Talk on the Art Stage at #NFTNYC2023 in New York City about “Commissioning and Collecting Contemporary Art NFTs”
Speaking and moderating as @curatorview and @mostyngallery on Weds 12th April, 4.30pm with Auronda Scalera @aurondascalera and Peter Hamilton @PeterHamilton on the Art Stage at #NFTNYC2023 about “Commissioning and Collecting Contemporary Art NFTs”
Taking as case studies IAM Infinity Art Museum (blockchain-based) and Seattle NFT Museum (venue-based), I will discuss the approach to the respective projects and how artists relevance in the cultural space at large is imprinted via these new ways of commissioning and collecting art for future generations.
Topics touched upon during the talk include the making of the Seattle NFT Museum & IAM Infinity Art Museum, recent standout artist projects, curating from different perspectives, commissioning projects in the NFT space, and questions about the art market: how should curators, gallerists, and marketplaces tackle some of the challenges in the digital space such as technical, trust, inequality and other issues?
Curating & New Technologies: Alfredo Cramerotti’s talk for New Curators curatorial platform, hosted by A4 Arts Foundation, Cape Town, SA
Thursday 15 December 2022, 1pm UK time
A new training course for aspiring curators from lower socio-economic backgrounds has been launched by three former Tate specialists. “So many people who would be interested in curating don’t even try to enter the profession because the courses are prohibitively expensive,” says Mark Godfrey, a former senior curator of international art at Tate Modern.
Godfrey will run the New Curators training programme in collaboration with two co-directors: Kerryn Greenberg, former head of international collection exhibitions at Tate, and Rudi Minto de Wijs, who worked in the institution’s marketing department and served as co-chair of its Black, Asian and Minority Ethnic (BAME) network.
Cramerotti’s talk will focus on how artists relate to technology:
How can artists and curators understand and mobilise changes in technology, from the internet and smart phone to AI, block-chain, NFTs etc?
What are the risks of replicating spectacle-culture and potentials of resisting it?
What do we make of the initial hype surrounding NFTs and subsequent fall?
What does this mean for the future?
What advice would we give emerging curators who are interested in learning about artists working with new technologies?
AN INVISIBLE ENERGY DIVES AND PHENOMENA OF CONTEMPORARY ART
PHANTOMOLOGY – THE PHENOMENOLOGICAL ENVIRONMENT | AN INVISIBLE ENERGY DIVES AND PHENOMENA OF CONTEMPORARY ART
Friday 1st February 2019
CUBO, Bologna, Italy
FORCE FIELD, 2016. | performance in collaboration with Paul Prudence. Image courtesy of Phantomology; project curated by Marco Mancuso, Daniela Tozzi and Ilaria Bignotti
for the spaces of CUBO in Bologna.
Panel Discussion
Moderated by: Marco Mancuso and Ilaria Bignotti
With: Ugo La Pietra, Ariane Koek, Alfredo Cramerotti
“Fantomologia” is a term coined by Polish science fiction writer and philosopher Stanislaw Lem, in his essay “Summa Technologiae” of 1964. The theme dealt with is the role of man in relation to a vast and stratified universe, existing beyond of its physical and sensory limitations, differently intelligent and as such capable of creating or breaking down barriers of understanding and dialogue between different elements.
The curatorial project proposed by Marco Mancuso, Daniela Tozzi and Ilaria Bignotti for the spaces of CUBO Unipol, analyzes the concept of environment in a wide and complete way: the technological environment (the installation The Nemesis Machine of the media artist Room) and its comparison with the historical works (Immersioni – Caschi Sonori, Commutatore) by the artist Ugo La Pietra, the sub-atomic environment (the Force Field performance by the duo of science artist Evelina Domnitch and Dmitry Gelfand), the architectural environment (the panel moderated by Daniela Tozzi with Bertram Niessen, Paolo Rigamonti and Salvatore Di Dio) and finally the phenomenological environment (the panel moderated by Marco Mancuso and Ilaria Bignotti with Ugo La Pietra, Ariane Koek and Alfredo Cramerotti)
The phenomenological environment is therefore addressed through the panel entitled “An invisible energy. Immersions and phenomena of contemporary art “, structured in turn as an ecosystem in which to share ideas and topics, a context that brings together artists and curators who for years have been exploring these issues in terms of production, research and market potential.
Curatorview [Alfredo Cramerotti] 
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