alcramer [Alfredo Cramerotti]

Modes of Curating / Curating as Research

Posted in nEws and rEleases by alcramer on January 24, 2018

Curatorial study day led by Alfredo Cramerotti at GSA – The Glasgow School of Art

31 January 2018

GSA-logo-black

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?

 

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IDEAL-TYPES

Posted in nEws and rEleases by alcramer on January 24, 2018

An exhibition at HE.RO [Maurits Hertzberger and Gabriel Rolt], Amsterdam, the Netherlands


Exhibition Dates: 27 January 2017 – 31 March 2018

Formulated by Alfredo Cramerotti, with additional input by Elsa Barbieri on behalf of Art Contemporary, Partnership.

HE.RO_invite3

Exhibition Launch Evening: Saturday 27 January 2018 from 17.00 hrs

With performances by:

Tomoko Mukaiyama

Gernot Wieland

 

See full exhibition details here.

 

HE.RO

BEITELKADE 4, 1021 KG AMSTERDAM

THE NETHERLANDS

OFFICE@HERO-GALLERY.COM

WWW.HERO-GALLERY.COM

 

Press Coverage for Shezad Dawood’s Leviathan

Posted in nEws and rEleases, Uncategorized by alcramer on December 2, 2017

64031-Shezad-Dawood-Leviathan

Shezad Dawood – Leviathan – Fabbrica Fortuny

Link: http://www.rivistasegno.eu/events/shezad-dawood/

 

Un’ antiguida tra illusioni e leviatani

2017-05-09-PHOTO-Press 2

Il trailer di Leviathan, il nuovo film d’artista di Shezad Dawood

Link: http://www.artribune.com/television/2017/05/video-leviathan-nuovo-film-shezad-dawood/#

 

“Leviathan”, e resilienza. Ecco il progetto di Shezad Dawood, a cura di Alfredo Cramerotti, al Villino Canonica
di Irene Guida

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Link: http://www.exibart.com/notizia.aspIDNotizia=53708&IDCategoria=59

Little Atoms (UK)
Passing but very positive mention, describing the show as “not to be missed”!

Link: http://littleatoms.com/art-design/private-politics-2017-venice-biennale

Un Ospite di Venezia (IT)
Nice local coverage of the film programme in collaboration with MUBI

Link: https://www.a-n.co.uk/news/venice-2017-26-recommended-pavilions-shows-individual-works

 

Agenda Venezia (IT)
Leviathan featured in their agenda

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Link: http://www.agendavenezia.org/it/evento-38029.htm

 

Exibart (IT), Matteo Bergamini, 11.12.2016

IL FUTURO DELLA VIDEOARTE? TRA HBO E NETFLIX. E INTANTO L’ARTISTA INGLESE SHEZAD DAWOOD ANNUNCIA IL SUO FILM IN DIECI PARTI, APPUNTO

Link: http://www.exibart.com/notizia.asp?IDNotizia=51713&IDCategoria=204

 

ARTINFO (US), Nicholas Forrest, 12.12.2016

Shezad Dawood to Launch ‘Leviathan’ Film Cycle in Venice

Link: http://ende.blouinartinfo.com/news/story/1784337/shezad-dawood-to-launch-leviathan-film-cycle-in-venice

 

ArtTribune (IT), Santa Nastro, 24.01.2017

Leviathan, parte da Venezia con una serie tv il progetto dell’artista Shezad Dawood

Link: http://www.artribune.com/arti-visive/arte-contemporanea/2017/01/leviathan-venezia-serie-tv-shezad-dawood

 

Aesthetica (UK), no byline/15.02.2017

Dystopian Communities

 

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Link: http://www.asff.co.uk/dystopian-communities/

 

Flash Art (IT), Sara De Chiara, 25.04.2017

Flash Art 50

Link: http://www.flashartonline.it/2017/04/gli-eventi-collaterali/

 

The Guardian (UK), Hettie Judah, 7 May 2017.

I’ve created a monster! Shezad Dawood on his oceanic epic Leviathan

 

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Link: https://www.theguardian.com/artanddesign/2017/may/07/shezad-dawood-leviathan-venice-climate-change-migrants

 

Il Manifesto (IT), Arianna di Genova, 9.05.2017.

Leviathan featured amongst top picks of the “alternative” guide to the Biennale. Includes Leviathan film still as central image.

 

Mr Porter/The Knowledge, Hettie Judah, 11.05.2017.
Shezad Dawood featured amongst Mr. Porter’s selection of industry heavyweights to look out for at the Venice Biennale

WHO TO SPOT AT THE VENICE BIENNALE

Link: https://www.mrporter.com/journal/the-knowledge/who-to-spot-at-the-venice-biennale/2132

 

ATP Diary (IT), Marco Arrigoni, 13.05.2017:
In-depth interview with Shezad and Alfredo on the origins of Leviathan and the issues it tackles.

Shezad Dawood | Palazzina Canonica e Fabbrica Fortuny, Venezia

Link: http://atpdiary.com/shezad-dawood-venice/

 

Artribune (IT), Ludovico Pratesi, 14.05.2017:

Biennale di Venezia. L’editoriale di Ludovico Pratesi

 

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Link: http://www.artribune.com/arti-visive/arte-contemporanea/2017/05/biennale-venezia-editoriale-ludovico-pratesi/

 

Al Jazeera (ME), Charlie Angela, 15.05.2017:
Interview with Shezad and filming in the library of the Canonica as part of broadcast feature on the Venice Biennale.

Venice Biennale: Refugee crisis takes centre stage

Link: http://www.aljazeera.com/video/news/2017/05/venice-biennale-refugee-crisis-takes-centre-stage-170515031632071.html

 

ArtAsiaPacific (MENASA), HG Masters, 15.05.2017

57TH VENICE BIENNALE, PART 4: COLLATERAL EXHIBITIONS

Link: http://artasiapacific.com/Blog/57thVeniceBiennaleDay4

 

South China Morning Post (CN), Enid Tsui, 15.05.2017

Venice Biennale 2017 round-up: political undertones everywhere, but it’s not all despair and anger

Link: http://www.scmp.com/culture/arts-entertainment/article/2094413/venice-biennale-2017-round-urgent-politic-undertones-flow

 

artnet news, Hettie Judah (US), 14.05.2017

The Turned-On Biennale: An Orgy of Liberal Sex and Liberal Guilt Greets Visitors in Venice

 

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Link: https://news.artnet.com/exhibitions/the-x-rated-biennale-venice-2017-960158

 

L’Uomo Vogue (IT), Elena Bordignon, May Issue.

 

DOMUS (IT), no byline, 16.05.2017

Shezad Dawood’s exhibition in Venice is a reflection on where we could be if a deeper understanding of trauma and climate erosion is not found. #BiennaleArte2017

 

Link: http://www.domusweb.it/content/domusweb/en/news/2017/05/16/leviathan_shezad_dawood.html

BBC Wales (UK), Evening News, 16.05.2017

Link: http://www.bbc.co.uk/programmes/b08ql51q

Sky Arte (IT), Giovanni Zaninotto, 22.05.2017

Vogue India (IN), Shahnaz Siganporia

 

Socialter (FR), Manon Grad Manoukianand

 

Crash (FR), Annabelle Leturq

 

DAWN (PK), Virginia Whiles

 

Mutual Art: APT Collection

Shezad Dawood | Leviathan, 7 May-24 September 2017 Palazzina Canonica, Venice, Italy

 

The Artnewspaper

Collaterals and extras: the Biennale’s other shows

 

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Downloadable PDF: TANMay2017

Shezad Dawood: Leviathan; 2017, courtesy of the artist and UBIK Productions

Episode 1.
Commissioned by: University of Salford Art Collection, Outset Contemporary Art Fund and Leviathan – Human and Marine Ecology, with support from The Contemporary Art Society.
Shezad Dawood: Leviathan; 2017, courtesy of the artist and UBIK Productions
Episode 2.
Commissioned by  Cream – University of Westminster and Leviathan – Human & Marine Ecology
Link:  https://vimeo.com/216299027

ATP diary – Interview

 

【娱乐】LEAP Forum Venice

Link: http://www.iqiyi.com/w_19ru524kct.html

 

Elephant |Shezad Dawood: Leviathan

 

The Absence of Path

Leviathan Episode 2 – Yasmine

Link: http://www.theabsenceofpaths.com/commission/leviathan-episode-2-yasmine

Socialter

Plongée dans le Monde Catacysmique de Shezad Dawood

Face à la mer

Read full article here 

 

Vogue India | July 2017 Issue

Great lengths

Read full article here 

 

 

 

 

 

Alfredo Cramerotti: Modes of Curating / Curating as Research @ Valletta 2018 International Curatorial School, Malta

Posted in nEws and rEleases, Thoughts.Coaching, Tools.Coaching by alcramer on August 27, 2017

Valletta Campus of the University of Malta

28 August – 1 September 2017

Screenshot 2017-08-27 18.50.23.png

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.

Friday | 12 May No Way Out. Notes on the Philosophical Implications of the Concept of Anthropocene with Franco “Bifo” Berardi in conversation with Sandro Carniel (CNR – ISMAR)

Posted in nEws and rEleases, Uncategorized by alcramer on May 11, 2017

Friday | 12 May 2017

5pm

No Way Out. Notes on the Philosophical Implications of the Concept of Anthropocene with Franco “Bifo” Berardi in conversation with Sandro Carniel (CNR – ISMAR). Introduced and moderated by Alfredo Cramerotti.

Palazzina Canonica
Riva dei Sette Martiri, 1364
Vaporetto Giardini

See full schedule below

Screen Shot 2017-05-09 at 9.17.03 PM

 

Thursday | 11 May Leviathan: A Beginning. Shezad Dawood in conversation with Alfredo Cramerotti

Posted in nEws and rEleases, Uncategorized by alcramer on May 10, 2017

Thursday | 11 May 2017

2pm

Leviathan: A Beginning. Shezad Dawood in conversation with Alfredo Cramerotti

Palazzina Canonica
Riva dei Sette Martiri, 1364
Vaporetto Giardini

Screen Shot 2017-05-09 at 9.03.35 PM

Shezad Dawood, Leviathan Cycle (production stills), 2017. HD video. Courtesy of the artist and UBIK Productions.

Shezad Dawood | Leviathan

Posted in nEws and rEleases, Uncategorized by alcramer on May 1, 2017

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Screen Shot 2017-04-30 at 9.07.06 PM

Shezad Dawood, Leviathan Cycle (production stills), 2017. HD video. Courtesy of the artist and UBIK Productions.

May 7–September 24, 2017

Shezad Dawood
Leviathan
An episodic narrative

Palazzina Canonica
Riva dei Sette Martiri 1364A, Castello
30122 Venice
Italy
Hours: Tuesday–Sunday 10am–6pm

Fortuny Factory
Giudecca 805
30133 Venice
Italy
Hours: Monday–Friday 10am-1pm, 2pm-6pm

An exhibition of a new and ambitious body of work by artist Shezad Dawood will open in May 2017 to coincide with the 57th Venice Biennale. The show will mark the launch of Leviathan, a ten-part film cycle conceived and directed by the artist that will unfold over the next three years. Leviathan is also being released as a series of written fictions. Episode 1 is available to read at www.leviathan-cycle.com.

The first two episodes of the film will be presented alongside a new series of textile and sculptural works in the newly-restored Palazzina Canonica, the former headquarters of the Institute of Marine Sciences in Venice, which is opening to the public for the first time since the 1970’s. The two-part exhibition will also feature a site-specific intervention in the Fortuny Factory in the island of Giudecca.

Curated by Alfredo Cramerotti, Leviathan is being presented by the Fondazione Querini Stampalia in collaboration with the Institute of Marine Sciences (CNR-ISMAR) and Fortuny in Venice. Following the launch in May, the project will embark on a three-year UK and international tour, culminating in a final presentation of all ten episodes in 2020.

Leviathan is set in an imaginary future whose inhabitants are the survivors of a cataclysmic solar event. Each episode is told from the point of view of a different character and follows them as they drift across Europe, Asia and North Africa, encountering a series of idiosyncratic communities. Filming locations include the Institute of Marine Sciences’ oceanographic platform in the Adriatic Sea, the Natural History Museum in London and an abandoned island in the Venetian lagoon.

In dialogue with a wide range of marine biologists, oceanographers, political scientists, neurologists and trauma specialists, Dawood has been exploring some key fault lines of the present and their possible interconnections. Taking a global and collective approach, Leviathan is a reflection on where we could be if a deeper understanding of trauma and climate erosion is not found, looking at what is not only a humanitarian crisis, but a wider crisis within our biosphere.

The new series of textile paintings has been developed in dialogue with the renowned textile manufacturer Fortuny, and will incorporate several of their hand-made fabrics. Dawood has furthermore been working closely with the Labanof in Milan, an institute that conducts research on personal effects lost by migrants during sea crossings to Lampedusa, in order to help families identify missing relatives. A series of artefacts and objects from the Labanof archive will provide the visual references for the new textile works.

The paintings will be installed in the library of the Palazzina Canonica, as well as in the showroom of the Fortuny factory in the Giudecca, established in 1919 and still operational today. In addition, a large-scale outdoor neon work titled Island Pattern, developed especially for the Fortuny Factory, will be unveiled within the garden façade of the building.

The exhibition in Venice will be accompanied by a lively public programme that will bring together specialists involved in the project for a series of informal discussions akin to the philosophical “agora” in Ancient Greece. These discussions will also be available in digital form through the project’s web platform, creating an archive aimed at scientists, researchers, students and the general public. In addition, a special film programme curated by Shezad Dawood in collaboration with streaming platform MUBI will run throughout the duration of the exhibition, with free film screenings taking place at the Palazzina Canonica.

The third film episode will be released in September 2017 and incorporated into the exhibition. Subsequent episodes will be co-commissioned and presented in partnership with a series of international venues, culminating in the presentation of all ten episodes in 2020.

The project is being developed with the support of Timothy Taylor, Outset Contemporary Art Fund, Galerie Gabriel Rolt, CREAM – University of Westminster, University of Salford Art Collection with support from The Contemporary Art Society and a circle of private patrons.

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