alcramer [Alfredo Cramerotti]

Modes of Curating / Curating as Research

Posted in nEws and rEleases by alcramer on January 24, 2018

Curatorial study day led by Alfredo Cramerotti at GSA – The Glasgow School of Art

31 January 2018

GSA-logo-black

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?

 

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IDEAL-TYPES

Posted in nEws and rEleases by alcramer on January 24, 2018

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.

HE.RO_invite3

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

Posted in nEws and rEleases, Uncategorized by alcramer on December 2, 2017

64031-Shezad-Dawood-Leviathan

Shezad Dawood – Leviathan – Fabbrica Fortuny

Link: http://www.rivistasegno.eu/events/shezad-dawood/

 

Un’ antiguida tra illusioni e leviatani

2017-05-09-PHOTO-Press 2

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

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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

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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

Link: http://ende.blouinartinfo.com/news/story/1784337/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

Link: http://www.artribune.com/arti-visive/arte-contemporanea/2017/01/leviathan-venezia-serie-tv-shezad-dawood

 

Aesthetica (UK), no byline/15.02.2017

Dystopian Communities

 

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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

 

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Link: https://www.theguardian.com/artanddesign/2017/may/07/shezad-dawood-leviathan-venice-climate-change-migrants

 

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

 

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Link: http://www.artribune.com/arti-visive/arte-contemporanea/2017/05/biennale-venezia-editoriale-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

Link: http://www.aljazeera.com/video/news/2017/05/venice-biennale-refugee-crisis-takes-centre-stage-170515031632071.html

 

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

Link: http://www.scmp.com/culture/arts-entertainment/article/2094413/venice-biennale-2017-round-urgent-politic-undertones-flow

 

artnet news, Hettie Judah (US), 14.05.2017

The Turned-On Biennale: An Orgy of Liberal Sex and Liberal Guilt Greets Visitors in Venice

 

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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

 

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Downloadable PDF: TANMay2017

Shezad Dawood: Leviathan; 2017, courtesy of the artist and UBIK Productions

Episode 1.
Commissioned by: University of Salford Art Collection, Outset Contemporary Art Fund and Leviathan – Human and Marine Ecology, with support from The Contemporary Art Society.
Shezad Dawood: Leviathan; 2017, courtesy of the artist and UBIK Productions
Episode 2.
Commissioned by  Cream – University of Westminster and Leviathan – Human & Marine Ecology
Link:  https://vimeo.com/216299027

ATP diary – Interview

 

【娱乐】LEAP Forum Venice

Link: http://www.iqiyi.com/w_19ru524kct.html

 

Elephant |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 

 

 

 

 

 

Lecture by Alfredo Cramerotti: Hyperimaging

Posted in nEws and rEleases, Uncategorized by alcramer on November 29, 2017

December 1, 2017, at 10:00 AM – 12:00 PM

Konstfack
LM Ericssons väg 14
Box 3601, 126 27 Stockholm
Sweden

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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

Posted in nEws and rEleases by alcramer on November 29, 2017

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

nathalie gabrielsson image

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.

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

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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

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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
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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.

 

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

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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

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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 

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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

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