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.

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

Distribution
ITALY – A.L.I. Agenzia Libraria International 
BELGIUM, FRANCE, LUXEMBOURG, SWITZERLAND, CANADA – Les presses du réel
UNITED KINGDOM – Art Data
USA – Idea Books and Printed Matter
NETHERLANDS, GERMANY, AUSTRIA AND ALL OTHER COUNTRIES – Idea Books

For other distribution inquiries, please contact [email protected]

Media Inquiries
To request review copies, press images, or for other media inquiries, please contact [email protected]

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Heads of Content:
Valerio Mannucci, Lorenzo Micheli Gigotti

Creative Director:
Francesco de Figueiredo

Editor at large:
Luca Lo Pinto

Editors:
Michele Angiletta, Alessandra Castellazzi, Carlotta Colarieti, Clara Ciccioni, Carolina Feliziani, Tijana Mamula, Valerio Mattioli, Laura Tripaldi

News Editor:
Giulia Crispiani

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

Administration and Production:
Linda Lazzaro

Distribution:
Davide Francalanci

Extra.Collective

was born in a context of dispersion—geographical, emotional, and temporal—and has been shaped by the curatorial practices of Vanessa Cimorelli and Tara Ulmann, whose shared attention to affects, relational processes, and alternative modes of organization informs its foundations. Over the years, their collaboration took form through discontinuous exchanges and mediated presences, where communication became a site of experimentation rather than a mere tool—echoing Cimorelli’s research into sustainable curatorial temporalities, care, and collective narratives, and Ulmann’s commitment to radical curatorial freedom grounded in autofiction, critical sentimentality, and resistance to institutional norms. This unstable yet intimate dynamic shaped a way of thinking and creating in layers, interruptions, and sudden emergences. Extra.Collective puts this mode of functioning to the test of a physical places, within a fragmented temporality and with bodies, approaching the exhibition not as a simple act of display, but as an environment in which visual, performative, and discursive practices contaminate, circulate, and transform through contact with one another.

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