alcramer [Alfredo Cramerotti]

Press coverage for EXPO VIDEO 2015, curated by Alfredo Cramerotti

Posted in nEws and rEleases by alcramer on June 27, 2016

EXPO VIDEO exhibition during EXPO CHICAGO (September 17 – 20, 2015)

press image EV

 

Artspace Magazine
EXPO VIDEO Curator Alfredo Cramerotti on the Past, Present, and Future of Experimental Film

by Dylan Kerr

16 Sept 2015

Art Bytes

 

Cultured Magazine

by Tali Jaffe, executive editor, and Sabrina Wirth

18 September 2015

EXPO Chicago, The International Exposition of Contemporary & Modern Art, showcases Chicago’s rich cultural history with a multi-sensory visual art event program with more than 140 art galleries. Visitors can experience temporary public art along the lakefront and throughout Chicago neighborhoods with EXPO IN/SITU Outside, curated by Louis Grachos and international films curated by Alfredo Cramerotti with EXPO VIDEO.

Tali Jaffe: Do you feel it’s important to have a counterbalance to commerce in an art

fair? Is that part of EXPO VIDEO’s purpose?
Alfredo Cramerotti: What I think is important is to not ‘forget’ that art implies a number of things – the thinking, the making, the displaying, the mediating, and yes, the collecting / selling / buying of it. In an art fair is crucial to understand where ‘value’ comes from. It’s wise to be aware where this value and potential growth comes from. It doesn’t start with money. Capital always follows action, as Iggy Pop brilliantly put it in his (so far, only) lecture, last year in London.

TJ: Is this the first program you’ve curated in a commercial setting? Does that affect your approach at all?
AC: It’s not the first time. I have curated solo shows for artists I know and appreciate since long in commercial galleries before, because I’ve been asked by them. I am also curating a group show in a commercial gallery in Vienna, just before EXPO VIDEO, because they invited me to put up a very interesting project about, you guess, art & capital. I’m writing the catalogue text now. They gave me carte blanche, and actually, none of the represented artists feature in the show and they were absolutely fine with that. I find the commercial context different, of course, but it depends a lot about your approach as curator, your vision for the project, your capability to negotiate the elements of the exhibition, and the relationship with both galleries and artists. I enjoy to ‘jump ship’ every now and then. It gives me a different perspective that might be useful in my institutional role too.

TJ: In speaking about the viewing experience, you say the viewer is at the  center of the work. Can you elaborate on that please.
AC: I always try to put myself in the viewer’s shoes, when I plan a show. I take onboard the viewer’s experience in encountering the wall text, the colours on the galleries, the people along the spaces, sitting on a sofa or standing to watch a video (How long does it last? Do I have enough time? Do I want to see this one now or have a look at the rest of the exhibition first? Etc.), being able to read the information without struggling to understand them, and also being free to ignore them if I wanted. When I curate a show, I am the first audience. If something doesn’t ring true or right, it needs to change. Especially in a film & video show, it’s easy to forget that we put an enormous ask on the viewer; it’s possibly the most difficult exhibition to experience. That’s why I position the viewer at the centre of the work – in terms of content, interpretation, time, experience of viewing, possibility to come and go at leisure, and of choosing different times and modes of viewing.

TJ: There are a number of ways for viewers to experience the video program, including an app. Is that unusual, to be able to choose the format you experience an artwork?
AC: Yes, it might be unusual to some extent, but it goes back to what I was mentioning before – putting the viewer at the centre. If a work is conceived as an app, and that work is perfect for a curatorial concept and an idea for an exhibition, then why not include it? It is stretching the boundaries for what film & video can be, and how can be experienced. The same goes for the four viewing pods present in EXPO VIDEO. There are works which I haven’t included in the two screening rooms’ loops because I have a clear feeling they would work better on a digital screen, in the middle of an open area. It’s a matter of taking responsibilities for the choice of the work but also for the experience of that work.

TJ: Can you tell us about your concept “aesthetic journalism”?
AC: The scholarship about the theory and practice of “aesthetic journalism” refers to a concept I created, starting from my work as an artist, to investigate the relationship between contemporary exhibitions and elements of interview, documentary, fiction and reportage. In short, I speculate on the mutual convergence of art and media into a new cross discipline of “aesthetic journalism”. Turned out it has a strong resonance with many contemporary artists’ approaches and practices. The proof is that the book has been listed as recommended reading in many American and European universities, and I have constant lecture requests worldwide – even if the book was published in 2009. It’s a nice feeling being able to identify and unravel a cultural trope.

I am following up now with the idea of “expanded photography: the hyperimage”, which investigates digital culture’s impact on artistic and curatorial practices. I’m not there yet – still working on it.

TJ: There’s a great range in video lengths, from 1:32 to 30 minutes. Is it riskier or more challenging with the longer video works?
AC: Neither really. Depends of the work. Depends how it sits with the rest of the programme. Depends, also, on what narrative sequence one creates in the viewer’s mind, and how that mind actually makes that sequence work. Always an attempt, always changing.

TJ: I’m curious about the ages of the artists included. Can you tell us the youngest and eldest among them?
AC: I actually don’t know the age of the twenty artists or so, never researched an artist’s work based on her or his age. They probably go from 20 to 70 but that’s just a guess.

TJ: Are there any emerging artists you have your eye on at the moment?
AC: Yes, I have eyes and ears open all the time. That’s part of my job. Danilo Correale (based in NY) is one. Tamar Guimaraes (based in Copenhagen) another. Renhui Zhao (based in Singapore) a third. Marinella Senatore (based in Paris) a fourth. Marc Rees (based in Cardiff) a fifth. The list can go on, but I stop here.

 

/Dialogues: EXPO VIDEO | Alfredo Cramerotti In Conversation panel discussion, featuring Alfredo Cramerotti, Director | MOSTYN and 2015 EXPO VIDEO Curator; Malerie Marder, Artist; and Cauleen Smith, Artist. Moderated by Duncan MacKenzie, Bad at Sports.

by Stephanie Cristello

5 Oct 2015

Audio: http://badatsports.com/2015/episode-528-alfredo-cramerotti-malerie-marder-and-cauleen-smith/

 

Project G x 2

by George Gozmon + Guy-Vincent

17 October 2015

 

FUTURO ANTERIORE: EXPO CHICAGO presents the 2015 EXPO VIDEO PROGRAM curated by Alfredo Cramerotti

Posted in nEws and rEleases by alcramer on September 17, 2015
EXPO CHICAGO presents FUTURO ANTERIORE, the 2015 EXPO VIDEO PROGRAM with select words by major international artists,
Presented in partnership with Columbia College Chicago and curated by MOSTYN Director, Alfredo Cramerotti, more than 20 film, video and new-media works are featured on the main floor of Festival Hall.
Carolee Schneemann
Carolee Schneemann. Fuses, 1964-66. Courtesy Electronic Arts Intermix (EAI), New York. Courtesy of P.P.O.W and Hales Gallery.

EXPO CHICAGO, The International Exposition of Contemporary & Modern Art, presents selections for the 2015 EXPO VIDEO program, presented in partnership with Columbia College Chicago. Curated by writer, independent curator and Director of MOSTYN (Wales, United Kingdom) Alfredo Cramerotti, the program will feature more than 15 artists and filmmakers creating some of the most exciting and cutting-edge film, video and new media works chosen from the 140 participating galleries exhibiting at the fourth annual EXPO CHICAGO (Sept. 17 – 20, 2015).

In addition, Cramerotti has chosen two pieces of work from Columbia College Chicago students to be displayed alongside major international artists from leading galleries including Marianne Boesky Gallery, Bortolami, Galerie Isabella Bortolozzi, Corbett vs. Dempsey, Massimo De Carlo, Honor Fraser, Kavi Gupta, Hales Gallery / P.P.O.W, Rhona Hoffman Gallery, Lisson Gallery, Matthew Marks Gallery, David Nolan Gallery, rosenfeld porcini, Leslie Tonkonow Artworks + Projects, White Cube and David Zwirner as a part of this year’s program.

Christian Jankowski
Christian Jankowski, 16mm Mystery, 2004. Courtesy of Lisson Gallery.
“Embedded within the contemporary art world’s strategies of making and display, the combination of moving image works on view makes this program a unique chance to experience visual culture today,” said Cramerotti. “These exceptional artists’ films and videos open up a new territory of cinematic experience, where the viewer is at the center of the work, and encounters something rarely accessible outside film festivals, exhibitions or specific surveys.”

Titled “Futuro Anteriore” (“Future Perfect”), this year’s program examines the apparent contradiction of this phrase indicating events, experiences and facts that are considered, but remain part of the future. Featuring neither straight experimental video art that anticipates future trends, nor short film that exists as part of a visual tradition, the quality and innovative strength of the works presented make them unique in many respects. The chosen works immerse viewers in stunning exteriors and intimate situations. Various cinema industry mechanisms and established genres are present in this program selection—from Hollywood glamour to the Lumière brothers—yet, a huge range of visual innovations and experimental artistic approaches are embedded within these works.

Stan Douglas
Stan Douglas, Circa 1948, 2014. Courtesy of David Zwirner.
2015 EXPO VIDEO Artists Include:

Yuri Ancarani | Il Capo, 2010, 15:00 min | Galerie Isabella Bortolozzi
Hans Op de Beeck | Night Time, 2015, 18:41 min | Marianne Boesky Gallery
Sue de Beer | Silver and Gold, 2011, 1:32 min, Marianne Boesky Gallery
Johanna Billing | I’m gonna live anyhow until I die, 2012, 16:29 min | Kavi Gupta
Jeremy Blake | Winchester Redux, abridged version of the Winchester trilogy, 2004, 5:00 min | Honor Fraser
Chris Burden | The Rant, 2006, 2:10 min | Massimo De Carlo
*Stan Douglas | Circa 1948, 2014 (interactive app for iOS devices) | David Zwirner
Fischli & Weiss | The Way Things Go, 1987, 30:00 min | Matthew Marks Gallery
Morgan Fisher | Turning Over, 1975, 15:00 min | Bortolami
Luis Gispert and Jeff Reed | Stereomongrel, 2005, 12:00 min | Rhona Hoffman Gallery
Runa Islam | Trust, 2008, 3:00 min | White Cube
Christian Jankowski | 16mm Mystery, 2004, 3:54 min | Lisson Gallery
Malerie Marder | At Rest, 2011, 12:06 min | Leslie Tonkonow Artworks + Projects
Ciprian Muresan | 3D Rubliov, 2004, 4:49 min | David Nolan Gallery
Carolee Schneemann | Fuses, 1964 – 67, 18:00 min | Hales Gallery / P.P.O.W
Cauleen Smith | Remote Viewing, 2011, 14:00 min | Corbett vs. Dempsey
Levi van Veluw | Spheres, The Collapse of Cohesion, 9:43 min | rosenfeld porcini

Columbia College Chicago Film/Video Student Winners:

Kellee Terrell, Blame, 2015, 15:09 min
Julian Walker, Jordan Duke, Third Timothy, 16:21 min

*Please note that Circa, 1948 by Stan Douglas, part of the film & video program, is an app that is functional on a smartphone or tablet and is not on view in the screening rooms or pods. To obtain the artwork, visit apple.co/1mn4DNm.

Futuro Anteriore (Future Perfect): EXPO CHICAGO ANNOUNCES THE 2015 EXPO VIDEO PROGRAM. Curated by Alfredo Cramerotti.

Posted in nEws and rEleases by alcramer on August 11, 2015

press image EV

September in Chicago.
Be Here.

EXPO CHICAGO ANNOUNCES THE 2015 EXPO VIDEO PROGRAM
WITH SELECT WORKS BY MAJOR INTERNATIONAL ARTISTS
Presented in Partnership with Columbia College Chicago and Curated by Alfredo Cramerotti,
More Than 15 Film, Video and New-Media Works to be
Featured on the Main Floor of Festival Hall

EXPO CHICAGO, The International Exposition of Contemporary & Modern Art, announces selections for the 2015 EXPO VIDEO program, presented in partnership with Columbia College Chicago. Curated by writer, independent curator and Director of MOSTYN (Wales, United Kingdom) Alfredo Cramerotti, the program will feature more than 15 artists and filmmakers creating some of the most exciting and cutting-edge film, video and new media works chosen from the 140 participating galleries exhibiting at the fourth annual EXPO CHICAGO (Sept. 17 – 20, 2015).

In addition, Cramerotti has chosen two pieces of work from Columbia College Chicago students to be displayed alongside major international artists from leading galleries including Marianne Boesky Gallery, Bortolami, Galerie Isabella Bortolozzi, Corbett vs. Dempsey, Massimo De Carlo, Honor Fraser, Kavi Gupta, Hales Gallery / P.P.O.W, Rhona Hoffman Gallery, Lisson Gallery, Matthew Marks Gallery, David Nolan Gallery, rosenfeld porcini, Leslie Tonkonow Artworks + Projects, White Cube and David Zwirner as a part of this year’s program.

“Embedded within the contemporary art world’s strategies of making and display, the combination of moving image works on view makes this program a unique chance to experience visual culture today,” said Cramerotti. “These exceptional artists’ films and videos open up a new territory of cinematic experience, where the viewer is at the center of the work, and encounters something rarely accessible outside film festivals, exhibitions or specific surveys.”

Titled “Futuro Anteriore” (“Future Perfect”), this year’s program examines the apparent contradiction of this phrase indicating events, experiences and facts that are considered, but remain part of the future. Featuring neither straight experimental video art that anticipates future trends, nor short film that exists as part of a visual tradition, the quality and innovative strength of the works presented make them unique in many respects. The chosen works immerse viewers in stunning exteriors and intimate situations. Various cinema industry mechanisms and established genres are present in this program selection—from Hollywood glamour to the Lumière brothers—yet, a huge range of visual innovations and experimental artistic approaches are embedded within these works.

2015 EXPO VIDEO Artists Include:

Yuri Ancarani | Il Capo, 2010, 15:00 min | Galerie Isabella Bortolozzi
Hans Op de Beeck | Night Time, 2015, 18:41 min | Marianne Boesky Gallery
Sue de Beer | Silver and Gold, 2011, 1:32 min, Marianne Boesky Gallery
Johanna Billing | I’m gonna live anyhow until I die, 2012, 16:29 min | Kavi Gupta
Jeremy Blake | Winchester Redux, abridged version of the Winchester trilogy, 2004, 5:00 min | Honor Fraser
Chris Burden | The Rant, 2006, 2:10 min | Massimo De Carlo
*Stan Douglas | Circa 1948, 2014 (interactive app for iOS devices) | David Zwirner
Fischli & Weiss | The Way Things Go, 1987, 30:00 min | Matthew Marks Gallery
Morgan Fisher | Turning Over, 1975, 15:00 min | Bortolami
Luis Gispert and Jeff Reed | Stereomongrel, 2005, 12:00 min | Rhona Hoffman Gallery
Runa Islam | Trust, 2008, 3:00 min | White Cube
Christian Jankowski | 16mm Mystery, 2004, 3:54 min | Lisson Gallery
Malerie Marder | At Rest, 2011, 12:06 min | Leslie Tonkonow Artworks + Projects
Ciprian Muresan | 3D Rubliov, 2004, 4:49 min | David Nolan Gallery
Carolee Schneemann | Fuses, 1964 – 67, 18:00 min | Hales Gallery / P.P.O.W
Cauleen Smith | Remote Viewing, 2011, 14:00 min | Corbett vs. Dempsey
Levi van Veluw | Spheres, The Collapse of Cohesion, 9:43 min | rosenfeld porcini

Columbia College Chicago Film/Video Student Winners:

Kellee Terrell, Blame, 2015, 15:09 min
Julian Walker, Jordan Duke, Third Timothy, 16:21 min

*Please note that Circa, 1948 by Stan Douglas, part of the film & video program, is an app that is functional on a smartphone or tablet and is not on view in the screening rooms or pods. To obtain the artwork, visit apple.co/1mn4DNm.

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