Afterglow: Marinella Senatore in conversation with Alfredo Cramerotti @ UK Italian Embassy London
Wednesday 8 June 2022, 6pm
MOSTYN x DRAF (David Roberts Art Foundation): Upcoming Exhibitions
She sees the shadows
July 14–November 4, 2018
In Addition
Editions by artists
March 3, 2018–February 27, 2021
Louisa Gagliardi / Josephine Meckseper
Opening November 16, 2018
MOSTYN
12 Vaughan Street
Llandudno LL30 1AB
United Kingdom
www.mostyn.org
www.davidrobertsartfoundation.com
MOSTYN, Wales UK is pleased to present a group exhibition of works by over 40 contemporary artists from the David Roberts Collection, marking the first off-site collaboration by David Roberts Art Foundation (DRAF).
Magali Reus, Parking (Legs At Eye Level), 2014. Courtesy the Artist and David Roberts Collection. Photo: Plastiques.
She sees the shadows
Works by: Caroline Achaintre, Horst Ademeit, Fiona Banner, Sara Barker, Phyllida Barlow, Neil Beloufa, David Birkin, Karla Black, Carol Bove, Martin Boyce, Lea Cetera, Susan Collis, Thomas Demand, Jason Dodge, Boyle Family, Theaster Gates, Isa Genzken, Rodney Graham, Harry Gruyaert, Jeppe Hein, Marine Hugonnier, Pierre Huyghe, Matthew Day Jackson, Tatsuya Kimata, Rachel Kneebone, Elad Lassry, Bob Law, Nina Beier & Marie Lund, Kris Martin, Marlie Mul, Nika Neelova, Man Ray, Magali Reus, Pietro Roccasalva, Analia Saban, Erin Shirreff, Monika Sosnowska, Oscar Tuazon, Gavin Turk, Franz West, Douglas White
Curated by Adam Carr (MOSTYN) and Olivia Leahy (DRAF)
Gallery 3, 4 & 5
“She sees the shadows… she even counts the tree-trunks along a promenade by the shadows, but sees nothing of the shape of things.”(1)
In 1886, a 22-year-old woman in Lyon saw the world around her for the first time. Objects instantly recognisable by touch were hard to distinguish with her new sight, and shadows appeared more concrete than solid forms. Her doctors described the sudden strangeness of familiar environments, and her singular experience of the world as a newly-sighted person.
In his 1932 book Space and Sight, Marius Von Senden collated the patient’s experiences alongside testimonies of similar cases dating from 1020 to the present. These captivating accounts, which later inspired writers including Maggie Nelson and Annie Dillard, express how something familiar can show a previously unacknowledged beauty when seen in a new way.
She sees the shadows is a group exhibition of works from the David Roberts Collection that resonate with the ideas found in Space and Sight. Each artist has re-conceived day-to-day objects and materials in unexpected ways—a bench, plug socket, grate, section of railing or broom—inviting viewers to see alternative qualities and narratives therein.
Each of the works in a collection, like the testimonies compiled by Von Senden, speak of personal experiences and moments. She sees the shadows is accompanied by a new publication with responses to the project from writers Orit Gat, Claire Potter and Sally O’Reilly and artists David Birkin, Jason Dodge, Marine Hugonnier, Marlie Mul, Magali Reus and Douglas White.
(1) M. Von Senden (trans. P. Heath), Space and Sight: the perception of space and shape in the congenitally blind before and after operation, 1932, Methuen & Co. Ltd.: London, 1960.
In Addition
Participating artists from July 2018:
Nina Beier, Sol Calero, Gabriele de Santis, 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.
In Addition is permanently installed as an exhibition in MOSTYN’s Gallery 2, and will change shape over time as editions are purchased and as further artists participate in the future. 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.
Louisa Gagliardi / Josephine Meckseper
Gallery 3, 4 & 5
Opening November 16, 2018, solo exhibitions by Josephine Meckseper and Louisa Gagliardi, curated by Alfredo Cramerotti (Director, MOSTYN) and Adam Carr (Visual Arts Programme Curator, MOSTYN), which are the first for both artists in a UK public institution.
Upcoming Exhibitions at MOSTYN
Shezad Dawood Leviathan Cycle, Episode 1: Ben (production still) 2017 HD Video, 12’52”. Courtesy of the artist and UBIK Productions
Shezad Dawood
Leviathan is an episodic narrative around notions of borders, mental health and marine welfare issues of foremost concern, resonating profoundly with both coastal locations and contemporary life.
A ten-part film cycle that will unfold over the next three years, the work draws connections between human activity and marine ecology. Three films have already been premiered in Venice, in conjunction with the 57th Art Biennale, with a fourth to be released in early September 2018.
In dialogue with a wide range of marine biologists, oceanographers, political scientists, neurologists and trauma specialists, Leviathan explores interconnections between these fields of work and will be presented through sculpture, textiles, museum specimens, films, conversations and online resource material.
As part of the first iteration of Leviathan after its Venice debut, Dawood will also show a newly commissioned painting drawing upon this specific context, and work with community groups based on the coastal location asking questions about how these issues might come to evolve in a future 20 to 50 years from now, and what that future might look like.
The exhibition is curated by Alfredo Cramerotti, MOSTYN Director, in dialogue with the artist.
Shoe 22, Playa Santa Maria, Havana, Cuba 2014. Fencing, Treadog Bay, Llŷn Peninsula, Wales 2016.
Mike Perry
Mike Perry’s work engages with significant and pressing environmental issues, in particular the tension between human activity and interventions in the natural environment, and the fragility of the planet’s ecosystems.
This major new exhibition brings together recent bodies of work addressing how the natural biodiversity of landscapes and marine environments is undermined and made toxic by human neglect, agricultural mismanagement and the pursuit of short-term profit at the expense of long-term sustainability.
Combining conceptual aesthetics with a pressing concern for the marine environment, Perry’s images shed a different light on the health of the seascapes one might see in tourist brochures.
Môr Plastig (welsh for ‘Plastic Sea’) is an ongoing body of work that classifies objects washed up by the sea into groupings; bottles, shoes, grids, abstracts, and others. By using a high-resolution camera to capture the surface detail, the artist allows the viewer to ‘read’ markings and scars etched into the objects by the ocean over months and, in some cases, years. The viewer is intrigued and challenged by how a polluting object can be so aesthetically appealing.
In Perry’s words, “in addition to seeing these pieces as symbols of over-consumption and disregard for the environment, I also see them as evidence of the beauty and power of nature to sculpt our world”.
Land/Sea is originally produced by Ffotogallery, Cardiff, and curated by David Drake, Ffotogallery, and Ben Borthwick, Plymouth Arts Centre. The exhibition in MOSTYN has been developed in dialogue with Adam Carr, Visual Arts Programme Curator, and Alfredo Cramerotti, Director. The accompanying publication includes contributions from the writers George Monbiot and Skye Sherwin.
Jonathan Monk, Picture Postcard Posted From Post Box Pictured, 2014.
In Addition
Participating artists from March 2018:
Nina Beier, Sol Calero, Gabriele de Santis, Alek O., Jonathan Monk, and Marinella Senatore
We are pleased to present ‘In Addition’, a new edition series of works, by internationally renowned artists, available to purchase at an affordable price.
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.
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.
In Addition will be permanently installed as an exhibition in MOSTYN’s Gallery 2 from March 2018, and will change shape over time as editions are purchased and as further artists participate in the future.
In Addition has been curated by Adam Carr (Visual Arts Programme Curator, MOSTYN).
Modes of Curating / Curating as Research
Curatorial study day led by Alfredo Cramerotti at GSA – The Glasgow School of Art
31 January 2018
I conceive and understand “research” as a form of curating – namely, organizing connections and defining touchstones in contemporary visual culture by means of my work as a writer, speaker and visual project organizer – developing a discourse, or a statement through works of art, which of course can also overwhelm or enhance the project’s rationale.
In the course of this research, I have found myself working in a combination of modes, according to the various tasks I set myself. Sometimes taking a more authorial role and developing concepts and frameworks, some others becoming a conduit for ideas not mine, but translated and transformed by the visual authors I was working with. Thus, as a curator, I have acted as meta-artist; the work undertaken is less about the “what” and more about the “how”.
PART ONE
The Curator as Meta-Artist.
Presentation of three curatorial drafts recently delivered by Cramerotti: Michael Takeo Magruder’s De-Coding the Apocalypse at the King’s College Cultural Institute London (2015), Marinella Senatore’s The School of Narrative Dance at MOSTYN (2016), and Shezad Dawood’s Leviathan at Palazzina Canonica / Fortuny Factory Venice (2017). An insight into the research involved in developing the various themes and approaches for these exhibitions, the conversation with the artists, the solutions in relation to the spaces, and the mediation tools adopted in each case.
PART TWO
The Social, Humanitarian, Historical, Scientific, Logistics as Art.
Participants are invited to discuss and present to the group their views / answers to questions such as: What does beauty has to do with, for instance, migration, climate change, mental or physical conditions? What is our understanding of aesthetics in relation to ethics? How do we tackle themes that lend themselves awkwardly to a presentation in the (critical) visual realm? Could the initiative be produced somehow else? Is new media and digital platforms following the concept and the execution or preceding it? Is the selection of artists or speakers leading to unexplored territories or consolidating an approach?
Alfredo Cramerotti: Modes of Curating / Curating as Research @ Valletta 2018 International Curatorial School, Malta
Valletta Campus of the University of Malta
28 August – 1 September 2017
Conceiving and understanding “research” as a form of curating – namely, organizing
connections and defining touchstones in contemporary visual culture by means of my
work as a writer, speaker and project organizer – the 5-day curatorial course will focus on developing a discourse, or a statement through works of art, which of course can also overwhelm or enhance the project’s rationale.
As curator, I act as meta-artist; the work undertaken is less about the “what” and
more about the “how”.
PART ONE
Keynote speech: Beyond and Besides Me: The Curator as Meta-Artist.
Presentation of three curatorial drafts recently delivered: Michael Takeo Magruder’s “De-Coding the Apocalypse” at the King’s College Cultural Institute London (2014/15); Marinella Senatore’s “The School of Narrative Dance” at MOSTYN (2016); and Shezad Dawood’s “Leviathan” at Palazzina Canonica Venice (2017). An insight into the themes and approaches to these exhibitions, the conversations with the artists, the “research outcomes” in relation to space, mediation and diffusion as a form of research.
PART TWO
Research Module 1: The Social, Humanitarian, Historical, Scientific as Art.
What does beauty has to do with, for instance, migration, climate change, social cohesion, mental or physical conditions? What is our understanding of aesthetics
in relation to ethics? How do we tackle themes that lend themselves awkwardly to a
presentation in the (critical) visual realm?
PART THREE
Research Module 2: The act of thinking, planning, resourcing,
delivering, closing and finalising your next exhibition or curatorial project.
Speculations. Three type of curating (from Cook / Graham):
Project making as exchange / trade show: the modular model, based on one incarnation of a multilevel event structure / platform with the possibility to scale up / down elements of the project without affecting its overall coherence (curator as filter / stylistic editor)
Project making as broadcast: the distributed model, based on “exhibitions” where different curators create their own infrastructure / agency or occupy existing platforms to circulate art and the process of curating itself (curator as node / translator).
Project making as software program / data flow: the iterative model, based on change from one venue to another (or one exhibition to another) each time – growing around a selection of key works (curator as maker / producer / managing editor)
PART FOUR
The Pitch (one day): Poster(ing)
An “exhibition of ideas” where curators can get an inkling of what has been taking place in other workshops. A collective poster session during which participants present a diagrammatic idea of their individual concept / project to each other, and particularly to participants and curators in other groups, informed by both feedback and speculations of the days before.
The Valletta 2018 International Curatorial School, Malta is organized by Raphael Vella with the participation of Alfredo Cramerotti, Sebastian Cichocki, Mick Wilson, Bassam El Baroni, Fulya Erdemci, and Maren Richter.
Mousse Magazine: Marinella Senatore “The School of Narrative Dance and Other Surprising Things” at MOSTYN, Llandudno
http://moussemagazine.it/marinella-senatore-mostyn-2016/
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
Marinella Senatore “The School of Narrative Dance and Other Surprising Things” installation views at MOSTYN, Llandudno, 2016
Photo: Dewi Lloyd
MOSTYN new exhibition season | Marinella Senatore: The School of Narrative Dance and Other Surprising Things / Camille Henrot, FORT, Meirion Ginsberg : The School of Art, Science & Technical Classes / GALLERY 6 Uprisings: Sïan Rees Astley
MOSTYN, Wales’ foremost contemporary visual arts centre, is delighted to announce a new season of exhibitions, May 21–September 17, 2016
Marinella Senatore
The School of Narrative Dance and Other Surprising Things
Galleries 2 & 3
MOSTYN, Wales UK proudly presents the first solo exhibition in a British institution by Marinella Senatore. The exhibition will present 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 will be 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 it will also 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.
The exhibition is accompanied by an Open Call for contributions to ESTMAN RADIO, an ongoing “self-service” online radio station which takes up residence in MOSTYN’s Gallery 2.
In addition, Marinella Senatore’s video piece The School of Narrative Dance will be showing concurrently on a media wall in Milan’s Corso Como 15 from May 20 until 31, as part of a joint partnership between MOSTYN and Poincaré Investment Ltd. The partnership also sees the presentation of a new video work by ciriaca + erre from May 1 until 19.
The exhibition, curated by Alfredo Cramerotti (Director, MOSTYN) and related public programme is supported by CALL and Poincaré Investments Ltd.
#MOSTYNnarrativedance
The School of Art, Science & Technical Classes
A school featuring solo exhibitions by Camille Henrot, FORT, Meirion Ginsberg and a historical presentation
Galleries 4, 5, Studio
The School of Art, Science & Technical Classes takes as its point of departure the use of MOSTYN’s building as an art gallery and educational establishment from 1903 to 1912. Some of the subjects on offer included life drawing, light & shade drawing, brushwork, geometrical drawing, woodcarving, metalwork, dressmaking, elocution, music, French and shorthand. The classes were supplemented by lectures on associated subjects.
Some 100 years on, new “classes” have been curated with solo exhibitions by Camille Henrot, FORT and Meirion Ginsberg. An additional room will survey the time of the original art school and its links to the present, along with a history of a number of local schools. The exhibition is part of the “History Series” at MOSTYN and is the seventh exhibition in the series.
The three artists have been chosen for their international relevance and mastery, or emergence and promise, in the respective disciplines of the classes, which are “brush drawing” (Camille Henrot), “metalwork” (FORT) and “light and shade” (Meirion Ginsberg). Arguably the original terms are outdated and have been replaced by new definitions, or have been co-opted by a more general term “Contemporary Art.” Paradoxically, however, they offer new ways of seeing and interpreting the work in display—in the same way that the “History Series” uses the past to establish new pathways for understanding society today.
This exhibition is curated by Adam Carr (Visual Arts Programme Curator, MOSTYN). The historical presentation is brought together in collaboration with Jane Matthews (Engagement Manager/Research MOSTYN) and Richard Cynan Jones (Operations and Facilities/Research, MOSTYN).
#MOSTYNSchool / #HistorySeries
GALLERY 6: Uprisings: Sïan Rees Astley
Gallery 6 is dedicated to presenting the work of young and emerging artists, all of whom are yet to have a solo exhibition in an institutional setting—nationally or internationally. The final exhibition of the programme is by Sïan Rees Astley, born 1992 and based on Anglesey, and a recent graduate from Coleg Menai in Bangor, North Wales.
Sïan Rees Astley’s work makes wide use of everyday materials, often those produced for the domestic space. Her work positions the process of its making at its core, and heightens the sense of time spent working with the materials. A key element of the work is repetition, used throughout, and which sometimes renders the materials used beyond recognition, only apparent by way of the work’s captions.
This exhibition, curated by Adam Carr (Visual Arts Programme Curator, MOSTYN), will present new work made in response to the space.
About MOSTYN | Cymru | Wales
Located in Llandudno, North Wales (UK), MOSTYN is the leading publicly funded contemporary visual art centre in Wales, serving as a forum for the presentation and discussion of contemporary life through international contemporary art and curatorial practice. Through exhibitions, learning programmes, lectures, symposia and publications, MOSTYN plays an active role in discussing contemporary culture in Wales, the UK, and beyond. To be kept up to date with MOSTYN’s new programme, please subscribe to our mailing list by emailing lin@mostyn.org.
MOSTYN
12 Vaughan Street
Llandudno LL30 1AB
United Kingdom
MOSTYN new exhibition season opening: Open 19 + We’ve Got Mail II
I am pleased to announce the opening of MOSTYN’s new season of exhibitions, on FRIDAY 13 March 2015
MOSTYN Open 19
38 artists selected from open call submission.
The winner of the £10,000 prize will be announced on the night.
Participating artists for MOSTYN Open 19 are Caroline Allen, Mark Beldan, Hannah Birkett, Jorge Lizalde Cano, Ciriaca + Erre, Briony Clarke, Teresa Cos, Maria Ana Vasco Costa, Fiona Curran, Peter Doubleday, Mark Doyle, Alex Duncan, Catrin Llwyd, Rosie Farey, Carlos Noronha Feio, Rebecca Gould, Shreepad Joglekar, Gethin Wyn Jones, Justyna Kabala, Debbie Locke & Sara Dudman, Robert Lye, McGilvary/White, Lindsey Mendick, Fay Nicolson, Timea Anita Oravecz, David Paddy, Simon Parish, Alice Pedroletti, Jonathan Phillips, Susan Phillips, Serena Porrati, Steph Shipley, Tim Simmons, Kristian Smith, Matthew Smith, Catrine Val, Dominic Watson, Ben Woodeson.
MOSTYN Open 19 has been selected by Claire Norcross, Designer; Philip Hughes, Director of Ruthin Craft Centre; Marinella Senatore, Artist; Adam Carr, Visual Arts Programme Curator of MOSTYN; Alfredo Cramerotti, Director of MOSTYN and you, the visiting audience, for the People’s Choice.
WE’VE GOT MAIL II
The fourth in a series that examines the MOSTYN building’s rich heritage, We’ve Got Mail II continues the gallery’s response to its former use as a postal sorting office. In 2014 We’ve Got Mail I presented a history of the Royal Mail alongside artworks by contemporary artists. This second show looks specifically at the history of the postcard in the town of Llandudno and presents a selection of classic examples of the use of the postcard in the visual arts.
Artists: Carl Andre, Daniel Buren, Sophie Calle, Robert Filliou, Richard Hamilton, Lawrence Weiner
8th Furla Prize 2011
(Italian below)
The 8. Furla Prize 2011 evolved over its eight editions and is now recognised as the ultimate Italian prize in support of young Italian contemporary artists, with a format focusing on education and the production of new works.
The patron artist of the 8. Furla Prize 2011 is Christian Boltanski, who created the image and motto of this edition, Pleure qui peut, rit qui vet, a sort of oxymoron for the 5 finalists.
The artists are: Alis/Filliol – Andrea Respino (Cuneo, 1976) and Davide Gennarino (Torino, 1979), nominated by Simone Menegoi and Marianne Lanavère; Francesco Arena (Brindisi, 1978), nominated by Vincenzo De Bellis and Philippe Pirotte; Rossella Biscotti (Bari, 1978), nominated by Cecilia Canziani and Vincent Honoré; Matteo Rubbi (Bergamo, 1980), nominated by Lorenzo Bruni and Carson Chan; Marinella Senatore (Salerno, 1977), nominated by Alfredo Cramerotti and Emily Pethick.
The 5 finalists projects and a selection of artists’ works will be presented in Bologna at Palazzo Pepoli, in the exhibition Pleur qui peut, rit qui veut – a collaboration with Fondazione Furla and Fondazione Carisbo (29 January – 6 February 2011).
An international jury consisting of Christian Boltanski, Stefano Chiodi (art historian and critic), Vít Havránek (curator), Jörg Heiser (co-editor of frieze magazine), Miguel Von Hafe Pérez (director of the CGAC Centro Galego de Arte Contemporáneo in Santiago de Compostela, Spain) will choose the winner, to be announced on January 28, 2011 in Bologna, during the opening of the exhibition.
In addition to the opportunity to study and work abroad in an artist’s residency program (at Arizona State University Art Museum) the winner will also be invited to create a work financed by the Fondazione Furla and intended to be showing for a public exhibition thanks to a special agreement with the MAMbo – Museum of Modern Art of Bologna. The work of the winning project will premiere at the Fondazione Querini Stampalia in Venice in June 2011, during the 54 Biennale of Visual Arts.
The Furla Prize, created by Chiara Bertola, is today organised and promoted by Fondazione Furla, Fondazione Carisbo, Fondazione Querini Stampalia, and MAMbo – Museum of Modern Art of Bologna, with the support of Carisbo S.p.A. and with the collaboration of Viafarini and Arte Fiera.
Pleure qui peut, rit qui veut, shortlist exhibition
Alis/Filliol, Francesco Arena, Rossella Biscotti, Matteo Rubbi, Marinella Senatore.
Curated by Lorenzo Bruni, Cecilia Canziani, Alfredo Cramerotti, Vincenzo de Bellis, Simone Menegoi
29 January – 6 February 2011
Palazzo Pepoli, Via Castiglione 8/10 Bologna
Hours: 30 January – 6 February, 10 am – 7 pm | Saturday 29 January, 10 am – 24
Free Entry
27 – 28 January 2011 | 10 am – 12 noon| preview Arte Fiera press and professionals
28 January 2011 | opening 7pm – 9pm | by invitation only
Round Table “8th Furla Prize 2011”:
Friday, 28 January 2011, 11:30am – 1.30pm
as part of Arte Fiera 2011 Art Talks | Piazza Costituzione, Bologna, Italy
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PREMIO FURLA
Il Premio Furla giunge all’ottava edizione con un padrino di eccezione Christian Boltanski, ideatore dell’ immagine guida e del motto di questa edizione Pleur qui peut, rit qui veut.
I cinque artisti finalisti sono: Alis/Filliol – Andrea Respino e Davide Gennarino, nominati da Simone Menegoi e Marianne Lanavère; Francesco Arena, nominato da Vincenzo De Bellis e Philippe Pirotte; Rossella Biscotti, nominata da Cecilia Canziani e Vincent Honoré; Matteo Rubbi, nominato da Lorenzo Bruni e Carson Chan; Marinella Senatore, nominata da Alfredo Cramerotti ed Emily Pethick.
Il vincitore sara’ annunciato durante l’inaugurazione della mostra Pleure qui peut, rit qui veut – una collaborazione tra Fondazione Carisbo e Fondazione Furla: esposti nella splendida cornice di Palazzo Pepoli i progetti dei finalisti e una selezione delle loro opere dal 29 gennaio al 6 febbraio 2011.
Ad Arte Fiera Spazio Art Talks venerdi 28 gennaio ore 11.30 – 13.30 una tavola rotonda con i curatori e gli artisti.
Arte Fiera e il MAMbo daranno inoltre visibilità ai progetti in un’area dedicata all’interno dei loro spazi.
Il premio consiste in una residenza d’artista all’estero organizzata in collaborazione con Arizona State University Art Museum (Tempe, USA) e nella realizzazione del progetto presentato. L’opera sarà esposta in anteprima alla Fondazione Querini Stampalia a Venezia a giugno 2011, durante la 54. Biennale di Arti Visive, e concessa poi in comodato al MAMbo – Museo d’Arte Moderna di Bologna.
Il Premio Furla ideato nel 2000 da Chiara Bertola a Venezia alla Fondazione Querini Stampalia, è oggi organizzato e promosso da Fondazione Furla, Fondazione Carisbo, Fondazione Querini Stampalia, MAMbo – Museo d’Arte Moderna di Bologna, con il supporto di Carisbo S.p.A e con la collaborazione di Viafarini e Arte Fiera.
Pleure qui peut, rit qui veut. Mostra degli artisti finalisti
Alis/Filliol, Francesco Arena, Rossella Biscotti, Matteo Rubbi, Marinella Senatore.
A cura di Lorenzo Bruni, Cecilia Canziani, Alfredo Cramerotti, Vincenzo de Bellis, Simone Menegoi.
29 gennaio – 6 febbraio 2011
Bologna, Palazzo Pepoli Via Castiglione 8/10
Orario: 30 gennaio – 6 febbraio ore 10-19; Sabato 29 gennaio ore 10-24
Ingresso libero
Giovedì 27 e venerdì 28 gennaio ore 10 -12, Press Preview
Venerdì 28 gennaio 2011 dalle 19.00 proclamazione del vincitore e inaugurazione mostra | su invito
Venerdì 28 gennaio 2011 ore 11.30 – 13.30
Tavola rotonda
8. Premio Furla 2011 con artisti e curatori
Spazio Art Talks – Arte Fiera Art First 2011
Piazza Costituzione, Bologna
info@fondazionefurla.org
http://www.fondazionefurla.org
Immagine: Christian Boltanski per 8.Premio Furla 2011
Furla Award 2011
VOGUE ITALIA
by Fabiana Gilardi
Published:
11/18/2010
The names of the five finalists and of the curators, protagonists of the eighth edition of one of the Italian excellence awards that support young contemporary artists, were announced
Curatorview [Alfredo Cramerotti] 
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