Mostyn new exhibition season – Taloi Havini x Artes Mundi 10 // Rosemarie Castoro: Carving Space
March 18th to June 17th, 2023
Taloi Havini: Habitat & Where the rivers flow
Taloi Havini, Habitat (2018-19), Artspace, Sydney, HD, colour, black + white, 5.1 surround sound, 1033 mins. Image credit Zan Wimberley
Taloi Havini (Nakas Tribe, Hakö people) is a multidisciplinary artist using a range of media including photography, audio – video, sculpture, immersive installation and print. Knowledge – production, inheritance, mapping, and representation in relation to her homeland in Bougainville are core themes across Havini’s work.
She employs a research practice informed by her matrilineal ties to her land and communities in Bougainville. This manifests in works created using a range of media including photography, audio–video, sculpture, immersive installation and print. She curates and collaborates across multi-art platforms using archives, working with communities and developing commissions locally and internationally. Knowledge—production, transmission, inheritance, mapping and representation are central themes in Havini’s work where she examines these in relation to land, architecture and place.
Havini lives and works in Brisbane, Australia. She is represented by Silverlens, Manila/New York.
Taloi Havini
Habitat, 2017
Three-channel, 16:9, HD, colour, 5.1 surround sound
10.40 minutes
Originally commissioned for The National by the Art Gallery of New South Wales, Sydney
Courtesy the artist and Silverlens
Taloi Havini
Where the rivers flow (Panguna, Jaba, Pangara, Konawiru), 2023
Archival inkjet print on cotton rag, dibond
Courtesy the artist and Silverlens
Artes Mundi 10, Presenting Partner: Bagri Foundation
Rosemarie Castoro: Carving Space
Rosemarie Castoro (1939-2015) lived and worked in New York all her life, becoming a central figure in the city’s Minimalist and Conceptual Art scene while defying that categorization, declaring “I am not a minimalist, I am a maximalist”.
Finding early inspiration in experimental dance and choreography while a student at the Pratt Institute, Brooklyn, and in subsequent collaborations with dancer Yvonne Rainer in the 1960s, Castoro’s work throughout her life exhibited a highly performative character. and understanding of space and movement. “Do all my problems center around space? At one point – my problem was time. Now, space. I want to carve out space. I carve space”, she wrote in her journal between 1972 and 1973.
Throughout her life she showed a tendency to combine media – declaring herself a ‘paintersculptor’. The works in the show show her extensive practice from the 1960s onwards and include painting, work on paper, video, concrete poetry, wall relief work, sculpture, floor pieces and archival material.
The exhibition is curated by Alfredo Cramerotti, Director, Mostyn and Kalliopi Tsipni-Kolaza, Associate Curator of Visual Arts, Mostyn, and kindly supported by the Henry Moore Foundation, the Rosemarie Castoro Estate and the Thaddaeus Ropac Gallery, London · Paris · Salzburg · Seoul, with special thanks to Werner Pichler.
Mostyn new exhibition season: Cerith Wyn Evans Opening Saturday 8 October 2022
| This is a major solo exhibition by Cerith Wyn Evans (b. 1958), the most widely established and internationally recognised Welsh artist working today. Cerith Wyn Evans’ (b. 1958, Llanelli) artistic practice incorporates a diverse range of media including installation, sculpture, photography, film and text. He began his career as a filmmaker, producing short, experimental films and collaborative works. Since the 1990s he has created artworks that consider language and perception, focusing with a precise clarity upon their manifestation within a space, as can be seen here throughout Mostyn’s lower and upper galleries. The works exist and take form through the reflection on and interrogation of the world about us, adopting what he identifies as “strategies of refraction…. of juxtaposition, superimposition and contradiction…occluding and revealing” to create moments of rupture within existing structures of communication, whether visual, audible or conceptual. For this exhibition he has focused on ideas around the folds and flows of energy via material and immaterial conduits, circuitry, and choreology:- the practice of translating movement into notational form. Wyn Evans engages with the site of the gallery to produce works which question our notions of reality and cognition, of perception and subjectivity… the exhibition as a meditation, an experiment with fluid recourse to scores, maps, diagrams and models… Intricate neon sculptures interrogate the means of perception and question how we interpret the works and their spatial surroundings which are used to construct meaning. The visual assemblage presented in concert throughout the galleries unfolds in a sort of ‘controlled randomness’, in which artworks coexist in a play of exchanges between intervals and intensities. Neon works are suspended and isolated in space, seven-metre high light columns descend from the ceiling like a subliminal forest of thought, suspended windscreens are mobile, and transparent glass panes reverberate with a soundtrack defined by relations constantly in flux. Join us this Saturday for the launch of this major presentation of place-responsive, new and adaptive of works, including sculpture, installation, light work, sound work and moving image. Opens 8th October, 10.30am – 5.00pmTalk: Artist in Conversation CERITH WYN EVANS 8th October, 3.00 – 4.00pm During the launch of Cerith Wyn Evans’ major exhibition at Mostyn, Director Alfredo Cramerotti and the artist will be in conversation in the Mostyn Project Space. This discussion event will be supported with a British Sign Language Interpreter and refreshments will be served for audience members at the Oriel Cafe at 4pm. |
The exhibition is curated by Alfredo Cramerotti, Director, Mostyn, with the assistance of Kalliopi Tsipni- Kolaza, Associate Curator of Visual Arts, Mostyn, Robert Grose, Exhibitions Manager, Mostyn, and Cecily Shrimpton, Head of Operations, Mostyn. The project is generously supported by the Colwinston Charitable Trust, White Cube, Marian Goodman Gallery, Dr Carol Bell, Salisbury & Co. and Ellis Williams Architects, along with core funding support from Arts Council of Wales, Conwy County Borough Council and Llandudno Town Council.
Cerith Wyn Evans would like to personally thank Pascale Berthier, Irene Bradbury, Stephen Farrer, Tom Foulsham, Lukas Galehr, Daniel Gallego, Nicola Lees, Takayuki Mashiyama, Nicolas Nahab, Ilona Noack, Jacob Noack, Stefan Rigger, Josef Schöfmann, Freyja Sewell, Jessica Simas, Robert Spragg and Johnathon Titheridge.
Acknowledgements
Curatorview [Alfredo Cramerotti] 
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