Young Curators Residency Programme
Every year since 2007 Fondazione Sandretto Re Rebaudengo promotes the Young Curators Residency Programme Torino. The project aims to support emerging curatorial practice while spreading knowledge of the Italian art scene on an international level.
Since 2007 more than 40 international curators were selected to take part in the Young Curators Residency Programme among recent alumnae and alumni of the most renowned programmes for curators worldwide. The biographies listed in this page are updated to the year in which the curators participated to the YCRP.
Jimena Acosta (Mexico City, 1972) is a curator of contemporary design and art at the Museo de Arte Moderno, Mexico City. She hold a MA degree in Curatorial Studies from the Center for Curatorial Studies at Bard College, Annandale-on-Hudson, New York. In her curatorial practice she has moved from working with contemporary art only, towards working with design and it’s tight corners: sustainability was examined in the exhibition Criteria (co-curated with designer Emiliano Godoy); social movements and it’s graphic mirror in Solidarity: A Memory of Art and Social Change (Both held at Averill and Bernard Levinton A+D Gallery at Columbia College Chicago) or the postal stamps as a way of national identity and historical marker in Mexico Exporta: Postal Design and International Trade at MUFI in Oaxaca. Her exhibition I Will What I Want: Women, Design, and Empowerment, co-curated with Michelle Millar Fisher, puts forward that gender is a force that is rationalized, constructed, and affirmed, and thus can be subverted – by and through design (held at Arnold and Sheila Aronson Gallery, Sheila C. Johnson Design Center, Parsons The New School for Design, New York, in 1917 and in 2018 at Muca Roma Mexico City). She is a design history professor at the Monterrey Institute of Technology, campus Mexico City.
Benoit Antille (Switzerland, 1975) graduated from the MA Program in Classical Archeology and Art History at the Fribourg University (Switzerland) in 2001 and from the Curatorial Practice MA Program at the California College of the Arts in San Francisco in 2011. Between 2001 and 2003, he worked on various projects, such as the inventory of the roman paintings of the Schola del Traiano in Ostia, Roma, or a research project on the industrial heritage of Nyon (Switzerland), for the Historical Museum of this town. At that time, he also started to work as director of communication of the Gallery FAC, Sierre (Switzerland). In 2003, he has been appointed curator and coordinator of the residency program at the Cultural Center Ferme-Asile, a non-profit association in Sion (Switzerland). During the six years he worked there, he ran the Ferme-Asile following the Kunsthalle model. In 2007, he took part to the elaboration of the Label’Art Triennial, the first large-scale event gathering together all the main spaces working in the field contemporary art in the Valais. For 2012, he has been contracted by the Culture Department of the Valais to write a report on the situation of contemporary art in this region in anticipation of their revision of the criteria for public funding.
Jade Barget is a curator and culture worker based between Paris and London with an interest in screen, moving image and performance cultures. Her research centers on the force and limit of images, embodied spectatorship and the influence of media upon our sense of self, memory, and history. Jade co-runs XING, a curatorial platform championing visual culture from East Asia, Southeast Asia and its diasporas. Informed by decolonial, anti-imperialist and intersectional feminist thinking, XING researches and fosters South-to-South alliances. Her most recent projects include curated programmes for XING and Nottingham Contemporary and the commissioning of new works by Adam Christensen, Eva Gold, Thuy-Han Nguyen-Chi and Aaron Ratajczyk. Jade has written for a number of publications including AQNB, diaCRITICS Los Angeles Review of Books, THE SEEN, and Untitled-Folder. She graduated from the Curating Contemporary Art department at the Royal College of Art, London with distinctions and was laureate of the 2020 Young Curator bursary from the Bureau des Arts Plastiques of the Institut Français and the French Ministry of Culture.
Tenzing Barshee (Basel, 1983) is a writer and curator. Until recently he organised exhibitions at wellwellwell, a non-profit gallery funded by the Applied Art University, Vienna. Before that he worked as an associate curator at Kunsthalle Bern. He co-founded the temporary exhibition and event space Elaine at the Museum für Gegenwartskunst, Basel. His last monographic exhibitions he organised with Rochelle Feinstein (Centre d’Art Genève, Switzerland – with Fabrice Stroun), Margaret Honda (Triangle France, Marseille, France) and Shirana Shahbazi (Kunsthalle Bern – with Fabrice Stroun). He is a regular contributor to Starship magazine and one of the editors of Wandering magazine.
Sukanya Baskar is a curator and researcher, with a focus on photography and moving image. Her practice, involving graphic design, spatial design and curatorial research has evolved alongside archives. She has worked on a number of magazine and book design projects including Witness / Kashmir 1986–2016 / Nine photographers, featured on the New York Times’ list of Best of photobooks of 2017. As a researcher, she has been with organizations such as the Museum of Art and Photography, Bengaluru, Alkazi Foundation for the Arts, New Delhi, Light Industry and the UnionDocs Center for Documentary Art, New York. Her current research involves studying the overlapping histories of photography and magazine culture in India. She is a graduate from the National Institute of Design, Ahmedabad and the Center for Curatorial Studies, (CCS) at Bard College, New York.
Angelique Campens is an independent art historian, writer, educator and curator whose work focuses on interactions between sculpture and architecture in the twentieth and twenty-first century, the integration of sculpture in public space, and sculptural concrete (béton brut). Born in Belgium, she has worked for international museums and public art spaces including the Whitney Museum, Kulturprojekte Berlin, Fondazione Sandretto, Bozar and Wiels. She has written for various catalogue and magazines including Taschen’s Art Now Vol. 4, Abitare, Domus, Sculpture Journal and Aspect. In 2007-2008, she was a Curatorial Fellow at the International Study Program (ISP) at the Whitney Museum of American Art in New York. In 2010 she published her first monograph about the architecture of the Belgian Modernist Juliaan Lampens. She teaches at KASK Ghent and recently published a monograph on the artist and architect Jacques Moeschal (1913-2004) and curated the accompanying project at Bozar Brussels. In 2022 she obtained her PhD in art history from Ghent University, where she wrote about the legacy of André Bloc, who proved to be the central figure of a world-wide network of architects, artists, critics and theorists prominent within the architecture-sculpture debate.
Anna Colin is an independent curator, educator, researcher, and gardener based in East Kent, UK. Among other areas of enquiry, Anna is engaged with social practice, critical pedagogy, alternative institutional models, and critical and participatory landscaping. Anna was a co-founder and director of Open School East, an independent art school and community space in London then Margate (2013-20). She worked as associate curator at Lafayette Anticipations in Paris (2014-20), associate director at Bétonsalon – Centre for art and research, Paris (2011-12), and curator at Gasworks, London (2007-10). In 2015-16, Anna was co-curator, with Lydia Yee, of British Art Show 8 (Leeds, Edinburgh, Norwich, Southampton).
Anna works as a lecturer on the MFA Curating at Goldsmiths, University of London. She is co-curating the 2nd edition of the Art & Industry Triennale in Dunkerque (June 2023 – January 2024), alongside working on a number of projects at the crossroads between pedagogy, horticulture and art, in the UK, France and Belgium. Anna recently completed her PhD at the University of Nottingham, unpacking the notion of the alternative in multi-public educational and cultural organisations from the late 19th century to the present, in the UK and further afield. Since 2021, Anna has been training in horticulture and garden design.
Erica Cooke works as the collection specialist for a private art collection focusing on post-World War II American and European art. From 2017 to 2020, she worked at the Museum of Modern Art in New York in the Department of Painting and Sculpture as part of the curatorial team for the 2020 retrospective on Donald Judd. From 2015 to 2017, she worked as a teaching fellow at the Whitney Museum of American Art. She has curated and co-curated exhibitions at MoMA, Princeton University Art Museum, Artissima International Fair of Contemporary Art, The New Wight Gallery (UCLA), The OA Can Factory and The Kitchen. She is also currently a doctoral candidate in Art and Archaeology at Princeton University and is completing her dissertation on the history of the Dia Art Foundation and its commitment to artists’ visionary projects. She holds a BA in English from Brown University and a MA in Art History from University of Chicago.
Naz Cuguoğlu is a curator and art writer, based in San Francisco and Istanbul. Currently, she works as a Curatorial Fellow at Asian Art Museum. She held positions at KADIST, Wattis Institute, de Young Museum, SFMOMA Public Knowledge, among others. She is the co-founder of Collective Çukurcuma, experimenting with collaborative thinking processes through its reading group meetings and international collaborative exhibitions. She was as an artist advisor for Joan Mitchell Foundation, and a juror for Sondheim Artscape Prize 2021. Her writings were featured in SFMOMA Open Space, Art Asia Pacific, Hyperallergic, Nka: Journal of Contemporary African Art, and elsewhere. She received her MA from California College of the Arts’ Curatorial Practice program; her BA in Psychology and another MA in Social Psychology from Koç University.
She curated exhibitions and programs internationally, at Fondazione Sandretto Re Rebaudengo, Walters Art Museum, the Wattis Institute, 15th Istanbul Biennial Public Program, HKW Haus der Kulturen der Welt, the 4th Istanbul Design Biennial, Headlands Center for the Arts, Framer Framed, D21 Kunstraum Leipzig, Red Bull Art Around Istanbul, among others. She co-edited four books: Proximities: Folded Readings on the Archival (Haus der Kulturen der Welt: 2022), The Word for World is Forest (The Wattis Institute: 2020), Between Places (Verkstad Konsthall: 2016), After Alexandria, the Flood (Umur: 2015), and presented at institutions including TATE, Fotogalleriet Oslo, Rhode Island School of Design, Joan Mitchell Foundation, SALT, Norköpping Art Museum, and Contemporary Art Center New Orleans.
Andrew de Brún (Dublin, 1990) 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.
Joseph del Pesco (USA, 1975) is an independent curator, organizer, art journalist, and web-media producer, director of the Kadist Art Foundation, San Francisco. He lives and works in San Francisco and New York. Working independently, del Pesco has organized several events, exhibitions and projects with institutions like Temple Contemporary, Berkeley Art Museum and Pacific Film Archive, The Headlands Center for the Arts, Yerba Buena Center for the Arts, The Oakland Museum of California, The Nelson Gallery at UC Davis, and the Rooseum in Malmö Sweden, among others. From 2007 to 2009 he was adjunct curator at Artists Space, New York. In 2006 he was a curatorial fellow at the Banff Centre, Canada (returning in 2009 to lead a month-long residency) and in 2008 he travelled to Italy for a residency with Fondazione Sandretto Re Rebaudengo, Torino (Italy). Prior to 2006 he worked as Assistant Curator at the Art Museum at UC Davis. He has contributed interviews, reviews and other texts to Flash Art, X-Tra, Proximity, Fillip Magazine and various websites including Open Space (SFMOMA’s blog) and Art in America. In 2009 he organised an experimental school-without-walls project called The Pickpocket Almanack with the San Francisco Museum of Modern Art.
Rosalie Doubal (UK, 1984) is a London-based writer and curator. Currently she works as Associate curator at ICA, the Institute of Contemporary Art, London. She holds an MA Art History & English Literature at The University of Edinburgh (2007), and an MFA Curating at Goldsmiths University, London (2012). As part of a curatorial collaboration, Rosalie co-directed Edinburgh project space Sierra Metro from 2009 – 2012, curating over 20 exhibitions of new work by international early career artists, including three Edinburgh Art Festival presentations. Working independently, Rosalie recently curated the limited edition book 10,000 Hours, featuring five new commissions and presented at David Dale Gallery as part of Glasgow International Festival of Visual Art 2012. In London, working with long-term collaborator Matt Carter, the pair recently curated group show Not in The Corners at Maria Stenfors. Rosalie has contributed art criticism to numerous international publications including The Journal of Curatorial Studies and MAP magazine, and works as a visual art correspondent for The List (since 2007) and Time Out London (since 2011). Since 2007, Doubal has worked with various institutions, assisting Curators at Serpentine Gallery, London, Glasgow International Festival of Visual Art 2010, and Collective Gallery, Edinburgh.
Molly Everett is a curator and writer based in Houston, Texas, where she currently serves as Assistant Curator at Moody Center for the Arts at Rice University. In her previous role as Curatorial Assistant in the Modern and Contemporary Art Department at the Menil Collection in Houston she organized the exhibition, Collection Close-Up: Bruce Davidson’s Photography, and contributed to major exhibitions and catalogues, including Allora & Calzadilla: Specters of Noon and Niki de Saint Phalle in the 1960s. From 2014 to 2019, Everett worked at the LUMA Foundation assisting with exhibitions and projects in New York, Arles, and Zurich, supporting artists to realize new work, site-specific installations, and publications. Through participation in the Whitney Independent Study Program in New York (2013–14) followed by the Young Curators Residency Programme at the Fondazione Sandretto Re Rebaudengo in Turin (2016), Everett co-curated exhibitions that featured artwork by emerging and established artists working across disciplines. She studied art history at the University of California, Berkeley, and Hunter College, City University of New York.
Michele Fiedler is a Puerto Rican independent curator currently based in Montreal, Canada. She was the Curator at Sala de Arte Público Siqueiros in Mexico City (2016-2019), and worked as an associate researcher for the project Below The Underground: Renegade Art and Action in 1990s Mexico at The Armory Center in Pasadena, California; a project that was part the Getty’s Pacific Standard Time initiative. She has been Curator in Residence at the independent space Disjecta (now Oregon Contemporary) in Portland, Oregon (2016-17) and Fondazione Sandretto Re Rebaudengo in Turin, Italy (2012). She has collaborated with artists Melanie Smith, Ad Minoliti, Johanna Unzuetta, Naufus Ramírez Figueroa and Ximena Garrido-Lecca among others. She is interested in how information is produced and dispersed, how it formulates ideas of the normal, their subversion, and in how art can be a space that fosters conversation. Through her exhibition programs and research projects she provides spaces for political art and critique with perspectives towards gender issues and rights, Latin American historical, political and social conflicts, and art practices that have not been included in the larger historical framework.
Kateryna Filyuk (Ukraine, 1986) lives and works in Kiev and Amsterdam. She is a curator and art critic. She holds a 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, and Metropolis M. Her recent curatorial projects include: Fake Hikers, MMCA Changdong residency, Seoul; 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; Social Contract, Izolyatsia, the Former Site of the Monument of Lenin in Kiev. Currently she is a curator at Dymchuk Gallery, Kiev. Filyuk is a project manager for Curatorial Program for Research.
Chris Fitzpatrick (New York, 1978) is the new Director of Kunstverein Munich. He has been the director of the not-for-profit contemporary art centre Objectif Exhibitions in Antwerp (Belgium) since 2012. After receiving a MA from California College of the Arts in 2009, he gained recognition for developing unconventional exhibition formats, often experimenting with the temporality of exhibitions. He has lent his artist-centric curatorial approach to exhibitions with Nina Beier, Bruce Conner, Mark Dion, Paul Elliman, Jos de Gruyter & Harald Thys, Joao Maria Gusmao & Pedro Paiva, Angie Keefer, Rosalind Nashashibi, Iza Tarasewicz, and many others. His writing and interviews have been published in Spike Art Quarterly, Pazmaker, Nero, Mousse, L’Uomo Vogue, Fillip, The Federal, Cura, The Baltic Notebooks of Anthony Blunt, Art Papers, as well as in numerous catalogs and books.
Inti Guerrero (Bogotà, 1983) 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 Josè. He studied History & Theory of Art and Architecture, and General History in Universidad de Los Andes, Bogotà, and at Universidade de São Paulo. He is a former fellow of De Appel’s Curatorial Programme, Amsterdam. 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, Amsterdam; Quasi-cinemas at the Rietveld Academy, 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, Madrid, and Museo Carrillo Gil, Mexico City. Guerrero is a former curator-in-residence of Fondazione Sandretto Re Rebaudengo, Turin, and Capacete Entretenimentos, Rio de Janeiro. His writings have appeared in Afterall, Ramona, ArtNexus, Arteria, Manifesta Journal, Metropolis M, and Nero, among other publications and exhibition catalogues.
Katherine Jemima Hamilton (@c.r.i.t.i.c.a.l.t.h.o.t) is a curator, writer, and educator born and raised on unceded Ligwilda’xw territory. In 2014, she moved to Treaty 13 territory, aka Tkaronto, to pursue a degree in art history at the University of Toronto, only to move again in 2019 to unceded Chochenyo Ohlone, then Ramaytush Ohlone territory, known by settlers as the Bay Area, to learn more about contemporary art and curating. She is grateful to have been a guest on these lands.
Her research interests include feminism and technology, craft and ritual in contemporary frameworks, repatriation and unsettling practices for colonial institutions, and exploring sound as a framework for making, working, and living together. She has held various positions at institutions such as Collecteurs, The Wattis Institute, KADIST, SFMOMA, California College of the Arts, the McMichael Canadian Art Collection, Art Metropole, and The Museum at Campbell River, to name a few.
Shaelyn Hanes is a San Francisco-based curator and writer whose work explores the radical potential of communal imagination. She has supported curatorial projects at the CCA Wattis Institute for Contemporary Arts, Berkeley Art Museum and Pacific Film Archive, and di Rosa Center for Contemporary Art. From 2016 to 2019, Hanes oversaw the finances and operations of Creativity Explored—a nonprofit studio and gallery for adult artists with developmental disabilities. She is currently Art Collections Coordinator at Zlot Buell + Associates, an art advisory firm specializing in contemporary art. Hanes earned an MA in Curatorial Practice at California College of the Arts in 2021 and a BA in Interdisciplinary Field Studies from the University of California, Berkeley in 2010.
Nora Heidorn (Germany, 1990) makes exhibitions, public programmes, artist projects, and publishes her writing. Her practice is led by interdisciplinary research investigating sexual reproduction, health, and care through an intersectional lens and using artistic methods. She is undertaking an LAHP-funded PhD at the Royal College of Art, London in collaboration with Birth Rites Collection and teaches at Central Saint Martins College, London. She has previously worked as Curator and Project Coordinator in the Department of Art at Goldsmiths College and as Associate Director at The Approach, London. For an archive of projects and writings please visit www.noraheidorn.com
Alison Karasyk (U.S.) is an independent curator based in Brooklyn, New York. Her research interests focus on the intersection of gender, space, memory and materiality. Karasyk has held curatorial and editorial positions at the North Norwegian Art Centre, the Brooklyn Museum, CRUSH Curatorial, the Museum of Modern Art, and Aperture Foundation, New York. She was Assistant Curator of the Lofoten International Art Festival (LIAF) 2017: I Taste the Future. Karasyk completed her MA at the Center for Curatorial Studies at Bard College (CCS Bard), New York, and her BA at Oberlin College, Ohio. She is the 2018 recipient of the Ramapo Curatorial Prize. Karasyk is currently working on a research and exhibition project aimed at cultivating new dialogues on the Scandinavian witchcraft trials and the relevance of these historical events of gendered and indigenous violence through the lens of contemporary art.
Julia Kläring (Vienna, 1978) graduated in Visual Arts at the Academy of Fine Arts in Vienna, 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, Roma, 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, 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.
Ginny Kollak (New York, 1981) is a curator, writer, and editor specializing in contemporary art. She is the curator of exhibitions at the Philip and Muriel Berman Museum of Art in Collegeville, Pennsylvania (USA). She studied art history and English at Williams College and received a master’s degree from the Center for Curatorial Studies at Bard College in 2010. From 2003–2008, Kollak worked at the Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York, where the exhibitions she curated dipped into topics as diverse as sleepwalking, furniture, and the iconography of stripes including Tim Rollins and K.O.S.: A History (2009), Dario Robleto: Alloy of Love (2008–9), and America Starts Here: Kate Ericson and Mel Ziegler (2005). She received a MA from the Center for Curatorial Studies at Bard College. Most recently Kollak worked with the Stockholm-based artist duo Goldin+Senneby to produce a new episode of Headless, their ongoing project using strategies of fiction to investigate the shadowy realm of offshore finance, which included a research headquarters at CCS Bard and a mini-symposium co-organized with Rhizome and presented at the New Museum. She has published essays in the journal Alphabet Prime and the Tang exhibition catalogues Lives of the Hudson and Twice Drawn.
João Laia (Lisbon, 1981) is a writer and curator. Holds a BA in Cultural Communication, MAs in Film Curating and Film Studies and the post-graduate curatorial research programme CuratorLab. He is a contributor of Frieze magazine and Público newspaper, content researcher for the Modern Art Centre of Calouste Gulbenkian Foundation, Lisbon, and curator of the moving image exhibition of IndieLisboa International Film Festival. In 2012 he was associate curator of Waterpieces – Contemporary and Video Art Festival in Riga. Recent curatorial projects were held at BES Arte e Finança in Lisbon, CCCB – Center for Contemporary Culture of Barcelona, Moderna Museet in Stockholm, Cell Project Space, the Mews and Whitechapel Gallery in London. My background in social sciences has led me to explore the exhibition as a moment where the equation between artistic autonomy and social belonging is tested and enacted by the combined actions of artist, curator and audience. My early interest in public art has evolved towards an understanding of the white cube/black box as a site of tension between private and public spaces. In an attempt to explore the friction between personal and collective dynamics regarding the intimate layerings of the visitor’s experience and of artistic production, I have focused on subjectivity as a means of investigating how the live encounter-event relates to individual frames of reference and likewise how a wider living environment can be recalled, questioned and reconfigured through such moment. In this sense, my projects have explored the idea of cultural production-consumption, conceiving the exhibition as a forum for reflection, investigation and exchange, a fluid space of inquiry via the articulation of different practices that not only incorporate the physical space of presentation into their structure but also and objects in settings such as displays, talks or screenings. These considerations have led me to engage with site-specific especially take into account the immaterial context of the social and symbolical dynamics inhabiting that location. I have been particularly drawn to topics related to history and memory, which I problematise around speculative types of engagement: the mechanisms used to disseminate past and present events hold fictional layers that allow for subjective interactions. My practice looks at these potentialities and aims at creating situations where dominant frames of understanding might be questioned and re-created.
Inês Melícias Geraldes Cardoso (São Paulo, 1990) grew up in Lisbon. 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, New York. 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.
Dorota Michalska (Warsaw, 1988) is a curator and art historian based in Warsaw and Stockholm whose practice focuses on the political dimension of contemporary art. She worked at the Museum of Modern Art, Warsaw, from 2012 to 2015 as an assistant curator focusing on polish films from the 60’ and 70’. In 2015 Michalska completed CuratorLab, a nine months curatorial research fellowship at Konstfack University of Arts, Crafts and Design in Stockholm, led by Joanna Warsza. Her last project include a film screening Extremely Loud, Incredibly Close (SALT Beyoglu, Istanbul, 2014) and a group exhibition Through a Glass, Lightly (Tensta konsthall, Stockholm, 2015). She is a contributor to several polish art magazine such as Obieg, Szum and Dialog. Michalska was resident of the Curatorial Program for Research: Eastern and Northern Europe in October 2015. Currently she is working on an exhibition project on queer archives in the former Eastern bloc before 1989.
Pádraic E. Moore is a writer, curator and art historian. He holds a BA in History of Art and English Literature from University College Dublin (2004), an MA in Visual Art Practices from IADT, Dublin (2007) and completed CuratorLab, the postgraduate programme at Konstfack University, Stockholm (2010). Moore is a former resident of the Jan van Eyck Academy, Maastricht (2014-15). Moore’s practice is shaped by the belief that visual art enables alternative modes of interaction in a world increasingly led by technological rationality. Moore’s curatorial methodology is meticulous but subjective and is informed by an acute awareness of the artist’s individual position. He is particularly interested in the format of the group exhibition as a platform for making collective, critical statements. Moore is Curatorial Programme Mentor at De Appel, Amsterdam.
Recent research has focused upon the influence that esoteric philosophies have had upon the literary and visual arts. Several projects have explored how organisations such as the Theosophical Society offered a vital catalyst for change in late 19th and early 20th century art. Moore’s projects often examine how contemporary culture has embraced aesthetics and ideals informed by such esoteric traditions. Chronicling the work of artists who refer to or follow these traditions is also an integral aspect of his practice. Recent projects include: The Museum of Ancient History, UCD, Dublin (2021) The Great Invocation, Garage Rotterdam, (2020) Orgonomics, Garage Rotterdam (2019) The Last Great Album of the Decade. The LAB, Dublin (2019), Letters of Last Resort, Damien and the Love Guru, Brussels (2018) and The Width of a Circle, W139, Amsterdam (2018).
Kim Nguyen (Winnipeg, 1983) is the director/curator of the non-profit space Artspeak, Vancouver (Canada), where she has produced numerous exhibitions and publications by regional, national, and international artists, including Aaron Flint Jamison, Marina Roy, Abigail DeVille, Danh Vo, and Alex Da Corte. In 2009 she obtained a Masters in Art History (Critical and Curatorial Studies) at the University of British Columbia, Vancouver. Formerly a director and curator at Access Gallery, she has guest curated for the Belkin Satellite, PLATFORM, and the Or Gallery, where she was Canada Council Curator-in-Residence from 2009-2010. Artspeak is an artist-run centre whose mandate is to present contemporary practices, innovative publications, bookworks, editions, talks and events that encourage a dialogue between visual art and writing. Working within this mandate Nguyen continually challenges the notion of language, seeking overlaps between the written word and material communication, while extending the definitions of criticality beyond theoretical texts. Frequent themes in her practice include representations of diversity in popular culture, anxiety, and gossip. She is interested in artists working with vernacular materials to respond to contemporary conditions, with a focus on artists who investigate constructions of identity, nostalgic authenticity, and acquired and invented memory. As well, she maintains an interest in independent publishing within an artist-run ethos, particularly projects that investigate the publication as an artistic medium. Explorations of a sense of place remain a throughline in Nguyen’s work, in particular with recent exhibitions she has curated that look at running away from and returning home, geographic displacement, and cultural appropriation. Issues of class, race, and gender, and their persistent complications and disappointments, greatly inform her practice, and she is committed to extending the knowledge and presentation of diverse artists into a wider discussion of how audiences recognize, integrate, and engage with work that is innovative and progressive beyond its cultural definitions.
Marina Valle Noronha (Brazil, 1981) is an independent curator who lives and works between New York and Belo Horizonte (Brazil). After taking part in the CuratorLab at the University of Art and Design Konstfack Stockholm (2010), she obtained a Master’s Degree in Curatorial Studies at CCS Bard, Annandale-on-Hudson (2013). She has curated several exhibitions and projects at institutions in Brazil and Europe including The Showroom (London), Casco (Utrecht, Netherlands), Moderna Museet (Stockholm) and has recently collaborated with the Museo del Barrio and Abrons Arts Center, New York (2013 – 14). Noronha’s curatorial focus is on the crossings between art, design and theory. She has been emphasizes the relationships between temporary exhibitions and permanent collections, proposing curatorial strategies that connect systems of display to the administrative processes that they depend upon. Curatorial (Systems) Manifesto: On Collecting and Curating as a System Museums and art collecting institutions are not sustainable and are in crisis. When the museum collection is considered to be permanent, museums become larger and less manageable institutions. Museums are not repositories, and to analyse them as open systems ensures them a new form of survival. Curating must internally transform through a curatorial system that aims to stabilise it within the hosting institution, by overemphasising maintenance, adjustment, and equilibrium. A paradigm shift from objects to systems allows a broader approach towards the system of contemporary art. Curating systems extends to the contemporary art economy in relation to domains such as law, science, politics, and so on. Curators’ roles are not defined narrowly by exhibitions making. Collection curating should be more theorised and visible by factors contained in all of these systems. In order to justify the high cost of maintaining collections, they should circulate more often (and thus be seen by more visitors). In order to keep operating, museums need to balance more accessions and deaccessions, as part of collection management. Effective collection management can help the museum in crisis and, moreover, disposals, though seldom used, have a significant role in collections formation. By collecting through balancing accession and deaccession, contemporary art institutions can actually reflect on what we understand as museum and the status of contemporary art itself. It accommodates collections in constant flux of accessioning and deaccessioning artworks, through acquisition, exchange, donation, transfer, exchange, and sale.
Marina Valle Noronha is currently undertaking a PhD at Aalto University.
Christy Eóin O’Beirne is a curator, writer and artist from Bradford, UK. Deeply rooted in his Irish heritage and dual cultural identity, O’Beirne’s work interrogates and rearticulates notions of diaspora through the lens of fragmentation, land, shibboleth, mourning and decay. His research unearths the debris of displacement and explores the ways in which intergenerational colonial trauma is inscribed into landscapes and topographies, with soil, seeds and plants acting as both witnesses to and archives of violence, migration and memory.
As Curatorial Assistant at Goldsmiths Centre for Contemporary Art (2021-22), O’Beirne curated Diamonds and Rust, Freya Dooley (2022), produced and edited a publication, If One Feather Falls… (2022), and assisted with several major exhibitions. O’Beirne previously worked as a Gallery Assistant at John Hansard Gallery (2019-20) and Lisson Gallery (2018-19), and as an Assistant Archivist for the restoration of Video Nation (2017). O’Beirne holds an MFA in Curating from Goldsmiths, University of London (2019-21) and a BA in English Literature, Art History & Visual Culture from the University of Exeter (2015-18).
Andrey Parshikov (Russia, 1985) is a curator. Since 2004 he worked in Xl-gallery, as the coordinator and manager of the branch-XL-projects gallery in the cultural center ARTStrelka, Moscow. In the summer of 2004 he made a project for the festival PUSTO Comedia del Arte: sequel for submission Madrid video-festival Vallecas Puerto del Cine and Kansky video-festival. In 2005, as implemented curator with O. Lopuhova draft Ars Longa in the context of the Bulgakov festival Manuscripts don’t burn. Until recently Parshikov has worked as an associate curator for an emerging Moscow contemporary art gallery GMG, helping to develop the exhibition policy, concept and image of the gallery on the international art scene. He has curated three major museum exhibitions, one of which – Ultra-New Materiality – was included in the program of the III Moscow Biennial of Contemporary Art 2009. In 2011 he curated an innovative theatrical exhibition, Human Oratorio. Afghan-Kuzminki, where theater, drama, music and the real works of contemporary art developed the dramaturgy of this curatorial approach, connected to Eisenstein Montage Theory. He curated self-authors program for two years Ultra-New Materiality in Contemporary City Foundation. In 2008 he presented the project The Great Repression with emerging Russian video-artists, at the White Box gallery, New-York. Since 2009 he has been a member of the editorial board of Moscow Art Magazine – the leading intellectual contemporary art publication in Moscow, and he is author of many critical articles in the journals Art-Chronicle, Zaart, Afisha, Vremya Novostey, Independent newspaper, internet-portals Gif.ru and Art-Times, articles for gallery catalogues, Russian and foreign publications.
Pavel S. Pyś has been Curator of Visual Arts at the Walker Art Center since 2016. At the Walker, Pavel has been working across a range of projects, including solo exhibitions with Daniel Buren, Paul Chan, Faye Driscoll, Michaela Eichwald, Carolyn Lazard, and Elizabeth Price, as well as group exhibitions such as The Body Electric and Resonance: A Sound Art Marathon (co-curated with Doug Benidt). In 2018, Pavel was awarded an Andy Warhol Foundation Curatorial Fellowship which is aiding his research and travel in preparation for the 2023 exhibition Multiple Realities: Experimental Art from the Eastern Bloc, 1960s-80s. Prior to the Walker, Pavel was the Exhibitions & Displays Curator at the Henry Moore Institute in Leeds between 2011 and 2015. At the Institute, he contributed to a range of exhibitions with artists Robert Filliou, Christine Kozlov, Katrina Palmer, Vladimir Stenberg and Sturtevant, as well as the group exhibitions Carol Bove / Carlo Scarpa and The Event Sculpture. In 2011, he was the recipient of the Zabludowicz Collection Curatorial Open and the curatorial residency at the Fondazione Sandretto Re Rebaudengo in Turin, Italy. His writing has appeared in numerous publications and he has published essays on artists including Trisha Baga, Carol Bove, Michael Dean, John Latham, Wilhelm Sasnal, Alina Szapocznikow, Fredrik Værslev, and Hague Yang.
Camille Regli (Switzerland) is an independent curator living and working in Zurich and Biel/Bienne after several years in London. Holding a MA in cultural studies at King’s College London, she further graduated in 2019 with a MAS in Curating at the Zurich University of the Arts. She gained experience working for institutions such as the Swiss Pavilion at the Venice Biennale, the Istanbul Biennale, Block Universe, and the Centre d’Art Contemporain Genève. Her curatorial research focuses primarily on ‘small’ (as opposed to overarching) narratives that sustain a feminist and speculative reading of contemporary societies. Since 2020, she is the co-founder and curator of KRONE COURONNE, a contemporary art centre in Biel/Bienne. She is also part of Collectif Détente, a curatorial trio with whom she conducts the research project ‘Stitches’ on the use of textile in current art practices. She regularly contributes to the academic journal OnCurating.org and other publications.
Kari Rittenbach (United States, 1985) is a critic and independent curator based in Brooklyn, New York. She attended Yale University, the Courtauld Institute of Art, and the Whitney Independent Study Program. Her writing has appeared in Afterall, Artforum, Art Papers, Frieze, Flash Art, Paper Monument, Texte zur Kunst, and in artist books and museum catalogues. She has organized performances, exhibitions, and events at The Kitchen (New York), The Whitney Museum (New York), Sculpture Center (New York), Artists Space (New York), Barbican Art Gallery (London), and other institutions. Recent projects include What Everybody Knows (with Monika Senz, at Svetlana, New York & Jenny’s, Los Angeles, 2017), Trees in the Forest (Yale Union, Portland, OR, 2016), Fever (Galerie Emanuel Layr, Vienna, 2016), and Dead Ends (1001 44th Rd, Long Island City, 2015). She has lectured in Art Theory at the University of Washington, and is on the editorial committee of May Revue.
Alice Sarmiento was born and is based in Manila. She is a feminist, writer, independent curator, and full-time foster parent to seven kittens and one specially-abled cat. Prior to pursuing a Masters degree in Curatorial Studies from the University of the Philippines, she taught at the UP College of Home Economics, under the Clothing Technology Program. It was at this institution that she developed a more critical interest in the ideologies behind “women’s work” and other forms of emotional and affective labor, especially through their links to the global care chain, in which the Philippines is a major participant.
Katie Simpson (UK) is a London based curator and researcher. Her research investigates socio-political and economic concerns that affect the production of and accessibility to art, questioning hierarchies of culture through archival research, and thinking through feminist approaches to collaborative curatorial practice. She graduated with an MFA in Curating from Goldsmiths College in 2018 and has since held the position of Associate Director at not-for-profit art organisation Jupiter Woods, London. She completed a Curatorial Fellowship at Goldsmiths Centre for Contemporary Art, London (2019) and held the position of Assistant Curator at Goldsmiths’ Exhibition Hub (2019). From 2014-2016, she was initiator and curator of a ten-month exhibition program, The Koop Project and Gallery Manager at Neue Froth Kunsthalle both Brighton, UK.
Elena Sorokina is a Russian-born, Paris based curator and art historian, alumna of the Whitney Museum of American Art ISP, New York. She was Chief-curator of the Celeste Prize in 2014. She recently co-organized Spaces of Exception, a special project for the Moscow Biennial, symposium What is a postcolonial exhibition?, a collaborative project of SMBA/Stedelijk Museum, Amsterdam, and she is currently working on a special project for the upcoming Moscow Biennial. Her recent exhibitions include (selection): Temps Trituré. Agnes Varda at LVMH in Brussels, Petroliana at Moscow Museum of Modern Art; Laws of Relativity at the Fondazione Sandretto Re Rebaudengo, Turin; On Traders’ Dilemmas (Tracing Roads Through Central Asia) at Yerba Buena Center for the Arts, San Francisco; Scènes Centrales at Tri Postal, Lille (France); Etats de l’Artifice at the Musee d’Art Moderne de la Ville de Paris, and others. She published in numerous catalogs, and has been writing for Artforum, Flash Art, Cabinet Magazine, Manifesta Journal, Moscow Art Magazine, and other publications. Sorokina is a frequent speaker in international conferences and has been invited as guest lecturer to ISCP, New York; Garage CCC, Moscow; HISK, Gent (Belgium); and other institutions.
Zsuzsanna Stánitz (Hungary, 1988) holds a Master degree in Curating Contemporary Art from Royal College of Art, London, and in Communication and Media Theory from the Institute of Art Theory and Media Studies from Eötvös Loránd University, Budapest. While studying at Royal College of Art she worked in the Exhibitions Department at Calvert 22 Gallery, London, which is dedicated to the presentation of contemporary art from Eastern Europe; and up to the beginning of her studies as assistant curator in Ludwig Museum – Museum of Contemporary Art, Budapest. Her recent projects include the exhibition Controlled Visions (2012) as a reference to the social housing issues after the red mud flood in Devecse (Hungary) and organising a round-table discussion on Hungarian cultural politics for Calvert 22 Gallery’s discussion series Archive As Strategy (2013). Zsuzsanna’s MA dissertation at Royal College of Art focused on the connection of performance art and architecture understood as ‘performance architecture’. Being interested in socially engaged contemporary architecture practices and their curatorial challenges she will start her PhD research under the supervision of Dr. Andres Lepik at TU Munich in Fall 2015. Zsuzsanna currently works in the United Kingdom, Germany and Hungary.
Alec Steadman (UK, 1983) is a curator and artist based in London, where he completed his BA in Fine Art at Middlesex University. He was a participant of de Appel Curatorial Programme, Amsterdam (2011/12) co-curating Three Artists Walk into a Bar…, de Appel Arts Center and various locations (2012) and Why Stay If You Can Go?, Stedelijk Museum & de Appel Arts Center (2012). Prior to this he spent 5 years as Head of Exhibitions for Zoo Art Fair, later becoming Associate Curator for the same organisation. He has also worked as Interim Event Manager, The Serpentine Gallery; Fair Manager, SUNDAY Art Fair; Programmes Coordinator, Max Wigram Gallery and Studio Assistant for Smadar Dreyfus, as well as curating numerous projects independently. He was a member of artist collective The Hut Project from 2005-2011. His solo exhibitions include: Giles Said…, Limoncello (London, 2010), Machine Gun Corridor, BolteLang, (Zurich, 2010), and Old Kunst, ICA (London, 2009).
Kate Strain (Dublin, 1983) pursues a curatorial practice through event and exhibition making. Currently Acting Curator at Project Arts Centre, Dublin (Ireland), Strain has worked both independently and in an institutional capacity in Ireland and internationally. In 2014 she completed de Appel Curatorial Programme, Amsterdam. Strain holds an MA in Visual Arts Practice from IADT Dun Laoghaire, and a BA in History, and the History of Art and Architecture from Trinity College Dublin. Recent exhibitions include The Centre For Dying On Stage #1, a group exhibition and expanded public programme at Project Arts Centre, Dublin; Father, Can’t You See I’m Burning? co-curated by participants of de Appel Curatorial Programme, de Appel Arts Centre, Amsterdam; and Tonight, you can call me Trish, co-curated with Rachael Gilbourne under the aegis of their joint curatorial practice RGKSKSRG, at the LAB, Dublin (as part of Dublin City Council Emerging Curator Award 2014). On-going and upcoming projects include On Curating Histories – a research-based generative lecture series supported by an Arts Council Project Award, the first public iteration of which will unfold in 2015 at the National College of Art and Design, Dublin (as part of MA Art in the Contemporary World); Performance as Process – a short curatorial residency at Delfina Foundation, London; and a 9-month residency at studio 468 (Common Ground, Dublin) set to culminate in a solo exhibition with Irish artist Emma Haugh at NCAD Gallery (curated by RGKSKSRG).
Angelica Sule (UK, 1984) is a curator based in London, whose practice focuses the use of performance and sound as object in exhibition making. She graduated from the Royal College of Art in 2014, and she has previously worked at the University of the Arts London and Gallery Primo Alonso, London. Her recent projects include: Nail’d It (Wysing Arts Centre, Cambridge, UK, 2014); ECHO Radio (RCA, London, 2014); … all silent but for the buzzing … (RCA, London, 2014); A Limited Engagement: Performance Series (UAL, London, 2012; A Thousand Years: Martine Feipel & Jean Bechameil (UAL, London, 2014).
Ariane Sutthavong is involved in curation, writing and translation projects at the intersection of art and politics in Bangkok. She co-founded the ‘inappropriate BOOK CLUB’, an ongoing initiative centred around the collective reading and writing of texts, supporting a third view of contemporary art in Thailand beyond both the confines of the state and the interests of capitalism. She is also a member of the London-based collective ‘tent’, exploring practices and theories that re-envisage dominant structures through temporary and tentative configurations and solidarities.
Eunice Tsang (she/her) is a curator, artist, researcher and journalist based in Hong Kong. She founded and curates Current Plans (previously known as Present Projects), an experimental art space that encourages cross-disciplinary dialogues through exhibition-making. Previously, she set up the Asian Artist Book Library in Tai Kwun Contemporary, focusing her research on independent publishing in Asia and modes of creative distribution. Her curatorial interests lie in how artists develop new languages and symbols in times of political change, and how to maneuver the liminal space between legal and illegal, fact and fiction – using magic-realism, sarcasm, humor and myth-making.
Rosa Tyhurst is a curator and art writer from Wales, currently working as curator of exhibitions at Nottingham Contemporary. Previously, she held positions at Spike Island, Bristol; KADIST, San Francisco and Limoncello, London and has developed projects internationally. Her writing has been published in Art Monthly; Hyperallergic; Contemporary Art Review Los Angeles; ArtPractical and elsewhere.
Jeppe Ugelvig is a critic, editor, and independent curator based in California. He has curated exhibitions in museums around the world, including Witch Hunt at Kunsthal Charlottenborg, Copenhagen and Endless Garment at X Museum, Beijing. He is the founding editor-in-chief of the journal for criticism, Viscose. He is a regular contributor to Artforum and Frieze, and serves as associate editor of Spike Magazine. His first art historical book, Fashion Work, was published in 2020 with Damiani. He is a current Ph.D. candidate at UC Santa Cruz.
Pelin Uran is an Istanbul based curator. After she completed her studies at Bard College Center for Curatorial Studies in 2005, she worked at Fondazione Sandretto Re Rebaudengo in Turin. Now, working as a free-lance curator, Uran recently curated We Donot Know This To Be So in in Istanbul in 2018, co-curated This Story is not ready for its Footnotes in Rome in 2010, Transit both in Italy and Turkey in 2009, Dai Tempo al Tempo, Torino, Italy in 2008, the night program: nightcomers for the 10th Istanbul Biennial in September 2007, If it is not love, it is the bomb at Bard College, New York and curated Endgame in Space Loop in Seoul, Korea in 2008, An Artist Who Cannot Speak English is No Artist at Artists Space, New York in May 2006 and a forest and a tree in Newbourg, New York in April 2005 which has traveled to Kunsthalle Exnergasse, Vienne in March 2007. Besides having contributed to an online contemporary art biweekly, Might Be Good, she wrote for Speech, a project by the collaborative duo, a constructed world, for Insight, the magazine of Artists Pension Trust, Art in America, domus and was a contributor for UOVO Magazine. Alongside her curatorial practice, she has been giving private contemporary visual art classes since 2010.
Pieternel Vermoortel (Belgium, 1981) is an independent curator and co-founder/director of FormContent, a curatorial programme. In her most recent programme at FormContent It’s moving from I to It, she uses fiction as its main tool to reflect upon cultural production. Currently she teaches Exhibitions and Cultural Productions at TEBEAC, Ghent (Belgium), 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 Saint Lucas, Antwerp (Belgium), HISK Ghent, Doctoral Research Programme in Fine Art and Curating Goldsmiths University, London. She wrote for various catalogues and magazines such as the Venice Bienniale 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, UK (2013), The falling of the books, Cairo (2013), The question Itself, South London Gallery, London (2013), In the wake of a view, Brussels (2013), The school, David Robberts Art Foundation, London (2013), What happens when all characters leave the stage, Liverpool, UK (2013), The Cat, Carpeted, Brussels (2012), It’s Moving from I to It, Brukenthal Museum, Sibiu, Romania (2012), Not surprisingly, he is wearing gloves, Birmingham, UK (2012).
Emeline Vincent is a researcher and art critic based in London. Among a wider research, she specifically devotes her work to the study of crossed relations between visual and audio practices in contemporary art. In close relation to historical legacies in both fields, she has conducted a thesis through the intertwined developments of both mediums, attempting to define how the audio medium has today reached its own autonomy and legitimacy by the indissociable character certain artistic practices present. Recent publications include a monographic piece on the work of British artist Haroon Mirza in bilingual French magazine Volume (Oct 2012). As a visual arts coordinator at the French Institute in London for many years, she has collaborated with many artists and art institutions in the UK and internationally, specifically working on the promotion of the emergent French art scene in the UK, including artists such has Jean-Pascal Flavien, Matthieu Klebeye Abonnenc, Aurélien Froment, Lili Reynaud-Dewar, Clement Rodzielski, Karina Bisch, among others. She was also a key member and advisor for the Franco-British contemporary art fund Fluxus.
Hannah Zafiropoulos (Greece, 1992) is a curator, researcher and writer living and working in London and Stockholm. Her practice departs from the possibilities of the emergent field of ‘the curatorial’ to inspire new methodologies and modes of curatorial research, with a particular focus on performativity and participation. Using live action role play as a starting point, her research develops a methodology of ‘procedural authorship’ through which a curator may open up spaces of renewed democratic participation in which diverse voices can participate in the process of meaning and the production of new knowledges. She has worked as Assistant Curator at Calvert 22 Foundation, London and has previously curated projects at Gasworks, London and Tensta konsthall, Sweden, where she will hold the position of Guest Curator for 2019, developing a research programme around the history and methods of the Fogelstad Women’s Citizenship School. From 2013-16, she was Director of Exhibitions at Howard Griffin Gallery, London. She regularly writes for publications including Art Review, The Calvert Journal, Apollo and Koreografisk Journal and has recently co-edited the forthcoming publication Red Love: Reading Alexandra Kollontai (Sternberg Press, 2018). She holds a BA in History of Art from the Courtauld Institute of Art and an MA in Curating Contemporary Art from the Royal College of Art, and has recently participated in the curatorial research programme CuratorLab at Konstfack University of Arts, Stockholm.
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