alcramer [Alfredo Cramerotti]

Maldives Pavilion Opening, Wednesday May 29th 2013, at 1:00pm

Posted in nEws and rEleases by alcramer on May 25, 2013

Venice-Announcement

Eco-tone 1 – Object Space Entanglements

Posted in nEws and rEleases by alcramer on June 26, 2011

Interdisciplinary workshop supported by Nottingham Trent University School of Art and Design research fund

Nottingham Trent University, Nottingham, UK

27-28 June 2011

Eco-tone brings into proximity creative and academic practice to juxtapose modes of awareness associated with specific activities so that they are experienced beyond usual boundaries. Participants are invited to respond to the relationship of environment, ecology and ecology of practice; to form spatial relations from within which we can expect to witness resonances that enhance how practice operates.

Eco-tome aims to enhance understanding of our relationship with environment and ecology.

Participants

Jean Baird [Art and Design, Nottingham Trent University] – Why objects?

Professor Kathleen Coessens [Kathleen Coessens, pianist and philosopher of Vrije Universiteit Brussel and Senior Research Fellow of Orpheus Research Centre in Music] – Responsive Space

Mary Conlan [Shinnors Curatorial Fellow, Limerick City Gallery of Art] – Six Memos Calvino project, Smog, Knowledge as Dust-cloud and the unfinished lecture on Consistency; Eco-tone ‘curator in action’

Alfredo Cramerotti [QUAD, Derby, and Intellect Books] – The Essence of Things; Eco-tone ‘curator in action’

Rhodri Davies [Harp] – Occam 1 [Elaine Radigue]; Harp as Filter [Jean-Luc Guionnet]

John Ellis [Nottingham Trent University] tbc – Latour and the Social

Paul J. Ennis [Department of Philosophy, University College, Dublin] – Melancholic Coexistence amongst Objects.

Chrissie Harrington [Head of School of Arts and Humanities, University College Suffolk] tbc – The Space Between

Robert Jackson [School of Art and Media, University of Plymouth] – The Agency of Waste: Purification and Procedure.

Dr Kevin Love [Senior Lecturer in Philosophy and Social Theory School of Social Sciences] Nottingham Trent University – Dispositions: ecologies of philosophy.

Dr David Reid [School of Art & Design, Nottingham Trent University] – Eco-tone: Ecology of Practice

Jonathan P Watts [Critical Writing for Art & Design, Royal College of Art] – England and the Octopus

Undergraduate research project – Photography, Environment, Ecology.  Oliver Seamarks and Ben Gore.

Abstracts available on request

All welcome

If you wish to attend please respond to ensure adequate catering and room space is available.

Contact: david.reid@ntu.ac.uk

object space entanglements blog

Redeye Network Meeting

Posted in nEws and rEleases, shortEssays/cortiSaggi [English/Italian] by alcramer on May 20, 2009

Tuesday 19 May 2009, 7.30pm
Speaker: Alfredo Cramerotti

Alfredo Cramerotti will present his recent project Faulty Lines. Shot in various cities around the world, the project explores the relationship between the two-dimensional photographic image and a three-dimensional built environment. Alfredo Cramerotti is an artist, curator and writer based in Derby. His work as an artist is primarily concerned with questions of narrative in photography, installation, video, performance and text. Organised in collaboration with Open Eye Gallery, Redeye’s Liverpool Network meetings take place every couple of months. They offer photographers of all kinds the chance to meet, catch up on news and gossip, meet members of the Redeye and Open Eye Gallery teams and see short talks and presentations of work.

http://www.openeye.org.uk/events.asp

Wealthy Family

Posted in Thoughts.Coaching by alcramer on November 26, 2007

During coaching sessions, or informal chatting, it happens quite often to discuss the importance of coming from a wealthy family, which is seen as an absolute advantage for pursuing the creative career one wants. It seems that a wealthy family is all one needs to have in order to start a successful profession in the arts. I would like to question this assumption.

Being wealthy helps to get into the best schools, master courses and it might even allow the person to finance his or her own projects: if you have the money to fund your own production, say a book, an exhibition, a film, what else can you ask for? Family wealthy also provides you with the social links that one needs in order to become a well-spoken, networked, high-status cultural producer: in short, if you belong to a rich family, you will have access to powerful people, which can go a long way, as everybody knows.

It will give you not just more means, but also good habits, psychological finesse, travelling, and also traditions: well-established roots, family identity, a sort of model ‘how to stay and move in the world’. If you come from a rich family, you’ll become someone quickly at ease within the environments where decisions are made. Unfair, but true.

Now, what possible advantage could one get from NOT belonging to this category of people?

First, one has more motivations to get out of a disadvantaged situation, and more drive to achieve his/her goals: if you come from a poor environment, you don’t already have what you need, and you are more willing to commit to get results. Basically, you have more of that ‘primary energy’, which you cannot get anywhere if not in real need of something. The disadvantaged person knows very well that nothing will happen if s/he doesn’t make it happening. No fear, no scary about anything. Do not underestimate this strength.

Secondly, paradoxically, the poorer enjoy also more freedom to make his/her own choice, because no tradition to follow exists. You can easily see that if a family has a long and important tradition of lawyers, doctors, entrepreneurs, etc., the pressure put on financial value and social status is so high that will be a problem if someone wants to become, say, a photographer, or a graphic designer. The demands to keep up that ‘family value’ will override any natural inclination of the subject. There is too much to loose, from a risky choice that departs from the tradition.

A third, fundamental aspect: the disadvantaged person might not be attached to any particular location in which his/her family lives, precisely because s/he has nothing to loose: having anything specific which anchor him/her to the family place, will provide the flexibility to search the locations offering the best possibilities. It will be easier to head for the places where the natural inclination might get fulfilled, either through study or work.

So, back to our coaching sessions for artists and creative people: take the assumption that a wealthy family is important in career-succeding with a grain of salt: to start advantaged, is not always better.

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