For the Platforms Project in Athens, the Museum of Contemporary Cuts presents an international exhibition consisting of two works by two different artists strategically placed in opposition to one another. The two artists, Lanfranco Aceti and Yiannis Melanitis, challenge each other through a series of colloquia that, while rooted in incommunicability, isolation, and censorship, nevertheless speaks of contemporary notions of freedom, democracy, and understanding. Both
Affirmative Re-Action, curated by Lanfranco Aceti and Candice Bancheri for the Museum of Contemporary Cuts, is the latest art project by American conceptual artist, Jay Critchley. Rooted in the long tradition of twentieth-century art, the artwork is a recycling and re-hanging of Provincetown’s historical street banners. These large plasticized banners announcing cultural events and/or displaying advertisements are a staple of contemporary society and towns the
100 Days Urn is the newest artwork to be placed on The Fifth Column of the White House. "The urn has been produced by the internationally renowned British artist Grayson Perry. It will collect metaphorically, and perhaps one day even physically, the ashes of the first one hundred days of the Trump presidency. It will act as a repository of all that is incredibly wrong in
Italy gives the middle finger to the US. A recent addition to the White House lawn in the form of a sculpture presented to the US by Italy is causing quite a stir. "This is a gift made to the American people," said the mayor of Milan. “We are depriving one of our most beautiful squares of a memorable piece of art,” he explained “and
The Museum of Contemporary Cuts has nominated for the position of Curator Of The United States (COTUS) Lanfranco Aceti. Dr. Aceti was chosen for his unconventional curatorial projects and approaches. He has defied the mainstream conventions in curating contemporary art and experimented with alternative approaches which oblige, both the viewers and professionals, to question the role of contemporary art in the current socio-political and financial
The Slap - 3 of 3 from Lanfranco Aceti on Vimeo.
The Slap aka He Who Gets Slapped is a performance and a series of digital artworks presented for the first time in 2015 at the Supermarket Art Fair in Stockholm, Sweden. The online element of this artwork presented on eBay is part of the extrange exhibition. The performance is part of a larger collection of artworks titled Soma which is inspired by the contemporary social
On January 20, 2017, @ 00:01 The Fifth Column and the First Forty-Nine Cards by Lanfranco Aceti was quietly launched in the maelstrom of contemporary tensions. This project is inspired by the complexity of contemporary society, its upheavals, crises, and turmoils. It is a project in which the role of the artist and that of the curator meld, generating confusing existential post-truths, ethical conflicts, truthful
A new exhibition titled Back to Basics: Uncanny in which I have a set of artworks and an installation. This group show curated by Artemis Potamianou sees the participation of Lanfranco Aceti, Misha Cattaui, Kalos & Klio, Simon MacEwan, Elisabeth Penker, Aggelos Antonopoulos, Augustus Veinoglou, Vasilis Zographos and Ioannis Savvidis. The exhibition, the first of a two parts show, at the Enia Gallery, from December
nEUROsis is the new group show that I am participating in and takes place in Limassol, Cyprus. The exhibition deals with issues related to the contemporary socio-economic upheavals. "The global financial crisis of the past eight years is heavily impacting most European Mediterranean countries, destabilising not only the symbolic structures of Europe expressed in its initial agreements as unity, stability and equality but also the
How does one inhabit emptiness? There is a tension and struggle between the will of the space in preserving its void and the will of the forces that wish to occupy it. This conflict became the subject matter of conversation between the Director of EMST (National Museum of Contemporary Art, Athens), Katerina Koskina, and curator Lanfranco Aceti after they shared their concerns for the realization of any exhibition starting from
