Mostyn new exhibition season – Stefan Brüggemann: Not Black, Not White, Silver – 18th March to 17 June 2023
Photo credit: Stefan Brüggemann, ERODED PAINTING (HOT ICE)(detail), 2022. Spray paint on marble. © Stefan Brüggemann. Courtesy the artist and Hauser & Wirth. Photo: Damian Griffiths.
Stefan Brüggemann: NOT BLACK, NOT WHITE, SILVER
18 March to 17 June 2023
To open 2023, Mostyn is proud to present the first UK institutional solo exhibition by Mexican-German artist Stefan Brüggemann (b. 1975, Mexico City). Defying categorisation in the methodology of his art, its message as well as his own artistic and cultural identity, NOT presents the grey area in between seen across the artist’s work from the last 20 years. Brüggemann’s approach to art making often explores the provocative and ironic, reflecting on the paradoxes of contemporary society using language and carefully chosen materials. The exhibition takes place from 18 March to 14 May 2023 and is curated by Alfredo Cramerotti, Director, Mostyn withcKalliopi Tsipni-Kolaza, Associate Curator of Visual Arts, Mostyn.
Defying categorisation in the methodology of his art, its message as well as his own artistic and cultural identity, NOT BLACK, NOT WHITE, SILVER presents the grey area in between seen across the artist’s work from the last 20 years. Brüggemann’s approach to art making often explores the provocative and ironic, reflecting on the paradoxes of contemporary society using language and carefully chosen materials.
Upon entry into the first gallery, the central hanging artwork from 2019, Headlines and Last Lines in the Movies (Guernica), commands attention. Of the scale of Picasso’s wartime masterpiece Guernica, Brüggemann’s reflective piece (from a series ongoing since 2010) overlays contemporary headlines with final lines from historically important dramatic films to create a cacophonous surface, here spraypainted in red, white and blue. At once billboard, at once mirror, the work occupies the space between high culture and everyday, between collectivity and individuality. The overload of information in the 21st century and the subsequent breakdown of meaning depicted in the aesthetic of street protest also figure into works on canvas and marble from the ERODED PAINTING series (2022), recording headlines around climate change on top of the artist’s own text reflecting on eroding landscape both physical and mental.
With superimposed texts and spray paint rendered in black, the plywood wall Hyper-Palimpsest (2019) in the last gallery further challenges legibility and interpretation. Creating a monochromatic palimpsest, texts by the artist in removed vinyl lettering are obscured with black spray-painted Headlines and Last Lines, further complicated with an audio recording of Iggy Pop reading the artist’s entire catalogue of text statements. In the same room with a more sparing gesture that equally tests the viewer, the neon works I can’t explain and I won’t even try (2003) as well as This work is realised when it is destroyed (2014), both confront the idea of meaning and art with a marked absence.
In the central room, a site-specific series of 10 fly posted works on paper, hi-speed contrast (2018), bring aesthetics of the street into the gallery. Playing with the scale and reproduction of digitization, Brüggemann’s work combines the speed and plasticity of the digital with the intervention of gesture, blurring the line between human agency and digital erasure.
Like the Guernica-scaled work in the first room where Brüggemann plays with reassessment of 20th century art in a contemporary framework, Trash Mirror Boxes (after MV) (2016) explicitly references the seminal Trash (1991) edition by Venezuelan conceptual artist Meyer Vaisman. Made into reflective mirror boxes, Brüggemann reverses inner and outer – the unreachable content of the “boxes” is denoted on the outside in a cursory note in the artist’s hand and multiplied into a grid layout; the installation becomes a reflective unattainable pool for the viewer to consider. Facing hi-speed contrast, Brüggemann’s Untitled (Joke and Definition Paintings) (2011) comes from a series which questions high and low art. He appropriates Joseph Kosuth’s series Art as Ideas (1966) and Richard Prince Joke Paintings (1985) – themselves appropriations of language – and combines the sober dictionary definitions with arcane jokes in a single canvas. Brüggemann removes his own hand with conceptual restraint in order to create a layered space of doubt between the two texts.
In creating spaces of doubt connected to contemporary life, Brüggemann invites the viewer into his work. While layering of texts challenge legibility, it also allows for multiple possibility.
About the Artist
Born in Mexico City and working between Mexico, London and Ibiza, Stefan Brüggemann’s oeuvre is characterized by an ironic conflation of Conceptualism and Minimalism. In this way, Brüggemann’s practice sits outside the canon of the conceptual artists practicing in the 1960s and 1970s, who sought dematerialisation and rejected the commercialisation of art. Instead his aesthetic is refined and luxurious, whilst maintaining a punk attitude. Spanning—and sometimes combining—sculpture, video, painting, and drawing, Brüggemann’s work deploys text in conceptual installations rich with acerbic social critique and a post pop aesthetic.
Texts about Brüggemann’s work have been written by Glenn O’Brien, Chris Kraus, Malcolm McClaren, and Mathieu Copeland. His work has been shown at the Centre Pompidou, Paris; Centro Galego de Arte Contemporánea, Santiago de Compostela; Museo Jumex, Mexico City; Collection Yvon Lambert, Avignon; and Bass Museum, Miami, and works by the artist can be found in the Albright-Knox Art Gallery, FRAC Bourgogne, Kunstmuseum Bern, Museo Tamayo, and Taguchi Art Collection.
About Mostyn
Mostyn is a free, public gallery in Llandudno, Wales, that presents a programme of outstanding international contemporary art within its galleries and online. This programme has recently included solo exhibitions by Cerith Wyn-Evans, Jacqueline de Jong, Nick Hornby, Chiara Camoni, Anj Smith, Nobuko Tsuchiya, Derek Boshier, Louisa Gagliardi and Shezad Dawood. Mostyn offers a public engagement programme including talks, tours and workshops, and supports over 400 artists through their onsite and online shop. Mostyn’s Director Dr Alfredo Cramerotti is also Co-Director of IAM Infinity Art Museum, Co-Founder of xxnft publishing platform and President of IKT–International Association of Curators of Contemporary Art amongst other international positions. Mostyn receives support from the Arts Council of Wales and is part of Plus TATE, the UK-wide contemporary visual art network. More information can be found at mostyn.org.
The Role of NFTs in Cultural Institutions – PlusTate & IKT
Join us online on Wednesday 25 January 15.00 – 17.00 (UK time) for an in-depth panel discussion surrounding the ways in which NFTs are & can be used in cultural organisations. Featuring experts from the cultural sector and moderated by Alfredo Cramerotti (Mostyn, IKT).
Talk: XXNFT: Revealing Remarkable NFT Women Artists
Thursday 15th December 2022, 11AM EST / 4PM GMT
XXNFT: Revealing Remarkable NFT Women Artists✨
During the webinar we will discuss the XXnft as the platform promoting female NFT artists. Moreover, co-founders of XXnft Auronda Scalera and Alfredo Cramerotti will share their perspective on female #NFT projects and #NFTart collecting. At the end webinar guests will reply to questions from the audience.
Guest Speakers:
▫️Auronda Scalera is the Cofounder of XXnft, a publishing platform for women and not binary in NFT; Co-Director, Infinity Art Museum on the Verse; curator and consultant for contemporary and digital arts based in London and Dubai. Upcoming projects include the organization of panels about NFTs and museums for plusTATE and IKT.
▫️Alfredo Cramerotti is Director at Mostyn gallery; Co-Director, Infinity Art Museum on the Verse; Adviser, British Council Acquisition Committee & UK Government Art Collection. He curated 4 national pavilions and collateral events at the Venice Biennale, EXPO Film & Video in Chicago, and the biennials Sequences VII and Manifesta 8. Cofounder of XXnft, a publishing platform for women and not binary in NFT.
Scalera and Cramerotti will be the curators during the next Venice Art Biennale for the Decentral Art Pavilion
Hosts:
▫️Denis Belkevich
Art economist and visiting lecturer at Sotheby’s Institute of Art (New York), external consultant of Deloitte CIS in Art & Finance, General Partner of Fuelarts – the first dedicated ArtTech & NFT startup accelerator.
▫️Sonia Stubblebine
Art Historian with specialization in Art Management and Art & Finance. Fuelarts’ manager and interpreter.
ArtReview Talk: Will the Metaverse Break the Artworld?
ArtReview partnership with the APENFT Foundation, 23 September 2022 on artreview.com
Join Cao Fei, Mimi Nguyen, Philip Tinari and Alfredo Cramerotti in this online panel discussion
In recent commentary, the Metaverse is frequently invoked in either dystopian or utopian terms. In this talk, we assemble a panel to tackle it in more meaningful, nuanced ways.
What are the Metaverse’s implications for artmaking, art production and creativity? Will it be another manifestation of the ‘second life’ that constitutes so much digital interaction today? Or will it grow to encompass all forms of life as we know it? Will it represent a break or continuation of how we make, sell, appreciate and interact with art?
This talk – featuring Cao Fei, Mimi Nguyen, Philip Tinari, Alfredo Cramerotti, and moderated by J.J Charlesworth – is the second in a series of discussions jointly developed and hosted between ArtReview and APENFT Foundation.
Venue: Zoom
Date: 23 September
Time: 5pm BST
Register: rsvp@artreview.com
Speakers:
Cao Fei, Artist
Mimi Nguyen, Associate Lecturer, Central Saint Martins
Philip Tinari, Director, UCCA Center for Contemporary Art
Alfredo Cramerotti, Director of Mostyn, Wales, co-Director of IAM Infinity Art Museum
J.J. Charlesworth, Editor at ArtReview (moderator)
Introduction by Sydney Xiong (Director, APENFT and Secretary General, Art Dream Fund)
About the panellists:
Cao Fei (b. 1978, Guangzhou) is an internationally-renowned Chinese contemporary artist. Currently living in Beijing, she mixes social commentary, popular aesthetics, references to Surrealism, and documentary conventions in her films and installations. Her works reflect on the rapid and developmental changes that are occurring in Chinese society today. Cao Fei’s works have been exhibited at a number of international biennales and triennales, and international art museums, including MoMA, Solomon R. Guggenheim Museum, Tate London, Centre Pompidou. Cao Fei’s recent solo projects include a major retrospective at the UCCA Center for Contemporary Art, Beijing (2021). Cao Fei was nominated for the Hugo Boss Prize and the Future Generation Art Prize in 2010, and was awarded the “Best Young Artist” and “Best Artist” at the China Contemporary Art Award (CCAA) in 2006 and 2016 respectively. Cao Fei received the Deutsche Börse Photography Foundation Award in 2021.
Mimi Nguyen is a lecturer at Central Saint Martins, University of Arts London, where she leads the CSM NFT Lab. She is a doctoral researcher, and teaches at Imperial College London, Faculty of Engineering, together with Mana Lab, a ‘Future of work in Blockchain’ research group. Creative Director at verse.works. Her previous research on creativity and human-computer interaction has been published by Cambridge University Press, Design Studies, Design Research Society, TIME magazine, and ACM Association for Computing Machinery.
A cultural entrepreneur working in contemporary art, mass media and the verse, Dr. Alfredo Cramerotti is Director of Mostyn, Wales; co-Director of IAM Infinity Art Museum; Art Adviser to the UK Government Art Collection, British Council Visual Arts Acquisition Committee, Italian Council program and Art Institutions of the 21st Century Foundation. He has curated and led over 250 exhibitions and events and 3 biennials (archive at www.curatorview.com) and his publications include The Haptic Visual: Imaging as Life-Shaping (forth. 2023),Curating the Image: Notebook for a Visual Journey (2020), Forewords: Hyperimages and Hyperimaging (2018), Unmapping the City: Perspectives of Flatness (2010), and Aesthetic Journalism: How to Inform without Informing (2009). He serves as President of IKT; Executive Committee Member of ICOM UK and of AICA; Co-Chair of VAGW; and Member of CIMAM.
Since coming to UCCA in 2011, Philip Tinari has led its transformation from a founder-owned private museum into an accredited museum across multiple locations, a public foundation, and a family of art-driven enterprises. During his tenure, UCCA has mounted more than seventy exhibitions and thousands of public programs, bringing artistic voices established and emerging, Chinese and international, to an audience of over a million visitors each year. From 2009 to 2012 he founded and edited LEAP, the first internationally distributed, bilingual magazine of contemporary art in China. He is a contributing editor of Artforum, and launched the magazine’s Chinese edition in 2008. Having written extensively on contemporary art in China, he was co-curator of the 2017 exhibition Art and China after 1989: Theater of the World at the Solomon R. Guggenheim Museum in New York. Based in Beijing since 2001 and fluent in Mandarin, Tinari is a World Economic Forum Young Global Leader and a fellow of the Public Intellectuals Program of the National Committee on US-China Relations. He holds degrees from Duke and Harvard.
Sydney Xiong is a professional art consultant and writer, specialising in collection management and art evaluation of post-war and contemporary art. Since her appointment as director of APENFT, she initiated Art Dream Fund, curated major NFT show Digital Wanderlust in China, launched APENFT Marketplace backed by the TRON, led the team to make investments in more than 30 NFT and metaverse projects. She has been interviewed and featured in Artnet, the New York Times, Whitewall and has participated in many internationally renowned forums, such as the TIME Roundtable ‘Uncovering the Mystery of NFTs’, among others.
About APENFT Foundation:
Formally registered and established on 29 March 2021, APENFT is backed by the underlying technology of blockchains Ethereum and TRON with support from the world’s largest distributed storage system Bittorrent File System (BTFS) to deliver the mission of registering world-class artworks as NFTs on the blockchain. The collection of the APENFT Foundation includes artworks by Picasso, Andy Warhol, and crypto-artists Beeple, Pak, as well as other high-end NFT collectibles of various categories such as Punks avatars and EtherRock, with a total value of more than $46 million. APENFT Foundation has successfully sponsored the ‘Art + Technology’ Summit at Christie’s in New York. In the future, it will curate a series of online and offline exhibitions with world-renowned artists and facilitate high-end IP collaboration.
New exhibition season in MOSTYN: Temporary Atlas – opening 25 June 2022
Temporary Atlas
Mapping the Self in the Art of Today
June 25–September 25, 2022
Adéọlá Dewis, Ode to mètèt mwe, 2022
MOSTYN is pleased to present Temporary Atlas: Mapping the Self in the Art of Today.
Temporary Atlas is an exhibition that presents an alternative, complementary idea to mapping as conceived in a traditional sense. There are multiple ways one can use mapping or cartography to understand our place in the world, amongst them, a societally endorsed, scientifically applied cartography and an individually perceived one. Each of us assesses, prioritizes and rates things in a different way, not all aspects of life have the same value and map representations are shaped by the purpose of the map and the intentions of the map maker.
The 17 cartographer-artists of Temporary Atlas adopt a mapping approach that is based on the traditional meaning of map as a representation of reality, but which expands it, complicates it, and challenges it—developing the concept of cartography along unconventional paths—those of the subconscious, spirituality, thought, identity, feeling, and all the idiosyncrasies that are present and intermingle in each of us.
The works on display propose perceptive and physical maps that provide insight into the artists’ personal experiences, whilst evoking mental landscapes within which the viewer can situate themselves; worlds beyond objective geographical coordinates.
Temporary Atlas is a visual, aural and spatial attempt to identify a transversal, intimate and perceptive reading of the self. In turn, the exhibition suggests ways in which we can perceive our emotional, political and aesthetic horizons, make sense of our circumstances and deepen our personal experiences in relation to the society in which we now live.
Temporary Atlas, includes works by artists Sanford Biggers, Seymour Chwast, Jeremy Deller, Sarah Entwistle, Enam Gbewonyo, Rochelle Goldberg, Oliver Laric, James Lewis, Ibrahim Mahama, Paul Maheke, Matt Mullican, Otobong Nkanga, Kiki Smith, Walid Raad and specially commissioned work from three Welsh artists Manon Awst, Adéolá Dewis and Paul Eastwood.
Temporary Atlas was on view at Gallerie delle Prigioni in Treviso, Italy, from February 5 until May 29, 2022. Curated by Dr Alfredo Cramerotti, this exhibition has been supported by the Arts Council Wales, Fondazione Imago Mundi and Fondazione Benetton Studi e Ricerche. Associate Curator: Kalliopi Tsipni-Kolaza.
ARTiculating Regeneration: Art as Agent for Change webinar by PlusTate / IKT / MOSTYN
An online panel discussion exploring sustainable & regenerative artistic practices and the impact on their respective landscapes.
About this event
Tuesday 5 April, 15.00 – 17.00 (UK time) / 10.00 – 12.00 (EST)
Plus Tate, MOSTYN and IKT (International Association of Curators of Contemporary Art) join forces once more for a panel discussion exploring regenerative blue/green infrastructure and sustainable artistic practices with hands-on implication and direct impact on the environment and landscapes upon which they are situated.
In October 2021, our organisations connected to present Sustainable Design and Regenerative Architecture in Cultural Spaces. During the session, we explored how art venues can become greener and heard from artists who were embracing sustainability as a pivotal part of their making.
During ARTiculating Regeneration: Art as Agent for Change on Tuesday 5 April 2022, speakers will take these concepts further by sharing their practices and the impacts on the landscapes on which they sit.
Speakers from across the globe will join together virtually to share the great work they are doing in this area. We will hear from:
Jason deCaires Taylor, Underwater Sculpture Artist
Jan Mun, Blade of Grass Artist
Elizabeth Monoian & Robert Ferry, Land Art Generator
Bill Reed, Regenesis Group
Adam Sutherland, Grizedale Arts
The session will be moderated by Ombretta Agró Andruff of IKT & ARTSail
Seeing Through the Affects of Violence. Part 2 @ Künstlerhaus Büchsenhausen
(hybrid event: on-site & streaming on Zoom and on Facebook [register via Eventbrite]
Seeing Through the Affects of Violence. Part 2
Alfredo CRAMEROTTI (curator), Natalia GUMENYUK (journalist), Mykola RIDNYI (fellow)
Using various media such as photography, film, installation and text, Mykola RIDNYI’s artistic practice employs historical research methods and the investigation of current political events. Ridnyi counters the sensational visualization and aestheticization of brutality with a distanced critical approach by addressing the representation of violence without its reproduction. In the post-truth era, facts have to be constantly checked, but the traditional way of presenting information needs to be questioned as well. Is there still a space for trust in both critical journalism and socially engaged art? In the second edition of a discussion series in the context of his Fellowship in Künstlerhaus Büchsenhausen, the artist talks with Natalia GUMENYUK, Ukrainian journalist, author, and founder of the Public Interest Journalism Lab, and Alfredo CRAMEROTTI, author, curator, and director of MOSTYN Contemporary Art Centre in Wales about the contradictions and similarities in the visual approaches of artists and journalists.
The broadcasting of violent images has always been at the core of the news business, the media’s modus operandi. However, with the invention of 24/7 TV cable news in the 1990s, and the later appearance of social media and live-streaming, the global audience is constantly exposed to a multitude of images of violence of both domestic and international conflicts. While the commercialization of news forces journalists to edit news videos in a way that resemble action movies, the normality of human existence is cut out to keep the audience hooked by better selling visuals. In her talk, Natalia GUMENYUK will address the following questions: is it at all possible to ‘un-edit’ the world we see in order to put violence in its place? Are we ready to sacrifice the aesthetics of violent and emotional imagery to bring back a raw version of reality at the risk of being boring?
In his book Aesthetic Journalism, Alfredo CRAMEROTTI describes different strategies of the interaction of aesthetics and information, such as witnessing, interactivity, hijacking and disclosing. He claims that ’aesthetic journalism works by combining documents and imagination: the necessity of the former and the desire of the latter [sic], since desirability is almost an antidote to the often senseless accumulation of information’. In his talk, Cramerotti will explore how the artist can find ways to ’import’ journalism into art and reintroduce an artistic approach to the information industry. The talk will posit a reflection on the concept of public opinion – does it work as an aggregate, and is it open to critical understanding?
PLEASE NOTE: This is a hybrid event. Up to 17 people can participate in the event in Künstlerhaus Büchsenhausen. Participating in the event on site is possible only in accordance with the current legal COVID-19 regulations. In addition, the event will be streamed. If you would like to directly participate in the discussion, please register via Eventbrite. You will receive the Zoom link automatically. Otherwise, you will be able to follow the event on Facebook.
Current information on events taking place at Künstlerhaus Büchsenhausen in the context of the exhibition Transgressions of the Real can be found on our website.
Participants:
Mykola RIDNYI is an artist, filmmaker and essayist based in Kyiv, Ukraine. He works across media, ranging from early political actions in public space to the fusion of site-specific installations, photography and the moving image which constitute the current focus of his practice. In recent films he experiments with nonlinear montage, and a collage of documentary and fiction. His way of reflecting social and political reality draws on the contrast between fragility and resilience of individual stories and collective histories. A connection with alternative times and phenomena, the influence of the past to the present and future, and the pressing polemic of manipulating historical memory born out of contemporary political agendas are among the main issues revealed in his engagements, initiatives, and projects.
Ridnyi has been a founding member of the SOSka group – an art collective originated from Kharkiv, Ukraine. He is a contributing editor of Prostory, an online magazine about art and society. His works has been exhibited in Venice biennale for contemporary art, The School of Kyiv – Kyiv biennale, Pinakothek der Moderne in Munich, daad galerie in Berlin, Transmediale in Berlin, Zentrum fur Kunst und Media in Karlsruhe, Galerie fur Zeitgenossische Kunst in Leipzig, Museum of Modern Art in Warsaw, Bonniers konsthall in Stockholm and others. He has been a scholar of Akademie der Kunst in Berlin, Iaspis in Stockholm, Gaude Polonia in Krakow and others.
http://www.mykolaridnyi.com/
Natalia GUMENYUK is a Ukrainian author, documentary filmmaker, and journalist specialized in conflict reporting, human rights and foreign affairs. She is a founder and runs the Public Interest Journalism Lab to popularize public spirit journalism and overcome polarization. Its method combines social research and visual storytelling. Since the Revolution of Dignity and the beginning of the war in Ukraine, she has been reporting on events in the Donbas and on a few journalists regularly traveling to occupied Crimea. In 2020 Gumenyuk published a book consisting of reportages, The Lost Island. Tales from Occupied Crimea based on six years of her reporting. The book has been published in German.
She has worked as a reporter in more than 60 countries and is the author of the book Maidan Tahrir. In Search of a Lost Revolution (2015), based on her reporting in the Arab Spring. Gumenyuk is co-founder of Hromadske TV and was from 2013 – 2020 a special correspondent for this TV station. She is German Marshall Memorial Fund Fellow 2017 and Draper Hill Fellow at Stanford University (2018).
Alfredo CRAMEROTTI is an author, curator, and director of MOSTYN, Wales UK and Adviser to the British Council Visual Arts Acquisition Committee and the Art Institutions of the 21st Century Foundation. He curated radio and television formats in Germany and Denmark, three national pavilions at the Venice Biennale, EXPO Film & Video in Chicago, and the biennials Sequences VII in Reykjavik, Iceland and Manifesta 8, Region of Murcia, Spain. He serves as Vice-President of AICA (International Association Art Critics), President Cand. of IKT (International Association Curators Contemporary Art), Co-Chair of VAGW (Visual Arts Group Wales), Executive Committee Member of ICOM UK (International Council of Museums), and is a member of CIMAM (International Committee for Museums and Collections of Modern Art). He holds a PhD in Communication Design and Photography and has had over 200 texts published on art, media and curatorial practice, contributing to a large number of books, catalogs, monographs and online journals. Alfredo is Editor-in-Chief of the Critical Photography book series (Intellect Books), and his own publications include Curating the Image: Notebook for a Visual Journey (2020); Forewords: Hyperimages and Hyperimaging (2018); Unmapping the City: Perspectives of Flatness (2010); and Aesthetic Journalism: How to Inform without Informing (2009, published in the Büchs’n’Books series). In 2007-08, Alfredo Cramerotti was Fellow in Künstlerhaus Büchsenhausen, where he worked on the book Aesthetic Journalism.
Press coverage highlights for MOSTYN exhibition season November 2019-March 2020: Anj Smith, Chiara Camoni, Nobuko Tsuchiya
MOSTYN: Exhibition Programme 2020
Exhibition Programme 2020
MOSTYN
12 Vaughan Street
Llandudno LL30 1AB
United Kingdom
T +44 1492 879201
post@mostyn.org
MOSTYN, Wales UK is thrilled to announce its programme of exhibitions for 2020 which includes solo presentations by artists Kiki Kogelnik, Athena Papadopoulos, Hannah Quinlan and Rosie Hastings, Nick Hornby, Richard Wathen, and Jacqueline de Jong.
March 14–July 5, 2020
Kiki Kogelnik: Riot of Objects
Riot of Objects is the first institutional presentation in the UK to focus on Kiki Kogelnik’s ceramic works. Considered one of the key figures of the post-war avant-garde, Kogelnik’s multidisciplinary oeuvre spans five decades. Her multi-faceted artistic style evolved from painterly abstraction to Pop Art and the representation of the (female) body. This exhibition demonstrates Kogelnik’s boundless capacity for invention and restless commitment to making. Kiki Kogelnik was born in 1935 in Bleiburg, Austria. She lived and worked in New York and Vienna. She died in 1997 in Vienna, Austria. Curated by Chris Sharp in partnership with the Kiki Kogelnik Foundation.
Athena Papadopoulos: Cain and Abel Can’t and Able
This exhibition presents a new body of work by artist Athena Papadopoulos. Using her ever-expanding vocabulary of materials and ancient narratives, which she combines with unlikely elements, this new series of works includes sound, sculpture and painting, and explores human dichotomies, questioning the complicated duality of reason and emotion. Athena Papadopoulos was born in 1988 in Toronto, CA. She lives and works in London. Curated by Alfredo Cramerotti, Director, MOSTYN.
July 18–November 1, 2020
Hannah Quinlan and Rosie Hastings: In My Room
Hannah Quinlan and Rosie Hastings’ first solo institutional exhibition develops the artists’ enquiry into the politics, histories and aesthetics of queer spaces and culture. This newly conceived body of work includes a fresco painting, wall rubbings and a film, and highlights the impact of gentrification upon the city and its gay communities, whilst also exploring the relationship between masculinity, capitalism and power within the urban landscape. Hannah Quinlan and Rosie Hastings were both born in 1991 in Newcastle and London. They live and work in London. Curated by Juliette Desorgues, Curator of Visual Arts, MOSTYN. Commissioned by Focal Point Gallery, In My Room is presented in partnership with MOSTYN and Humber Street Gallery, Hull.
Nick Hornby
This exhibition includes new photo-sculptural works by Nick Hornby, MOSTYN Open 21 “Audience Award” winner, and continues his enquiry into hybridity. Mining the collective index of cultural history, Hornby uses technology not only as a way of invoking potential new worlds but as a way of investigating alternative ways of seeing history. Nick Hornby was born in London in 1980. He lives and works in London and New York. Curated by Alfredo Cramerotti, Director, MOSTYN.
Richard Wathen
MOSTYN Open 21 “Exhibition Award” winner, Richard Wathen‘s solo exhibition comprises a new series of paintings. Rooted in the historical canon of painting, his work focuses largely on portraiture, depicting figures in states of hesitation and contemplation. Through the use of subtle details, his paintings retain a sense of ambiguity by refusing to be fixed in time and place. Richard Wathen was born in London in 1971. He lives and works in Suffolk, UK. Curated by Alfredo Cramerotti, Director, MOSTYN.
November 14, 2020–February 28, 2021
Jacqueline de Jong
Jacqueline de Jong is considered one of the crucial artistic figures of the post-war avant-garde. This exhibition is the first institutional solo presentation of her work in the UK. Throughout her career spanning half a century, de Jong has developed a unique painterly practice. Expressive in style, her work exhibits uninhibited eroticism, violence and humour. In parallel to her work as a painter, she was editor of The Situationist Times (1962-1967) and a member of the Situationist International during her early years in Paris in the 1960s. Jacqueline de Jong was born in 1939 in Hengelo, The Netherlands. She lives and works in Amsterdam, The Netherlands. Curated by Juliette Desorgues (Curator of Visual Arts, MOSTYN) and organised in collaboration with WIELS where the exhibition will be presented by Xander Karskens (Director, De Ateliers) and Devrim Bayar (Curator, WIELS) (June 12-August 16, 2020).
Curatorview [Alfredo Cramerotti] 
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