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
How does one inhabit emptiness? There is a tension and struggle inherent to the space between the will of preserving its void and the will of the forces that wish to occupy it. For Katerina Koskina, director of EMST (National Museum of Contemporary Art, Athens), the complexity of emptiness and its overabundance of possibilities has been a dilemma from the moment she first visited the
EMST (The National Museum of Contemporary Art, Athens), in collaboration with the Museum of Contemporary Cuts, Leonardo Electronic Almanac (MIT Press) and with Arts Administration @ Boston University launches a call for artworks open to international artists on the theme of empty pr(œ)mises. empty pr(œ)mises, conceived and curated by Lanfranco Aceti and Katerina Koskina, will focus on the intertwining of the words promises and premises.
Lanfranco Aceti is proud to announce, DemosPopuli, a new series of artwork installations by Will Pappenheimer. Curated by Lanfranco Aceti for the Museum of Contemporary Cuts this virtual installation series consists of writings in augmented reality that are placed in the sky above the Massachusetts State House, the Old South Meeting House and other historical locations of the Freedom Trail throughout Boston. This is a site specific virtual
“Hope, Hope, fallacious Hope! Where is thy market now?” Joseph Mallord William Turner Hope Coming On is a performance conceived and curated by Lanfranco Aceti (MoCC) and with the gracious participation of the Boston Children’s Chorus (Anthony Trecek-King, Artistic Director and Ben Hires, Director of Programs). The choreography has been realized in collaboration with Betsi Graves and Alexander Davis at Urbanity Dance. The performance will take
