alcramer [Alfredo Cramerotti]

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

 

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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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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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All That Fits: The Aesthetics of Journalism on N_P Networked Performance

Posted in nEws and rEleases by alcramer on July 2, 2011

ll That Fits: The Aesthetics of Journalism [uk Derby]

Networked Performance Blog

by Jo-Anne Green
27-06-2011

[Image: Insurance.AES256 by Michael Takeo Magruder. See video below.]

All That Fits: The Aesthetics of Journalism — Curated by Alfredo Cramerotti & Simon Sheikh :: until July 31, 2011 :: QUAD Gallery, Market Place, Cathedral Quarter, Derby, DE1 3AS.

The exhibition All that Fits: The Aesthetics of Journalism presents the provocative idea that art and journalism are two sides of a unique activity; the production and distribution of images and information. The exhibition brings to the surface how images and information are communicated, and the aesthetic principles used in the act of transmission.

Whereas journalism provides a view on the world, as it ‘really’ is, art often presents a view on the view, as an act of reflection. All that Fits: The Aesthetics of Journalism will examine both as systems of information that define truth in terms of the visible but also what can be imagined.

In the course of two months, the exhibition will be presented in three chapters: The Speaker, The Image and The Militant. The three separate displays of artwork refer to the rotation of the news cycle, while each responding to the overall theme.

The Speaker (May 28 – June 19) concerns a specific figure, the speaking subject or author, also in terms of editorial processes and camera angles. What can enable a subject to appear as authentic, authoritative and truthful?

The Image (June 22 – July 10) examines how images are produced, through framing and positioning, but also how counter-images are created. Despite the claim of neutrality and pragmatism, this chapter proposes an ‘aesthetics of journalism’.

The Militant (July13 – 31) continues the strand of counter-images, but by using journalistic means such as exposé and research. These methods often work to uncover what a corporate media industry does not, and thus return to some of reportage’s initial claims.

Sammy Baloji (DR Congo), Yael Bartana (Holland/ Israel), Eric Baudelaire (France), Ursula Biemann (Switzerland), Ross Birrell (UK), Michael Blum (Canada /Israel), Broomberg and Chanarin (UK/South Africa), Abraham Cruzvillegas (Germany/ Mexico), Anita Di Bianco (Germany/USA), Marcelo Exposito (Argentina/ Spain), Douglas Fishbone (UK/USA), Zachary Formwalt (Holland/ USA), Wynne Greenwood and K8 Hardy (USA), Tamar Guimaraes (Brazil/ Denmark), Lamia Joreige (Lebanon), Graziela Kunsch (Brazil), Michael Takeo Magruder (UK/USA), Renzo Martens (Holland), Oliver Ressler (Austria), Katya Sander (Denmark), Slum-TV (Kenya), Hito Steyerl (Germany), Walid Raad/ The Atlas Group (USA/ Lebanon) and Alejandro Vidal (Spain).

All That Fits – video introduction of Michael Takeo Magruder’s work from Alfredo Cramerotti on Vimeo.

All That Fits: The Aesthetics of Journalism is supported by the Danish Art Council, Mondriaan Foundation, Autograph ABP, The Jack Kirkland Collection, the Embassy of Brazil in London and Centre National des Arts Plastiques (France).

Also see The Production of Truth: The Aesthetics of Journalism by Alfredo Cramerotti and Simon Sheikh, Digimag.

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