Dr. Alfredo Cramerotti is a cultural entrepreneur, curator, writer, broadcaster and publisher working at the intersection of contemporary art, film and video, performance, photography, mass media culture, the verse and online media formats including art adopting the blockchain technology such as NFT and crypto art.
Director of MOSTYN, the leading institution for contemporary art in Wales, UK; President of IKT–International Association of Curators of Contemporary Art; Vice-President and Executive Committee Member of AICA–International Association of Art Critics; Executive Committee Member of ICOM UK–International Council of Museums; Co-Chair of VAGW–Visual Art Group Wales; Advisor to the British Council Visual Arts Acquisition Committee and the Art Institutions of the 21st Century Foundation; Member of CIMAM–International Committee for Museums and Collections of Modern Art. Former Head Curator of APT Global–Artist Pension Trust (2012-18) and Associate Curator of CCANW–Centre for Contemporary Art and the Natural World (2018-20). He was Member of the Selection Committee for both the British Pavilion and Malta Pavilion at the Venice Biennale 2017 as well as the Estonian Pavilion at the Venice Biennale 2015.
Over the last two decades, he curated major exhibitions for biennials and institutions worldwide such as the ongoing exhibition project Ideal-Types (Amsterdam 2018, Venice 2019); Sean Scully: Standing on the Edge of the World at the Hong Kong Arts Centre (2018); Shezad Dawood: Leviathan with the Fondazione Querini Stampalia in conjunction with the 57th Venice Biennale (2017); EXPO VIDEO Chicago (2015); four national pavilions at the Venice Biennale (Pera Flora Fauna-Malaysia in 2022, Mauritius in 2015, Wales and Maldives in 2013); and the biennials Sequences VII in Iceland (2015) and Manifesta 8 in Spain (2010).
He holds a PhD in Communication Design and Photography from the European Centre for Photography, University of South Wales, Cardiff, and is Visiting Lecturer at major universities and art colleges throughout Europe and the Americas. He is co-Publisher of @xxnft newsletter and online platform promoting the role of women artists in the verse, Editor of the Critical Photography book series by Intellect, and has had over 200 texts published on art and curatorial practice, contributing to a large number of books, journals, catalogues and monographs. His own publications include Curating the Image: Notebook for a Visual Journey (Distanz 2020); Forewords: Hyperimages and Hyperimaging (Manfredi 2018), Unmapping the City: Perspectives of Flatness (Intellect 2010) and Aesthetic Journalism: How to inform without informing (Intellect2009).
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|Director||MOSTYN, Wales' leading contemporary art centre, UK (2011-)|
|Series Editor||Critical Photography book series, Intellect Books, Bristol, UK & Chicago, USA (2009-)|
|Co-Founder||CPS Chamber of Public Secrets, art & media production collective (with Khaled Ramadan, 2004-); and AGM Culture, roaming curatorial agency (with Hannah Conroy and Iben Bentzen, 2003-15)|
|CCANW Centre for Contemporary Art and the Natural World, UK (2018-20)|
|Curatorial Consultant||Kybernein, cultural research unit (2014-2018); British Council Visual Arts Acquisition Committee; Art Institutions of the 21st Century Foundation|
|Head Curator||APT Global – Artist Pension Trust, London, UK and New York, USA (2012-2018)|
|2019-||CIMAM International Committee for Museums and Collections of Modern Art|
|2018-||ICOM International Council of Museums|
|2017-||Art Institutions of the 21st Century Foundation, London, UK|
|2017-||British Council Visual Arts Acquisition Committee, London, UK|
|2011-||VAGW Visual Arts and Galleries Association of Wales, UK; Co-Chair (2020-)|
|2010-||AICA International Association of Art Critics; Exec Committee, UK Section (2017-); Vice-President, International (2018-)|
|2010-||IKT International Association of Curators of Contemporary Art|
|2009-||Kran Film Collective, Brussels (BE) and New York (USA)|
|2002-19||Axis/Visual Association, UK|
|2018-||Look Lateral magazine|
|2015-||The Seen magazine|
|2011-||DigiCult cultural digital platform|
|2010-||Vimeo video essay channel|
|2007-11||esse arts + opinions magazine|
Media Geographies blog
Adam Buss, Director, Derby QUAD Limited
“Alfredo is an exceptional curator who has an extensive knowledge of the contemporary art world, particularly the galleries and artists of Europe. His positive outlook and strong work ethic make him an ideal leader and someone who can always be relied on to diffuse tense situations with a cool head. He was someone who was always willing to learn and also pass on his considerable knowledge to those around him.” August 21, 2012
Sam Harvey, Managing Partner, Sanduron
“I was introduced to Alfredo in Sept/Oct 2011 whilst working in Southern Italy, and I have to say, he's a really nice guy. As soon as we'd started talking I was thinking of all kinds of ways we could potentially work together. He struck me as the man to know!
I've been fortunate to receive good business advise from Alfredo, and it's always been a pleasure to work with him. I have absolutely no hesitation in recommending Alfredo.” June 17, 2012
John Kennedy (University Professor Emeritus at University of Toronto) wrote:
"Fine man to work with Alfredo! Thanks, John Kennedy"
Shyama Abeysinghe, Artist and Art Manager, University of Derby / Birckbeck College, Univesity of London
Motivated and inspired as a result of working within QUAD and by discussions with Alfredo, my career path has become more focused towards either Project Management or Art Management.
My sincere thanks to [QUAD] staff again for the opportunity and the inspiration I gained from QUAD. I am specially indebted to my mentor - Alfredo Cramerotti, for his support and the example he set as a Curator and his qualities of Leadership.
Shyama Abeysinghe, 4 May 2010
Iben Bentzen, Curator and project manager Crossroads Copenhagen / Mobile Mondays
Alfredo is full of energy and ideas. He is innovative and able to work both on a theoretical and practical level. I have been working with Alfredo for more than 7 years on AGM - Annual General Meeting and it is a pleasure every time.
Iben Bentzen, 3 June 2009
Adam Buss, Deputy Director (Interim), QUAD Derby
Alfredo is a talented, versatile and passionate curator and artist with a flair for understanding the needs of audiences and artists alike. His world view and understanding of arts practice in its widest sense makes him an invaluable and integral member of the QUAD team.
Adam Lloyd Buss, 29 May 2009
Marianna Grassano, former Junior Manager, Madame Tussauds London
" I worked with Alfredo in London. He's a very active, motivate and charming person. Very keen on public relations and to working under pressing. Always positive with a huge sense of art, I would recommend him instantly. "
Marianna Grassano, 29 January 2009
Chus Martinez, Chief Curator at MACBA, Museo D'art Contemporani de Barcelona, Spain
On-Curating online magazine, http://www.on-curating.org/documents/oncurating_issue_0108.pdf
I confess that I cannot give any particular reference apart from online platforms such as Multitude, media geographies (a blog), KEIN THEATER (also a blog), critical special practice (blog)....
These are some of the sources I use in order to attend some theoretical discussions in relation with visual and curatorial practice.
Chus Martinez, August 2008
Renée Ridgway, Owner n.e.w.s., Artist and Curator
" I have known Alfredo Cramerotti since 2005. We met at the Piet Zwart Institute in Rotterdam where we both, having already had professional careers, decided to place ourselves within this creative laboratory and British based MA structure in order to sharpen our practise and develop new modes of articulation.
Alfredo and I share a similar set of frames. We are both curator, writer and artist only I would change the hierarchy. Engaged with not only the didactic and academic systems of art, Cramerotti works by means of narratives, seeking the political, social, economical within the aesthetics, not with the aesthetics. His projects are usually collaborative, involving many co-authors but also a wide range of prospective audiences. Inclusive of media, verging on video journalism to industrial heritage and the relation between media and art, all of these could be considered endeavours of publishing. Here the publication, book or website is the media after the event itself, thus engaging an even greater audience and participation.
See links: http://www.annualgeneralmeeting.net http://www.derbyquad.co.uk http://www.derbyquad.co.uk/about-quad/latest-news/international-appointment-for-quad http://www.chamber.dk http://www.coachupdate.com http://www.fahre.wordpress.com (short stories and narratives) http://www.mediageographies.blogspot.com (text archive).
Furthermore, Cramerotti likes to talk and can share his ideas in three languages: Italian, German and English. He is committed in supporting professionals in the creative sector (artists, art managers, producers in various disciplines), in order to change their approach toward a sustainable career (values, focus, creating opportunities, accountability, feedback).
A second area of activity is his professional development practise to shift one's career toward the arts and creative sector. I can imagine that with his superior social skills, he gathers together many professionals in different fields who have creative skills and enlightens them to the ways in which their talents can become remunerative - fulfilling a life expectancy and providing a drive toward self-realisation. Presently Cramerotti is working as Exhibitions Officer at QUAD in Derby, UK where the above mentioned expertise is applied. His dexterity and well-rounded abilities enable him to work in diverse media; a mentor/coach who can introduce novel solutions for the creative sector. As a representative within the cultural field who constantly searches information regarding curators/consultants, I find Alfredo Cramerotti an outstanding professional. "
Renée Ridgway, 4 June 2008
Khaled Ramadan, Lecturer, KUA Copenhagen University, Artist and Curator
" Alfredo, as a colleague and follow artist manage to add high quality to our cooperation in TV, new media production and art exhibitions. Through the years, we cooperated together and still do. Some of the projects where we manage to work on and gain international recognition, were the artistic documentary Comrade Alfredo Neri and the experimental TV production tv-tv, together with the production unit Chamber of Public Secret. It was great time with a great man, honour to work together always."
Khaled. D. Ramadan, 4 March 2008
Anke Bangma, Curator and Critic, former Fine Art Director Piet Zwart Institute - Postgraduate studies and research Institute Rotterdam
" I have come to know Alfredo Cramerotti over the last year when he spent a working period of several months at the Piet Zwart Institute in Rotterdam. What struck me during our discussions is how his projects are guided by a research interest which has recurred in many of his projects and have gained in prominence and urgency. Pivotal is his interest in the predominant methods for the representation, accounting and mediation, often of specific histories and events, while simultaneously exploring alternative possibilities for recounting, re-presentation and mediation.
Many of Alfredo’s previous projects were based on an interest in connecting the scale of the particular and specific – of particular events, local situations, personal histories – to the scale of the general and globalised – of general flows of capital and information, universalised narratives and hegemonic power structures. This often went hand in hand with an interest in location and situation, as the site where the particular and specific can be traced, but also as the site where the general and globalised take on specific forms and effects, and thus as a site for potential resistance and transformation.
More recently, Alfredo has started looking more specifically at tools and paradigms of mediation. His research proposal around the phenomenon of ‘aesthetic journalism’ is an important step in this direction. Challenging about Alfredo’s proposal is the thesis that, with the art world’s eager embrace of documentary and journalistic approaches, the production of truths has shifted from the domain of the news media to the domain of art. From this thesis a range of challenging and highly relevant research questions can be opened up, ranging from the need to find new ways of producing, communicating and reading documents and reports, to the inherent problems of approaching any form of truth speak as self-evident or given.
In previous projects and texts, Alfredo’s own experience as an artist, curator and writer informed an approach to and understanding of representation and mediation that exceeds the conventional definitions of artistic, curatorial or critical practise. This intertwining of different perspectives and professional experience is also crucial to his current research proposal, and I am confident that it will prove to contribute greatly to a more complex and precise understanding of the paradoxical connections and frictions between artistic and journalistic approaches to contemporary realities. "
Anke Bangma, 4 April 2006
Simon Sheikh, Critic and Curator, Ass Professor Malmö Art Academy/Lund University
" Alfredo has participated in our Critical Studies course, a one-year post graduate study programme that allows a small number, 8-10, of international participants each year. The course accepts both artists and art theorists, as it is our aim to merge theory and practise together. Alfredo has impressed in both regards, and in his seamless way of integrating these aspects in his work. He has shown himself to be skillful both as a reader and thinker, and always with an understanding of how to implement ideas into practise, into activities, which is indeed as rare a feature as it is commendable. In addition, Cramerotti has also shown an interest and constantly increasing skill as a scholar and researcher, which I believe will bring him further in his professional and academic career.
While at the programme Alfredo has collaborated with the others in the group, as well as developing his own research project, which I believe will be a valuable contribution to the theories of art and media. Alfredo has been investigating the an-, or at least under-, theorised field of practise, namely the current surge to merge art practise with the spheres of documentary and journalism. Alfredo is attempting a mapping of a field, where the artist-producer works as a journalist and/or documentarist in relation to current events, in an overturning of the traditions of both fields. He is attempting to theorise and problematise this field, as well as to point to its potentials within the contemporary mediascape. I am convinced that Cramerotti's research is as valuable as it is pertinent, if not to say indispensable. "
Simon Sheikh, 15th December 2005
Monica Ross, Artist and Writer. Guest Professor Institut für Kunst in Kontext, Universität der Künste, Berlin 2004; Arts and Humanities Research Fellow in Fine Art, University of Newcastle-on-Tyne 2001-2004; Subject Leader, Critical Fine Art Practise, Fine Art BA Central Saint Martins College of Art and Design, London, 1990-98.
" I have known Alfredo since April 2004. Alfredo’s approach to his activities is characterised by an open minded spirit of enquiry which is sustained by a passionate appetite for extending his knowledge and experience of art practise through the instigation of creative and curatorial projects, in depth research and an active interest in the work and ideas of others.
Completely immersed in the practise of contemporary art and its discourses, Alfredo’s investigative involvement with discursive processes of cultural production and curation, is evidenced in his commitment to collaborative, networked and trans-national projects. From the documentation I have seen, Alfredo’s projects are professionally produced and presented. They have a refreshingly non-prescriptive approach to the issues of cultural difference, subjectivity, political and cultural geography, and related art practises, within which his study proposal is grounded.
A significant characteristic of his previous projects is a capacity for risk taking which is matched by a sense of responsibility both to the demands of art and the challenge of bringing demanding work into the public domain without a loss of integrity. (This is most evident in the performance series AGM 03 Alfredo has curated in Italy.)
Alfredo is a highly capable, energetic and self-motivated man who combines experimental, speculative and open-ended development processes with the pragmatic skills of an efficient organiser and producer. He is a skilled and experienced team worker and, clearly, often inspirational to those with whom he works. Having worked and studied at art institutions in Italy, UK, Holland and Germany, he brings both the fluency of multi-languages and his mature, trans-national life experience to the negotiating modes of his work.
Alfredo is able to address issues of cultural complexity from a highly developed sensibility of cultural awareness which, while always both visually and critically rigorous, is also tolerant and generous toward the perspectives of others.
I have no reservations in recommending Alfredo. I am certain he would make an excellent and generous contribution to any cultural scene and programme or artistic community with which he is associated.
My expectation of Alfredo’s work is that it will be researched, developed and realised successfully within the terms outlined. I would expect the outcomes to be critically and visually innovative and that his projects will make a valuable contribution to the areas of contemporary practise with which it is consonant. "
Monica Ross, by email, 7 January 2005
Katharina Jedermann, Senior Lecturer University of the Arts Berlin, Institute of Art in Context
" I know Alfredo Cramerotti since he started the postgraduate MA-Course at the UdK Institut für Kunst im Kontext in October 2003, which he finished in summer 2005 with great success.
Alfredo is professional in his approach to work. His contributions in different projects and seminars in which he has been involved have been much appreciated.
He worked on themes and issues in the field of current political and media-theoretical questions, migration and the representation of geography in the media. His wide knowledge of current discourses and his artistic approach between theory and practise are promising qualifications for well-considered projects.
Within the 3rd Berlin Biennial for Contemporary Art, he developed an interesting radio project, and has proved his educational ability with public guided tours (in German and English), and with a very interesting radio project. His report, with the title “Mediating spaces" reflects upon the context of the different exhibition spaces of the Berlin Biennial and how they where used and interpreted in the realisation of the exhibition.
His papers and written work proved his outstanding intellectual abilities (in different languages). On the basis of his various professional experiences in cultural management and project organisation he seized the initiative for new projects together with colleagues departing from a traditional discipline-oriented focus.
He raised important questions and topics, e.g. the discussion about the images of human beings in advertisements in the public space.
Alfredo is a politically well informed and interested cultural worker with a sharp mind, a reliable organiser of collective processes, who is able to work both independently and as part of a team and supports and encourages others with their ideas.
On his initiative the exchange program between the UdK Institute and the Rotterdam Piet Zwart Institute was started with his stay in Rotterdam and will be developed.
In his Master thesis he discussed, on the basis of three study-cases, the relation between documents and art, and systematically worked out the different artistic approaches of Lukas Einsele, the group Multiplicity and the Atlas Group. He argued on the basis of relevant literature for the re-allocation of such journalistic approach into art institutions, and valuated this as a chance to shape alternative communication strategies.
Embracing the term "witnessing" instead of "reporting", Cramerotti sees an opportunity in the new documentarism practise to develop an artistic journalism that works on another pace as the one given by the real-time media, to establish a critical distance to what happened and thereby to generate an artistic subjectivity.
The profoundly and precisely formulated work reveals that Alfredo Cramerotti has initiated an academic path, whose consequent development lies in the deepening of his academic knowledge. "
Katharina Jedermann, 28 December 2004
Lise Nellemann, Director of Sparwasser HQ Berlin, Artist and Curator
" In 2003 Alfredo Cramerotti came to Berlin and joined the organisational team in Sparwasser HQ, a show room for contemporary art practise in Berlin Mitte. He quickly got involved with the space looking after the exhibitions and learning practical as well as curatorial practise in Sparwasser HQ. As a discussion partner we have had great exchanges and he has contributed to the dynamic of Sparwasser HQ in terms of engagement with the audience, curatorial work, doing PR and presentation of the space as well as structuring of Sparwasser HQ.
As Sparwasser HQ is a platform for discussion and display of contemporary art and a network base both for Berlin-based and international artists, Alfredo has developed a set of new acquaintances and even added some more to our network in Sparwasser HQ. He has co-organised several shows, the first one being "Lost (Found Tracks)", beginning of March 2003, which was a show presenting the conceptually working, Singapore artist Heman Chong. The exhibition presented an interesting dialectic on transformation between recorded sound (from 5 different cities around the globe) and sound from the local cityscape outside Sparwasser HQ - and image-based matter (screened video-based images on the front window).
Together with the artists Heman Chong and Isabelle Cornaro, Alfredo Cramerotti organised the second show "The End of Travelling" in March/April 2003. In order to point out how engaged and involved he is in managing and mediating exhibitions, I can tell that Alfredo is going to the Venice Biennale to work as coordinator assistant for the artist Heman Chong during the setting up of his work in the Singapore Pavilion in Venice this summer.
Alfredo organised the latest show in Sparwasser HQ, "Breaking the Law" independently, which showed a progression in his organisational work as he carried out all procedures of the production, in collaboration with curator Sanne Kofod Olesen (sitting abroad).
Alfredo Cramerotti arrange these days some series of "artist's talk", evening events and meetings build up around the presentation of artists, who show works and lay open issues for mutual reflection with an audience. This is a social platform for artists, curators and visitors to study (collaborative) projects (in urban space) in contemporary Berlin. Last but not the least I have to add that the artist network around Sparwasser HQ is built up around a very international community and that the artists of the talks are bringing experiences from other national backgrounds.
In general Alfredo shows a lot of initiative and an ability to make thing happen. He is open, cheerful, responsible and curious in person and works for the art, the artists, and the audience. "
Lisa Nellemann, 10 May 2003
Pablo Arboleda, Bauhaus University Weimar (Germany)
I read your wonderful 'Aesthetic Journalism'. Your reflections served me to theorize part of my research.
Steffen Moestrup, PhD fellow, University of Copenhagen, Department of Media, Cognition and Communication, Denmark
I just finished - and tremendously enjoyed - your book 'Aesthetic Journalism'.
Michael Blanding, Writer, Nieman Reports, Cambridge, MA, USA
I am a writer with Nieman Reports, a publication about current trends in journalism, and I am working on an article about the intersection of art and journalism -- both journalists who use art in their reporting, and artists who use journalistic techniques in their art. I read your book Aesthetic Journalism, which was incredibly helpful to me in framing the article. "
Jess Holburn, Curator, The Atavist, New York, USA
I purchased your book Aesthetic Journalism from MoMA PS1 at the weekend and I feel it is a salient and relevant point of reference [ ] about the visual aspects of journalism that you explore in such depth. “
Jess Holburn, Curator, The Atavist, New York, USA
Michaela Crimmin, Curating Contemporary Art and Leader Culture+Conflict at Royal College of Art London, UK
Thank you for the 'Aesthetic Journalism’ publication [ ] it's fascinating! This question of where art ends and documentary begins has bothered me for so long – I know art when I see it and I know journalism when I see it but don't have the grey lines. [ ] And it's so great that you are articulating everything.
Marianne Franklin, Professor of Global Media and Politics Goldsmiths, University of London, and Co-Chair Internet Rights & Principles Coalition (UN IGF)
I read Aesthetic Journalism from cover to cover on the train to Amsterdam and got a lot out of it. Your book provides the link between the journalist profession, film-making, and "citizen journalism" and creative writing in times of upheaval. And respect as you covered a lot of ground in a short space and without being too dense. Fabulous.
Hito Steyerl, artist, filmmaker and theorist, Berlin, Germany
I just read your book, brilliant!
Very nice read and groundbreacking! There is no such book around as yet, so it´s really about time you did it!
Peter Sandbichler, artist and consultant, Vienna, Austria
I have read your book "aesthetic journalism" with great interest. [...] I understand that your analysis of the applied methods in both journalism and in contemporary art is extremely precise and based on extensive research which makes it a very rich lecture. To me your book unfolds an enormous panorama which I appreciate a lot to find it in such compact.
David Dunkley Gyimah, Senior Lecturer Digital Journalism, University of Westminster London, UK
I think you've touched on a rich vein which will not only be of huge interest to the arts worlds but more significantly in the evolving debate of journalism and doc - the world I know very well having previously worked for Channel 4 News, ABC News and Newsnight - to name a few.
Geoffrey Garrison, artist and editor, Berlin, Germany (from Amazon page)
Well-organized and thoroughly researched, Aesthetic Journalism is a good book for anyone who has ever wondered about the proliferation in contemporary art exhibitions of works resembling news reports, documentary cinema, or informative publications.
Alfredo Cramerotti takes on this group of seemingly unrelated works, focusing on a number of themes pertinent to contemporary culture and society. This book investigates the bleeding over into one another of the fields of art and journalism, who share superficial similarities but differ radically on such notions as "reality," "fact," and "objectivity" as well as on professional aims and ethical standards. Definitely worth a read for anyone interested in recent contemporary art practices and discourse.
Jose Roberto Shwafaty, artist, Campinas/Sp, Brasil and Berlin, Germany
I just took contact with your book 'Aesthetic Journalism' (bought in Berlin), which I found really interesting and symptomatic of many issues that I also share (regarding the contemporary regimes of visibility/invisibility and the possibilities to act and [re]exist in public spheres related to those regimes...). I [...] express my admiration and recognition to this interesting work you produced.
David Briers, critic, writer and curator based in West Yorkshire, UK
I appreciate very much the clarity with which [Aesthetic Journalism] is writtten, and I think that the journalistic devices that you appropriately employ in the main body of the book are great! Above all, the book provides a relatively concise, empirical commentary about a phenomenon that until now lacked such a referent.
Alissa Firth-Eagland, curator and writer, Grenoble, France and Vancouver, Canada
I am enjoying your [Aesthetic Journalism] writing: fiction as a subversive but effective agent of reality, journalism as a body guarantor of public assets, a reporter as being in one place and witnessing something changing into being in many places at the same time and commenting on what happens elsewhere.
Pablo España / DEMOCRACIA, artist, curator and editor, Madrid, Spain
I was reading your book. Congratulations, very interesting, and very useful for me as teacher of new media... next academic year my students will learn about your concept.
Mark Neville, artist, Glasgow, UK
I have just finished reading Aesthetic Journalism... I thoroughly enjoyed it. Very interesting.
Irene Montero Sabín / BRUMARIA, Madrid, Spain and London, UK
Interesting and refreshing (congratulations for it).
Julia Draganovic, curator and writer, New York, U.S. and Modena, Italy
I find it illuminating! Thank you so much for this!
Veronica Valentini, contributing editor Flash Art Italia (from 'Libri', Flash Art Italia, August-September 2010)
Il documentario, l'intervista e il reportage sono gli strumenti d'indagine del reale che accomunano il giornalismo e alcune pratiche artistiche legate a temi sociali, politici e culturali. Eppure, mediante l'uso di una struttura linguistica costruita sulla regole delle 5W, l'autore, artista, critico e curatore di Manifesta 8, Alfredo Cramerotti, ci mostra che e' la fiction a essere la principale chiave di lettura della realtà', smascherando l'indubbio valore di verità' del sistema tradizionale. Contraddistinto da una sorta di metalinguaggio nel quale non mancano riferimenti a importanti teorici e artisti, tra cui Martha Rosler, Renzo Martens, Renee Green e Alfredo Jaar, Aesthetic Journalism propone una rinnovata prospettiva del rapporto tra arte e informazione. E proprio come Foucault, anche Cramerotti auspica che il libro sia a uso e consumo di un utente-fruitore, e non di un lettore-pubblico, cui sono dati in mano i mezzi per la costruzione critica di una nuova verità'.
Matt Packer, curator of exhibitions and projects at the Lewis Glucksman Gallery, Cork and Photography & Culture Journal reviewer, UK (from Book Review, Photography & Culture Volume 3 -- Issue 3 November 2010 pp. 363-366 © Berg 2010)
Aesthetic Journalism: How to Inform Without Informing
Drawing together references and critical models from philosophy, sociology, media theory, as well as art history, Cramerotti's arguments for Aesthetic Journalism are persuasive from a number of disciplinary perspectives. It is not a book that claims academic territory in the strictest sense, and it stays clear of questions of definition that could have easily waylaid its urgency. Rather, Aesthetic Journalism is more about recognizing, developing, and inciting a set of relationships that could radically alter the conduct of information in the public sphere.
Alanna Lockward, critic, journalist and curator, Berlin, Germany (from ArteContext: www.artecontexto.com, September 2010)
Title: Aesthetic Journalism. How to inform withouth informing.
Author: Alfredo Cramerotti
Since Octavio Paz wrote, in 1995, that good [contemporary] poetry is impregnated by journalism, it was a matter of time before this axiom arrived in the visual arts. This book has also a self-explanatory quality because it is written by an artist, not a journalist or theoretician. [...] in the pursuit of explaining the interaction between artistic and journalistic practices this book succeeds with honors. A decisive contribution is the analysis of paradigmatic works of aesthetic journalism -a term notably well articulated- as for example those of Renzo Martens and Alfredo Jaar. Both are discussed as ideal and failed forms of aesthetic journalism respectively. Cramerotti has contributed a thoroughly researched document on this subject's impending relevance.
Lauren Mele, Masters candidate, Contemporary Art
Sotheby's Institute of Art, London, UK
I recently completed my Masters in Contemporary Art at the Sotheby's Institute of Art in London and have used your book as a large source of inspiration for my dissertation. I admire the acknowledgement of the problematic aspects of representations of crises at present, articulated by thinkers such as yourself.
Maeve Connolly School, writer, art critic and lecturer of Creative Arts Dun Laoghaire Institute of Art, Design and Technology Kill Avenue, Co. Dublin, Ireland
(from Variant 39/40 | Winter 2010 Aesthetic Journalism in Practice: Manifesta 8 and the Chamber of Public Secrets, pp. 38-39)
Cramerotti's book is one of the first monographic studies dedicated to this identification of journalistic and documentary turns in contemporary art [...]
Bettina Steinbrügge, curator, former artistic director of Halle für Kunst Lüneburg eV, co-curator Arsenale institure for film and video art Berlin, Germany
I just read "aesthetic journalism"! a very insightful book. thanks.
David Brittain, writer and editor, Manchester Metropolitan University, UK
Thanks. You seem to have hit a chord with this - well done.
Meredith Davenport, Assistant Professor School of Photographic Arts and Sciences, Rochester Institute of Technology, USA
I worked for many years as a photojournalist, working in film and in print all over the world. I left it to do an MFA in Art at Hunter College in New York where I spend a lot of time thinking about the relationship between documentary, journalism and art. I'm almost finished reading Aesthetic Journalism. It's so clearly thought out and written. It has really helped me pull together things that I couldn't quite get to in my head. I've met Alfredo Jaar and your analysis of his work is DEAD on.
Many thanks for that!
Cathryn Drake, writer and ARTFORUM Magazine art critic, USA and Italy
I finally did pick up your book, which I love! It articulates well exactly the sort of issues I often find myself ruminating on.a daily basis since I traverse the various types of writing, from art to travel to essay and what is now called "creative nonfiction" but is actually just the nature of writing on just about anything--sometimes all muddled into one these days with the birth of the blog. The writing in your book, from the very first page, the introduction, is admirably succinct and to the point.
Pablo Helguera, artist, scholar, Director of Adults and Academic programs at the MoMA Museum of Modern Art, New York, USA and Pedagogical Curator of the 8th Mercosul Biennial in Porto Alegre, Brasil
I am writing a short note just to thank you wholeheartedly for your generous time and willingness to lecture [on Aesthetic Journalism] to our Aelia Media collaborators. I received really positive reports on your lecture and only wish I had been there in person to hear it. The work that we are trying to do, as you know, involves making participants aware of the potential between journalism and art, and the way in which one can approach journalism in a creative and innovative way, and also dynamize the discourse of art through journalism. So in all these respects your work is of great inspiration and guidance.
Mona Deeley, Director, Zenith Foundation and Editor, Contemporary Arab Culture Group
I was interested to be introduced by Alfredo Cramerotti to his concept of Aesthetic Journalism: the critical use of documentary techniques and journalistic methods where the medium itself undergoes questioning.
A process that "can open up the mechanisms of art and media to expose the limitations of photojournalism, documentation and the ethics of representation." He includes Walid Raad as one of the artists engaged in this process, along with other international artists that I would be interested to get to know further. You can check this out on http://en.wikipedia.org/wiki/Aesthetic_Journalism "
Rodrigo Marcondes, Garapa Coletivo Multimídia
I would like to thank you for the Aesthetic Journalism. Without it my research wouldn't go on the direction it went.
Further info under Wiki page: