alcramer [Alfredo Cramerotti]

Press coverage for CIÒ CHE VEDO: nuova figurazione in Italia // WHAT I SEE: new figurative art in Italy @ MART Galleria Civica Trento, Italy

Posted in nEws and rEleases by alcramer on November 5, 2020

L’Adige newspaper, 13 February 2020

Corriere del Trentino, 13 February 2020

Artribune magazine, 17 February 2020

Il Venerdì di Repubblica magazine, 28 February 2020

Trentino newspaper, 3 March 2020

Arte Mondadori magazine, March 2020

Il Giornale dell’Arte newspaper

Exibart magazine, 18 April 2020

Sarah Entwistle at Museo Nivola: “You should remember to do those things done before that have to be done again”, curated by Alfredo Cramerotti

Posted in nEws and rEleases by alcramer on November 2, 2020
Museo Nivola is pleased to present the first institutional solo exhibition in Italy of Sarah Entwistle, comprising of an entirely new body of work that includes tapestries, objects and 2D works. 

The exhibition, You should remember to do those things done before that have to be done again, curated by Alfredo Cramerotti, borrows its title from a love letter written in the mid 1960’s by Sarah Entwistle’s grandfather and fellow architect, Clive Entwistle (1916-1976), a contemporary of Costantino Nivola. 

For the artist, a daily ‘remembering’ has been the practice of calibrating time and place through the collection of discarded objects and material fragments. In recent years this ritual has started to glitch into the historicity of her grandfather’s archive around which her work orientates. Approaching its contents as mutable allows the artist to continually revise and reconstruct new narrative lines. Objects are exchanged into it, and pieces extracted out. In this often-confronting process of merging biographies Entwistle feels a continual tussle for proprietorship as the boundary of a lived history being ruptured. 

For this exhibition at Museo Nivola, the artist creates a large-scale sculptural arrangement of objects that record the movement of a year, and her first visit to Orani. Presenting an aggregation of objects that have formal associations with a ‘historical-present’, she draws arcs and tangents between the works of Nivola, the artist’s grandfather (both European emigrants to New York) and her own life and practice.

Many of the elements displayed where gathered on her first over-land travel to Orani from her home in Berlin. Further pieces have been accumulated in the year since from London, Berlin, Morocco, Athens and Sicily. Found and hand-made elements that collectively create an archeology of shapes, materials, tones and textures.  Arranged in the gallery, three monolithic stone and marble plinths display these constellations of artefacts, positioned to form resonant arcs and axis. Stacked around the gallery periphery, large compressed blocks of raw wool in various dyed hues can be laid on by visitors; from there, a series of suspended paper hangings can be viewed. The collaged hangings use differing textures, opacities, paper weights and sizes to create an abstract tonal enclosure of sepia and blues.

A series of three hand-woven panels produced by local Sarule weavers; Lucia Todde, Rosaria Ladu, Pasquala Piredda are allocated to each table arrangement. The weavings are a further illustration of the artist’s continued fascination with the process of translation and interpretation from the drawn medium to a handmade physical object, where slippages in form, scale and colour occur. The intention with this collaborative production is for the composition and outcome to be determined and translated through the eye and expertise of the weavers, and in this less deterministic process new views emerge. Through this body of work Entwistle is searching for a line of sight that synchronizes personal histories, geographical regions and shared material practices. 

Sarah Entwistle originally trained as an architect at The Bartlett, UCL and Architectural Association, London. She is the 2014 recipient of the Le Corbusier Foundation Grant for Visual Artists and in 2015 presented a solo exhibition at the Le Corbusier Foundation in Paris.  The exhibition coincided with the publication of her experimental biography, Please send this book to my mother, Sternberg Press, 2015.  She was the recipient of the Graham foundation for the advanced studies in fine art, Chicago, 2014; the Artists’ International Development Fund, Arts Council England, 2017; and Main Prize winner for the Mostyn Open 21, MOSTYN. 

Museo Nivola in Orani (Nuoro), located in the middle of a park in the heart of Sardinia, is devoted to the work of Costantino Nivola (Orani, 1911–East Hampton, 1988), an important figure in the international movement for the “synthesis of the arts” (the integration of the visual arts and architecture) who also played a key role in the cultural exchange between Italy and the United States in the second half of the 20th century. The museum has a permanent collection comprising more than 200 sculptures, paintings, and drawings by Nivola and organizes temporary exhibitions focused primarily on the relationship between art, architecture, and 

Sarah Entwistle. You should remember to do those things done before that have to be done again. Curated by Alfredo Cramerotti Museo Nivola, Orani, (NU), October 31, 2020 – February 28, 2021Opening October 31Please note that due to the Covid-19 restrictions, there won’t be a formal vernissage. 

Main sponsor: Fondazione di SardegnaInstitutional Partner: Regione Autonoma della Sardegna, Comune di Orani, Distretto Culturale del Nuorese.Handling and installation: Art Handling Services by Luca Pinna – Seneghe OR; Tiemme srl -SassariTechnical Sponsor: Cantine Tenute Bonamici Mamoiada.Thanks to: Brundu Edili Orani, Cusinu Marmi Orani, Arte del Ferro di Pierpaolo Ziranu Orani, Tessile Crabolu Nule and the weavers from Sarule Lucia Todde, Rosaria Ladu and Pasquala Piredda.

IKT 2020 Virtual Meeting “Sustainable Curating in Corona Times”

Posted in nEws and rEleases by alcramer on October 17, 2020

 to  BST

While the annual IKT Congress had to be postponed due to the pandemic, IKT resolved to organize a virtual gathering to connect with its members and the public at large during these challenging times. Over a period of 3 hours each day, we will hear from a diverse group of IKT members who will share their stories, experiences and best practices developed over the past few months; as well as from key note speakers and panelists exploring sustainable practices in our collective curatorial endeavors.

TheIKT Virtual Meeting 2020 is free and open to IKT members as well as to the general public, however mandatory registration is required.

Please find here the detailed program to the IKT 2020 Virtual Meeting.

Press coverage for MOSTYN June-August 2020 – general interest, MycoTV and Montez Press Radio digital programmes

Posted in nEws and rEleases by alcramer on September 21, 2020

Listing of Montez Press Radio on Art Monthly, published 1 June 2020:

Listing of MycoTV on, published 15 June 2020:

and, published 15 June 2020:

A series of online talks, workshops, readings and film, using the concept of ‘SlowTV’ as a starting point and featuring critical reflections on the current socio-political climate:

Feature on The Guardian, published 8 July 2020:

(passage of interview with Alfredo Cramerotti here below:)

Feature in the North Wales Pioneer on MOSTYN re-opening after lockdown, published 27 July 2020:

Feature on The Art Fund Newsletter, published 5 August 2020.

Your guide to museums and galleries by the sea:

Short interview with Alfredo Cramerotti on BBC Radio Wales Art Show, that aired Friday 15 August 2020.

Available at: (from 1:10mins)

Feature on The Telegraph, with quote from an interview with Alfredo Cramerotti, published 21 August 2020:

‘Conflict Reporting’ on Switch [On Paper] Issue September 2020

Posted in nEws and rEleases, shortEssays/cortiSaggi [English/Italian] by alcramer on September 17, 2020

Image: Adam Broomberg & Oliver Chanarin, The Press Conference, June 9, 2008 (detail) from The DayNobody Died, 2008

Observing the limits of photojournalism in the face of humanitarian and wartime tragedies, artists have sought ways to bear witness to human suffering freed from the grip of media and government powers. Their approach is not without problems. Perhaps their critical potential lies in testing these limits.

Conflict Reporting

An investigation by Alfredo Cramerotti and Lauren Mele for Switch [On Paper], the only international news weekly where art and culture serve as a window on the world.

Full text here:

AICA-UK Emerging Art Writers Fellowships

Posted in nEws and rEleases by alcramer on September 11, 2020

AICA-UK is pleased to launch a programme to support emerging art writers at formative moments in their careers. Offering two or more non-stipendiary Fellowships each year, the scheme provides successful candidates with mentorship and editorial guidance from distinguished art critics and writers among AICA-UK’s membership. With interests that complement those of the Fellows, mentors will review writings and offer both detailed feedback and general career advice over the course of the six-month Fellowships.   

If you are interested in applying for an AICA-UK Emerging Art Writers Fellowship, please email your CV, two examples of recent work and a statement of up to 500 words setting out what you hope to achieve through this opportunity, to George Vasey at

Please note that applicants must be UK-based and within five years of establishing their practice.   

The deadline for submissions is 21 September 2020. Applications will be reviewed by a number of members of the AICA-UK Executive Committee and the first Fellowships will start in autumn 2020.

WE ARE RECRUITING: Visitor Experience Team Supervisor

Posted in nEws and rEleases by alcramer on August 27, 2020

Would you like to work alongside our team at MOSTYN?

MOSTYN is seeking a Visitor Experience Team Supervisor to play a key role in ensuring MOSTYN’s visitors enjoy their visit in a safe and secure environment.

Download the full job description here

To apply, please send CV and brief covering letter to:

Application deadline: 5pm on 31st August 2020Interviews will be held on: 3rd September 2020 and 7th September 2020

Press coverage highlights for MOSTYN exhibition season November 2019-March 2020: Anj Smith, Chiara Camoni, Nobuko Tsuchiya

Posted in nEws and rEleases by alcramer on July 9, 2020
Hauser & Wirth Media: Anj Smith in Conversation with MOSTYN Director, Alfredo Cramerotti

Contemporary Perspectives on Digital Image Making: Lecture at University of South Wales, Cardiff

Posted in nEws and rEleases by alcramer on May 7, 2020

Lecture for MA Documentary Photography and PhD Courses

Faculty of Creative Industries, University of South Wales.

Thursday 7 May 2020, 2pm

syms 7
Image: Martine Syms

Presentation on contemporary perspectives on digital image making, part of the body of research “The Hypermage: A Curatorial Approach on Expanded Photography”.

MOSTYN exhibition season: Kiki Kogelnik and Athena Papadopoulos

Posted in nEws and rEleases by alcramer on April 14, 2020

MOSTYN, Wales UK presents a new season, commencing March 2020, which includes exhibitions by Kiki Kogelnikand Athena Papadopoulos.

Screenshot 2020-04-14 13.46.19

1. Kiki Kogelnik, Untitled (Sea Monster), c. 1974. Glazed ceramic. Courtesy Kiki Kogelnik Foundation

Kiki Kogelnik: Riot of Objects
March 14–July 5, 2020

Riot of Objects is the first institutional presentation in the UK to focus solely on Kiki Kogelnik’s ceramic works. Considered one of the key figures of the post-war avant-garde, Kogelnik’s multidisciplinary oeuvre spans five decades. Her multifaceted artistic style evolved from painterly abstraction to Pop Art and the representation of the (female) body.

Consumer culture, technology and feminism were recurring themes throughout her work. Her unique aesthetic is marked with playfulness and humour yet imbued with a stark sense of criticality. In resisting and contesting the lure of post-war capitalist culture in her work, she demarcated herself from her contemporary peers.

Her first ceramics were made in 1974, and soon became a key activity in her artistic practice. Her ceramic works were hand-built and cut from slabs using stencils and are reminiscent of her earlier paintings in their boldness, bright colours and vivacity. Drawing on a method of presentation she employed in an exhibition at the Henri Gallery in Washington, DC in 1990, a number of islands pepper the space; made from clusters of plinths of different heights and widths and displaying a range of her freestanding works that date from the 1950s through to the 1990s. Arranged chronologically, this exhibition demonstrates Kogelnik’s boundless capacity for invention and restless commitment to making.

Kiki Kogelnik was born in 1935 in Bleiburg, Austria. She lived and worked in New York and Vienna. She died in 1997 in Vienna, Austria.

The exhibition is curated by Chris Sharp and organised by Alfredo Cramerotti, in partnership with the Kiki Kogelnik Foundation. Supported by the Austrian Federal Chancellery.


Screenshot 2020-04-14 13.47.38

2. Athena Papadopoulos, Gogo Angel, 2019. Mixed media. Courtesy the artist and Emalin, London

Athena Papadopoulos: Cain and Abel Can’t and Able
March 14–July 5, 2020

Cain and Abel Can’t and Able presents a new body of work by artist Athena Papadopoulos. Working across sculpture, painting, text and sound, Papadopoulos’ practice defies traditional representations of the body, creating excessive, decaying and abject hybrid forms hovering between the worlds of the imagined and the real. Through a process of assemblage, her work is formed of found objects amassed and collaged together. Traditional binary perceptions of gender and sexuality are uprooted and unfixed.

Using her ever-expanding vocabulary of materials and ancient narratives, which she combines with unlikely elements, this new series of works includes sound, sculpture and painting. Exploring human dichotomies, the exhibition questions the complicated duality of reason and emotion.

The exhibition is inspired by her recently published book Cain and Abel Can’t and Able, which gives the exhibition its title. Drawing from the biblical story of Cain and Abel, Papadopoulos reflects on her own personal experiences of sibling rivalry and competition within romantic relationships but also, crucially, the struggle between good and evil.

Cain and Abel Can’t and Able is centred around a dialogue written by Papadopoulos in which an imagined narrative between two seemingly distinct voices is played out. Exploring themes such as jealousy, lust and kindness, Papadopoulos transforms this dialogue into wall-based sculptural paintings, an experimental sound work which can be heard throughout the gallery space and pages of the text that reappear hidden, splayed and nesting within the installation.

Athena Papadopoulos was born in 1988 in Toronto, CA. She lives and works in London.

The exhibition is curated by Alfredo Cramerotti, Director, MOSTYN and supported by the Zabludowicz Collection.


12 Vaughan Street
Llandudno LL30 1AB
United Kingdom

T +44 1492 879201

About MOSTYN, Wales UK
Situated in the coastal town of Llandudno, MOSTYN is Wales’ foremost visual arts centre, serving as a platform for contemporary artistic practice and audience engagement. MOSTYN presents outstanding and critically engaged international contemporary art that engages, inspires and encourages people to form and share new perspectives on the world through its programmes. It is part of Plus TATE, the UK-wide contemporary visual art network.

For further information and press images, please contact Lin Cummins, Audience Relations Manager, MOSTYN / T 01492 879201

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