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.
Mira Asriningtyas (Indonesia, 1986) works as an independent curator and art writer. In 2011 she co-founded an independent space that aims to build a supportive and positive environment for young artists: Lir Space, Yogyakarta (Indonesia); focusing on a laboratory platform as alternative education for young artists, creating research-based artistic projects and using independently-published book as an alternative space for exhibitions. In 2013 she was part of the Young Curator Forum of Cemeti Art House, Yogyakarta, and joined 4A Curators’ Intensive 2014 in Sydney, among others. Recently, she graduated from De Appel Curatorial Programme 2016/2017 at De Appel Art Center, Amsterdam. Asriningtyas is especially interested in conceptually-driven projects, combining art practice with multi-disciplinary academic background in numerous collaborations, while playing with the tension between the private and the public. She is actively performing the act of flânerie and spatial practice in her curatorial works, reusing abandoned places and public space as project site, presenting artworks with emphasis on site-specificity. Some of her latest projects are: Poetry of Space in Jakarta and at KKF, Yogyakarta, with support by the Japan Foundation; Exhibition Laboratory (Ex.Lab.) at Lir Space, Yogyakarta; amongst others. She is now working on her long-term site-specific project 900mdpl in Kaliurang, a resort village under an active volcano (Mt.Merapi), Yogyakarta.
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.
Angelique Campens (Belgium, 1980) is an independent curator and writer. She works for non-profit galleries and public art spaces and is art adviser and writer for Domus. In 2007-2008, she was selected for the International Study Programme (ISP) at the Whitney Museum of American Art, New York. Campens curated the solo exhibition After the fair by Kasper Akhøj at Wiels, Brussels, and was co-curator for the group exhibition Persona in Meno at Fondazione Sandretto Re Rebaudengo (Italy) in 2010. She was assistant curator at the Belgian Pavilion with the artist Jef Geys at the 2009 Venice Bienniale. She curated a section at the 2009 Watou Art Festival with Office (Kersten Geers David van Severen) and Bureau Bas Smets and was a co-curator of For Reasons of State at The Kitchen, New York (2008). Recently she published her first book about the architecture of the Belgian Modernist Juliaan Lampens. Angelique Campens holds an MA in Art History from Ghent University, Belgium.
Anna Colin (1981) is a freelance curator and art critic based in London. She has been announced as the curators for quinquennial British Art Show, the 8th edition of which opens in October 2015 in Leeds (UK), and tours to Edinburgh, Norwich (UK) and Southampton (UK). She was previously associate director at Bétonsalon – centre for art and research, Paris (2011-12) and exhibitions curator at Gasworks, London (2007-10) where she curated group and solo exhibitions with artists including Matthew Darbyshire, Olivia Plender, The Otolith Group, Gail Pickering and Martin Beck. Colin curated exhibitions and projects in spaces including the Whitechapel Gallery, London; Victoria Gallery & Museum, Liverpool (UK); Le Quartier, contemporary art centre of Quimper (France); La Synagogue de Delme, Delme (France); la Maison populaire, Montreuil (France); Galleria d’Arte Moderna, Torino (Italy); CIC Cairo; and The Women’s Library, London. Between 2002 and 2007 she produced and led a radio programme about visual art and audio for Resonance (London). In 2005 curated with Tobi Maier 2Six Sites for Sound, London, an artistic project about the sound. In 2006 she curated Radio Gallery – radiogallery.org – (London).
Erica Cooke (USA, 1983) lives and works in New York. She received a MA in Contemporary Art at Sotheby’s Institute of Art with a thesis on the artist Walid Raad. In 2007-08 she participated in the Independent Study Program of the Whitney Museum of American Art, where she was co-curator of the exhibition For Reasons of State. Taught Middle Eastern contemporary art at Sotheby’s Institute of Art in New York, she is interested in video and photography. She also recently worked as a researcher at the German Expressionist collection of the Museum of Modern Art, New York, and has co-edited Without exposure at the New Wight Gallery UCLA, Los Angeles (USA).
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 New York. Her curatorial and research interests frequently follow artistic practices as they evolve in response to specific sociopolitical factors, both regionally and as part of an international art discourse. From 2013-2014 she participated in the Whitney Museum Independent Study Program as a curatorial fellow, co-organizing Common Spaces at The Kitchen, New York. She currently works for the LUMA Foundation, assisting with exhibitions and projects in New York, Arles, and Zurich. Independently, she is co-curating Learning Public(s) at Bennington College’s Usdan Gallery in Vermont, opening 2016. She is involved with several book projects in a research and editorial capacity, helping to realize a range of publications, including artists’ books as well as exhibition catalogues. In 2012, Everett earned her B.A. in the History of Art from UC Berkeley.
Michele Fiedler (Puerto Rico, 1981) is an independent curator living and working in New York. From 2006 to 2009 she ran Galería 356 in San Juan, a gallery space focused on showing emerging Puerto Rican artists with a parallel calendar of performance, video, and sound projects. In 2009 she worked with artists and curators Abdiel Segarra Rios and Vanessa Hernández Gracia in the collective La Nómada, which provided an independent platform for curatorial and artistic practices. She recently graduated from California College of the Arts’s Curatorial Practice Master. In 2010 she worked with artist Julio César Morales and the Museo Tamayo in Mexico City to produce Morales’ Interrupted Passage and the museum’s A Place Outside of History. She curated How Far Can You Push a Sound Without an Image? (2010), an aural presentation of artist’s sound pieces and songs in the form of a radio broadcast. The show was presented at Queens’ Nails projects in San Francisco, Galeria Tijuana in Sao Paulo, Hunter College in New York, and featured in Independent Curator’s International. She co-curated the exhibition God Only Knows Who the Audience Is at the Wattis Institute, San Francisco (2011), a show that focused on North American West Coast performance practices in the 70s and 80s as well as their mediation through documentation. She worked with the curators Sharon Lerner and Xioayu Weng on the project Mission Afterviews, funded by Southern Exposure’s Alternative Exposure Grant (2012).
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.
Nora Heidorn’s (Germany, 1990) current body of curatorial work is Sick and Desiring: artists subvert the medical gaze, addresses cultural and medical constructions of sickness, abnormality and deviance with regard to the female reproductive body. She has been working curatorially since moving to London from Berlin in 2010 to study a BA in Curating, Communication and Criticism at Central Saint Martins and later the MFA Curating at Goldsmiths College. Alongside her studies and independent curating, she worked for four years at The Approach, London, where she was made Associate Director. At the gallery, she curated the group exhibition The problem with having a body / is that it always needs to be somewhere, as well as the exhibition Sublime Smoke: John Stezaker & Lisa Oppenheim (both 2017). As part of the collective Curate Projects, she realised exhibitions, events and a publications in Berlin and London between 2012 and 2015. She has also organised workshops, given talks and curated screenings at London institutions and project spaces, including the Wellcome Collection, Chisenhale Studios, Enclave, Central Saint Martins and 198 Contemporary Arts and Learning.
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 (Dublin, 1982) is a writer, art historian and curator. Moore graduated from University College Dublin with a BA in History of Art and English literature in 2004 and produced several exhibitions and projects before and while completing his MA in Visual Art Practices at IADT from which he graduated in 2007. The various facets of Moore’s practice are unified by his subjective but rigorous approach to excavating art historical narratives. Moore worked as exhibitions curator at Dublin City Gallery The Hugh Lane from 2009 to 2010 and he participated at the postragraduate programme Curatorlab at Konstfack, Stockholm. Selected recent endeavours include: A Modern Panarion, group exhibition featuring Dorje de Burgh, Derek Jarman, Gunilla Klingberg, Bea McMahon, Richard Proffitt, Garrett Phelan, Dublin City Gallery The Hugh Lane (2014); Temple of Psychic Youth, group exhibition at Kevin Kavanagh Gallery (2012); After The Future, solo exhibition by Marcus Coates, E.V.A. Biennial (2012); Conclave, solo exhibition by Agne Raceviciute at Galleria Collicagreggi, Catania (Italy, 2012); Nevertheless, Faith is in the Air Publication/Performance at Moderna Museet, Stockholm (2010), Maradona 2 for 4, an Exhibition by Cullinan and Richards at the The Lab Gallery, Dublin (2010); Aion Experiments, a group exhibition at Project Arts Centre Dublin (2010); Sunday Night, a solo exhibition by Aleana Egan at Temple Bar Gallery, Dublin (2009); Whispering Pines, an exhibition by Shana Moulton at the Broadcast Gallery, Dublin (2009).
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 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.
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 (Roma, 1986) is an Australian-Polish curator and writer, based in London. Since 2011 he has been working as curator at the Henry Moore Institute in Leeds (UK). He completed a MSc in Culture & Society at the London School of Economics & Political Science, with a thesis focusing on site-specific art and participation in relation to the Brodno Sculpture Park initiated by Pawel Althamer. Recently he has been assisting Matthew Darbyshire and completed the MFA Curating course at Goldsmiths College, London. He has curated exhibitions in London and Copenhagen and has recently contributed to Frieze, Art Monthly Australia, Australian Art Collector and This is Tomorrow. IN 2011 he won the first annual Curatorial Open at the Zabludowicz Collection.
Camille Regli (Switzerland) lives and works between Basel and Zurich after multiple years in London. She holds a MA in Cultural Studies at King’s College London and a MA in Curating at the Zurich University of the Arts. After working at the Musée de l’Elysée in Lausanne, she acquires experiences in arts communications, working with institutions including the Swiss Pavilion at the Venice Biennale, Gropius Bau, Berlin, the Istanbul Biennale and more recently the Centre d’Art Contemporain Genève. Her curatorial research focuses primarily on ‘small’ (as opposed to overarching) narratives that sustain a feminist and alternative reading of contemporary society. She is part of the curatorial board of the OnCurating Project Space, an independent art space in Zurich that provides critical discourse through curatorial and experimental exhibition formats. As from 2021 she will manage a new art space in Biel/Bienne, Switzerland. Regli is also a regular editor and contributor of the academic journal ‘OnCurating.org’.
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.
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).
Rosa Tyhurst (UK, 1986) is a curator, writer, and publisher based in Oakland (USA). She graduated from the Curatorial Practice MA Program at the California College of the Arts, San Francisco (USA) in 2018 with a thesis focused on the work of Art Club 2000. Recent projects include: PS8 (San Francisco, 2017-2018), Break-up Letters (published 2018), Artwork for Bedrooms (The Wattis Institute, San Francisco, 2018), You had to be there (swissnex, San Francisco, 2018). Rosa has held positions at the De Young Museum, San Francisco; Limoncello, London; SUNDAY Art Fair, London, and is currently the America’s Collection Fellow at KADIST, San Francisco.
Jeppe Ugelvig (Denmark, 1993) is a curator and cultural critic. His research interests evolve around histories and theories of cultural production, as well as the intersections of queer, cybernetic and decolonial thinking. He completed his IB diploma at the Mahindra United World College in India in 2012, his undergraduate degree Communication, Curation, Criticism at Central Saint Martins in 2016, and his MA degree at the Center for Curatorial Studies at Bard College, in 2018. Jeppe’s writing has appeared in Frieze, Parallax, ArtReview, Flash Art International, Spike, Kaleidoscope and LEAP, amongst many others, and he has written exhibition catalogues for artists and projects including Dozie Kanum, A Kassen, BODY HOLES, and Soft Baroque. He functions as the features director and editor of DANSK Magazine and contributing editor of Wallet. He has staged exhibitions in Copenhagen, Ramallah (State of Palestine), Berlin and London, and most recently curated the exhibition Fashion Work, Fashion Workers at the Hessel Museum of Art, New York.
Pelin Uran (Ankara, 1975) is an Istanbul based curator. She worked as an assistant curator for the retrospective exhibition of Erol Akyavas before she left for the United States. After she completed her studies at Bard College Center for Curatorial Studies, New York, in 2005, she has worked at Fondazione Sandretto Re Rebaudengo, Torino (Italy). She has curated many exhibitions such as Endgame, Space Loop, Seoul (2009), An Artist Who Cannot Speak English is No Artist, Artists Space, New York (2006), If it is not love, it is the bomb, Bard College, New York (2004), A Forest and a Tree, New York Newbourg (2005), which has traveled to Kunsthalle Exnergasse, Vienna, in 2007. She worked as a co-curator for several projects among which the night program Nightcomers in the 10th Istanbul Biennial in 2007. Uran has written articles in magazine Uovo Contemporary Art Magazine and contemporary art website Might Be Good. She has also written for the project Speech in the A Constructed World. She took place at the Premio Furla Award in the Curatorial Selection Committee (Italy, 2008-2009).
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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