fa da controcanto l’installazione di Patrizio Travagli, tetris di superfici specchianti che illudono e alludono in una straniante frammentazione dello spazio visivo. Inevitabili i riferimenti allo tsunami, che ha portato il suo carico di brutalità anche alle Maldive: sul tema arriva l’installazione di Thierry Geoffroy, mentre a ragionare su una ricostruzione più o meno possibile sono Christoph Draeger ed Heidrun Holzfeind.

The Independent’s review of The Starry Messenger at the 55 Venice Art Biennale

Posted in nEws and rEleases by Curatorview on June 16, 2013

The Independent review of 55 Venice Art Biennale

6 June 2013

by Zoe Pilger

The Independent_WIV review print 6 June 2013


Maldives Pavilion Opening, Wednesday May 29th 2013, at 1:00pm

Posted in nEws and rEleases by Curatorview on May 25, 2013


Bedwyr Williams and The Starry Messenger

Posted in nEws and rEleases, shortEssays/cortiSaggi [English/Italian] by Curatorview on May 25, 2013

1_Wales 11am Thu 130502_UK at Venice_Press Release_WALES_FINAL_Page_1 130502_UK at Venice_Press Release_WALES_FINAL_Page_2 130502_UK at Venice_Press Release_WALES_FINAL_Page_3

In the Studio: Bedwyr Williams, Painter

Posted in nEws and rEleases, shortEssays/cortiSaggi [English/Italian] by Curatorview on May 22, 2013

The Independent [Radar]

by Karen Wright

4 May 2013


Wales in Venice_Independent Radar Magazine_4 May 2013_Page_1

Wales in Venice_Independent Radar Magazine_4 May 2013_Page_2



Island Nations Seize the Venice Biennale Spotlight to Decry Climate Change

Posted in nEws and rEleases, shortEssays/cortiSaggi [English/Italian] by Curatorview on May 12, 2013

Blouin Artinfo


by Kate Deimling

Island Nations Seize the Venice Biennale Spotlight to Decry Climate Change | Blouin Artinfo_Page_1Island Nations Seize the Venice Biennale Spotlight to Decry Climate Change | Blouin Artinfo_Page_2

Interview with Alfredo Cramerotti: Wales in Venice 2013

Posted in nEws and rEleases, shortEssays/cortiSaggi [English/Italian] by Curatorview on July 22, 2012


AMA Art Media Agency Newsletter N.59

by Tanja Schreiner

Interview with Alfredo Cramerotti: Wales in Venice 2013

The artist Bedwyr Williams will represent Wales on 55th Venice Biennale in 2013. Alfredo Cramerotti, Director of MOSTYN | Wales contemporary art centre and Amanda Farr from Oriel Davies Gallery will curate the project together.

Art Media Agency spoke to Alfredo Cramerotti, writer, curator, editor, artist, and since September 2011 Director of MOSTYN. The latter is the largest publicly funded contemporary art institution in Wales and renown as a flagship for art in the whole UK.

Read here

%d bloggers like this: