alcramer [Alfredo Cramerotti]

New publications from MOSTYN: Richard Wathen and Nick Hornby

Posted in nEws and rEleases by alcramer 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

“Conflict Reporting” on Third Text, Volume 35, Issue 2 (2021)

Posted in nEws and rEleases, shortEssays/cortiSaggi [English/Italian] by alcramer on March 26, 2021
Third Text, Volume 35, Issue 2 (2021)

Conflict Reporting

Aestheticising Objectivity

By Alfredo Cramerotti & Lauren Mele

Pages 248-262 | Published online: 29 Jan 2021 | Published in print: February 2021

Abstract

In 2001, artists Broomberg and Chanarin documented a day in the Iraq war. The result was a visual yet non-descript narrative, achieved with light and presence; a physical documentation of their journey titled The Day Nobody Died. In 1968 photojournalist Eddie Adams captured Saigon Execution in Vietnam, also a war-time image but with the lens of reportage. The former is a rendition of their experience, not bound by the constraints and facets of aestheticising fact. The latter was presented as news and was the receiver of outrage and scrutiny as such. This article explores how representations of humanitarian crises and wartime are complicit in their perpetuation, and how art demonstrates an attempt at representing such events as futile. We seek to establish a link between what is viewed and what is reported; what is seen and what remains outside the picture; an attempt to unravel what the difference is between viewing and witnessing.

Abstract available at https://doi.org/10.1080/09528822.2021.1873003

 

 

New book by Alfredo Cramerotti: Curating the Image – Notebook for a Visual Journey [Distanz Verlag, Dec 2020]

Posted in nEws and rEleases, shortEssays/cortiSaggi [English/Italian] by alcramer on December 29, 2020

From the publishers’ webpage:

“Unconscious Informing” – For over twenty years, the curator Alfredo Cramerotti (b. Trento, Italy, 1967; lives and works in Llandudno, Wales) has built an extensive collection of visual materials divided into multiple categories. Newspaper clippings, postcards, drawings, flyers, articles, advertisements, other media materials: Cramerotti finds something of interest wherever he looks. He clusters and collages his finds along five independent thematic foci: design approach, alpine culture, leadership, houseplants, and the gaze. Cramerotti’s interest in creating a system of order and reference takes inspiration from the work of Aby Warburg. He uses his collection of imagery to study formal principles of commercial visual culture, adding ironic observations and drawing connections to media trends. With an essay by the curator.

Curating the Image. Notebook for a Visual Journey (download short extract)

Supported by The Ampersand Foundation, L’Artisan Parfumeur , Maria and Theodore Fatsis, Penhaligon’s, Adam Prideaux and Carolin Scharpff-Striebich. Designed by Laura Catania. Published by Distanz Verlag, Berlin.

Press coverage highlights for MOSTYN’s extended exhibition season March – October 2020: Athena Papadopoulos and Kiki Kogelnik

Posted in nEws and rEleases by alcramer on December 28, 2020

Zabludowicz Collection: Invites Focus: Athena Papadopoulos.
Online – available at https://www.zabludowiczcollection.com/digital/view/invites-focus-athena- papadopoulos

E-flux: Athena Papadopoulos: Cain and Abel Can’t and Able, 12 March 2020Online – available at https://www.e-flux.com/announcements/322584/kiki-kogelnikriot-of- objectsathena-papadopouloscain-and-abel-can-t-and-able/

This image has an empty alt attribute; its file name is athena-7.jpg

Juliet Art Magazine, 27 May 2020, by Elsa Barbieri

The Guardian: The great reopening – how Britain’s galleries Covid-proofed themselves, 8 July 2020, by Charlotte Higgins

Online – available at https://www.theguardian.com/artanddesign/2020/jul/08/great-reopening- britains-galleries-covid-proofed-london-dundee-llandudno

The Guardian: From Llandudno to Stromness: 10 of the best hidden gem art galleries, 2 October 2020, by Jonathan Jones

Online – available at https://www.theguardian.com/culture/2020/oct/02/10-of-the-best-hidden-gem-art-galleries

Fluxo: Cain and Abel Can’t and Able.
Online – available at https://www.ofluxo.net/cain-and-abel-cant-and-able-by-athena-papadopoulos- at-mostyn-gallery/

Tank Magazine: Cain and Abel Can’t and Able.
Online – available at https://tankmagazine.com/tank/2020/04/athena-papadopoulos/

Studio Visit: Athena Papadopoulos.
Online – available at https://studiovisit.io/visit/athena-papadopoulos/

Art Daily: MOSTYN reopens with exhibition of works by Athena Papadopoulos.
Online – available at https://artdaily.cc/news/127408/MOSTYN-reopens-with-exhibition-of-works- by-Athena-Papadopoulos#.X7Ud_y-l2jS

The Double Negative : Culture Diary – On our Radar, 04 September 2020, by Mike Pinnington
Online – available at http://www.thedoublenegative.co.uk/2020/09/culture-diary-on-our-radar/

Kiki Kogelnik: Riot of Objects / Athena Papadopoulos: Cain and Abel Can’t and Able @ MOSTYN Gallery, Llandudno 

In 1961, Austrian Kiki Kogelnik left behind the Viennese avant-garde scene, trading it for Santa Monica. In the US, she was influenced by Roy Lichtenstein, Andy Warhol, Tom Wesselmann, Robert Rauschenberg and Claes Oldenburg. Responding to this male-dominated world, she introduced feminism and criticality to the already fertile ground of mass media and consumer culture, becoming an interesting (and underexposed) outlier of pop art in the process. This MOSTYN Gallery show is the first in the UK to focus solely on her ceramics output. Dovetailing nicely is a new body of work from Canadian artist Athena Papadopoulos, which questions traditional binary perceptions of gender and sexuality.

The World of Interiors: Exhibitions to see, Print, September 2020

Coast: 10 Inspiring Galleries by the Sea. Print, October 2020

Shire Magazine: Contemporary Art at MOSTYN. Print (May/June 2020).

Shire Magazine: Exhibitions at MOSTYN Gallery. Print (September/October 2020).

Welsh Coastal Life: Diary: What is happening on and around the Welsh Coast. Print (April 2020).

North Wales Magazine: The Great days Out. Print (August 2020).

North Wales Pioneer: Athena Papadopoulos’ Cain and Abel Can’t and Able at MOSTYN gallery in Llandudno, 31 July 2020, by Duncan Rieder
Online – available at https://www.northwalespioneer.co.uk/news/18620000.athena-papadopoulos- cain-abel-cant-ableat-mostyn-gallery-llandudno/

Rhyl, Prestatyn & Abergele Magazine: Athena Papadopoulos’ Cain and Abel Can’t and Able at MOSTYN gallery in Llandudno.
Online – available at https://www.rhyljournal.co.uk/news/18620001.athena-papadopoulos-cain- abel-cant-ableat-mostyn-gallery-llandudno/

Athena Papadopoulos, Cain and Abel Can't and Able, 2020. Installation view at MOSTYN, Wales UK. Picture: Mark Blower.

York Press: Athena Papadopoulos’ Cain and Abel Can’t and Able at MOSTYN gallery in Llandudno. Online – available at https://www.yorkpress.co.uk/leisure/showbiz/18620000.athena- papadopoulos-cain-abel-cant-ableat-mostyn-gallery-llandudno/?ref=rss

Athena Papadopoulos, Cain and Abel Can't and Able, 2020. Installation view at MOSTYN, Wales UK. Picture: Mark Blower.

Cura magazine: Athena Papadopoulos

Drawing from the biblical story of Cain and Able, Papadopoulos reflects on her own personal experiences of sibling rivalry and competition within romantic relationships but also, crucially, the struggle between good and evil.

ATHENA PAPADOPOULOS

Apollo magazine: Kiki Kogelnik

Kiki Kogelnik: Riot of Objects

MOSTYN, LlandudnoUntitled (Sea Monster) (detail; c. 1974), Kiki Kogelnik.

Untitled (Sea Monster) (detail; c. 1974), Kiki Kogelnik. Courtesy Kiki Kogelnik Foundation

After moving to New York in the early 1960s, the Austrian-born artist emerged as one of the few women associated with the Pop art movement. She is perhaps best known for her series of Hangings: life-size tracings, cut-outs and paintings of human figures. But from 1974 ceramics became a key part of her practice. This is the first UK exhibition to focus on her work in this medium, by turns fantastical and darkly comic.

Widewalls: Riot of Objects – Kiki Kogelnik’s Ceramics On Show at MOSTYN, 17 August 2020, by Elena Martinique

Online – available at https://www.widewalls.ch/magazine/kiki-kogelnik-ceramics-exhibition-mostyn

 BBC Radio Wales Art Show, Friday 14 August 2020, interview with Alfredo Cramerotti

 https://www.bbc.co.uk/sounds/play/m000ln31 (from 1:10mins)

The Telegraph newspaper, 21 August 2020, by David Atkinson

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
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