Curatorview [Alfredo Cramerotti]

La curatela in tre mosse. Answer Time, II (Italian only)

Posted in shortEssays/cortiSaggi [English/Italian] by Curatorview on December 30, 2012

di Alfredo Cramerotti

domenica, 30 dicembre  2012


La curatela in tre mosse [Italian only]

Posted in shortEssays/cortiSaggi [English/Italian] by Curatorview on July 19, 2012

di Alfredo Cramerotti

17 luglio 2012


La curatela in tre mosse.










Ai Weiwei documenta 12

E’ iniziato sullo scorso numero di Artribune Magazine un “convegno a puntate”. Per discutere dell’attività curatoriale odierna e futura, e della sua trasformazione. Un confronto coordinato da Alfredo Cramerotti, che apre le danze con tre parole-chiave. Nelle prossime tappe transiteranno in questa inchiesta interventi di curatori, editori, artisti, educatori: Blanca de la Torre, Cathy Haynes, Christine Eyene, Cristiana Tejo, Fay Nicolson, Kari Conte, Reloading Images, Saskia van der Kroef… Ognuno con la propria tripletta di spunti. Obiettivo: facilitare e sviluppare forme di cittadinanza attiva.

Continua qui: La curatela in tre mosse.

“I Told You So” Conference in Amsterdam, Friday 16th March 2012. Part of WE ARE THE TIME week-conference festival

Posted in nEws and rEleases by Curatorview on March 9, 2012

Friday March 16  
Curator Alfredo Cramerotti asks what the relationship between gossip and the history books is. Or between a general election and eternity.

In response Cathy Haynes explores the improbabilities of temporal cartography; Tai Shani presents ‘registers’ of representation and an over-identifying actress. Sally O’Reilly demonstrates the alien nature of historical speeches and Fay Nicolson digs up un-archived legacies of art education. The day ends with a final concert of the Chicago Boys While We Were Singing They Were Dreaming at the F.I.R.E.I.N.C.A.I.R.O. radio station (in the Rietveld Academie’s Glass Pavilion).

Life experience is always generated as the intersection between the personal rhythm of one’s life and the larger societal perspective. How do we position ourselves in time? How do we weave the historical moment into our life-narratives? From Tahrir Square to Occupy Wall Street – we are witnessing a worldwide desire for transition, but its direction is still open.This momentum belongs to the youngest generation of artists who will contribute to it with their work and shape it with the way they form fleeting communities. The network condition we live in, offers unprecedented possibilities to have simultaneous and multiple perspectives on events with social and historical significance. This implies a very different mode of historicizing, of writing down our memories. It is in this vortex of eventfulness we have to find ourselves again.

Framework & concept WE ARE THE TIME: Gabriëlle Schleijpen  in collaboration with Alena Alexandrova and Aneta Szylak, Grant Watson, Jorinde Seijdel, and Alfredo Cramerotti.

Production: Jort van der Laan, Anna Hoetjes (WORLD QUESTION CENTER REDUX)

Framework & concept SHADOW CABINETS:  Arnisa Zeqo, Laurie Cluitmans, Clare Butcher, Natasha Ginwala, Simon Ferdinando, Renee Ridgway, Taf Hassam and their respective student work groups

Production: Joris Lindhout

Communication design: Jakub Straka, Daiva Tubutyte

Rietveld Academie
Fred Roeskestraat 96
1076ED Amsterdam

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No Such Place: A Partial History of Imaginary Maps

Posted in nEws and rEleases by Curatorview on September 14, 2010

To tie in with Ground Level, QUAD commissioned Artist Cathy Haynes to curate an exhibition on the theme of imaginary maps. In a ‘residency of maps’ she journeyed utopias and fantasy lands with a list of questions such as: Did we really believe the earth was flat before Columbus? How have map-makers filled gaps in known territory? Can a map ever be perfectly true? What counts as an imaginary map? Can a map shape reality? Can it even alter our sense of identity?

To find the answers, she looked at maps from the Age of Discovery that combine new scientific thinking with mythical beasts and puzzled over secret codes and private jokes inscribed in official land surveys. She complemented this with research of Ocean charts, peppered with phantom landforms, including one respected scientist’s theory that the earth is hollow, plus a blueprint for straightening the Thames through central London.

Through the findings of her research process, she has made a collection of extraordinary maps and map-making stories from the history of cartography, engineering, philosophy, literary fiction, interwoven with pop culture, propaganda, contemporary art and feature films.

Image: The Carta Marina by Olaus Magnus, 1539: the most accurate map at the time of the Nordic countries.

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