alcramer [Alfredo Cramerotti]

New publications by Intellect as part as the Critical Photography book series, edited by Alfredo Cramerotti

Posted in nEws and rEleases, shortEssays/cortiSaggi [English/Italian] by alcramer on November 21, 2020

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.

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.

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

Posted in nEws and rEleases by alcramer on November 9, 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

Hannah Quinlan & Rosie Hastings, Republic, 2020. Fresco. Court. the artists & Arcadia Missa. 

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 

Nick Hornby, Joe (Resting Leaf), 2020. Resin, ink, lacquer. Courtesy the artist.

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

Richard Wathen, Sleeping after P.G., 2019. Oil on linen over aluminium. Courtesy the artist.

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.  

graphic image for QUEER IS NOT A LABEL

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.

LUMIN image

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.’

Sarah Entwistle at Museo Nivola: “You should remember to do those things done before that have to be done again”, curated by Alfredo Cramerotti

Posted in nEws and rEleases by alcramer on November 2, 2020
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.

IKT 2020 Virtual Meeting “Sustainable Curating in Corona Times”

Posted in nEws and rEleases by alcramer on October 17, 2020

 to  BST

While the annual IKT Congress had to be postponed due to the pandemic, IKT resolved to organize a virtual gathering to connect with its members and the public at large during these challenging times. Over a period of 3 hours each day, we will hear from a diverse group of IKT members who will share their stories, experiences and best practices developed over the past few months; as well as from key note speakers and panelists exploring sustainable practices in our collective curatorial endeavors.

TheIKT Virtual Meeting 2020 is free and open to IKT members as well as to the general public, however mandatory registration is required.

Please find here the detailed program to the IKT 2020 Virtual Meeting.

‘Conflict Reporting’ on Switch [On Paper] Issue September 2020

Posted in nEws and rEleases, shortEssays/cortiSaggi [English/Italian] by alcramer on September 17, 2020

Image: Adam Broomberg & Oliver Chanarin, The Press Conference, June 9, 2008 (detail) from The DayNobody Died, 2008

Observing the limits of photojournalism in the face of humanitarian and wartime tragedies, artists have sought ways to bear witness to human suffering freed from the grip of media and government powers. Their approach is not without problems. Perhaps their critical potential lies in testing these limits.

Conflict Reporting

An investigation by Alfredo Cramerotti and Lauren Mele for Switch [On Paper], the only international news weekly where art and culture serve as a window on the world.

Full text here: https://www.switchonpaper.com/en/conflict-reporting/

Press coverage highlights for MOSTYN exhibition season November 2019-March 2020: Anj Smith, Chiara Camoni, Nobuko Tsuchiya

Posted in nEws and rEleases by alcramer on July 9, 2020
Hauser & Wirth Media: Anj Smith in Conversation with MOSTYN Director, Alfredo Cramerotti

Contemporary Perspectives on Digital Image Making: Lecture at University of South Wales, Cardiff

Posted in nEws and rEleases by alcramer on May 7, 2020

Lecture for MA Documentary Photography and PhD Courses

Faculty of Creative Industries, University of South Wales.

Thursday 7 May 2020, 2pm

syms 7
Image: Martine Syms

Presentation on contemporary perspectives on digital image making, part of the body of research “The Hypermage: A Curatorial Approach on Expanded Photography”.

Artist in conversation: Sïan Rees Astley @ MOSTYN

Posted in nEws and rEleases by alcramer on March 3, 2020

MOSTYN: Exhibition Programme 2020

Posted in nEws and rEleases by alcramer on March 3, 2020

Exhibition Programme 2020

MOSTYN
12 Vaughan Street
Llandudno LL30 1AB
United Kingdom

T +44 1492 879201
post@mostyn.org

www.mostyn.org


MOSTYN, Wales UK is thrilled to announce its programme of exhibitions for 2020 which includes solo presentations by artists Kiki Kogelnik, Athena Papadopoulos, Hannah Quinlan and Rosie Hastings, Nick Hornby, Richard Wathen, and Jacqueline de Jong.

March 14–July 5, 2020
Kiki Kogelnik: Riot of Objects
Riot of Objects is the first institutional presentation in the UK to focus on Kiki Kogelnik’s ceramic works. Considered one of the key figures of the post-war avant-garde, Kogelnik’s multidisciplinary oeuvre spans five decades. Her multi-faceted artistic style evolved from painterly abstraction to Pop Art and the representation of the (female) body. This exhibition demonstrates Kogelnik’s boundless capacity for invention and restless commitment to making. Kiki Kogelnik was born in 1935 in Bleiburg, Austria. She lived and worked in New York and Vienna. She died in 1997 in Vienna, Austria. Curated by Chris Sharp in partnership with the Kiki Kogelnik Foundation.

Athena Papadopoulos: Cain and Abel Can’t and Able
This exhibition presents a new body of work by artist Athena Papadopoulos. Using her ever-expanding vocabulary of materials and ancient narratives, which she combines with unlikely elements, this new series of works includes sound, sculpture and painting, and explores human dichotomies, questioning the complicated duality of reason and emotion. Athena Papadopoulos was born in 1988 in Toronto, CA. She lives and works in London. Curated by Alfredo Cramerotti, Director, MOSTYN.

July 18–November 1, 2020
Hannah Quinlan and Rosie Hastings: In My Room
Hannah Quinlan and Rosie Hastings’ first solo institutional exhibition develops the artists’ enquiry into the politics, histories and aesthetics of queer spaces and culture. This newly conceived body of work includes a fresco painting, wall rubbings and a film, and highlights the impact of gentrification upon the city and its gay communities, whilst also exploring the relationship between masculinity, capitalism and power within the urban landscape. Hannah Quinlan and Rosie Hastings were both born in 1991 in Newcastle and London. They live and work in London. Curated by Juliette Desorgues, Curator of Visual Arts, MOSTYN. Commissioned by Focal Point Gallery, In My Room is presented in partnership with MOSTYN and Humber Street Gallery, Hull.

Nick Hornby
This exhibition includes new photo-sculptural works by Nick Hornby, MOSTYN Open 21 “Audience Award” winner, and continues his enquiry into hybridity. Mining the collective index of cultural history, Hornby uses technology not only as a way of invoking potential new worlds but as a way of investigating alternative ways of seeing history. Nick Hornby was born in London in 1980. He lives and works in London and New York. Curated by Alfredo Cramerotti, Director, MOSTYN.

Richard Wathen
MOSTYN Open 21 “Exhibition Award” winner, Richard Wathen‘s solo exhibition comprises a new series of paintings. Rooted in the historical canon of painting, his work focuses largely on portraiture, depicting figures in states of hesitation and contemplation. Through the use of subtle details, his paintings retain a sense of ambiguity by refusing to be fixed in time and place. Richard Wathen was born in London in 1971. He lives and works in Suffolk, UK. Curated by Alfredo Cramerotti, Director, MOSTYN.

November 14, 2020–February 28, 2021
Jacqueline de Jong
Jacqueline de Jong is considered one of the crucial artistic figures of the post-war avant-garde. This exhibition is the first institutional solo presentation of her work in the UK. Throughout her career spanning half a century, de Jong has developed a unique painterly practice. Expressive in style, her work exhibits uninhibited eroticism, violence and humour. In parallel to her work as a painter, she was editor of The Situationist Times (1962-1967) and a member of the Situationist International during her early years in Paris in the 1960s. Jacqueline de Jong was born in 1939 in Hengelo, The Netherlands. She lives and works in Amsterdam, The Netherlands. Curated by Juliette Desorgues (Curator of Visual Arts, MOSTYN) and organised in collaboration with WIELS where the exhibition will be presented by Xander Karskens (Director, De Ateliers) and Devrim Bayar (Curator, WIELS) (June 12-August 16, 2020).

WHAT I SEE: new figurative art in Italy | Museum of Modern and Contemporary Art of Trento & Rovereto / Galleria Civica Trento

Posted in nEws and rEleases by alcramer on March 3, 2020

 

WHAT I SEE
new figurative art in Italy

Galleria Civica, Trento 15.02 — 24.05.2020
Museum of Modern and Contemporary Art of Trento & Rovereto / Galleria Civica Trento

http://www.mart.trento.it/ciochevedo-en


Curated by Alfredo Cramerotti and Margherita de Pilati

Fourteen Italian artists – young or mid-career – are the protagonists of What I see: an exhibition that presents some of the most important experiences in new figurative painting. Comprehensive technical experience has allowed the artists showing their works to create realistic or hyper-realistic paintings, recovering the style approaches of the best-known classical tradition. Therefore, subtexts and symbolism, allusion and metaphor are all allowed, while at the same time, there is no shortage of fun, irreverence or social commentary. People and everyday objects populate these paintings, immersed in surreal, sensual and fairytale-like atmospheres that both surprise viewers and invite them to get lost in the details.

Exhibiting Artists
Giulia Andreani
Elisa Anfuso
Annalisa Avancini
Romina Bassu
Thomas Braida
Manuele Cerutti
Vania Comoretti
Patrizio Di Massimo
Fulvio Di Piazza
Andrea Fontanari
Giulio Frigo
Oscar Giaconia
Iva Lulashi
Margherita Manzelli

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