alcramer [Alfredo Cramerotti]

Acts of Appearance – Photographic Exhibition launch and talk at MutalArt / APT HQ, London, UK

Posted in nEws and rEleases, Uncategorized by alcramer on April 25, 2017
  • Wednesday 26 April 2017, 6pm

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Alfredo Cramerotti: Hyperimaging! European Centre for Photography Research, University of South Wales, Cardiff, UK

Posted in nEws and rEleases by alcramer on April 25, 2017


  • Wednesday 26 April 2017, 2pm

Presentation of the “Hyperimage” body of research concept in relation to the concept of the forthcoming exhibition at the National Gallery of Kosovo, Prishtina, October 2017.

Screen Shot 2017-04-24 at 8.24.09 PM

Image from

We refer to images, or the act of creating images, to act socially, politically and even privately. As a consequence of the digital age of photography, the way we are involved in image making is continuous: we can confer it a specific professional or artistic function, or embed it in they way we shape our existence.

When digital images are imposing themselves as a visual translation of the self, the understanding of photography is striving to go away from standard representational practices. Images compose a visual timeline, comparable to a textual linear narrative, where the grammar is made of our shopping lists, chats, social media’s comments or work emails.

Although these images are not coherent when considered together and are produced for different reasons, they become knowledge ‘chunks’ that visually translate different contexts into what we wish others to think of us. They can therefore be understood as a pictorial alphabet, where the possibilities of communicating are infinite and universal, freed from constraints related to textual translation. The result is a flow of visual forms and meanings that are interchangeable, independently from the situations in which they were generated and consumed.


The exhibition is conceived as a chapter from the larger Hyperimage research led by Alfredo Cramerotti, Curator of the 2017 Gjon Mili Biennial & Award. It draws on further research by Hannah Conroy and Valentina Bonizzi, Curatorial Consultants. The exhibition is accompanied by a catalogue with an expanded critical text written by Alfredo Cramerotti, Hannah Conroy and Valentina Bonizzi.


Dear Portrait exhibition reviews on The Guardian & We Heart

Posted in nEws and rEleases by alcramer on September 13, 2013

For The Record: Fictional images on the frontline between photojournalism and contemporary art

Posted in shortEssays/cortiSaggi [English/Italian] by alcramer on November 7, 2011

by Ossian Ward


Thursday  13 October 2011

‘All That Fits’ exhibition – video introduction of Michael Takeo Magruder’s work

Posted in nEws and rEleases, shortEssays/cortiSaggi [English/Italian] by alcramer on June 19, 2011

All That Fits: the Aesthetics of Journalism, curated by Alfredo Cramerotti and Simon Sheikh, includes the work ‘Insurance AES256 by Michael Takeo Magruder.

This is his video introduction to the work.

‘All That Fits’ exhibition – video introduction by Alfredo Cramerotti

Posted in nEws and rEleases, shortEssays/cortiSaggi [English/Italian] by alcramer on June 15, 2011

All That Fits: the Aesthetics of Journalism is an exhibition curated by Alfredo Cramerotti and Simon Sheikh, exploring the complements and conflicts between art practice and journalism.

Exhibitions open at Derby QUAD from 28 May to 31 July 2011.

The new Photographer

Posted in Tools.Coaching by alcramer on July 2, 2009

From 19 to 21 June I have participated – in representation of QUAD Derby and Intellect Books Bristol, at the first UK National Photography Symposium in Manchester, organized by Redeye – The Photography Network, in collaboration with the University of Bolton and Arts Council England.

Paul Herrman, the Director of Redeye who brainchild the symposium, held an interesting session in relation to the figure of the ‘contemporary photographer’. First, he highlighted the big changes in relation to photography occurred in the last decade:
– camera ownership – digital imaging
– internet
– education
– photography in the art world

Along these changes, a transition happened also in terms of old photographer / new photographer:

The old practitioner:                                      The new practitioner:

– primacy of technique                                   – primacy of ideas
– specialization                                                 – complementary range of works
– selected audience/circles of admirers      – international audience/virtual circles

Today’s ‘top photographers’ present therefore the following features:

1. Interest, knowledge and reading in relation of the photographic economy and the world at large: ‘if your picture are not good enough, you don’t read enough.’
2. Marketing, talking and writing
3. Development of ‘the voice’, that is, differentiate oneself (the famous line ‘I can/can’t see you in these pictures…’ often heard in portfolio reviews)
4. Building relationships in time with curators, buyers and other professionals
5. Work ethic and good business (with the right balance of copyright and free licence use)
6. Long terms commitment (minimum of five-six years of practice before ‘getting’ anywhere), and motivation: both clients and professionals need to know that a photographer is going to be there in ten years time
7. Craft and ideas – research opportunities and deliver results.

Furthermore, Herrman listed ’twenty things one can do to get closer to be a top photographer’ (besides talent and commitment, I guess):

1. Going to openings – where people want to hear your ideas
2. Going to festivals (only three or four in the UK, but many abroad)
3. Business link (GVA – Great Value Added is not the only criteria)
4. Gettting some trading (agencies, galleries, etc)
5. Social media (internet at large helps to know people)
6. Metadata, absolute crucial to caption and keyword the work
7. Project making: a strong enough project to get teeth onto, something that resonates with people
8. Partnerships/collectives such as getting together with a writer, or a musician, etc. to realize a project
9. Website/blog, using to get ideas out and update regularly
10. Slideshow; collaborating with someone else, like sound people and through a narrative structure, to create a slideshow and show in programmes and venues such as BBC Big Screens around the UK (desperate to get good content)
11. Preparing portfolio
12. Marketing material such cards, etc.
13. Writing, important aspect
14. Giving a talk; it helps to get your ideas together
15. Applying for a grant; criteria to assess proposal are published on the Arts Council website; core matter is the audience development and which bits of work will accomplish that. Writing a good grant application is part of the job as photographers
16. Print sales
17. Exhibiting wherever one can (not whenever, I’d say…); getting used to the idea of exhibit
18. Entry and checking competition
19. Email/newsletter every 6 months, to let the network know what one has been done, etc.
20. ‘You have to be burning and you have to have your shit together’

In photography, but possibly in all arts disciplines (and non-disciplines), if one has to say something, it’s got to be said in a manner that is a) accessible b) that matters and c) that adds something to what have been said before. Question, transform, exchange. To be interested in photography, one has to be interested in the world.

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