Andrew de Brún
Andrew de Brún (1990, Dublin, lives and works in London) is an independent curator and researcher based in London. His practice is concerned with the importance of the landscape and urban environment as relating to memory and as being symptomatic of a national cultural identity. He has written extensively on the subject of ruination and on the significance of photography in tracing the shifting of social and political environments. He graduated from the National College of Art and Design in Dublin in 2012 with a Joint BA in Fine Art and History of Art. In 2016 he graduated with an MFA in Curating from Goldsmiths College, University of London while also curating Shadows on the Walls; a photography exhibition in the Guardian Exhibition Space in King’s Cross, London that marked the centenary of Dublin’s 1916 Easter Rising. He is also committed to promoting the significance of gallery education having worked in learning with institutions such as the V&A Museum, White Cube and the Whitechapel Gallery, London. firstname.lastname@example.org
Inês Melícias Geraldes Cardoso
Inês Melícias Geraldes Cardoso, 15 February 1990 - born in São Paulo, Brazil, grew up in Lisbon, Portugal. After graduating in Art History and Social Anthropology from the University of St Andrews, Inês worked as a curatorial assistant at Kunsthalle Lisbon and has previous work experience from institutions including the Peggy Guggenheim Collection and Situations. Her research interests lie in the intersections between theory and practice and her MA dissertation at the Royal College of Art investigates exhaustion as a generative point of departure for curatorial practice. In her practice as a curator and writer, Inês seeks to develop collaborative models of practice that foreground artists and their work. This approach has been crucial to recent projects, including Sorry you missed me at the Royal College of Art and Planta: Notes on Botanical Dissidence at Acme Project Space. Forthcoming projects include an exhibition in Lisbon, selected in the 2016 edition of EGEAC's Young Curators Open Call. email@example.com
Kateryna Filyuk (Odessa, Ukraine, 1986. Lives and works in Kiev and Amsterdam) is a curator and art critic. She holds an MA in Philosophy from Odessa I.I. Mechnikov National University. She has worked for the First Kyiv International Biennale of Contemporary Art ARSENALE 2012 as Managing Editor of the catalogue and Coordinator of the Discussion Platform. In 2012, she took part in the 4th Gwangju Biennale International Curator Course, followed by the MMCA International Research Fellowship at the National Museum of Modern and Contemporary Art of Korea with a final essay on Korean New Media Art, in 2014. She was a participant of the 21st course of De Appel Curatorial Programme 2015/16. Filyuk has been involved in the organization of exhibitions in various galleries and institutions and contributed to a number of Ukrainian and international magazines and online platforms such as Art Ukraine, Metropolis M. Her recent curatorial projects include: Fake Hikers. MMCA Changdong residency, Seoul, South Korea; One day in the life, Multimedia Space for Contemporary Culture Nástupište 1-12, Topoľčany, Slovakia; Rien ne va plus? Faites vos jeux! as a part of Untitled (Two Takes on Crisis), De Appel arts centre, Amsterdam, Netherlands; Social Contract, Izolyatsia, the Former Site of the Monument of Lenin in Kyiv, Kyiv, Ukraine. Currently she is a Curator at Dymchuk Gallery (Kyiv). Filyuk is a Project Manager for Curatorial Program for Research. Lives and works in Kyiv and Amsterdam.
Lorenzo Balbi (Torino, 1982. Lives and works in Torino) is a curator at Fondazione Sandretto Re Rebaudengo. He graduated from Ca' Foscari University in Venice with a BA of Fine Arts and Preservation of Cultural Heritage and from the University of Turin with an MA in Contemporary Art History. His texts and articles were published by several reviews and magazines, including: Il Giornale dell'Arte, Inside Art, Artribune, Mousse, La Stampa, Exibart, ATP Diary, Il Giornale dell'Architettura. He was artistic director at Verso Artecontemporanea Gallery in Turin, an exhibition space devoted to research on emerging artists from South-East Asia. Recently he was part of the board of Nesxt, Indipendent Art Festival, curator of the Live Program for DAMA, the new experimental fair for emerging international galleries, and curator of the Pomilio Blumm Prize, a prize for contemporary artists promoted in collaboration with Magnolia and Sky Arte HD. Since 2007 he has worked as an assistant curator at the Fondazione Sandretto Re Rebaudengo, teaches Curatorial Methodology at Campo Course for Curators (www.fsrr.org/campo) and works on the exhibition projects for the institution in the two venues of Torino and Guarene d'Alba. His works expecially focused on the exhibitions of the Sandretto Re Rebaudengo Collection abroad. Among his curated shows: Neve chimica (Casa Olimpia, Sestriere, 2012); Riikka Kuoppala. La casa di biscotti (Fondazione Sandretto Re Rebaudengo, Torino, 2013); Thomas Teurlai. Europium (Fondazione Sandretto Re Rebaudengo, Torino, 2014); Stanze/Rooms (meCollectors Room, Berlino, 2014); Pierre Michelon. Parole e angurie (Fondazione Sandretto Re Rebaudengo, Torino, 2015); Spin-Off (Centro de Arte Contemporaneo, Quito, 2015); Daniel Frota. Irrealis Mood (Fondazione Sandretto Re Rebaudengo, Torino, 2016). After working for the project as an assistant to former coordinators Ilaria Bonacossa (in 2009) and Stefano Collicelli Cagol (in 2011 and 2012), in 2005 he became curator and coordinator of the Young Curators Residency Programme (www.fsrr.org/ycrp).
Krist Gruijthuijsen(1980, NL) is a curator, writer, publisher and course director of the MA fine arts department at the Sandberg Institute in Amsterdam.Recently he has been been appointed artistic director of the KW, Berlin.As co - founding director of Kunstverein in Amsterdam, he has organized exhibitions, events and publications of o.a.Ian Wilson, Ben Kinmont, Dennis Cooper, Ray Johnson, Mierle Laderman Ukeles, Guerrilla Art Action Group, Adam Pendleton, Simon Martin, Dexter Sinister, Robert Wilhite, Richard Kostelanetz, Nedko Solakov and Raimundas Malasauskas.His exhibitions and projects have been presented at a.o.Manifesta 7(Italy), Platform Garanti(Istanbul), Artistsspace(New York ), Extra City(Antwerp), Museum of Contemporary Art(Belgrade), Swiss Institute(New York ), Anthology Film Archives(New York ), A Gentil Carioca / Galeria Vermelho(Rio de Janeiro / Sao Paulo ), Stedelijk Museum(Amsterdam), Van Abbemuseum(Eindhoven), Marres, Centre for Contemporary Culture(Maastricht) and Stedelijk Museum Bureau Amsterdam, which have included artists such as Renzo Martens, Gabriel Lester, Falke Pisano, Melvin Moti, Will Holder, Luca Frei, Liam Gillick, Amalia Pica, Julika Rudelius and Bik van der Pol.Gruijthuijsen has produced many publications amongst others ‘The Encyclopedia of Fictional Artists + The Addition(JRP Ringier ) , ‘We all Laughed at Christopher Columbus(Revolver), ‘Novella(not yet another story ) (Revolver), Ben Kinmont: Prospectus, works from 1989 – 2011, (JRP Ringier ), ‘Paper Exhibition: Selected Writings of Raimundas Malausaskas’ (Sternberg Press ).
Andrea Viliani is an art critic and curator and, since 2013, Director of the MADRE, the public museum of contemporary art founded by Campania Region in Naples, where he organized exhibitions by Francis Alÿs, Thomas Bayrle, Daniel Buren, Mimmo Jodice, Mark Leckey, Fabio Mauri, Boris Mikhailov, Giulia Piscitelli, Vettor Pisani,Walid Raad, Ettore Spalletti, Sturtevant, Padraig Timoney, Mario García Torres/Alighiero Boetti. At MADRE he has produced as well seminars and publications by artists such as Gusmao&Paiva, Stephen Prina and Akram Zaatari and oversaw the ongoing projects Per_forming a collection and Progetto XXI. From 2009 to 2012 he worked as Director of the Fondazione Galleria Civica-Centro di Ricerca sulla Contemporaneità in Trento; from 2005 to 2009 he was Curator at the MAMbo–Museo d’Arte Moderna di Bologna, where he presented an exhibition program focused on the contemporary legacy of the 60s/70s institutional critique and on a possible new approach to it (“institutional narrative"). From 2000 to 2005 he worked as Assistant Curator at the Castello di Rivoli-Museo d'Arte Contemporanea, Turin. In 2012 Viliani was one of the six curatorial Agents/Core-Group of dOCUMENTA(13), co-curating with the Artistic Director Carolyn Christov Bakargiev and Aman Mojadidi the related position in Kabul and Bamiyan, Afghanistan. He also curated exhibitions and projects in various other institutions as, among the others, Paweł Althamer (MUSEION, Bolzano), Gabriele Di Matteo (FRAC Limousin), David Maljković (GAMeC, Bergamo), Deimantas Narkevičius (Museo Marino Marini, Florence) and Haris Epaminonda (Fondazione Querini Stampalia, Venice). Among the 60 “players” of the 2007 Biennale de Lyon, he is a contributor to the art magazines Flash Art, FROG, Kaleidoscope and Mousse.
Residency program for young curators 2017
Curated by Lorenzo Balbi
A house, halfway
Fondazione Sandretto Re Rebaudengo
17 May – 1 October 2017
Final exhibition of the 12th edition of the Young Curators Residency Programme
As the curators in residency of the 11th edition of the Young Curators’ Residency Programme at the Fondazione Sandretto Re Rebaudengo in Turin, we were invited to make an extensive tour of Italy visiting each major city and contemporary art institution, and meeting with artists throughout the country. Reflecting on our position as transitory, itinerant residents, in a nation that has historically been a passage into Europe inevitably required us to problematise the following conflict: the pursuit of pleasure by elites embarking on a Grand Tour of Italian culture — a category from which we cannot exclude ourselves — and the urgency of migration for those seeking refuge and safe passage into Europe. The exhibition presents eleven emerging and established Italian artists, whose contributions include new commissions and existing works that are in dialogue with the concept of a halfway house. This is a term that refers to the shelters used for recent prisoners reintegrating into society, a stopping point for travellers along their journeys, or a compromise between two opposing points of view. The halfway house generates a hiatus where life is put on hold but decisions must be taken, everyday tasks accomplished, relationships sustained and physical problems nursed. As a curatorial framework, the halfway house becomes a place to engage with the different motivations for travel that continue to define Italy as a site of passage. The exhibition will therefore be a moment to explore artistic practices that present affective, intellectual, social, cultural and economic reflections on these parallel histories of transit, and the liminal suspension that they create.