But I Can't Help Myself: Against the Resurgence of the Millennial Issues of Ignorance and Idiocy is Lanfranco Aceti's inaugural lecture at the Academy of Media Arts Cologne (KHM). The lecture focuses on the role of contemporary politics in reshaping our understanding of society and the modalities for practicing art. Professor Aceti introduces a series of concepts and frameworks to define his aesthetic approaches
The Museum of Contemporary Cuts presents Anatomy of a Dream, a new solo exhibition by Lanfranco Aceti, curated by Artemis Potamianou for Platforms Project, Athens, Greece. This body of new works of art is made of three painting diptychs with acrylic paint on raw linen canvas. One of the diptychs features spent matches embedded in the paint itself. The diptychs are juxtaposed with a sculptural
Looking Straight is a new series of self-portraits by Lanfranco Aceti realized for International Women's Day 2018 as part of a performance in Barcelona at MACBA. The artworks are inspired by Piero della Francesca's iconic profile portraits of the Duke Federigo da Montefeltro and Duchess Battista Sforza of Urbino (1465-1472). The original Renaissance portraits are a diptych while the new series realized are triptychs.
Where Is Space? is a conversation between Professor Vincent Brown (Harvard) and Professor Lanfranco Aceti (MIT and BU) on issues of space and its relationship to the construction of contemporary visual, literary, and historical contexts and narratives. Professor Brown will talk about space, time, and slavery in the context of contemporary digital media and discuss these topics with professor Aceti. The lecture will take
Can You Feel It? I Can Feel It is a new installation work by Lanfranco Aceti created for the exhibition, When All is Said… and Done, curated by Artemis Potamianou for the Lubomirov/Angus-Hughes gallery in London. Participating artists include: Lanfranco Aceti, Aggelos Antonopoulos, Bill Balaskas, Jackie Berridge, Jimi Efthimiou-Dimitris Mitsopoulos-Vivi Papanikola, George Harvalias, Lady Michelle, Frini Mouzakitou, Giorgos Papadatos, Artemis Potamianou, Clay Smith, and Mark
Annunciation is the latest performance and sculptural installation by Lanfranco Aceti. As part of the exhibition nEUROsis, the artwork was realized in Limassol, Cyprus, with the support of the non-profit organization NeMe. Curated by Yiannis Colakides, the project was developed as part of a year long residency in which the artist explored via thorough research themes and concepts related to apocalypse, post-democracy, post-citizenship, activism,
Disobedient, Discontented, and Disruptive: Politics of Aesthetic Resistance and Resilience is a presentation by Professor Lanfranco Aceti at Art, Culture and Technology (ACT) @ MIT. The presentation, on Tuesday, February 13, 2018, is part of ACT luncheon series and engages faculty and students with the affiliate's research and thought processes in the creation of new scholarly works, curatorial projects, or personal exhibitions. “The repressed
Professor Lanfranco Aceti (Boston University) and Professor Doris Sommer (Harvard University) have joined forces to deliver a student experience in interpretation of complex texts within art spaces. The semester-long course titled Arts in Barcelona, analyzes how national conflicts and civil unrest affect forms of cultural production. Professor Aceti chose The Politics of Friendship by Jaques Derrida for the class Arts in Barcelona because of its focus on nationalism and its relevance
Lanfranco Aceti’s new work, Baked: The Truth Will Set You Free, But First It Will Piss You Off (2017), is based on a neon installation from the exhibition, nEUROsis, curated by Yiannis Colakides for NeME. The artist defined these new works of art as a “series of perspectival studies envisioned through tinted glasses on moving life.” The artworks consist of prints and screen paintings,
Remainders at the End of a Summer Bliss, by Lanfranco Aceti, is a curatorial essay that surveys Bill Balaskas’s exhibition, Remains of a Summer Bliss, at the Kalfayan Galleries, Athens and Thessaloniki. Featured on their new platform, Contemporary Arts and Cultures (CAC), the essay is published by the Leonardo Electronic Almanac (LEA), MIT Press. In a globalized context of ruthless capitalism, this curatorial essay
