alcramer [Alfredo Cramerotti]

MOSTYN: End of year Exhibitions 2018

Posted in nEws and rEleases, Uncategorized by alcramer on November 15, 2018

November 17, 2018–March 3, 2019

Opening: November 17, 4–6pm

MOSTYN
12 Vaughan Street
Llandudno LL30 1AB
United Kingdom

 

T009495_300dpi_b_510px_0

Josephine Meckseper

Galleries 4 & 5

One of the foremost female artists of her generation working today, German born and New York based artist Josephine Meckseper melds the aesthetic language of modernism with the formal language of commercial display, combining them with her own images and film footage of historical undercurrents and political protest movements. Throughout her installations and vitrines, by simultaneously exposing and encasing common signifiers, such as advertisements, and everyday objects, next to abstract paintings and sculptures she creates a window into the collective unconscious of our time.

At the core of the exhibition will be a mirrored vitrine, and a set of glass, acrylic sheeting and stainless steel sculptures, along with two dimensional and film work.

The exhibition is curated by Alfredo Cramerotti, MOSTYN Director, and is supported by The Colwinston Charitable Trust. It is the first solo exhibition in Wales for the artist.

Gagliardi_Vicious

Louisa Gagliardi
Under the Weather

Gallery 3

Switzerland born and Zurich based artist Louisa Gagliardi pulls apart the construction of an image, and of our society, in a digital age, while appearing to explore the codes and history of painting. Her works pose questions around ideas of figure and ground, flatness and depth. Working digitally initially—using a freehand digital illustration tool—her pieces are later seemingly translated into paintings. Although brushstrokes might seem apparent, her works are digitally printed, replacing paint for printing ink, canvas for PVC and traditional lacquer for a gel material—mediums that are perhaps more at home with the advertising industry than they are with weighty history of painting. As a whole, the appearance of her pieces is caught in a state between human and machine, reflecting the confused, surreal tone of much of the images and worlds she portrays.

Presenting both new and existing works, this exhibition places a spotlight on the defining factors of Gagliardi’s practice, which has also turned to the location of the gallery itself for inspiration. In various ways, the works explore the urban environment and the countryside, and the conflict that can arise between the two. Dissatisfaction and the inability to be content in the present moment are recurring themes distilled into representations of urban and natural settings.

This exhibition has been curated by Adam Carr, Visual Arts Programme Curator, MOSTYN, and is supported by Swiss Arts Council Pro Helvetia,

 

This exhibition has been curated by Adam Carr, Visual Arts Programme Curator, MOSTYN, and is supported by Swiss Arts Council Pro Helvetia,

Both exhibitions by Josephine Meckseper and Louisa Gagliardi are part of the Conversation Series, a sequence of two solo exhibitions at MOSTYN that brings together two solo exhibitions and presents the dialogue, collaboration or similarity in exploring themes that can occur between artists.

Both exhibitions by Josephine Meckseper and Louisa Gagliardi are part of the Conversation Series, a sequence of two solo exhibitions at MOSTYN that brings together two solo exhibitions and presents the dialogue, collaboration or similarity in exploring themes that can occur between artists.

In Addition

Participating artists from July 2018:
Nina Beier, Sol Calero, Shezad Dawood, Gabriele de Santis, Diango Hernández, Alek O., Jonathan Monk, Simon Dybbroe Møller and Marinella Senatore
Gallery 2

Each participating artist has produced work using paper and has been asked to reconsider the traditional model of producing an edition, where each version of a work is identical. Although appearing formally similar, each In Addition piece will offer deviations and nuances that set apart each edition as a unique work, thereby playing with ideas of the original, the copy and work made in series.

MOSTYN is a charity registered in the UK and proceeds from the sales of the editions will be invested back into the gallery’s exhibition and engagement programme.

This project has been curated by Adam Carr, Visual Arts Programme Curator, MOSTYN.

 

Please find more information here.

Sean Scully: Standing on the Edge of the World @ Hong Kong Arts Centre

Posted in nEws and rEleases by alcramer on March 26, 2018

Curated by Alfredo Cramerotti

28 March 2018 —  29 April 2018

scully invite

Born in Dublin, Ireland, in 1945, Sean Scully spent most of his childhood and adolescence in south London, where, before he was even ten years old, he knew he would devote his life to making art. Shortly after leaving school in the mid 1960s, he enrolled at Croydon College of Art, and it was here that he first encountered Abstract Expressionism and Op Art. Influenced by figures on both sides of the Atlantic, including Mark Rothko and Bridget Riley, Scully abandoned his early figurative work, and during his studies at Newcastle University in the late 1960s and early 1970s, began formulating his own abstract language, based on the grid. It was not until he moved to the United States in the mid 1970s, however, where he encountered minimalism, that he first broke free from the grid, and from what he has described as ‘the binding, horizontal and vertical’. It was at this time that he produced his first works that were composed entirely of horizontal bands and lines. Writing from Zurich in March 2006 about this significant epiphany in his nascent oeuvre, Scully reflects: ‘It’s habitual to think of abstraction as abstract. But it’s not, it’s a self-portrait. A portrait of personal conditions, one could say. I left London, and its stability, for New York, and its instability. Correspondingly, I dropped the vertical out of the paintings, along with my own “personal” architecture, so that I could travel along my own horizon’.

Now dividing his time between New York, Germany and Spain, Scully’s journey with the languages of abstraction has evolved into a veritable odyssey, the horizontals and horizons perhaps pursued most clearly today in Scully’s ongoing series ‘Landline’, which brings ideas of abstraction into dialogue with the landscape. Alongside several notable examples from this series, the exhibition also includes works from another major series, ‘Wall of Light’, which began in 1998 and brought together horizontal and vertical bars in part inspired by several trips by the artist to Mexico since the early 1980s, and the remarkable qualities of light he observed falling on ancient stone walls there. ‘Walls, especially old ones, are custodians of memory, witnesses to the passages of human beings, surfaces that bear the traces of history’, he has said.

With an emphasis on new and recent works, including some exhibited for the first time, the exhibition ‘Sean Scully: Standing on the Edge of the World’ features a number of pieces from the past thirty years, selected and arranged by curator Alfredo Cramerotti. The works range from large-scale paintings to small works on paper, accompanied by a number of photographic prints, which, as Cramerotti explores in his illuminating essay for this catalogue, reveal not only some of the complex dynamics at work in Scully’s practice as regards relationships of colour and form, but also encourage viewers to consider the notion of ‘edges’, and in particular the connections between edges in his paintings and those in architecture and in nature. With both the built environment and the natural world, through his paintings, drawings, photographs and sculptural works, Scully invites us to stand on the edges and to look back in through the prism of abstraction.

More information available here.

Programme information provided by: Hong Kong Arts Centre, Timothy Taylor, London and New York, and Ben Brown Fine Arts, London and Hong Kong

%d bloggers like this: