Curatorview [Alfredo Cramerotti]

ArtReview Talk: Will the Metaverse Break the Artworld?

Posted in nEws and rEleases by Curatorview on September 23, 2022

ArtReview partnership with the APENFT Foundation, 23 September 2022 on artreview.com

Join Cao Fei, Mimi Nguyen, Philip Tinari and Alfredo Cramerotti in this online panel discussion

In recent commentary, the Metaverse is frequently invoked in either dystopian or utopian terms. In this talk, we assemble a panel to tackle it in more meaningful, nuanced ways.

What are the Metaverse’s implications for artmaking, art production and creativity? Will it be another manifestation of the ‘second life’ that constitutes so much digital interaction today? Or will it grow to encompass all forms of life as we know it? Will it represent a break or continuation of how we make, sell, appreciate and interact with art?

This talk – featuring Cao Fei, Mimi Nguyen, Philip Tinari, Alfredo Cramerotti, and moderated by J.J Charlesworth – is the second in a series of discussions jointly developed and hosted between ArtReview and APENFT Foundation.

Venue: Zoom
Date: 23 September
Time: 5pm BST

Register: rsvp@artreview.com

Speakers:
Cao Fei, Artist
Mimi Nguyen, Associate Lecturer, Central Saint Martins
Philip Tinari, Director, UCCA Center for Contemporary Art
Alfredo Cramerotti, Director of Mostyn, Wales, co-Director of IAM Infinity Art Museum
J.J. Charlesworth, Editor at ArtReview (moderator)
Introduction by Sydney Xiong (Director, APENFT and Secretary General, Art Dream Fund)

About the panellists:

Cao Fei (b. 1978, Guangzhou) is an internationally-renowned Chinese contemporary artist. Currently living in Beijing, she mixes social commentary, popular aesthetics, references to Surrealism, and documentary conventions in her films and installations. Her works reflect on the rapid and developmental changes that are occurring in Chinese society today. Cao Fei’s works have been exhibited at a number of international biennales and triennales, and international art museums, including MoMA, Solomon R. Guggenheim Museum, Tate London, Centre Pompidou. Cao Fei’s recent solo projects include a major retrospective at the UCCA Center for Contemporary Art, Beijing (2021). Cao Fei was nominated for the Hugo Boss Prize and the Future Generation Art Prize in 2010, and was awarded the “Best Young Artist” and “Best Artist” at the China Contemporary Art Award (CCAA) in 2006 and 2016 respectively. Cao Fei received the Deutsche Börse Photography Foundation Award in 2021.

Mimi Nguyen is a lecturer at Central Saint Martins, University of Arts London, where she leads the CSM NFT Lab. She is a doctoral researcher, and teaches at Imperial College London, Faculty of Engineering, together with Mana Lab, a ‘Future of work in Blockchain’ research group. Creative Director at verse.works. Her previous research on creativity and human-computer interaction has been published by Cambridge University Press, Design Studies, Design Research Society, TIME magazine, and ACM Association for Computing Machinery.

A cultural entrepreneur working in contemporary art, mass media and the verse, Dr. Alfredo Cramerotti is Director of Mostyn, Wales; co-Director of IAM Infinity Art Museum; Art Adviser to the UK Government Art Collection, British Council Visual Arts Acquisition Committee, Italian Council program and Art Institutions of the 21st Century Foundation. He has curated and led over 250 exhibitions and events and 3 biennials (archive at www.curatorview.com) and his publications include The Haptic Visual: Imaging as Life-Shaping (forth. 2023),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). He serves as President of IKT; Executive Committee Member of ICOM UK and of AICA; Co-Chair of VAGW; and Member of CIMAM.

Since coming to UCCA in 2011, Philip Tinari has led its transformation from a founder-owned private museum into an accredited museum across multiple locations, a public foundation, and a family of art-driven enterprises. During his tenure, UCCA has mounted more than seventy exhibitions and thousands of public programs, bringing artistic voices established and emerging, Chinese and international, to an audience of over a million visitors each year. From 2009 to 2012 he founded and edited LEAP, the first internationally distributed, bilingual magazine of contemporary art in China. He is a contributing editor of Artforum, and launched the magazine’s Chinese edition in 2008. Having written extensively on contemporary art in China, he was co-curator of the 2017 exhibition Art and China after 1989: Theater of the World at the Solomon R. Guggenheim Museum in New York. Based in Beijing since 2001 and fluent in Mandarin, Tinari is a World Economic Forum Young Global Leader and a fellow of the Public Intellectuals Program of the National Committee on US-China Relations. He holds degrees from Duke and Harvard.

Sydney Xiong is a professional art consultant and writer, specialising in collection management and art evaluation of post-war and contemporary art. Since her appointment as director of APENFT, she initiated Art Dream Fund, curated major NFT show Digital Wanderlust in China, launched APENFT Marketplace backed by the TRON, led the team to make investments in more than 30 NFT and metaverse projects. She has been interviewed and featured in Artnet, the New York TimesWhitewall and has participated in many internationally renowned forums, such as the TIME Roundtable ‘Uncovering the Mystery of NFTs’, among others.

About APENFT Foundation:

Formally registered and established on 29 March 2021, APENFT is backed by the underlying technology of blockchains Ethereum and TRON with support from the world’s largest distributed storage system Bittorrent File System (BTFS) to deliver the mission of registering world-class artworks as NFTs on the blockchain. The collection of the APENFT Foundation includes artworks by Picasso, Andy Warhol, and crypto-artists Beeple, Pak, as well as other high-end NFT collectibles of various categories such as Punks avatars and EtherRock, with a total value of more than $46 million. APENFT Foundation has successfully sponsored the ‘Art + Technology’ Summit at Christie’s in New York. In the future, it will curate a series of online and offline exhibitions with world-renowned artists and facilitate high-end IP collaboration.

xxnft – the future of crypto is female

Posted in nEws and rEleases by Curatorview on August 9, 2022

Presentation by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@auronda) for NFT.London 2022 by NFT.NYC

3-4 November 2022, Queen Elizabeth II Convention Centre, London

xxnft is an art curating, collection intelligence & publishing platform focused on the work of women and female-identifying artists working with NFTs,

We focus on female artists because, when NFT narratives don’t celebrate women, they reiterate a marginalization that happened many times in art history (and not only in art). We want to emphasize the women’s presence in the application of NFT technology to art form from the start to alter the record. The women we focus on via interviews, features, and curated collection of artworks represent globally diverse populations, communities and politics.

The publishing platform is made of four social media – Instagram, Twitter, Discord and the xxnft website & newsletter (launch 1 September 2022).

Some argue that to promote and highlight women separately is to marginalize them, but we believe that, side-lined as they remain (currently, 95% of crypto and NFT art sales are by male artists – Artnet report – and the vast majority white and western), it’s important to tackle this imbalance form the very beginning, and not wait for celebrating the work of women artists 50 years after they made it – as it’s happening now with the ‘rediscovery’ of the work by leading female figures working in the 1950s-1970s).

With xxnft, we create the moments for questioning and influencing how art, aesthetics, politics are being recorded for posterity.

Team xxnft:

Auronda Scalera & Alfredo Cramerotti
Co-Founders

Nadia Mishchanka
Philanthropy Advisor

India Price
Associate Editor

New exhibition season in MOSTYN: Temporary Atlas – opening 25 June 2022

Posted in nEws and rEleases by Curatorview on June 23, 2022

Temporary Atlas
Mapping the Self in the Art of Today
June 25–September 25, 2022

Adéọlá Dewis, Ode to mètèt mwe, 2022

MOSTYN is pleased to present Temporary Atlas: Mapping the Self in the Art of Today. 

Temporary Atlas is an exhibition that presents an alternative, complementary idea to mapping as conceived in a traditional sense. There are multiple ways one can use mapping or cartography to understand our place in the world, amongst them, a societally endorsed, scientifically applied cartography and an individually perceived one. Each of us assesses, prioritizes and rates things in a different way, not all aspects of life have the same value and map representations are shaped by the purpose of the map and the intentions of the map maker.

The 17 cartographer-artists of Temporary Atlas adopt a mapping approach that is based on the traditional meaning of map as a representation of reality, but which expands it, complicates it, and challenges it—developing the concept of cartography along unconventional paths—those of the subconscious, spirituality, thought, identity, feeling, and all the idiosyncrasies that are present and intermingle in each of us.

The works on display propose perceptive and physical maps that provide insight into the artists’ personal experiences, whilst evoking mental landscapes within which the viewer can situate themselves; worlds beyond objective geographical coordinates.

Temporary Atlas is a visual, aural and spatial attempt to identify a transversal, intimate and perceptive reading of the self. In turn, the exhibition suggests ways in which we can perceive our emotional, political and aesthetic horizons, make sense of our circumstances and deepen our personal experiences in relation to the society in which we now live. 

Temporary Atlas, includes works by artists Sanford Biggers, Seymour Chwast, Jeremy Deller, Sarah Entwistle, Enam Gbewonyo, Rochelle Goldberg, Oliver Laric, James Lewis, Ibrahim Mahama, Paul Maheke, Matt Mullican, Otobong Nkanga, Kiki Smith, Walid Raad and specially commissioned work from three Welsh artists Manon Awst, Adéolá Dewis and Paul Eastwood.

Temporary Atlas was on view at Gallerie delle Prigioni in Treviso, Italy, from February 5 until May 29, 2022. Curated by Dr Alfredo Cramerotti, this exhibition has been supported by the Arts Council Wales, Fondazione Imago Mundi and Fondazione Benetton Studi e Ricerche. Associate Curator: Kalliopi Tsipni-Kolaza.

Afterglow: Marinella Senatore in conversation with Alfredo Cramerotti @ UK Italian Embassy London

Posted in nEws and rEleases by Curatorview on June 7, 2022

Wednesday 8 June 2022, 6pm

Pera + Flora + Fauna: The Story of Indigenousness and the Ownership of History @ 59th La Biennale di Venezia

Posted in nEws and rEleases by Curatorview on April 18, 2022

Collateral Event of the 59th International Art Exhibition – La Biennale di Venezia 23 April -27 November 2022, Archivi della Misericordia, Venice, Italy

People of Remarkable Talents (PORT), an arts and culture agency under the Perak State Government, with support from the Ministry of Tourism, Arts and Culture, and the National Art Gallery Malaysia, announces its commission of the exhibition Pera + Flora + Fauna, as an official Collateral Event at the 59th International Art Exhibition – La Biennale di Venezia. PORT is honoured to present at this prestigious international art event, the artists and artworks that have been inspired by the rich histories and context of the state of Perak, Malaysia.

Pera + Flora + Fauna engages with the discourse around how indigenousness and nature are affected by mainstream cultural attitudes of industrialised nations, the very nations contributing to existing environmental problems. This leads us to question, can aesthetic thinking support the conservation and restoration of nature or indigenous rights and ways of life? Can indigenous populations across the globe challenge the mainstream documented (art) history written by the non-indigenous? Can indigenous populations achieve the liberty to collectively claim “their own history and narratives”, antagonising the dominant discourse? Pera + Flora + Fauna intends to address these questions drawing on different perspectives of man, nature, and their interrelation.

The exhibition features Malaysian artists and collectives, and an Italian artist, from multiple disciplines ranging across performance, film, sound, sculpture, and new media. The artists are Azizan Paiman (MY), Kamal Sabran (MY), Kapallorek Artspace (MY), Kim Ng (MY), Projek Rabak (MY), Saiful Razman (MY) and Stefano Cagol (ITA), with the contribution and participation of the people of the Semai tribe from Kampung Ras, Sungkai, Perak.

Pera + Flora + Fauna will take place at Archivi della Misericordia in Cannaregio, Venice; commissioned by Nur Hanim Mohamed Khairuddin, General Manager of PORT, and curated by appointed lead curators Amir Zainorin and Khaled Ramadan, and associate curators Annie Jael Kwan and Camilla Boemio.

The team is advised by Alfredo Cramerotti, the president of IKT and the director of MOSTYN, Wales.

In conjunction with the exhibition, the discourse expands through a forum where invited panelists Alfredo Cramerotti, Dorian Batycka, Henry Meyric Hughes, and Jo-Lene Ong, along with the curators and artists, will share their observations and interpretations around the concept of Ownership of Nature and History; attempting to contextualise the notion of the natural and the historic and why it cannot be independent of the intellectual, artistic, emotional, and technological resources available to us in the industrialised world. In addition, there will be three on-site performances by the artists; one which explores sound and body movement to heal the internal psychic and spiritual body based on Malay traditional healing rituals; the others inviting the audience to engage with the ongoing contest between capitalist-driven narratives of extractivism towards land and indigenous peoples, and the agency and creative resilience of indigenous communities in sharing their histories and holistic principles of coexistence with nature.


Caterina Silva: Summer Unknown exhibition @ Bosse & Baum, London – curated by Alfredo Cramerotti

Posted in nEws and rEleases, shortEssays/cortiSaggi [English/Italian] by Curatorview on April 5, 2022

Opening 6th April 2022

ARTiculating Regeneration: Art as Agent for Change webinar by PlusTate / IKT / MOSTYN

Posted in nEws and rEleases by Curatorview on March 21, 2022

An online panel discussion exploring sustainable & regenerative artistic practices and the impact on their respective landscapes.

About this event

Tuesday 5 April, 15.00 – 17.00 (UK time) / 10.00 – 12.00 (EST)

Plus Tate, MOSTYN and IKT (International Association of Curators of Contemporary Art) join forces once more for a panel discussion exploring regenerative blue/green infrastructure and sustainable artistic practices with hands-on implication and direct impact on the environment and landscapes upon which they are situated.

In October 2021, our organisations connected to present Sustainable Design and Regenerative Architecture in Cultural Spaces. During the session, we explored how art venues can become greener and heard from artists who were embracing sustainability as a pivotal part of their making.

During ARTiculating Regeneration: Art as Agent for Change on Tuesday 5 April 2022, speakers will take these concepts further by sharing their practices and the impacts on the landscapes on which they sit.

Speakers from across the globe will join together virtually to share the great work they are doing in this area. We will hear from:

Jason deCaires Taylor, Underwater Sculpture Artist

Jan Mun, Blade of Grass Artist

Elizabeth Monoian & Robert Ferry, Land Art Generator

Bill Reed, Regenesis Group

Adam Sutherland, Grizedale Arts

The session will be moderated by Ombretta Agró Andruff of IKT & ARTSail

New Spring 2022 programme season at MOSTYN: Angharad Williams: Picture the Others & The Wig exhibitions; McKenzie Wark: The Artist-Publisher podcast series

Posted in nEws and rEleases by Curatorview on February 18, 2022
Angharad Williams: Picture the Others

Exhibition
Angharad Williams: Picture the Others 
February 19–June 12, 2022

Picture the Others is the first institutional solo exhibition by Welsh artist and writer Angharad Williams. This new commission will consist of a large-scale installation presented across MOSTYN’s gallery spaces and will include film, painting, sculpture, and text. Williams’s practice reflects on the relationship between the individual and wider societal structures. The exhibition, curated by Juliette Desorgues (Curator of Visual Arts, MOSTYN) will be accompanied by live elements such as a performance and workshops in addition to the project titled The Wig that will include film, writing and publishing by the artist and other contemporary artists.

Angharad Williams is an artist living in Ynys Môn and Berlin. Recent solo exhibitions include High Horse, Kevin Space, Vienna (2021); Without the Scales, Schiefe Zähne, Berlin (2020); Witness, Haus Zur Liebe, Schaffhausen, Switzerland (2019); Island Mentality, Peak, London (2019); and Scarecrows, LISZT, Berlin (2018). Her work has been included in numerous group exhibitions including: Jerwood Arts, London (2021), Stadtgalerie Bern (2021) and Kunstverein Munich (2020). Performances have taken place at KW Institute for Contemporary Art, Berlin (2020); ICA, London (2019); and Radiophrenia, Glasgow (2017).

Supported by Foundation Foundation, Arts Council Wales, The Henry Moore Foundation, The Megan Gwynne-Jones Charitable Trust.

The Wig
19 February – 12 June, 2022

The Wig is an ongoing, accumulative project between Gianmaria Andreetta, Jason Hirata, Megan Plunkett, Richard Sides and Angharad Williams. 

The project’s title borrows from the notion of “La Perruque“ (“The Wig“ in English), first introduced by philosopher Michel de Certeau in his groundbreaking book The Practice of Everyday Life. Published in 1984, it looked at the still relevant issues of the value we attach to the objects around us in contrast to the value we perceive in those who make them. 

 “The Wig“ broadly refers to anything done under the guise of work, but is in fact not work, or not the work one is supposed to be doing. Practicing “The Wig“ can be as simple as writing personal emails during office hours, using the company photocopier to print private invitations, or using someone else’s time for one’s own. For its current form at MOSTYN, the project will feature a collaborative video developed by the participants as well as reading material and resources shared between the artists in their ongoing conversations.

Online programme
McKenzie Wark podcast series: The Artist-Publisher
February 1–5, 2022 

In this podcast series, writer McKenzie Wark talks to artists who are also publishers and publishers whose work is a kind of art practice. Zines and books, made cheaply or by the thousands, or web-based journals available for free—these seem antithetical to the unique work of art. And yet the creation of meaning around art practices requires this other kind of practice of publishing written works. Contributors include Jacqueline de Jong and GB Jones amongst others. 

McKenzie Wark is the author, among other things, of Philosophy for Spiders: on the low theory of Kathy Acker (Duke University Press 2021) and The Beach Beneath the Street: the Everyday Life and Glorious Times of the Situationist International (Verso 2011). She is professor of culture and media at The New School in New York City.

Atlante Temporaneo. Cartografie del sé nell’arte di oggi @ Gallerie delle Prigioni, Treviso

Posted in nEws and rEleases by Curatorview on February 3, 2022

Curated by Alfredo Cramerotti and organised by Fondazione Imago Mundi / Fondazione Benetton Studi e Ricerche

Temporary Atlas: Cartographies of the Self in the Art of Today

5 February – 29 May 2022

Curated by Alfredo Cramerotti

The exhibition presents an idea of mapping that is alternative to the traditional conception. We know that there are two maps – an objectively-driven mapping and an individually perceived one – after all, not every aspect of our environment or our life has the same value. Equally, there are cartographers-explorers and cartographers-artists.

The fourteen cartographers-artists of Temporary Atlas do not gaze exclusively on the outside but rather focus towards themselves, aiming to investigate their perceptions, identities, emotions, physical and mental sensations. They adopt the traditional approach to mapping (a representation of reality) but expand it along unconventional paths – identity, spirituality, subconscious, feelings or memories that interact upon each of us. 

Walking through the exhibition, the visitor realises that however an artwork can engage reality, and reality is understood beyond representation, it is also true that much depends on which criteria we adopt to manifest this relationship. What we read in a representation (cartographic or artistic) depends on what methods and rules we intend to follow in this reading. 
Temporary Atlas is an attempt to identify the fleeting border between these two extremes: a reading of the person who, in the midst of a global pandemic yet to be resolved, re-evaluates their own priorities. The exhibition aims thus to describe our emotional, political, aesthetic horizon. It explores, in other words, the visitors’ expectation that art can allow us to reflexively understand our daily reality.

Participating artists: Oliver Laric, Jeremy Deller, Paul Maheke, Matt Mullican, James Lewis, Kiki Smith, Walid Raad, Ibrahim Mahama, Otobong Nkanga, Rochelle Goldberg, Seymour Chwast, Enam Gbewonyo, Sanford Biggers and Sarah Entwistle.

New publications from MOSTYN: Richard Wathen and Nick Hornby

Posted in nEws and rEleases by Curatorview on May 5, 2021

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

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