Curatorview [Alfredo Cramerotti]

MEDIA, REVOLT AND CRITICISM: Encounter of 3rd degree between art and media

Posted in nEws and rEleases by Curatorview on October 28, 2012

November 2, 2012

Auditorium of the SCHOOL OF MEDIA ART, Royal Danish Academy of Fine Arts

Schools of Visual Arts, Charlottenborg, Kongens Nytorv 1, 1050 Copenhagen, Denmark

Alfredo Cramerotti, Director of MOSTYN, Wales’ Contemporary art Centre and writer of the book Aesthetic Journalism: How to Inform without Informing on how the artist can find ways not only to ‘import’ journalism into art, but also re-insert an artistic approach into the information industry.

Alfredo will reflect on the concept of public opinion. Does it work as an aggregate and is it open to critical understanding?

Further contributions by Jasmina Metwaly artist and member of Mosireen collective in Cairo, and Truls Lie, documentary filmmaker, editor-in-chief of DOX European Documentary Magazine and a film critic at Le Monde Diplomatique, Scandinavian edition. Final discussion
lead by the hosts: Carsten Juhl, Head of Department for Art and Theory and Tijana Mišković, Academic Research Project Coordinator.

About the seminar MEDIA, REVOLT AND CRITICISM: Globally we are being confronted with new encounters between visual art and information practices. In urgent and tense situations like the Arab Spring the moving images become important means of communication, especially because of their manipulative nature.

This seminar is the 2nd part of Arab Spring art seminar at The Royal Danish Academy of Fine Arts, that started in October 2011. The next seminar will take place December 14, 2012 including presentations by: Seamus Kealy, museum director at The Model, Aida Eltorie from Finding Projects Association and visual artist Rabih Mroue.

For more information, please send an email to:


All That Fits: The Aesthetics of Journalism on N_P Networked Performance

Posted in nEws and rEleases by Curatorview on July 2, 2011

ll That Fits: The Aesthetics of Journalism [uk Derby]

Networked Performance Blog

by Jo-Anne Green

[Image: Insurance.AES256 by Michael Takeo Magruder. See video below.]

All That Fits: The Aesthetics of Journalism — Curated by Alfredo Cramerotti & Simon Sheikh :: until July 31, 2011 :: QUAD Gallery, Market Place, Cathedral Quarter, Derby, DE1 3AS.

The exhibition All that Fits: The Aesthetics of Journalism presents the provocative idea that art and journalism are two sides of a unique activity; the production and distribution of images and information. The exhibition brings to the surface how images and information are communicated, and the aesthetic principles used in the act of transmission.

Whereas journalism provides a view on the world, as it ‘really’ is, art often presents a view on the view, as an act of reflection. All that Fits: The Aesthetics of Journalism will examine both as systems of information that define truth in terms of the visible but also what can be imagined.

In the course of two months, the exhibition will be presented in three chapters: The Speaker, The Image and The Militant. The three separate displays of artwork refer to the rotation of the news cycle, while each responding to the overall theme.

The Speaker (May 28 – June 19) concerns a specific figure, the speaking subject or author, also in terms of editorial processes and camera angles. What can enable a subject to appear as authentic, authoritative and truthful?

The Image (June 22 – July 10) examines how images are produced, through framing and positioning, but also how counter-images are created. Despite the claim of neutrality and pragmatism, this chapter proposes an ‘aesthetics of journalism’.

The Militant (July13 – 31) continues the strand of counter-images, but by using journalistic means such as exposé and research. These methods often work to uncover what a corporate media industry does not, and thus return to some of reportage’s initial claims.

Sammy Baloji (DR Congo), Yael Bartana (Holland/ Israel), Eric Baudelaire (France), Ursula Biemann (Switzerland), Ross Birrell (UK), Michael Blum (Canada /Israel), Broomberg and Chanarin (UK/South Africa), Abraham Cruzvillegas (Germany/ Mexico), Anita Di Bianco (Germany/USA), Marcelo Exposito (Argentina/ Spain), Douglas Fishbone (UK/USA), Zachary Formwalt (Holland/ USA), Wynne Greenwood and K8 Hardy (USA), Tamar Guimaraes (Brazil/ Denmark), Lamia Joreige (Lebanon), Graziela Kunsch (Brazil), Michael Takeo Magruder (UK/USA), Renzo Martens (Holland), Oliver Ressler (Austria), Katya Sander (Denmark), Slum-TV (Kenya), Hito Steyerl (Germany), Walid Raad/ The Atlas Group (USA/ Lebanon) and Alejandro Vidal (Spain).

All That Fits – video introduction of Michael Takeo Magruder’s work from Alfredo Cramerotti on Vimeo.

All That Fits: The Aesthetics of Journalism is supported by the Danish Art Council, Mondriaan Foundation, Autograph ABP, The Jack Kirkland Collection, the Embassy of Brazil in London and Centre National des Arts Plastiques (France).

Also see The Production of Truth: The Aesthetics of Journalism by Alfredo Cramerotti and Simon Sheikh, Digimag.

Book Review: Aesthetic Journalism. How to Inform Without Informing

Posted in nEws and rEleases, shortEssays/cortiSaggi [English/Italian] by Curatorview on January 5, 2011

Out of the Ghetto?

Posted in shortEssays/cortiSaggi [English/Italian] by Curatorview on January 4, 2011

WikiLeaks’ capacity to inflict damage depends on its relations with the establishment media: “There’s a lesson here for the multitudes: get out of the ghetto and connect with the Oedipal other”, write Lovink and Riemens.

You can find the complete article on Eurozine Newsletter – I pasted here a short version:


Geert Lovink, Patrice Riemens

Twelve theses on WikiLeaks

Vindictive, politicized, conspiratorial, reckless: one need not agree with WikiLeaks’ modus operandi to acknowledge its service to democracy. Geert Lovink and Patrice Riemens see in WikiLeaks indications of a new culture of exposure beyond the traditional politics of openness and transparency.

Thesis 0

“What do I think of WikiLeaks? I think it would be a good idea!” (after Mahatma Gandhi’s famous quip on “Western Civilization”)

Thesis 1

Changing media — Media in change

[…]   WikiLeaks becomes symbolic for a transformation in the “information society” at large, holding up a mirror of things to come. So while one can look at WikiLeaks as a (political) project and criticize it for its modus operandi, it can also be seen as the “pilot” phase in an evolution towards a far more generalized culture of anarchic exposure, beyond the traditional politics of openness and transparency.

Thesis 2

[…]   WikiLeaks manages to capture that attention by way of spectacular information hacks, where other parties, especially civil society groups and human rights organizations, are desperately struggling to get their message across. While the latter tend to play by the rules and seek legitimacy from dominant institutions, WikiLeaks’ strategy is populist insofar that it taps into public disaffection with mainstream politics. Political legitimacy, for WikiLeaks, is no longer something graciously bestowed by the powers that be. WikiLeaks bypasses this Old World structure of power and instead goes to the source of political legitimacy in today’s info-society: the rapturous banality of the spectacle. WikiLeaks brilliantly puts to use the “escape velocity” of IT, using IT to leave IT behind and rudely irrupt the realm of real-world politics.

Thesis 3

[…]   WikiLeaks in its present manifestation remains a typically “western” product and cannot claim to be a truly universal or global undertaking.

Thesis 4

One of the main difficulties with explaining WikiLeaks arises from the fact that it is unclear (also to the WikiLeaks people themselves) whether it sees itself and operates as a content provider or as a simple conduit for leaked data (the impression is that it sees itself as either/or, depending on context and circumstances).  […]

Thesis 5

[…]   The shift from information to infotainment has been embraced by journalists themselves, making it difficult to publish complex stories. WikiLeaks enters this state of affairs as an outsider, enveloped by the steamy ambiance of “citizen journalism”, DIY news reporting in the blogosphere and even faster social media like Twitter. What WikiLeaks anticipates, but so far has been unable to organize, is the “crowd sourcing” of the interpretation of its leaked documents. That work, oddly, is left to the few remaining staff journalists of selected “quality” news media. Later, academics pick up the scraps and spin the stories behind the closed gates of publishing stables. But where is networked critical commentariat? Certainly, we are all busy with our minor critiques; but it remains the case that WikiLeaks generates its capacity to inspire irritation at the big end of town precisely because of the transversal and symbiotic relation it holds with establishment media institutions. There’s a lesson here for the multitudes – get out of the ghetto and connect with the Oedipal other. Therein lies the conflictual terrain of the political.

Thesis 6

[…]   Sovereign hacker Julian Assange is the identifying figurehead of WikiLeaks, the organization’s notoriety and reputation merging with Assange’s own. What WikiLeaks does and stands for becomes difficult to distinguish from Assange’s rather agitated private life and his somewhat unpolished political opinions.

Thesis 7

[…]   Computer scientists and programmers have shaped the information revolution and the culture of openness; but at the same time they have also developed encryption (“crypto”), closing access to data for the non-initiated. What some see as “citizen journalism” others call “info war”.

Thesis 8

[…]   WikiLeaks operates with ridiculously small staff – probably no more than a dozen of people form the core of its operation. While the extent and savviness of WikiLeaks’ tech support is proved by its very existence, WikiLeaks’ claim to several hundreds of volunteer analysts and experts is unverifiable and, to be frank, barely credible. This is clearly WikiLeaks Achilles’ heel, not only from a risk and/or sustainability standpoint, but politically as well – which is what matters to us here.

Thesis 9

[…]   Is WikiLeaks a virtual project? After all, it does exist as a (hosted) website with a domain name, which is the bottom line. But does it have a goal beyond the personal ambition of its founder(s)? Is WikiLeaks reproducible? Will we see the rise of national or local chapters that keep the name? What rules of the game will they observe? Should we rather see it as a concept that travels from context to context and that, like a meme, transforms itself in time and space?

Thesis 10

[…]   The term “organized network” has been coined as a possible term for these formats. Another term has been “tactical media”. Still others have used the generic term “internet activism”. Perhaps WikiLeaks has other ideas about the direction it wants to take. But where? It is up to WikiLeaks to decide for itself. Up to now, however, we have seen very little by way of an answer, leaving others to raise questions, for example about the legality of WikiLeaks’ financial arrangements (Wall Street Journal).

Thesis 11

[…]   So before we call for one, ten, many WikiLeaks, let’s be clear that those involved run risks. Whistleblower protection is paramount. Another issue is the protection of people mentioned in the leaks. The Afghan Warlogs showed that leaks can also cause “collateral damage”. Editing (and eliding) is crucial. Not only OPSEC, also OPETHICS. If publishing is not carried out in a way that is absolutely secure for all concerned, there is a definite risk that the “revolution in journalism” – and politics – unleashed by WikiLeaks will be stopped in its tracks.

Thesis 12

[…]   Despite all its drawbacks, and against all odds, WikiLeaks has rendered a sterling service to the cause of transparency, democracy and openness. As the French would say, if something like it did not exist, it would have to be invented. The quantitative – and what looks soon to become the qualitative – turn of information overload is a fact of contemporary life. The glut of disclosable information can only be expected to continue grow – and exponentially so. To organize and interpret this Himalaya of data is a collective challenge that is clearly out there, whether we give it the name “WikiLeaks” or not.

This is [the shortened version of] an extended version of an article first published on the nettime mailing list and elsewhere in August 2010

Manifesta 8, the European Biennial of Contemporary Art

Posted in nEws and rEleases by Curatorview on September 20, 2010
September 3, 2010
Manifesta 8, the European Biennial of Contemporary Art, will take place in the Region of Murcia (Spain) in dialogue with northern Africa, from October 9, 2010 until January 9, 2011.

Preview days: October 7 and 8
Official opening day: October 9
Symposium: October 10

In the framework of Manifesta 8, a trio of independent projects is being initiated by the three curatorial collectives responsible for the artistic content of Manifesta 8, in order to further investigate the potential for establishing a closer dialogue with northern Africa.

Alexandria Contemporary Art Forum (Egypt) has already initiated a series of discussions aiming to research the potential for the creation of a new pan-African roaming biennial, (Austria, Czech Republic, Hungary and Slovakia) will develop an in-depth publication to examine the various links, narratives and discrepancies between Post-colonial and Post-communist communities, while Chamber of Public Secrets (Scandinavian Countries, Italy, Lebanon and U.K.) will set up a collaboration with the popular Arab language talk-show Heewar Maftouh (Open Dialogue), broadcast on the Al Jazeera network.

Bringing you the answers before we know the question: four positions regarding the idea of a pan-African roaming biennial
Symposium, October 10, 2010, Murcia (Spain)
Confirmed speakers : N’gone Fall, Senam Okudzeto, Thembinkosi Goniwe and Christine Eyene.
The Incubator for a Pan-African Roaming Biennial is a year-long task-force consisting of Gabi Ngcobo from the Center for Historical Reenactments (CHR) in Johannesburg, Mia Jankowicz from the Contemporary Image Collective (CIC) in Cairo, Jimmy Ogonga from the Center for Contemporary Art of East Africa (CCAEA) in Nairobi and Khadija El Bennaoui from Art Moves Africa (AMA). The Incubator has been set-up in response to a proposal by Bassam El Baroni and Jeremy Beaudry of Alexandria Contemporary Art Forum (ACAF), as an extension to the political issues raised by OVERSCORE, their curatorial contribution to Manifesta 8, and the intellectual territory it covers.

The project aims to facilitate the articulation of critical positions regarding the notion of a pan-African, roaming art biennial. The Incubator will avoid assumptions or simple assessments of what a biennial looks like, what is its context, what effect it has, and whether it can even be done. The Incubator will identify and bring together perspectives from curators, artists, cultural producers and active sponsors, whose current activities reveal the desire to find room for autonomy and progressive experimentation within their respective contexts. Articulating this research should bring together a set of historically and politically informed viewpoints, while paying attention to infrastructure and pragmatic issues. These will happen through several means: the symposium taking place during the opening of Manifesta 8; a website; a workshop which will take place in an African city in April 2011; the appointment of key voices as planners; the production of a publication in September 2011. The Incubator and its platforms should register these positions as an (uneven) landscape upon which others may imagine a new biennial, a roaming biennial, an alternative structure or a model responding to a different set of priorities entirely.
More information about the Incubator will soon be found on:

Post-colonial / Post-communist Reader
Given the motto of Manifesta 8 in its dialogue with northern Africa, immediately recalled the Eastern European experience of the transformation of societies after the decline of socialism and the different projections which the idea of communism had created for so many movements of liberation and self-determination. This became the starting point for their contribution to Manifesta 8 – a point that was not a dialogue, but a conflict of transfers of imaginations. tranzit’s multi-venue exhibition will focus on the transfer between theory – as an imaginative and symbolic operation – and practice, in this case the making of an exhibition.

For their project, decided to establish a critical counter-check and revision of the so-called post-colonial, the de-colonised and the post-communist conditions of transformation. This will be the subject of a Reader published by the Manifesta Foundation in collaboration with and Erste Stiftung after the closure of Manifesta 8. The aim of the book is to facilitate the transfer of critique, research and thinking between specific notions and concepts of post-colonial thought, and to provide post-communist and transformational inquiries. One of the major challenges of the publication is to establish an exchange of some of those imaginary utopias, disappeared since the end of the Cold War.

¿The Rest is History?
Flashback on contemporary history

Chamber of Public Secrets’ (Alfredo Cramerotti and Khaled Ramadan) choice to work intensely with the media, as both a constructive and divisive agent, addresses the concept that reality is not a fact to be understood, but rather an effect to be produced. In keeping with this engagement, CPS is collaborating with Ghassan Ben Jeddou, a prominent journalist and host of the talk show Hiwar Maftouh (Open Dialogue), regularly broadcast on the Arabic Al Jazeera network.

Over the past 10 years, through its perceptive programming, this international news network has taken an intensive role in recording and re-writing Arab history. Accordingly, during Manifesta 8, Ben Jeddou will produce two broadcasts focusing on some of those narratives shared between Spain, northern Africa and the Arab world. These will address the complex nature of this transnational dialogue which, despite giving birth to a project of great potential for multiple perspectives, also reveals itself as negotiating history in parallel terms of honour and denial.

For more information:
Website: /
Phone: +34 868 950 750
Email: /

Ian Breakwell: The Elusive State of Happiness

Posted in nEws and rEleases by Curatorview on February 12, 2010

February 12, 2010

Ian Breakwell:
The Elusive State of Happiness
13 February – 18 April 2010
Seminar Event 14 April 2010

Market Place
Cathedral Quarter

The Elusive State of Happiness is a major exhibition of the work of Ian Breakwell (1943-2005), a man with an eye for seeing the extraordinary in the ordinary. Breakwell was a world renowned prolific artist who took a multi-media approach to his observation of the minutiae of life through a wide range of media including dairies, film works, TV, audio and drawing.
Spanning a career of 40 years, his work is an attempt to subtract the obvious from the everyday, to isolate and bring it to another level of meaning, and aesthetic experience. The diary is the central motif of the exhibition, and the link of Ian’s books and films with his video, drawing and audio works – all of them speaking as reference for his Continuous Diary lifelong project.
The humour, mischief and oblique wonder at the world that permeates his verbal and visual legacy is already legendary. His voyeurism -social rather than sexual- is always mitigated by humour: “The humour that I love is the morose, the deadpan, the seemingly unfunny stuff that is close to misery, but not quite.” By presenting a continuous re-interpretation of what we already know, and have overlooked, Breakwell invites the viewer not to discard, but to reinvent the meaning of things. He invites us to see with other eyes.
Born in Derby and educated at the Derby College of Art, Ian Breakwell was a remarkably talented artist in any medium he handled, written, spoken and depicted, including media broadcasts, notably with adaptations of his Continuous Diary and Christmas Diary on Channel 4 in 1984 and 1988.
– – – – –

Curated by Louise Clements & Alfredo Cramerotti, in partnership with Anthony Reynolds Gallery and Felicity Sparrow.
– – – – –

A Seminar Event on Ian Breakwell will take place in QUAD, Derby, UK on 14th April 2010. Contributions by Breakwell’s scholars and experts and special screening of the film works Auditorium (1993) and Variety (2001).

– – – – –
A richly illustrated Exhibition guide with over 80 colour reproductions accompanies the exhibition with original texts and visuals on more than 20 works from Breakwell’s illustrious career through a wide range of media. Full colour, Brossard cover, available through QUAD.

– – – – –
During March a Film Season curated by Felicity Sparrow and David Sin will screen in QUAD’s cinema, showcasing some of the films that impacted on the work and life of Ian Breakwell.
For more information:
Tel. +44 (0)1332 290606            +44 (0)1332 290606

Image: detail from: Walserings 1991
© the estate of Ian Breakwell
Courtesy Anthony Reynolds Gallery, London

tv-tv LAP TALK 03: MemeFest

Posted in shortEssays/cortiSaggi [English/Italian] by Curatorview on April 12, 2005

LAP TALK is a series of introduction to various non-mainstream forms of communication through web platforms. It is part of Chamber of Public Secret’s TV program broadcast on the independent television platform tv-tv.

LAP TALK 03: Memefest
archive at and
(first broadcast 12.04.2005)

%d bloggers like this: