Interview with Auronda Scalera and Dr. Alfredo Cramerottipdf
Interview with Auronda Scalera and Dr. Alfredo Cramerottipdf
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  1. ARTS / STYLE / CULTUREREADAGENDAGALLERIESCULTURAL NARRATIVESATAUGUST 15, 2024INTERVIEW WITH AURONDASCALERA AND DR. ALFREDOCRAMEROTTIbySELECTIONS MAGAZINEFEATURED,IN CONVERSATION WITH00✉0Auronda Scalera and Dr. Alfredo Cramerotti are a dynamic curatorial duo at the forefront of art and new technologies.Together, they have redefined the intersection of contemporary art and digital innovation, curating projects like Art DubaiDigital 2024 and the global exhibition project, ‘Web to Verse’. As curators and directors of the platform Multiplicity-Art inDigital, they focus on diversity, inclusion, and the integration of advanced technologies within the art world. Their workspans from being jury members for the Lumen Prize to contributing to significant discussions on the impact of Web3 and themetaverse, often appearing at prestigious events like the World Economic Forum and the UK Parliament. Their approach tocuration is rooted in the idea that art and technology are co-creators of a future where creativity knows no boundaries.Through their innovative projects and thought leadership, Scalera and Cramerotti are shaping the future of digital art. Weasked them to answer a few questions in the interview below.How did each of you begin your journey in the intersection of art and technology? What drew you to this field?Auronda Scalera: My journey began with a deep-rooted passion for contemporary art, digital art and its evolving forms.During my studies in art history and philosophy under Giorgio Agamben, I was fascinated by how technology could expandthe boundaries of artistic expression. The dynamic interplay between art and technology offers endless possibilities forcreativity, which drew me to explore this intersection further.Alfredo Cramerotti: For me, it started with an interest in media and communication, which naturally led to exploring howtechnology influences art. I was intrigued by the potential of digital media to create new experiences and dialogues withinthe art world, and I worked at the crossroads of artistic productions and television, radio and early web-based projects. Overthe years, this fascination has grown into a commitment to curating and promoting art that challenges and redefinestraditional perceptions.Can you share the story of how your curatorial partnership formed and evolved over the years?Auronda Scalera: Our partnership began 6 years ago out of mutual respect andadmiration for each other’s work. We met at an art fair where our interests indigital art and new technologies aligned perfectly. Since then, we’ve collaboratedon various projects, each time learning from one another and refining ourcuratorial vision. Our shared goal of pushing the boundaries of contemporary arthas been the cornerstone of our evolving partnership.Alfredo Cramerotti: Yes, our partnership is built on a foundation of shared valuesand complementary strengths. Auronda’s deep knowledge of digital art and mybackground in media and communication have allowed us to create a synergisticapproach to curating. We’ve tackled numerous projects together, from physicalexhibitions to online drops to art fairs, constantly evolving our methods andexpanding our horizons.What were the key themes and concepts you aimed to highlight through ArtDubai Digital 2024?Auronda Scalera: At Art Dubai Digital 2024, we focused on themessuch as the convergence of virtual and physical realities, the role ofartificial intelligence in art creation, and the impact of blockchaintechnology on the art market. We aimed to showcase how digital artcan transcend traditional boundaries and engage audiences in new,immersive ways even promoting women artists in technologies.Alfredo Cramerotti: We also wanted to highlight the diversity ofdigital art practices globally, particularly from the MENA region andthe Global South. By bringing together artists who explore variousfacets of digital technology and art-tech interfaces, we aimed tocreate a dialogue about the future of art in a digital age and itsimplications for contemporary culture and society. It was more of a holistic approach to the evolution of human culture thana straightforward pavilion of digital art.How do you select the artists and works that participate in the ‘Web to Verse’ exhibition?Auronda Scalera: Our selection process for ‘Web to Verse’, which is also co-curated by Valentino Catricala’, involves athorough review of the artist’s previous works and their engagement with digital media, tech platforms and audiencemediation. We look for originality, innovation, and the ability to create meaningful interactions with the public. We alsoconsider the diversity of perspectives and the representation of different cultures and backgrounds.Alfredo Cramerotti: Additionally, we focus on the conceptual depth and technical proficiency of the works. We want toensure that the selected pieces utilise technology effectively and offer a compelling narrative or provoke critical thought. Ourgoal is to curate a well-rounded exhibition that reflects the current state and future potential of digital art, and to this end,we constantly aim to bridge the contemporary art world with its expansion through the digital dimension.As curators and jury members for the Lumen Prize, what qualities do you look for in immersive and interactive digitalartworks?Auronda Scalera: When judging for the Lumen Prize, we look forworks that push the boundaries of what digital art can achieve. Wevalue creativity, technical excellence, and the ability to engageviewers on multiple sensory levels. Immersive and interactivepieces that invite active participation and offer unique experiencesare particularly noteworthy.Alfredo Cramerotti: We consider the concept behind the work, andthe impact, realised or potential, for an audience. Does it challengeexisting paradigms? Does it offer new insights or perspectives?The ability to evoke an emotional response and stimulate intellectual curiosity is essential. We seek artworks that not onlystand out aesthetically but also resonate deeply with the public.What impact do you believe digital art has on contemporary culture and society?Auronda Scalera: Digital art has a profound impact on contemporaryculture and society by democratising access to art and fostering globalconnectivity. It allows for new forms of storytelling and culturalexpression, bridging gaps between different communities. It challengestraditional notions of art production and display, making it more inclusiveand interactive.Alfredo Cramerotti: Moreover, digital art reflects and responds to therapid technological advancements shaping our world. It acts as a mirrorto societal changes and offers a platform for discussing critical issuessuch as data privacy, AI ethics, and digital (multiple) identity. Its ability toadapt and evolve with scientific and technological progress makes it avital component of contemporary discourse.In your opinion, what is the most significant transformation in the art world brought about by digital technologies?Auronda Scalera: The most significant transformation is the shifttowards interactivity and participation. Digital technologies haveenabled artists to create works that are not just viewed butexperienced. Building on pre-internet art forms like participatory art,Fluxus happenings, and the likes – where the art would not existwithout the audience making it happen – the field of art andadvanced technologies have changed how art is perceived andengaged with, making it a more dynamic, shared and co-ownedmedium.Alfredo Cramerotti: I would add that the decentralisation of the artmarket, which shook a bit ’tradart’, the established forms of artdealing and trading of art (now the two are slowly merging...), andthe peer-support ethos of digital artists through blockchain and cryptography-based art is another crucial transformation.These technologies and modus operandi have opened new avenues for artists – first, to create a strong support system, andsecondly, a collector base that allows them to monetise their work. Equally, for collectors of digital art, the first-degreecontact with the authors and the possibility to invest in digital assets, whose value is trackable and transparent, was aturning point. This shift is redefining the economics of the art world and expanding its reach to a broader audience.ABOUT AURONDA SCALERAAuronda Scalera is a prominent art curator, cultural strategist, and lecturer, recognised as one of NYC Journal’s Top 20Inspiring Women of 2023. Residing between London, Dubai, and the metaverse, she has delivered lectures at high-profileevents like the House of Beautiful Business conference and frequently appears on the art and technology circuit. As anexpert witness at the UK Parliament, she contributed to discussions on Web3 and the metaverse. Co-founder of Multiplicity-Art in Digital, she champions diversity in digital art. She also authored a piece in Rizzoli International’s CryptoARTmonograph on Ellen Sheidlin.ABOUT DR. ALFREDO CRAMEROTTIAlfredo Cramerotti is the director of mm:museum of art, media, and technology at Northwestern Qatar and serves aspresident of IKT–International Association Curators of Contemporary Art. He chairs AICA’s Digital Strategies Committee andadvises prominent institutions, including the UK Government Art Collection and the Italian Ministry of Culture. Adistinguished curator, writer, and cultural critic, Alfredo explores the intersections of art, technology, and society. He hascurated major exhibitions worldwide, including Venice Art Biennale pavilions, and authored over 200 texts on contemporaryart and media theory. He co-directs Multiplicity-Art in Digital, promoting diverse artistic voices.No Newer ArticlesDr. Alfredo Cramerotti and Auronda Scalera. Credit: Cedric Ribeiro.Installation view, Ding Yi: Prediction andRetrospection, Château La Coste, France,2024. Photo: Fréderic DeladerriereInstallation view, Ding Yi: Prediction and Retrospection,Château La Coste, France, 2024. Photo: Fréderic Deladerriere‘Web to Verse’ exhibition, installation image.‘Web to Verse’ exhibition, installation image.Installation view, Ding Yi: Prediction and Retrospection,Château La Coste, France, 2024. Photo: FrédericDeladerriereInstallation view, Ding Yi: Prediction and Retrospection,Château La Coste, France, 2024. Photo: Fréderic DeladerriereInstallation view, Ding Yi: Prediction and Retrospection, Château La Coste, France, 2024. Photo: Fréderic DeladerriereBeing Serwan Baran: Serwan Baran’s Early Artistic JourneyPREVIOUS ARTICLEAUGUST 14, 2024BEING SERWAN BARAN: SERWAN BARAN’S EARLY ARTISTICJOURNEYbySELECTIONS MAGAZINEFEATURED,FROM PRINT00✉0This article appeared in Being Serwan Baran Issue #69 dedicated to tackling the journey of Serwan Baran, an Iraqi artistwho transforms the brutal realities of war and human suffering into visual narratives. Born in Baghdad in 1968 and shapedby his experiences as a soldier, Baran’s work is rich with authenticity and emotional depth. His art reveals a complex psycheand a deep connection to the human experience. Through dark, brooding canvases, Baran explores themes of pain,resilience, and hope, urging viewers to confront uncomfortable truths while embracing our shared humanity.Serwan Baran’s work has always been raw and deeply personal, significantly impacted by his surroundings andexperiences. Born in Iraq in 1968, Baran has lived through decades of war and violence, his work an elaboraterepresentation of both his personal life and his perspective on the human condition.Baran was encouraged to draw and explore art at a very young age and went on to study at the University of Babylon’sFaculty of Fine Arts, graduating first in his class. He became a teacher while continuing to paint with oils, earning himselfnumerous accolades and prizes. One of his influences has been Iraqi artist Faik Hassan, who was instrumental in thedevelopment of contemporary art in the country and is often dubbed the “father of modern Iraqi art”.The tumultuous and often violent situation in Iraq has had a profound effect on Baran’s creative process and has driven himto tackle various themes centred on imprisonment, war, the military, and death. Baran himself was first imprisoned as ateenager, then as a soldier when he was conscripted in the Iraqi Army.He eventually left Iraq and began a long journey to Syria and then to Jordan, where he continued to paint and found greatfreedom in practising his art with no restrictions. He shares with us both his memories of growing up in a volatile Iraq andthe artists who shaped him on his creative journey.EARLY LIFETell us how it all started. When did you begin painting?My mother studied art for three years but didn ‘t completeher education after getting married. She encouraged mysiblings and I to start drawing and exploring art. Iremember one summer we were in the garden as smallchildren. My father, a judge, had just come back from court.He asked everyone to go inside and draw him. I wasdrawing expressions and details in my father’s face. Whenwe put the pictures next to each other, I realised mydrawing was more advanced than my siblings’. They weredrawing simple children’s drawings, while I was drawing adetailed portrait with eyes, shadow, and light.How did your parents react to your talent?My parents noticed that my drawing was more advanced than other children my age. They brought me art magazines andbooks and supported my interest in art. Little by little, I started practicing more and read all the art books that we had athome. I even created caricatures of people I disliked, like teachers who bothered us.What happened after you discovered your talent?I decided to study art at the University of Babylon’s Faculty of Fine Arts. The theory and practical work were easy for mesince I was already at a high level. I had already read most of the books available at the library. I graduated first in my classwith a big gap between me and the other students. After graduating I served in the army for a while and then startedteaching at the university. Teaching was great but it required a lot of energy. Eventually, I felt the need to leave teachingbecause I wasn’t painting enough. Art requires complete freedom and dedication.How did your career progress after that?I joined the Iraqi Art Movement in 1990. In 1991, Iparticipated for the first time in the Contemporary Iraqi ArtExhibition with 400 other artists. I won the prize for theyouth competition. The competition was hosted at the ArtCircle, a huge museum, that held up to 50,000 paintings.It had high walls and large spaces, so we all wanted toexhibit there.Each floor in the building was reserved to an age groupand artists of all ages had an opportunity to showcasetheir work. The ground floor was dedicated to 400 worksby new upcoming artists. The rest of the floors were morelike a museum. We wanted to exhibit there because it isthe most important place for artists in Iraq. I won thesecond prize when I participated in 1994, and the firstprize in 1995 for Contemporary Iraqi Art.During the 90s, we faced difficult circumstances due to the siege, but we managed to continue our work. I rememberteaching at the University of Baghdad, earning only $ 4 a month. Sometimes when I would go to get my salary, an employeewould tell me she doesn’t have milk for her son, so I would tell her to take my salary, and I would finish the month for free.But I was a painter, so painting was my source of income.What were you drawing?I was drawing realistic scenes, mostly landscapes and portraits. I was working on the anatomy of the body, and on theportrait. This work helped me get to where I am today.Canvases were very expensive, we couldn’t buy many, so I used to paint, and once satisfied with the result, I would take apicture and then paint over the work. I used to do this several times and the end result would be amazing. I had twentypaintings on the same canvas and the canvas would become heavy. You’d see the progression and the different stages.What colours did you use?Oil colours. The acrylic colours were still not commercially distributed. We used to get foreign oil paint, then, during thesiege, we started buying pigmented oil paint. Iraq wanted self-sufficiency and it wanted to produce colours. I was verycurious to try everything. I’ve explored different colour combinations over time.Which artist influenced you the most?I was influenced by many Iraqi artists, but the most important was Faik Hassan, the founder of the Iraqi Modern ArtMovement. He guided students to look at art in a modern way, moving away from traditional methods. Another importantfigure was Jewad Selim, who pushed for modern art in Iraq.Who are the artists that you studied with from your generation?My generation does not mean age but my peers, all of whom studied under Faik Hassan, such as Sadik Kwaish Alfraji,Mahmoud Obaidi, Nedim Kufi, Ammar Daoud, Nazar Yahya, Ghassan Ghaib, Yasin Atia, Mohamed Koraich, Jabbar Abded ElRoda. We were working to establish our experience within Iraqi art. All of them have become very important names.We held a group show where four sculptors and four painters were displayed. It took place at the Ka’atHiwar Baghdad(Baghdad Dialogue Hall) in 1991. The title of the show was Eight in Dialogue. Everyone exhibited became an importantartist.Can you tell us about your experience in prison?Most Iraqis have been imprisoned at one point in theirlives. We were soldiers. Sometimes we couldn’t takeit anymore, especially the artists. We wanted to getback to life. So, we would escape. The punishmentfor escaping varied, but it often involved beatings andliving in harsh conditions. Those who escaped for aweek were imprisoned for two weeks. Those whoescaped for a month were imprisoned for twomonths. That was the system at the time.They would take us to a place called the Tadeebiyahand place us in a big cellar at the Rashid MilitaryCamp. It was a prison called the Harithiyah. We usedto go into a room in the back with 60 people. Theguards used to come in to beat us and everyonewould run to the middle. The people who stayed in the corner were usually the newcomers, they did not know what to doso they were beaten until their skin burned. Degradation in prison was common practice. When we got out, we tried not togo back.The first time I was imprisoned, I was 16 or 17 years old, still at school. I made a political joke. One of the people at schoolwitnessed it and informed the teachers. I was sent to the public security police. My father was a judge but for 18 days he didnot know where I was. It was the worst thing that happened to me. My father finally reached me and was able to releaseme.Tell us about your series on horses.Inspired by Faik Hassan, I took a simpler, more abstract approach to paintinghorses. In 1996-1997, I began feeling the urge to leave the country, so Istarted a project called Houroub El Khouyoul, The Escape of the Horses,between 1999 and 2000, resonating with my feelings at the time; horsesrunning in different directions in a panic, in fear and in a state of conflict – apreparation to leave the country. The idea that inspired me was [Italiansculptor] Marino Marini’s horse, who after 10 years of its life, becamestartled and scared. It’s called Horse and Rider. After I left Iraq and settledin Amman, I began working on the distortion of war machines, the distortionof the generaIs. I started to remember all the military leaders in my life,whom I used to praise, whom we used to draw during wartime.We were soldiers, but this was not our truth inside; we drew their truth,so I started to draw their psychological state, their truth, the truth of thetrauma, the truth of the violence inside and outside themselves, thecruelty and the lack of mercy, which they were always teaching us – not tobe merciful, be very cruel. So, I worked on a large collection of distortedgenerals, and I worked on skulls. It’s called Face of War. I worked onstatues and sculptures in the shape of skulls, which we used to see afterwar ended, including golden teeth. The military uniform was there, butonly the skull remained. I tried to kill the image of the war generals. It wastruthfully a reaction. I work on issues that move me. If something happensto me, and I have a reaction to it, this is the key to my themes.This was part of a 10-year series of artwork on war called Harsh Beauty, which was centred on the idea of defeat. Itincluded skulls, generals, hostages, death, canines, a military show but with crutches – a mockery of defeated soldiers. Ourentire lives, we drew victory. I decided to draw defeat, and the truth is, war is defeat. It not a victory. It is an inner defeat.When did you leave Iraq?I left Iraq in 2003-2004 after the fall of Baghdad. I remember seeing peace for one year inmy life. It was 1989, it was a great year, one of the most beautiful years ever. For the firsttime, travel was allowed. We lived this peace for a year, then we entered the Kuwait war,and we went back to zero again. We were banned from everywhere. I remember the firstdays of the siege. My father died. We started selling the house’s items so that we couldeat and live. After 2003, I went to Syria and then to Jordan, where I held exhibitions andpromoted my work. I achieved success and eventually bought an apartment in Jordan,which I turned into a studio.When I first left Baghdad to Aleppo, I was still a little afraid, and I started to draw aboutthe division of the watermelon: how people hold a watermelon, and everyone takes apiece from it. I worked on how different sects take a piece of the watermelon, so, everyonewho lost a country, lost a piece from it.Is that where you met Syrian artist Marwan Kassab-Bachi?I met Marwan when I was still living in Iraq, when cultural trips were organised to Jordan to the Summer Academy for theyouth of Palestine. They do not have many opportunities, so Marwan created this program to allow Palestinian youth toexchange with academic graduates from different countries. They used to invite three academic graduates from Iraq, threefrom Lebanon and three from Syria, so of course I applied.During my time I got to meet Said Baalbaki, Ayman Baalbaki and Tagreed Darghouth, great friends till this day. We lived agreat period, from morning to night, together in the same hotel, restaurant, studio, and with the same teacher. Marwan’sacademy was like a military camp. Marwan was very blunt; he would not sugar-coat anything, but he also would not hidewhen he was pleased. When he liked what we did, he praised us to no end. We worked closely together, and he influencedmy work greatly.Young Serwan Baran on his mother’s lap and other members of hisfamily.Women and Child from the Iraqi Desert, 1997, Oil on canvas, 50 x 60 cm.This work by Serwan Baran won second place at the Iraqi Art Exhibition 1994. Museum Collection Dairat Al Founoun, Baghdad. All of the works bySerwan Baran were stolen from the museum. Only this work remains.Serwan Baran and his friends at the University of Babylon, 1987.Houroub Al Khouyoul, 2002, Oil on canvas, 180 x140 cm.Houroub Al Khouyoul, 2002, Oil on canvas, 180 x 150cm.Serwan Baran and MarwanKassab-Bachi at the SummerAcademy in Amman examiningBaran’s work, 2000.Untitled, 2000, Mixed media on paper, 100 x 70 cm.
  2. SELECTIONS is a platform for the arts, focusing on the Arab World.Selections editorial presents a quarterly print magazine and weekly online publicationwith high quality content on all subjects related to Art and Culture. Full of world-leadingartworks, exquisite brand imagery, original creative illustrations and insightful writtenarticles.Selections Viewing Rooms presents carefully curated online art shows aiming not only toshed light on contemporary art executed by living artists, but also for viewers to buycontemporary fine art, prints & multiples, photography, street art and collectibles.Discover the previous and current shows here.Cultural Narratives foundation is an extensive collection that is travelling the world byleading established and emerging talents aiming to reflect the culture of the region intheir works.ABOUT SELECTIONSCONTACT USPRIVACY POLICY©2024 SELECTIONS ARTS | by The Web GuruYour email addressSUBSCRIBE TO OUR NEWSLETTERSIGN UPAUGUST, 2024〈〉24FEBDESIGN DOHA 202408MAY'MOVING MOUNTAINS' BY AHAAD ALAMOUDI AT HAYY JAMEELMarwan Kassab-Bachi and Serwan Baran during class, Amman, 2000.Being Samia Halaby: Artistic Practices: On the sinuous pathfrom inspiration to implementation: Hanging SculptureFloating PaintingsPREVIOUS ARTICLEInterview with Auronda Scalera and Dr. Alfredo CramerottiNEXT ARTICLEWe use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you’veprovided to them or that they’ve collected from your use of their servicesACCEPT
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