NERO is an international publishing house devoted to art, criticism and contemporary culture. Founded in Rome in 2004, it publishes artists’ books, catalogs, editions and essays.

NERO explores present and future imaginaries beyond any field of specialization, format or code – as visual arts, music, philosophy, politics, aesthetics or fictional narrations – extensively investigating unconventional perspectives and provocative outlooks to decipher the essence of this ever changing reality.

Contacts:
NERO
Lungotevere degli Artigiani 8/b
00153 – Rome
Italy
+390697271252
[email protected]
[email protected]

Distribution:

BELGIUM, FRANCE, LUXEMBOURG, SWITZERLAND, CANADA – Les presses du réel
UNITED KINGDOM – Art Data
NETHERLANDS, GERMANY, AUSTRIA AND ALL OTHER COUNTRIES – Idea Books

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Heads of Content:
Valerio Mannucci, Lorenzo Micheli Gigotti

Creative Director:
Francesco de Figueiredo

Editor at large:
Luca Lo Pinto

Editors:
Clara Ciccioni, Carolina Feliziani, Tijana Mamula, Valerio Mattioli, Corrado Melluso

News Editor:
Giulia Crispiani

Designers:
Elisa Chieruzzi, Lorenzo Curatola, Lola Giffard-Bouvier

Administration and Production:
Linda Lazzaro

Distribution:
Davide Francalanci

Alfredo Cramerotti

is the director of MOSTYN, Wales UK and Adviser to the British Council Visual Arts Acquisition Committee and the Art Institutions of the 21st Century Foundation. He curated radio and television formats in Germany and Denmark, three national pavilions at the Venice Biennale, EXPO Film & Video in Chicago, and the biennials Sequences VII in Reykjavik, Iceland and Manifesta 8, Region of Murcia, Spain. He serves as President of IKT (International Association Curators Contemporary Art), Board Member of AICA (International Association Art Critics) and as Executive Committee Member of ICOM UK (International Council of Museums). Alfredo is Editor-in-Chief of the Critical Photography book series (Intellect Books), and his own publications include Curating the Image: Notebook for a Visual Journey (2020); Forewords: Hyperimages and Hyperimaging (2018); Unmapping the City: Perspectives of Flatness (2010); and Aesthetic Journalism: How to Inform without Informing (2009).

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