alcramer [Alfredo Cramerotti]

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

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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

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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

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Thursday | 11 May Leviathan: A Beginning. Shezad Dawood in conversation with Alfredo Cramerotti

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

Thursday | 11 May 2017

2pm

Leviathan: A Beginning. Shezad Dawood in conversation with Alfredo Cramerotti

Palazzina Canonica
Riva dei Sette Martiri, 1364
Vaporetto Giardini

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Shezad Dawood, Leviathan Cycle (production stills), 2017. HD video. Courtesy of the artist and UBIK Productions.

Mladen Bizumic Kodak Employed 140,000 People. Instagram 13.

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

22 October – 5 February 2017

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Part of MOSTYN’s ongoing ‘Conversation Series’ the exhibition centres on the company Kodak, a primary point of exposure in Bizumic’s work, and pictures the transition from film-based photography to digital imaging.

Through photography and sculpture the work traces a timeline of Kodak’s development, from its founding in 1880 to its subsequent demise in 2012 when the company filed for bankruptcy. The history of photography and of technology’s progression and obsolescence, alongside a chronological parallel of corporate hubris, is captured by Bizumic. These issues act as a lens through which to consider much larger concepts – how the capturing of images, and the technology that enables this, influences not only aesthetic, social and economic relations, but also the resulting effects when they are replaced and taken out of the picture.

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Mladen Bizumic, 2016 installation at MOSTYN. Photo: Dewi Lloyd

Alfredo Cramerotti – Director, MOSTYN and Adam Carr – Visual Arts Programme Curator, MOSTYN talk about the latest in the ‘Conversation Series*’ of exhibitions, showing from 22nd October 2016 until 5th February 2017

 

Daily Post: End of an era for Llandudno post office

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

http://www.dailypost.co.uk/news/north-wales-news/end-era-llandudno-post-office-12240188

As postal services move to a new venue in the town, former workers share fond memories of the Vaughan Street site

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The mail being wheeled along the road outside Bunneys Corner in Mostyn Street Llandudno

For more than a hundred years the grand post office on Vaughan Street served the people of Llandudno.

Its closure just weeks ago marked the end of an era for the seaside town – now customers will have to use the service in WHSmith on Mostyn Street.

The old post office was opened in 1902 next to MOSTYN art gallery.

Following its demise the gallery has put on an exhibition about the postal service, with workers sharing their stories alongside work by contemporary artists.

Ken Jones, one of the last telegram boys in the town took part in the We’ve Got Mail III exhibition.

He became a postman just as the seven-week strike began in 1971 – part of his job was to help clear the huge backlog of mail when the protest was over.

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Items on show in Mostyn from the old post office

Ken told the Daily Post: “I’d left school when I was 15 and followed my dad John Henry Jones into the Royal Mail.

“He also started as a telegram boy in Llandudno, and when he was older he was transferred to Llangollen.

“He used to tell us stories about how he was given a dozen eggs and cups of tea on his rounds.”

Ken clearly enjoyed working for Royal Mail for 42 years.

When a telegram arrived from the Queen for a 100th birthday, postmen had to phone Buckingham Palace to confirm it had been delivered to the recipient.

“I had a telegram for an address in Craigside, Llandudno, which was strange as I knew the house was empty,” remembers Ken.

Ken knocked at the door and an old lady answered.

“She told me that she’d asked her residential home to let her wake up in her own bed for her 100 birthday.” said Ken.

Another memorable day for Ken was when he was driving around Penrhynside a little too fast.

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Gwyn Hughes (pictured) learnt to ride a bicycle on the one used by his uncle Thomas Ieuan Hughes when he was a telegram boy. Gwyn remembers riding on the red bike through the cornfields near Llanrhos

“The thing with Penrhynside is that it’s a small village with many chapels and a couple of pubs.

“Whenever one of the chapels went on one of their annual day trips to Blackpool or somewhere those that went wrote postcards to the rest of the village so I was stuck delivering all these postcards even though they’d only been to Southport for the day.

“One Saturday I was in the Royal Mail van and was speeding a little too fast around the narrow lanes of Penrhynside as I wanted to get home to play football.

“I lost control and ended up putting the van on top of somebody’s roof.

“The owner was in the bath at the time and had a bit of a shock.”

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Post office whist drive and dance at the St Georges Hotel in 1937

Ken said he enjoyed the camaraderie of working for the service.

He said: “One of the funniest days was when we had a damaged packet that turned out to be full of live locusts, they were destined for an owner of a snake.

“And even though all the locusts had gone, I still had to deliver the package.

“When the person asked what had happened to them, I told him he was very welcome to come down to the sorting office and catch them, as they were hanging off the ceiling lights and jumping all over the place.”

Coverage of We’ve Got Mail III Exhibition in Print:

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

Posted in nEws and rEleases, Uncategorized 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

 

Shezad Dawood | Leviathan

Posted in nEws and rEleases, Uncategorized by alcramer on May 1, 2017

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Shezad Dawood, Leviathan Cycle (production stills), 2017. HD video. Courtesy of the artist and UBIK Productions.

May 7–September 24, 2017

Shezad Dawood
Leviathan
An episodic narrative

Palazzina Canonica
Riva dei Sette Martiri 1364A, Castello
30122 Venice
Italy
Hours: Tuesday–Sunday 10am–6pm

Fortuny Factory
Giudecca 805
30133 Venice
Italy
Hours: Monday–Friday 10am-1pm, 2pm-6pm

An exhibition of a new and ambitious body of work by artist Shezad Dawood will open in May 2017 to coincide with the 57th Venice Biennale. The show will mark the launch of Leviathan, a ten-part film cycle conceived and directed by the artist that will unfold over the next three years. Leviathan is also being released as a series of written fictions. Episode 1 is available to read at www.leviathan-cycle.com.

The first two episodes of the film will be presented alongside a new series of textile and sculptural works in the newly-restored Palazzina Canonica, the former headquarters of the Institute of Marine Sciences in Venice, which is opening to the public for the first time since the 1970’s. The two-part exhibition will also feature a site-specific intervention in the Fortuny Factory in the island of Giudecca.

Curated by Alfredo Cramerotti, Leviathan is being presented by the Fondazione Querini Stampalia in collaboration with the Institute of Marine Sciences (CNR-ISMAR) and Fortuny in Venice. Following the launch in May, the project will embark on a three-year UK and international tour, culminating in a final presentation of all ten episodes in 2020.

Leviathan is set in an imaginary future whose inhabitants are the survivors of a cataclysmic solar event. Each episode is told from the point of view of a different character and follows them as they drift across Europe, Asia and North Africa, encountering a series of idiosyncratic communities. Filming locations include the Institute of Marine Sciences’ oceanographic platform in the Adriatic Sea, the Natural History Museum in London and an abandoned island in the Venetian lagoon.

In dialogue with a wide range of marine biologists, oceanographers, political scientists, neurologists and trauma specialists, Dawood has been exploring some key fault lines of the present and their possible interconnections. Taking a global and collective approach, Leviathan is a reflection on where we could be if a deeper understanding of trauma and climate erosion is not found, looking at what is not only a humanitarian crisis, but a wider crisis within our biosphere.

The new series of textile paintings has been developed in dialogue with the renowned textile manufacturer Fortuny, and will incorporate several of their hand-made fabrics. Dawood has furthermore been working closely with the Labanof in Milan, an institute that conducts research on personal effects lost by migrants during sea crossings to Lampedusa, in order to help families identify missing relatives. A series of artefacts and objects from the Labanof archive will provide the visual references for the new textile works.

The paintings will be installed in the library of the Palazzina Canonica, as well as in the showroom of the Fortuny factory in the Giudecca, established in 1919 and still operational today. In addition, a large-scale outdoor neon work titled Island Pattern, developed especially for the Fortuny Factory, will be unveiled within the garden façade of the building.

The exhibition in Venice will be accompanied by a lively public programme that will bring together specialists involved in the project for a series of informal discussions akin to the philosophical “agora” in Ancient Greece. These discussions will also be available in digital form through the project’s web platform, creating an archive aimed at scientists, researchers, students and the general public. In addition, a special film programme curated by Shezad Dawood in collaboration with streaming platform MUBI will run throughout the duration of the exhibition, with free film screenings taking place at the Palazzina Canonica.

The third film episode will be released in September 2017 and incorporated into the exhibition. Subsequent episodes will be co-commissioned and presented in partnership with a series of international venues, culminating in the presentation of all ten episodes in 2020.

The project is being developed with the support of Timothy Taylor, Outset Contemporary Art Fund, Galerie Gabriel Rolt, CREAM – University of Westminster, University of Salford Art Collection with support from The Contemporary Art Society and a circle of private patrons.

Acts of Appearance – Photographic Exhibition launch and talk at MutalArt / APT HQ, London, UK

Posted in nEws and rEleases, Uncategorized by alcramer on April 25, 2017
  • Wednesday 26 April 2017, 6pm

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Alfredo Cramerotti: Hyperimaging! European Centre for Photography Research, University of South Wales, Cardiff, UK

Posted in nEws and rEleases by alcramer on April 25, 2017

 

  • Wednesday 26 April 2017, 2pm

Presentation of the “Hyperimage” body of research concept in relation to the concept of the forthcoming exhibition at the National Gallery of Kosovo, Prishtina, October 2017.

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Image from expandedphoto.com

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 exhibition is conceived as a chapter from the larger Hyperimage research led by Alfredo Cramerotti, Curator of the 2017 Gjon Mili Biennial & Award. It draws on further research by Hannah Conroy and Valentina Bonizzi, Curatorial Consultants. The exhibition is accompanied by a catalogue with an expanded critical text written by Alfredo Cramerotti, Hannah Conroy and Valentina Bonizzi.

 

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