alcramer [Alfredo Cramerotti]

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 alcramer 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.

Mousse Magazine: Marinella Senatore “The School of Narrative Dance and Other Surprising Things” at MOSTYN, Llandudno

Posted in nEws and rEleases by alcramer on May 7, 2017

http://moussemagazine.it/marinella-senatore-mostyn-2016/

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MOSTYN, Wales UK proudly presents the first solo exhibition in a British institution by Marinella Senatore.

The exhibition presents a selection of the artist’s work from 2009 to today, in a renewed form of installation which will enable visitor participation and active engagement. A special focus is dedicated to The School of Narrative Dance, an ongoing, touring project founded by the artist in 2013 which has received wide acclaim from the public in over ten countries around the world.

For the first time we present, in its original idea, RE:VERB—a multi-layered work consisting of seven videos intended for television broadcast, made with the people of Llandudno during the artist’s residency in North Wales in 2015. This work was commissioned by CALL, and made possible by the collaborative initiative and financial support of the Arts Council Wales Ideas:People:Places grant and Mostyn Estates Ltd.

This is the first solo exhibition of the artist in a British institution and is designed and developed as a panoramic look at her most recent production, and in particular on the increased attention by Senatore towards the involvement of communities. It exemplifies the powerful idea of rethinking places responsible for culture in a more dynamic way. At the same time promoting the active inclusion of the public in the creation and in the use of the artwork, it empowers the individual in relation to social structures and community-gathering systems.

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at MOSTYN, Llandudno
until 17 September 2016

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Marinella Senatore “The School of Narrative Dance and Other Surprising Things” installation views at MOSTYN, Llandudno, 2016

Photo: Dewi Lloyd

 

Regional arts venues: less out in the sticks, more out on a limb

Posted in nEws and rEleases, shortEssays/cortiSaggi [English/Italian] by alcramer on July 14, 2013

Running an arts space outside the city is challenging but, once you realise the range of your potential audience, rewarding too

Guardian Professional
5 July 2013

by Alfredo Cramerotti
Sliced Eye, Rubiks Cube, Flawless Skin, Cardiac Muscle Cell, Orion Nebula-M42, Snow Crystal, 2012

MOSTYN works to find imaginative solutions that draw in national and international visitors (even journalists) while retaining strong links with their local audience. Pictured work by Nikolaus Schletterer. Photograph: Nikolaus Schletterer/MOSTYN

 

As anyone who has worked in the sector will tell you, running an arts space outside major cities is a hugely rewarding experience, not least because of the challenges that arise from reaching out to an audience in ways that can’t rely on a ready-made critical mass of potential visitors in the immediate area.

MOSTYN is Wales‘ largest gallery dedicated to contemporary art with an audience of roughly 80,000 per year, but being located in the 18,000-strong Victorian sea town of Llandudno and surrounded by a predominately rural area brings with it issues that an equivalent metropolitan space might not need to consider so carefully.

Another part of the challenge is encouraging journalists to visit. The three hours direct train from central London is less an issue than the bias towards reviews focusing on galleries and events in the bigger cities. Obviously there is a responsibility for media to cover stories of interest to as wide an audience as possible, but responses range from “I don’t know where I’d put it” (the same review pages you would put any show on) to “we’re fully booked up covering a major event”.

It’s not that these exhibitions or events don’t warrant media attention, but major institutions and blockbuster events hardly need the publicity to encourage public interest.

So, how are we tackling these issues? Like many other organisations reliant on quality of programming, audience engagement, media coverage and visits to secure funding, we are working on finding imaginative solutions that draw in national and international visitors (even journalists) while retaining strong links with our local audience.

A key element of this is an ambitious curatorial programme featuring world known artists from Wolfgang Tillmans to Elizabeth Peyton. We’ve also initiated a major international exhibition programme including co-curating this year’s Wales in Venice show at the 55th Venice Biennale with Oriel Davies Gallery and the Arts Council Wales – an incredible platform for all involved.

Upcoming shows will draw on our history by inviting artists to indirectly respond, through their work, to the history of the MOSTYN building which has gone from being a gallery for female artists when it launched in 1901 to a WW1 drill hall and piano storage, before returning to a gallery space in 1979.

Partnership is a vital part of our engagement work, showcased by linking with initiatives such as the Artes Mundi visual arts exhibition and prize, the biggest in the UK at £40,000. We are also part of Plus Tate, a major UK network which includes 20 contemporary art organisations outside London.

Building on the success of last year’s Plus Tate-funded Ninjas initiative for 11 to 13-year-olds, we successfully applied to be one of five national partners to be part of Tate’s Circuit programme, a national youth network for the visual arts. Funded by the Paul Hamlyn Foundation, Cylch/Circuit seeks to spark a long-term transformation in the way that young people aged 15 to 25 engage with art and take control of their own learning.

The demographic here is older on average than in cities, and we are developing ways to include those who might not normally visit a contemporary art gallery through exhibitions and events which have a cross-art form approach.

For example, our current show YOU is a conceptually strong group show (Felix Gonzalez Torres, Aurélien Froment, Jeppe Hein, Július Koller, Rivane Neuenschwander) that questions the idea of what art is: the viewer ‘produces’ the artwork through their visit. It’s had an amazing response from families who would never think to visit an art gallery, lured in with an event outside the venue during the Llandudno Victorian Extravaganza when the town was heaving with visitors.

On a marketing level, besides the reviews and articles on specialised art press, particularly helpful are features on magazines, blogs and websites such as ThisIsTomorrow and WeHeart since they are bringing MOSTYN out into the eyeline of the style and culture conscious nationally and internationally.

What have we learned that might be useful for other organisations in a similar situation? Surely, understanding that an organisation such as ours does not have a single, cohesive public but multiple audiences (including our staff, not to forget) who demand attention and have different ways of engaging.

This is not to say that we have to please everyone, but we do have to have a firm strategic direction and a flexible range of delivery via the three main areas of exhibitions, engagement and learning – equally important and each with a dedicated curator and budget.

It’s also crucial to seek and establish a range of platforms and partners that match our values and make the most of our programme in space and time: from local residents, schools and higher education to wider partnerships across the country and abroad.

It’s a long-term strategy, and long-term planning matters for our exhibitions, partnerships and funding agreements alike. Currently we are planning well into 2017 but potentially, a cultural institution like a gallery should look into society 20 or 50 years from now and then work back.

 

Alfredo Cramerotti is the director of MOSTYN contemporary art gallery in Llandudno – follow it on Twitter @MOSTYN_Wales_

This content is brought to you by Guardian Professional.

Cramerotti & Wales in Venice 2013 (newspapers articles) / Cramerotti e il Padiglione del Galles alla Biennale di Venezia 2013 (articoli giornali)

Posted in nEws and rEleases by alcramer on June 29, 2012

by / di Mariella Rossi

 

Corriere del Trentino

Friday 22 June / venerdi’ 22 giugno 2012

 

L’Adige newspaper

Sunday 24 June / domenica 24 giugno 2012

 

Alfredo Cramerotti curerà il padiglione del Galles alla Biennale d’Arte del 2013.

Posted in nEws and rEleases by alcramer on June 27, 2012

Artribune.com

24 June 2012

Text by Mariella Rossi

(Italian only)

È ufficiale: Alfredo Cramerotti, classe 1967, sarà il curatore del padiglione gallese alla prossima Biennale d’Arte di Venezia. Ed è ufficiale, concedetecelo, anche che Artribune porta buono, e comunque ci azzecca sempre: era accaduto per Vincenzo de Bellis alla direzione di MiArt, accade ora con Cramerotti, che noi davamo per favorito nell’incarico già un paio di settimane fa.

Da un anno è il direttore del centro d’arte contemporanea più importante del Galles – il Mostyn –, e lo abbiamo raggiunto telefonicamente nella città dove vive e dove si trova il centro che dirige: Llandudno. Non ha avuto dubbi la commissione dell’Art Council of Wales, che ha decretato la sua proposta (con Amanda Farr della Oriel Davies Gallery, presentando un progetto di Bedwyr Williams) vincitrice del concorso indetto per il padiglione a Venezia (“Qui si fa così: viene lanciata una open call per trovare il curatore”, spiega). Facile capire subito anche come fuori dall’Italia sia possibile farsi valere per il proprio merito, malgrado lui neghi di essere scappato definitivamente: “Tornerei anche in Italia, se ci fosse una buona occasione”.
L’ha portato fuori dall’Italia la continua sensazione di incompletezza, una necessità di continuare a imparare. Ha lasciato Trento per la prima volta per frequentare in Toscana la facoltà di architettura. Non l’ha finita, ma ha aperto una galleria: “In tre anni ho fatto cinquantaquattro mostre, secondo un ritmo intensissimo, quasi folle, che riuscivo a tenere solo perché ero giovane”, scherza. Del resto l’arte è nel suo DNA, visto che il fratello è pittore.
Lui stesso ama definirsi artista, piuttosto che curatore, perché “quando fai un lavoro curatoriale, approfondisci una ricerca e la presenti al pubblico in modo discorsivo, anche questo è fare arte”. E a Londra è giunto come artista in residenza al Florence Trust Studio, poi la sua eclettica formazione è passata nel 2000 per Berlino, per un master universitario triennale di “arte nel contesto”, poi studi critico-teorici a Malmö in Svezia. “Vivevo a Copenhagen, dove lavoravo anche in TV. A Berlino lavoravo in radio: mi è sempre piaciuto avere un piede nell’arte e uno altrove, ad esempio nei media o nel commercio”. Nel 2008 è a Derby, incaricato di inaugurare come curatore capo un nuovo spazio espositivo: il QUAD. Il resto è storia nota: “Non posso anticipare nulla per contratto –, oppone alle domande sulla Biennale -. La mostra di Bedwyr Williams sarà un percorso attraverso stanze diverse all’interno della Ludoteca tra i Giardini e l’Arsenale. Qui lo spettatore sarà coinvolto in una sfida della percezione fisica di quanto lo circonda”.

 

New Director at Mostyn

Posted in nEws and rEleases by alcramer on August 1, 2011

The Pioneer

21st July 2011

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