Curatorview [Alfredo Cramerotti]

AGM – Call for host organisations

Posted in nEws and rEleases by Curatorview on January 20, 2011


Image credit: AGM Conversation ‘On Translation’ saw the participation of Michael Takeo Magruder, Fay Nicolson,
Nada Prlja, Alfredo Cramerotti, Yesomi Umolu, Hannah Conroy, Jeffery Baker.

Hannah Conroy
Phone: 0044 (0) 7943639832
Fax: n/a

1 Thoresby Street
Nottingham, NG1 1AJ

Ongoing call for project partners

AGM accepts now proposals for future editions of its annual, international symposium, an itinerant and ‘expanded’ form of gathering that may include debate, exhibition, screening, performance and other formats.

Proposals from host organisations or project partners can be sent to
Please include contact details, and an outline or relevance for collaboration. Further information can be seen on our website:

AGM is a curatorial project with some of the inbuilt features of a parasite. Each time, by changing partner, location, form and content, its primary focus is to explore the peculiarity of the hosting body – be it a site, an institution or a theme.

Through the creation of encounters and cultural exchange, AGM promotes the development of a network of cultural centres working around Europe. Our goal is to create and consolidate international collaboration, foster knowledge exchange and support international mobility of cultural workers, theorists and artists.

AGM is orchestrated by Hannah Conroy (UK), Iben Bentzen (Denmark), Yesomi Umolu (UK) and Alfredo Cramerotti (UK/Italy). Recent projects included the ongoing Conversation Series symposia, which provide an open forum for sharing and exchange with no underlying pretext but to consider the current state of affairs at various moments in the lead up to the exhibition or research process. Also, the collective presented AGM 10:Collectivus CPS, at Manifesta 8, Spain (2010) which sought to explore the collective process as emphasised in the selection of three collectives to curate the biennale this time around.

This year sees the beginning of a three year project AGM_Loci, which will facilitate public events that seek to encourage international collaboration and foster knowledge exchange between artist and theorists across Europe. Starting in 2011, curators and artists from Manifatture Knos, Lecce, Italy; One Thoresby Street, Nottingham, UK; Walden Affairs, Den Haag, Holland; Künstlerhaus Büchsenhausen, Innsbruck, Austria will initiate a dialogue to generate a public agenda and ignite discussions on the issue of shared memory of urban spaces.

Every AGM Culture edition poses a series of questions challenging pre-conceived ideas of the hosting body and the relative cultural productions taking place in/through that environment.

One Thoresby Street, 1 Thoresby Street, Nottingham, UK, NG1 1AJ
+44 (0)7941 470145 (Alfredo) or +44 (0)7943 639832 (Hannah)

Ian Breakwell: The Elusive State of Happiness on Nottingham Visual Art

Posted in nEws and rEleases by Curatorview on February 26, 2010

Nottingham Visual Art (eds. Jennie Syson and Andrew Cooper)

by Wayne Burrows
This resistance to containment within any particular interpretation or genre across a body of work that spans drawing, photography, writing, film, audio, performance and television generates its own confusion about the fundamental nature of Breakwell’s project, and this extreme fluidity has almost certainly contributed to both his widespread influence on younger artists (without Breakwell’s example, it’s unlikely that artists as different in sensibility as Jeremy Deller, Heather & Ivan Morison and Tracey Emin would be working quite as they do) and his relative neglect inside the art world since the 1970s.
The exhibition begins with a 1964 etching, The Regent Snooker Hall, Derby, made in the year that Breakwell graduated from the local art college. It’s a canny choice of starting point by the joint curators Louise Clements and Alfredo Cramerotti, because despite its apparent straightforwardness – an elegant, roughly rendered evocation of a dimly lit space populated by shadows, perhaps looking back to the 1950s kitchen sink realism of John Bratby and Joan Eardley – it also points forward to the perspective that would inform everything that followed. It’s all here, in embryo form: the mundane urban setting and oblique viewpoint, the snatched quality of the image, the glancing fascination with an otherwise unobserved corner of everyday life. These things would become the raw material for all Breakwell’s later work.
The addition of material from the AD period of 2004 onwards makes this the first retrospective to follow the threads of Breakwell’s practice to their inevitable, if premature completion. Yet even as Breakwell’s death becomes the main subject of the work, he never allows autobiography to dominate: instead, it’s as though the art – from which Breakwell often removed himself, acting more as engaged, bemused and fascinated observer – obliges him to stand slightly detached even from his own physical decline, bringing that experience into sharp universal focus. Despite the roots of all his art in his own immediate life, he exists here as a figure defined by what he has observed and experienced, rather than a protagonist, and his literal absence makes the web of incidental details he leaves behind seem all the more solid.

complete review at

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