Who we were
Curators

Inti Guerrero

Inti Guerrero (1983, Bogota) is is a curator based in Hong Kong. From November 2011 to November 2014 he was the Associate Artistic Director-Curator of TEOR/éTica, a space for art and thought founded in 1999 in San Jose, Costa Rica. He studied History & Theory of Art and Architecture, and General History in Universidad de Los Andes, Colombia and Universidade de São Paulo, Brazil. He is a former fellow of De Appel’s Curatorial Programme, the Netherlands. He has curated exhibitions and symposia in Latin America, Europe and Asia. Amongst his most recent curatorial projects are: Duet for Cannibals' at the Royal Tropical Institute in Amsterdam; Quasi-cinemas at the Rietveld Academy in Amsterdam; Flying Down to Earth at both MARCO in Vigo and FRAC Lorraine in Metz; The City of the Naked Man at the Museum of Modern Art of São Paulo and the survey exhibition Light Years. Cristina Lucas at Centro de Arte 2 de Mayo in Madrid, and Museo Carrillo Gil in Mexico City. Guerrero is a former curator-in-residence of Fondazione Sandretto Re Rebaudengo in Turin and Capacete Entretenimentos in Rio de Janeiro. His writings have appeared in Afterall, Ramona, ArtNexus, Arteria, Manifesta Journal, Metropolis M, and Nero, among other publications and exhibition catalogues.

Julia Klaring

Julia Kläring was born in 1978 in Vienna. She graduated in visual arts at the Academy of Fine Arts in Vienna, Austria, where she specialized in Conceptual Arts, Performance Arts and Video. She participated in the curatorial program of Ecole du Magasin, Grenoble, France. She is currently working on various artistic and curatorial projects that deal with performance and its intersections with text and image formats, such as documentary practices. She took part to different exhibitions among which: She Devil 3, Studio Miscetti, Rome, and National Museum of Contemporary Art, Bucharest (2009), Salon fauxpas brutal, Vienna (2008), Diskurs-festival: cyborgs crossing, Performance-Festival, Giessen, Germany (2008), Art-e-conomy at Challengers! curated by Marko Stamenkovic, LOM, Venice (2007). Among her curatorial projects: To store stories, exhibition and publication, conceived with Katharina Lampert, IG Bildende Kunst, Vienna (2009), Performing Memory, itinerant series of conversations (2009), Point.doc, curatorial project, realized in the context of Ecole du Magasin (2008), Nicht nur ein Bild, sondern eine ganze Welt (Not Just an Image, But a Whole World), for the Kunstraum Niederoesterreich in Vienna (2012). From 2010 to 2011 she followed the research and performance project 37 Years too Late, which was shown in stages in London, Dornbirn and Vienna.

Pieternel Vermoortel

Pieternel Vermoortel (1981, Roeselare, Belgium) is an independent curator and co-founder/director of FormContent, a curatorial programme. Her most recent programme at FormContent It’s moving from I to It uses fiction as its main tool to reflect upon cultural production. Currently she teaches Exhibitions and Cultural Productions at TEBEAC, Ghent and is a visiting lecturer at the BA Fine Art and the MFA Curating at Goldsmiths University London. She has taught on various MFA and curatorial training programmes, such as LUCA Brussels, MFA Fine Arts Sint Lucas Antwerp, HISK Ghent, Doctoral Research Programme in Fine Art and Curating Goldsmiths University London and wrote for various catalogues and magazines such as the Venice Biennial Catalogue 2011 and Metropolis M. She edited various publications such as a.o. Out of the Studio, 2008 and The Responsive Subject, 2011. Among her last curatorial projects: alovestorysomewherearround2046, Edgar Schmitz, LUX, London (2013), You only fall twice, CCA Derry-Londonderry (2013), The falling of the books, Cairo, Egypt (2013), The question Itself, South London Gallery, London (2013), In the wake of a view, Brussels, Belgium (2013), The school, David Robberts Art Foundation, London (2013), What happens when all characters leave the stage, Liverpool, United Kingdom (2013), The Cat, Carpeted, Brussels, Belgium (2012), It’s Moving from I to It, Brukenthal Museum, Sibiu, Romania (2012), Not surprisingly, he is wearing gloves, Birmingham, United Kingdom (2012).

Coordinator

Ilaria Bonacossa

Ilaria Bonacossa (1973) is an art critic and curator. Since 2012 she is the artistic director of the Contemporary Art Museum Villa Croce in Genova, Italy. From 2002 she worked at Fondazione Sandretto Re Rebaudengo in Turin, where she curated numerous exhibitions, including D-segni (2004), five solo shows dedicated to works on paper by emerging artists in Italy and abroad, Subcontingent: The Indian Subcontinent in Contemporary Art (2006), Il Coraggio, contemporary art from the Fondazione Sandretto Re Rebaudengo (2010), a project by Francesco Bonami. In 2013 she was co-curator of the Islandic Pavilion at the Venice Biennial. From 2009 she founded Art at Work, an innovative operating system that develops contemporary art projects. She is the Italian responsible for the London trust of APT Artist Pension Trust, an international project that supports the international artists' careers, and she writes for several art magazines such as Outist and Mousse. She is a member of the Technical Committee for Acquisitions for the FRAC Provence-Alpes-Côte d'Azur in Marseille.

Jury

Carlos Basulado

Carlos Basualdo (1964, Rosario, Argentina) is the Keith L. and Katherine Sachs Senior Curator of Contemporary Art at the Philadelphia Museum of Art, where he oversees the Museum’s Department of Contemporary Art. He was part of the curatorial teams for Documenta11 (2002), the 50th Venice Biennial, and conceived and curated Tropicalia: A Revolution in Brazilian Culture, which travelled from the MCA Chicago to the Barbican Gallery in London (2004/2005) as well as the Bronx Museum in New York and the Museu de Arte Moderna in Rio de Janeiro (2006 / 2007). In 2006, he initiated two exhibition series at the Museum called Notations and Live Cinema, both of which are devoted to the permanent collection and video. He was the lead organizer of Bruce Nauman, Topological Gardens, that represented the United States at the 2007 Venice Biennial, where it was awarded the Golden Lion for Best National Participation. In 2010 he organized a survey exhibition of the work of the Italian artist Michelangelo Pistoletto, a collaboration between the Philadelphia Museum of Art and the MAXXI Foundation (Rome), where it traveled in the spring of 2011. He organized Dancing Around the Bride: Cage, Cunningham, Johns, Rauschenberg and Duchamp, which opened in Philadelphia in October of 2012. From 2010 until 2013 he worked as Curator at Large at MAXXI Arte, in Rome, Italy.

Charlotte Laubard

Charlotte Laubard (1974) is a French curator, director of CAPC musée d’art contemporain de Bordeaux since October 2006 where she recently curated the exhibitions Diego Perrone, David Maljkovic and On Lost Worlds. She has previously worked as a curatorial associate at PS1 Contemporary Art Center in New York (1999-2000), at Castello di Rivoli Museo d’Arte Contemporanea in Turin (2002-05), and she was the consultant for the Viktor Pinchuk Foundation in Kiev on the opening of its contemporary art museum (September 2006). In Turin in 2004, Charlotte co-founded the art space More Fools in Town together with Australian artists Geoff Lowe and Jacqueline Riva, where they have organized many events. She also curated the 2003 edition of the Fuori Uso festival in Pescara, Italy, and exhibitions in Fondation Ricard in Paris (Cosi va il mondo, 2003; Incipit, 2006), and in the Victoria College of Art in Melbourne (Daniel Dewar & Gregory Gicquel, 2006). From 2001 to 2006, Charlotte Laubard was a contributor to Artforum, 02 Magazine, Beaux-Arts Magazine, and the editor of the contemporary art rubric of the magazine Technikart.

Teresa Gleadowe

Teresa Gleadowe (London) is a curator, writer, and editor with extensive experience in contemporary visual arts, both nationally and internationally, and Chair of Nottingham Contemporary. She was a member of the Furla Prize 2015. She worked for the Visual Arts Department of the British Council, London, and the Tate Gallery, London, as head of information. In 1992 she joined the academic staff of the Royal College of Art, London, to develop and lead the curating course. She was head of the Curating Contemporary Art department until the summer of 2006, when she left the college to work freelance. From 2006 to 2012 she was Research Consultant and Series Editor for the Exhibition Histories series published by Afterall. She has also taught on curatorial programmes at California College of the Arts, San Francisco; de Appel, Amsterdam; the London Consortium MA Film Curating; the MA Curating at Chelsea College of Art and Design; and on the Curatorial Intensive run by Independent Curators International in New York in July 2011. She has co-convened two conferences with Kitty Scott for the Banff International Curatorial Institute and a symposium, ‘On Remoteness’ in March 2013. She is a member of the Advisory Board of PEER, a member of the ICA’s Artists Advisory Committee, a specialist adviser to The John Lyon’s Charity and a member of AICA and ICOM. She is also Chair of CAST (the Cornubian Arts & Science Trust), a new charity based in Helston, Cornwall, created in 2012.

Logbook

Young Curators Residency Programme 2009

Curated by Ilaria Bonacossa

And yet it moves

Curated by Inti Guerrero, Julia Kläring and Pieternel Vermoortel

Palazzo Re Rebaudengo, Guarene d’Alba, Cuneo, Italy
May 10 – June 21, 2009

Genova Palazzo Ducale
September 19 – October 18, 2009

Fondazione Sandretto Re Rebaudengo and Fondazione Edoardo Garrone present Eppur si muove (And yet it moves). The exhibition comprises works by Rosa Barba, Emanuele Becheri, Eva Cenghiaro, Rä di Martino, Patrizio Di Massimo, Caterina Nelli, Giulia Piscitelli, Moira Ricci, Davide Savorani and Elisa Strinna. In Le Mépris (1963), French filmmaker Jean-Luc Godard sets silent movie director Fritz Lang on the roof-terrace of the modernist Villa Malaparte in Capri shooting The Odyssey. The final shot pictures Odysseus facing endless waters as an invitation for the viewer to project his/her own narratives upon the void between past and present. In 1908, on the Mediterranean island of Capri, the exiled Russian writer Aleksei Maksimovich - better known as Maxim Gorky - was planning his Capri School. Far from the epicenter and ideals of Lenin’s Bolshevism, the School saw myth and religion fulfilling a central role in the revolution. It was then, during the summer of the following year, that eight Russian workers arrived to take part as students in Gorky’s peculiar utopia. At the SISMOS center of the Istituto Nazionale di Geofisica e Vulcanologia in Rome, Italian artist Elisa Strinna found a seismographic recording of the Messina earthquake of 1908. This scientific data collected during the movement of faulting tectonic plates in the Mediterranean, is an excerpt from a registration of one hundred years of Natural History. Through a musical translation, Strinna recalls the archival strata. The true method for making things present is to place them in our space (and not us in theirs). That is why only anecdotes have the power to move us. We don’t displace our beings into theirs: they step into our life. [Walter Benjamin, The Arcades Project, conceived in 1927 – unfinished]. It seems as though when artists deal with data, documents or moments from collective or personal histories, their ways of relaying them, acting upon them or even modifying them, are close to Benjamin’s aforementioned potential of the anecdote and its retreat from messianic historicism. In this exhibition the anecdote does not depend on the viewer’s empathy with the story told, but allows the event to be seen through diverse simultaneous temporalities.