alcramer [Alfredo Cramerotti]

Press coverage highlights for MOSTYN the extended exhibition season March – October 2020: Athena Papadopoulos and Kiki Kogelnik

Posted in nEws and rEleases by alcramer on December 28, 2020

Zabludowicz Collection: Invites Focus: Athena Papadopoulos.
Online – available at papadopoulos

E-flux: Athena Papadopoulos: Cain and Abel Can’t and Able, 12 March 2020Online – available at objectsathena-papadopouloscain-and-abel-can-t-and-able/

This image has an empty alt attribute; its file name is athena-7.jpg

Juliet Art Magazine, 27 May 2020, by Elsa Barbieri

The Guardian: The great reopening – how Britain’s galleries Covid-proofed themselves, 8 July 2020, by Charlotte Higgins

Online – available at britains-galleries-covid-proofed-london-dundee-llandudno

The Guardian: From Llandudno to Stromness: 10 of the best hidden gem art galleries, 2 October 2020, by Jonathan Jones

Online – available at

Fluxo: Cain and Abel Can’t and Able.
Online – available at at-mostyn-gallery/

Tank Magazine: Cain and Abel Can’t and Able.
Online – available at

Studio Visit: Athena Papadopoulos.
Online – available at

Art Daily: MOSTYN reopens with exhibition of works by Athena Papadopoulos.
Online – available at by-Athena-Papadopoulos#.X7Ud_y-l2jS

The Double Negative : Culture Diary – On our Radar, 04 September 2020, by Mike Pinnington
Online – available at

Kiki Kogelnik: Riot of Objects / Athena Papadopoulos: Cain and Abel Can’t and Able @ MOSTYN Gallery, Llandudno 

In 1961, Austrian Kiki Kogelnik left behind the Viennese avant-garde scene, trading it for Santa Monica. In the US, she was influenced by Roy Lichtenstein, Andy Warhol, Tom Wesselmann, Robert Rauschenberg and Claes Oldenburg. Responding to this male-dominated world, she introduced feminism and criticality to the already fertile ground of mass media and consumer culture, becoming an interesting (and underexposed) outlier of pop art in the process. This MOSTYN Gallery show is the first in the UK to focus solely on her ceramics output. Dovetailing nicely is a new body of work from Canadian artist Athena Papadopoulos, which questions traditional binary perceptions of gender and sexuality.

The World of Interiors: Exhibitions to see, Print, September 2020

Coast: 10 Inspiring Galleries by the Sea. Print, October 2020

Shire Magazine: Contemporary Art at MOSTYN. Print (May/June 2020).

Shire Magazine: Exhibitions at MOSTYN Gallery. Print (September/October 2020).

Welsh Coastal Life: Diary: What is happening on and around the Welsh Coast. Print (April 2020).

North Wales Magazine: The Great days Out. Print (August 2020).

North Wales Pioneer: Athena Papadopoulos’ Cain and Abel Can’t and Able at MOSTYN gallery in Llandudno, 31 July 2020, by Duncan Rieder
Online – available at cain-abel-cant-ableat-mostyn-gallery-llandudno/

Rhyl, Prestatyn & Abergele Magazine: Athena Papadopoulos’ Cain and Abel Can’t and Able at MOSTYN gallery in Llandudno.
Online – available at abel-cant-ableat-mostyn-gallery-llandudno/

Athena Papadopoulos, Cain and Abel Can't and Able, 2020. Installation view at MOSTYN, Wales UK. Picture: Mark Blower.

York Press: Athena Papadopoulos’ Cain and Abel Can’t and Able at MOSTYN gallery in Llandudno. Online – available at papadopoulos-cain-abel-cant-ableat-mostyn-gallery-llandudno/?ref=rss

Athena Papadopoulos, Cain and Abel Can't and Able, 2020. Installation view at MOSTYN, Wales UK. Picture: Mark Blower.

Cura magazine: Athena Papadopoulos

Drawing from the biblical story of Cain and Able, Papadopoulos reflects on her own personal experiences of sibling rivalry and competition within romantic relationships but also, crucially, the struggle between good and evil.

Apollo magazine: Kiki Kogelnik

Kiki Kogelnik: Riot of Objects

MOSTYN, LlandudnoUntitled (Sea Monster) (detail; c. 1974), Kiki Kogelnik.

Untitled (Sea Monster) (detail; c. 1974), Kiki Kogelnik. Courtesy Kiki Kogelnik Foundation

After moving to New York in the early 1960s, the Austrian-born artist emerged as one of the few women associated with the Pop art movement. She is perhaps best known for her series of Hangings: life-size tracings, cut-outs and paintings of human figures. But from 1974 ceramics became a key part of her practice. This is the first UK exhibition to focus on her work in this medium, by turns fantastical and darkly comic.

Widewalls: Riot of Objects – Kiki Kogelnik’s Ceramics On Show at MOSTYN, 17 August 2020, by Elena Martinique

Online – available at

 BBC Radio Wales Art Show, Friday 14 August 2020, interview with Alfredo Cramerotti (from 1:10mins)

The Telegraph newspaper, 21 August 2020, by David Atkinson

IDEAL-TYPES [Chapter 2]

Posted in nEws and rEleases, shortEssays/cortiSaggi [English/Italian] by alcramer on May 2, 2019

Curated by Alfredo Cramerotti and Elsa Barbieri

Marignana Arte
Venice, from 7 May to 7 September 2019

Opening: Tuesday, 7 May, 5:00 – 10:00 pm
Special openings: from Wednesday 8 to Sunday 12 May, 10:00 am – 8:00 pm


Invitation Card

Inspired by Max Weber’s theory, whereby for studying a social action without reducing its particularities to a collection of individual events we must start from the perception that the individual has of the real world, this ongoing exhibition project is designed as a speculative tool which makes possible to measure reality: the ideal-type (Idealtypus).
Athanasios Argianas, Maurizio Donzelli, Nancy Genn, Artur Lescher, James Lewis, Alice Pedroletti, Antonio Scaccabarozzi, and Verónica Vázquez, are the eight international artists invited to formulate an artistic language that visually translates the thought relationships when trying to set out a concept; they do so through the dialogue between their respective art works, and with gallery spaces. A methodological paradigm that is never traceable empirically in its conceptual purity, the ideal-type is intended as a utopia that shares characteristics with real objects, even if it does not correspond to any specific example. With it, the materiality of existence must be compared in order to illustrate the
significant elements of its empirical content.

It is thus a matter of adopting something imaginary or intangible to better understand the concrete. The concept does not copy real life but underlines its most intrinsic connections. Without any expectation of objectivity, the artists build a kind of seductive, meticulous and inconsistent verisimilitude to verify empirically. By isolating a particular phenomenon from the complex of interactions, and catching uniform elements in the repetition of the same, each one proceeds in structuring the ideal-type that operates as a unilateral and rational measuring device of reality.

The artworks on display question the viewers by encouraging them to develop always new readings on the being within a visual and spatial conversation. The three wall low reliefs from the series “Clay Pressings” (2016-18) by Athanasios Argianas suggest a liminal space where systems and mechanisms freely swap with intuition. The tapestry “Angelicato” (2014) by Maurizio Donzelli is the result of in-depth research about the manipulation of the image. Works on paper by Nancy Genn, “Construct Blu I” (2003),
“Construct Yellow” (2003) and “Rainbars 6” (2011), are earthy, solid, layered, full of spirituality. Their pure and raw material fits in the unique variations of colours and textures, releasing a sharp and delicate lyricism. The steel sculpture “Sem Título, Da Série Nexus #2” (2013) by Artur Lescher is composed of single pieces in suspension, which highlight their volume and deny the action of the force of gravity. The wood,
paint, resin and lead work by James Lewis, “Diseases of Warm Lands (Rhombus)” (2018), corresponds to an extinct star constellation and is a visual monument to the impossibility of defining the parameters of human understanding and endeavours. “Study for a sculpture” (2016-19) by Alice Pedroletti is a series of photographs and paper sculptures, accompanied by sketches, that recreate a hypothetical landscape. They are fragile and temporary prototypes that constitute a city inspired by organic shapes. The works from the series “Essenziali” (1990-95) by Antonio Scaccabarozzi are self-representations of the pictorial body; free strokes of pure colour, wide, oblique, accurate and strong, without any support. Result of the interpretation of the practise of assemblage and contemporary weaving, “De la série tapices con metales” (2016), “Escultura en acero I” (2016), and “Sin Título” (2018) by Verónica Vázquez express the reperforming value of the material


Athanasios Argianas (1976, Athens, Greece; lives and works in London)
Maurizio Donzelli (1958, Brescia, Italy; lives and works in Brescia)
Nancy Genn (1930, San Francisco, United States; lives and works in San Francisco)
Artur Lescher (1962, São Paulo, Brazil; lives and works in São Paulo)
James Lewis (1986, London, England; lives and works in Vienna)
Alice Pedroletti (1978, Milan, Italy; lives and works in Milan)
Antonio Scaccabarozzi (1936 – 2010, Lecco, Italy)
Verónica Vázquez (1970, Treinta y Tres, Uruguay; lives and works in Uruguay)

Direction Marignana Arte.png


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.


Exhibition Launch Evening: Saturday 27 January 2018 from 17.00 hrs

With performances by:

Tomoko Mukaiyama

Gernot Wieland


See full exhibition details here.








%d bloggers like this: