alcramer [Alfredo Cramerotti]

A new Season of Exhibitions at MOSTYN

Posted in nEws and rEleases by alcramer on November 16, 2017

A New Season of Exhibitions at MOSTYN
FRIDAY 17 NOVEMBER 2017 – 6.30pm onwards

EVGENY ANTUFIEV

Organic resistance: body and knife, crossing the border

18 November 2017 – 18 February 2018

image 1.jpg

The first UK solo exhibition by Russian born Antufiev, presents artefacts, ideas and stories collected from, or imagined by, local and mythological cultures from different parts of the world.

The exhibition is organised in partnership with Collezione Maramotti in Reggio Emilia (Italy), where the artist had a major survey of his work in 2013 – the first one in Italy. The Maramotti Collection has continued to follow the research of the artist by acquiring new works over the last few years, and this exhibition will be the first time the works will be shown outside Europe.

This exhibition has been curated by Alfredo Cramerotti, Director, MOSTYN, and will be presented alongside Miles of Creativity, an exhibition curated by Adam Carr, Visual Arts Programme Curator, MOSTYN.
See full exhibition description here.

 

MILES OF CREATIVITY 
18 November 2017 – 18 February 2018

image 2.jpg

 

Featuring creatives:
Beacon Garage, Trish Bermingham, Lin Cummins, Wendy Dawson, Tim Dickinson, Glyn Ellis, Nick Elphick, Julia S. Greaves, Lizzie Hughes, Mark Hughes, Anna Jones, Richard Cynan Jones, Patrick Joseph, Judith Bond Cakes, Barry Morris, North Wales Vapour, Pea J. Restall, Miguel Roque, Mike Ryder, Alana Tyson, Alan Whitfield, Wild Horse Brewery, Emrys Williams, Gwyn Williams, Susan Williams, Sandra Wynne 

Miles of Creativity is a group exhibition that explores the creative act and its relationship to the town of Llandudno, and brings together work by artists and by creative people working in trades not traditionally shown in an art gallery.

This exhibition has been curated by Adam Carr, Visual Arts Programme Curator, MOSTYN.

See full exhibition description here.

 

Gallery 6
John Hedley
Natural Forms 
24 October – 28 January 2018
image 3.jpg

Our series of solo exhibitions celebrating contemporary printmaking continues in Gallery 6 with Anglesey based John Hedley.

All prints are for sale framed or unframed, and the Collectorplan scheme allows you to buy unique pieces of contemporary art and craft over a period of 12 months interest free.

 

This exhibition has been curated by Barry Morris, Retail Manager, MOSTYN.

See full exhibition description here.

 

Advertisements

HYPERIMAGING!—Gjon Mili 2017: Award Exhibition/ 15 Edition

Posted in nEws and rEleases, Uncategorized by alcramer on October 12, 2017

HYPERIMAGING!

Gjon Mili 2017: Award Exhibition/ 15 Edition

The opening ceremony will take place on Friday, October 13, 2017 at 20:00th at The National Gallery of Kosovo

unnamed

HYPERIMAGING! IMAGES IN AND OUT OUR SCREENS – Artists and opening ceremony announced

Posted in nEws and rEleases by alcramer on September 22, 2017

THE NATIONAL GALLERY OF KOSOVO HAS THE PLEASURE TO INVITE YOU TO ATTEND THE OPENING OF GJON MILI 2017 AWARD EXHIBITION/15TH EDITION

HYPERIMAGING! Images in and out of our screens

13.10. 2017-13.11. 2017

Curated by Alfredo Cramerotti

 

be yourself

The opening ceremony will take place on Friday October 13th, 2017 at 20:00H at the National Gallery of Kosovo, Pristina.

Participating artists:

Have it / Margo Wolowiec / Anne De Vries / Erica Scourti / Clare Strand / Jeff Guess / Eliza Hoxha / Alice Pedroletti / Christopher Meerdo / Oskar Schmidt / Brilant Pireva / Kushtrim Asllani / Jordan Tate / Dardan Zhegrova / Sadi Suhodolli (TADI) / Thomson&Craighead / Eva&Franco Mattes / Thomas Galler / Claudia Sola

Curated by Alfredo Cramerotti / Assistant curator: Atdhe Mulla / Artistic Liaison: Alexis Brocchi.

More info:

http://www.aicauk.org/2017/09/18/hyperimaging-images-in-and-out-our-screens/

Image: So Like You, 2013-15. Courtesy Erica Scourti

Alfredo Cramerotti: Modes of Curating / Curating as Research @ Valletta 2018 International Curatorial School, Malta

Posted in nEws and rEleases, Thoughts.Coaching, Tools.Coaching by alcramer on August 27, 2017

Valletta Campus of the University of Malta

28 August – 1 September 2017

Screenshot 2017-08-27 18.50.23.png

Conceiving and understanding “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 project organizer – the 5-day curatorial course will focus on developing a discourse, or a statement through works of art, which of course can also overwhelm or enhance the project’s rationale.

As curator, I act as meta-artist; the work undertaken is less about the “what” and
more about the “how”.

PART ONE
Keynote speech: Beyond and Besides Me: The Curator as Meta-Artist.

Presentation of three curatorial drafts recently delivered: Michael Takeo Magruder’s “De-Coding the Apocalypse” at the King’s College Cultural Institute London (2014/15); Marinella Senatore’s “The School of Narrative Dance” at MOSTYN (2016); and Shezad Dawood’s “Leviathan” at Palazzina Canonica Venice (2017). An insight into the themes and approaches to these exhibitions, the conversations with the artists, the “research outcomes” in relation to space, mediation and diffusion as a form of research.

PART TWO
Research Module 1: The Social, Humanitarian, Historical, Scientific as Art.

What does beauty has to do with, for instance, migration, climate change, social cohesion, 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?

PART THREE
Research Module 2: The act of thinking, planning, resourcing,
delivering, closing and finalising your next exhibition or curatorial project.

Speculations. Three type of curating (from Cook / Graham):

Project making as exchange / trade show: the modular model, based on one incarnation of a multilevel event structure / platform with the possibility to scale up / down elements of the project without affecting its overall coherence (curator as filter / stylistic editor)

Project making as broadcast: the distributed model, based on “exhibitions” where different curators create their own infrastructure / agency or occupy existing platforms to circulate art and the process of curating itself (curator as node / translator).

Project making as software program / data flow: the iterative model, based on change from one venue to another (or one exhibition to another) each time – growing around a selection of key works (curator as maker / producer / managing editor)

PART FOUR
The Pitch (one day): Poster(ing)

An “exhibition of ideas” where curators can get an inkling of what has been taking place in other workshops. A collective poster session during which participants present a diagrammatic idea of their individual concept / project to each other, and particularly to participants and curators in other groups, informed by both feedback and speculations of the days before.

The Valletta 2018 International Curatorial School, Malta is organized by Raphael Vella with the participation of Alfredo Cramerotti, Sebastian Cichocki, Mick Wilson, Bassam El Baroni, Fulya Erdemci, and Maren Richter.

Matteo Fato (SOMERSAULT) | curated by Alfredo Cramerotti | Opening: 22.07.2017 h.18.30 | Galleria Michela Rizzo

Posted in nEws and rEleases, Uncategorized by alcramer on July 20, 2017

Matteo Fato
(SOMERSAULT) 

Curated by Alfredo Cramerotti 

Galleria Michela Rizzo | Venice, Italy 

Opening: 22.07.2017, h.18.30

 23.07 – 09.09.2017 

unnamed-4

In the past our technologically conceived artifacts structured living patterns. We are now in transition from an object-oriented to a systems-oriented culture. Here change emanates, not from things, but from the way things are done.

(Jack Burnham, System Esthetics, 1968)

 

Burnham, an art critic and curator, wrote the passage above for an essay in Artforum magazine back in 1968; processes of change take time indeed. In the case of visual culture, and the physical environment underpinning it, the system is both the space (for work) and the material (of the work); concerning with method and form together. 

A “visual system” sits at the crossroad between image, thought, word and time; it exemplifies the mutability (and complexity) of life. A visual medium then brings about not only the message, but the psychic state that enable us to understand that message: “A mental structure, a way of thinking and feeling that expresses itself in everything we say, write, build and develop, from architecture and advertising to film and fine art.”

The presumed coherence of visual practice is constantly called into question by coupling with other system of visual fabrication, communication or representation (text, painting, impression, graphic design, photography, light projection, object construction and oral commentary). It is an environment made of relation-building amongst sign and signal, people and objects. Our visual actions extract meaning upon which build further relations and effects, either autonomously or through conscious arrangements. In Burnham’s words, “Where the object almost always has a fixed shape and boundaries, the consistency of a system may be altered in time and space, its behavior determined both by external conditions and its mechanisms of control.”

We live now according to a system of visual editing; we became a wider, complex “system” in which users double as creators.

On systems, Alfredo Cramerotti

Open Call: HYPERIMAGING! IMAGES IN AND OUT OUR SCREENS

Posted in nEws and rEleases by alcramer on July 15, 2017

“Gjon Mili” 2017

Curated by Alfredo Cramerotti

Assistant curator: Atdhe Mulla

Artistic Liaison: Alexis Brocchi

gjon

Rationale

We refer to images, or the act of creating images, to act socially, politically and even privately. As a consequence of the digital age of photography, the way we are involved in image making is continuous:we can confer it a specific professional or artistic function, or embed it in they way we shape our existence.

When digital images are imposing themselves as a visual translation of the self, the understanding of photography is striving to go away from standard representational practices. Images compose a visual timeline, comparable to a textual linear narrative, where the grammar is made of our shopping lists, chats, social media’s comments or work emails.

Although these images are not coherent when considered together and are produced for different reasons, they become knowledge ‘chunks’ that visually translate different contexts into what we wish others to think of us. They can therefore be understood as a pictorial alphabet, where the possibilities of communicating are infinite and universal, freed from constraints related to textual translation. The result is a flow of visual forms and meanings that are interchangeable, independently from the situations in which they were generated and consumed.

The 2017 “Gjon Mili” Biennial & Award wants to query this hypothesis; focusing on image-making in the digital era, it wants to test if ‘visual authorship’ today is still associated with holding a specific position through the idea of representation, or rather is about delving into an ever-changing process that never produces a ‘finished’ work to display.

Beyond a classic photographic exhibition, the 2017 “Gjon Mili” Biennial & Award will therefore exhibit an expanded narrative of photography through photo-objects, installations, projections, visual data streams and ‘moving wallpapers’ that will put the curatorial rationale to test, and will engage the audience on a path to discovery, self-reflection and open enquiry about the status of visual culture in the beginning of the 21st century. –Alfredo Cramerotti

Access the full GJON MILI Open Call description here

Application documents:

  • Image and /or concept that reflect the curatorial concept
  • Application form ( available at the NGK or by emailin grequest at info@galeriakombetare.com), portfolio and biography.
  • . The most successful work will receive “Gjon Mili “award in value of 1000 euros.

Note:

  • Finished works are not accepted for the application;
  • The works submitted must not be exhibited in the past in NGK;
  • Applications to be addressed in aclosed envelope to:

“Galeria Kombëtare e Kosovës, Rr. Agim Ramadani 360, 10000, Prishtina, Republic of Kosovo”  received before end of working hours on  20.07.2017

  • For more information contact Lirije Buliqi at +38138 225 627

Kosova gallery logo.png

NEW SEASON at MOSTYN

Posted in nEws and rEleases, Uncategorized by alcramer on July 4, 2017

MOSTYN Open 20


We are pleased to invite you and your guests to the opening of MOSTYN Open 20.

The winner of the £10,000 prize will be announced.

FRIDAY 7 JULY 2017 – 6:30pm onwards

Everyone is welcome.

 

Screen Shot 2017-07-04 at 3.18.57 PM

EXHIBITION DATES

08/07/2017 – 05/11/2017

Selected artists:

Sarah Bernhardt, David Berweger, Rudi Bogaerts, John Bourne, Manuel Caldeira, Alex Edwards, Matteo Fato, Joe Fletcher Orr, David Garner, Mitchell Kehe, Eli Keszler, Ilona Kiss, Jadranka Kosorcic, Catherine Large, Alyona Larionova, Sophie Lee, Gal Leshem, Jessica Lloyd-Jones, Oliver McConnie, Laura Malacart, Tom Milnes, Yelena Popova, Louise Short, Andrew Stooke, Tom Verity, Gernot Wieland, Driant Zeneli.

Selectors


Lydia Yee (Prif Guradur, Oriel Whitechapel, Llundain / Chief Curator, Whitechapel Gallery)

Chus Martínez (Curadur a Phennaeth Sefydliad Celf, FHNW, Academi Celf a Dylunio, Basel / Curator and Head of the Institute of Art, FHNW Academy of Arts and Design, Basel)

Alfredo Cramerotti (Cyfarwyddwr / Director, MOSTYN)

Adam Carr (Curadur y Rhaglen Celf Weledol / Visual Arts Programme Curator, MOSTYN).

 

A further prize of £1,000 – the Audience Award – is determined by the artist receiving the most votes from the visiting public during the exhibition’s run. So, come along and vote for your favourite work.

More Information Here

 Gallery 6


Sarah Ross-Thompson

The Quiet Landscape

Screen Shot 2017-07-04 at 3.19.16 PM.png

More Information Here

Coming Soon


 

unnamed-3

www.llawn.org

 

From our partners


NOVA

Biennial arts prize for Welsh visual artists 35 and under. 

FREE entry before 21st July 2017

Prizes and bursaries to win.

Screen Shot 2017-07-04 at 3.20.17 PM

www.nova.cymru

Friday | 12 May No Way Out. Notes on the Philosophical Implications of the Concept of Anthropocene with Franco “Bifo” Berardi in conversation with Sandro Carniel (CNR – ISMAR)

Posted in nEws and rEleases, Uncategorized by alcramer on May 11, 2017

Friday | 12 May 2017

5pm

No Way Out. Notes on the Philosophical Implications of the Concept of Anthropocene with Franco “Bifo” Berardi in conversation with Sandro Carniel (CNR – ISMAR). Introduced and moderated by Alfredo Cramerotti.

Palazzina Canonica
Riva dei Sette Martiri, 1364
Vaporetto Giardini

See full schedule below

Screen Shot 2017-05-09 at 9.17.03 PM

 

Friday | 12 May My Art Guides Venice Meeting Point “An Ocean Archive” Symposium

Posted in nEws and rEleases, Uncategorized by alcramer on May 11, 2017

Friday | 12 May 2017

3pm

My Art Guides Venice Meeting Point “An Ocean Archive” Symposium 

NAVY OFFICER’S CLUB
ARSENALE, VENICE

Screen Shot 2017-05-09 at 8.57.25 PM

Screen Shot 2017-05-09 at 8.57.44 PM.png

Thursday | 11 May Lost Identities Cristina Cattaneo (Labanof) with Prefetto Vittorio Piscitelli (Commissario Straordinario per le Persone Scomparse)

Posted in nEws and rEleases, Uncategorized by alcramer on May 10, 2017

Thursday | 11 May 2017

3:30pm

Lost Identities Cristina Cattaneo (Labanof) with Prefetto Vittorio Piscitelli (Commissario Straordinario per le Persone Scomparse). Introduced and moderated by Alfredo Cramerotti
Palazzina Canonica
Riva dei Sette Martiri, 1364
Vaporetto Giardini

See full schedule below

Screen Shot 2017-05-09 at 9.17.03 PM

%d bloggers like this: