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.
Participants to the Young Curators Residency Programme are selected by an international jury following an interview with each candidate, based on a motivational letter, curriculum vitae, portfolio of previously realised projects, published or recently edited texts. The biographies listed in this page are updated to the year in which the jurors took part in the selection process.
Antonia Alampi is currently the director of Spore Initiative in Berlin. Her professional practice as a cultural organizer, curator, and director, has been defined by working collaboratively with artists and professionals from different fields and backgrounds, and within rather small-scale socially sensitive, politically engaged and structurally vulnerable organizations. She has been the artistic co-director of SAVVY Contemporary from 2016 to 2020, in the curatorial team of sonsbeek20-24, curator of Extra-City Kunsthal from 2017 to 2019, and curator of Beirut in Cairo from 2012 to 2015, among other things that go further back in time. She co-founded projects with strong positions, erratic lives and little to no funding, such as Future Climates (with iLiana Fokianaki), or Toxic Commons (with Caroline Ektander and Simone Müller, a.o.). Within and outside of institutions she has curated or been involved in many types of cultural and artistic projects, researches, movements, publications and actions pursuing social, political and environmental justice and supporting nonconformist forms of reading and interpreting the earth and its lives that have often been historically repressed or erased. She occasionally teaches, writes essays, edits books and talks in public. She is the mother of a girl and lives in Berlin.
Sepake Angiama praxis stems from radical pedagogies, black feminist thought, rethinking human/non-human relations rooted in how we might reimagine and inhabit the world otherwise. Through continued and sustained dialogues and collaborations with artists she initiated under the mango tree – a gathering of artist-led schools centring unlearning, decolonising and indigenous practices. She has developed educational programmes for various institutions, including Tate Modern, documenta 14 and Manifesta 12. She is the artistic director of the Institute of International Visual Arts (iniva), dedicated to building community by making space for artistic research through radial education practices, collective study, residency, publishing and community-led commissioning that reflects on art and social justice.
Alessio Antoniolli received his MA in Art History from Birkbeck College, University of London in 1998, specialising in issues of internationalism, diversity and cultural policies in the visual arts in the UK. He is currently the Director of Gasworks in London, and Triangle Arts Trust, where he is focusing on creating and supporting the development of artists’ projects in Africa, South America, South Asia and the Middle East. Previously, Alessio ran the International Residency Programme at Gasworks, curating a programme of artists’ residencies and outreach activities for visiting artists based outside the UK. During this time he was also involved with Triangle Arts Trust in the development of Batiscafo, an artist-led residency programme in Havana, Cuba.
Pierre Bal-Blanc is an independent curator and director of CAC Brétigny, Brétigny-sur-Orge (France). Since 2003, echoing the societal thought of Charles Fourier, he has run the Phalanstère Project, a series of site-specific proposals aiming at critical rethinking of the logic behind accumulation of art works. His exhibition sequences La monnaie vivante (The Living Currency) (CAC Brétigny / Micadanses, 2005–06; Stuk Leuven, 2007; Tate Modern London, 2008; MoMA Warsaw and Berlin Biennale, 2010) and Draft Score for an Exhibition (Le Plateau, Paris; Artissima, Torino, Italy; Secession, Vienna, 2011 – Index Stockholm, 2012; catalogue Draft Score for an Exhibition, NERO Publisher Rome, 2014) negotiate the current and historical analysis of the body and the strategies related to performance in visual arts. The three chapters of Reversibility (Frieze Art Fair, London, 2008; CAC Brétigny, 2010; Peep Hole, Milan, 2012 – catalogue Reversibility, Mousse Publishing, 2012) reflect on the consequences of the art object’s materiality upon the configuration of the cultural domain’s protagonists, as well as on the role and shape of the cultural institution today. The Death of the Audience (Secession, Vienna, 2010; catalogue Ver Sacrum: The Death of the Audience, Verlag Niggli AG Sulgen/Zurich, 2011) reveals the processes of emancipation and alienation taking place in the interstice between the figures of the artist and the spectator. He is currently preparing Soleil politique, an exhibition for Museion, Bolzano (Italy) that will continue his exploration of the forms and responsibilities of museums, their daily activities, and their relationship with the city. In January 2014, he contributed the foreword to the Center’s “Questions of Practice” investigation into restaging and reconstruction.
Carlos Basualdo (Argentina, 1964) is the Keith L. and Katherine Sachs Senior Curator of Contemporary Art at the Philadelphia Museum of Art, where he oversees the Museum’s Department of Contemporary Art. He was part of the curatorial teams for Documenta11 (2002), the 50th Venice Biennial, and conceived and curated Tropicalia: A Revolution in Brazilian Culture, which travelled from the MCA, Chicago, to the Barbican Gallery, London (2004/2005) as well as the Bronx Museum, New York and the Museu de Arte Moderna, Rio de Janeiro (2006/2007). In 2006, he initiated two exhibition series at the Museum called Notations and Live Cinema, both of which are devoted to the permanent collection and video. He was the lead organiser of Bruce Nauman: Topological Gardens, that represented the United States at the 2007 Venice Biennial, where it was awarded the Golden Lion for Best National Participation. In 2010 he organised a survey exhibition of the work of the Italian artist Michelangelo Pistoletto, a collaboration between the Philadelphia Museum of Art and the MAXXI Foundation, Roma, where it travelled in the spring of 2011. He organised Dancing Around the Bride: Cage, Cunningham, Johns, Rauschenberg and Duchamp, which opened in Philadelphia in October of 2012. From 2010 until 2013 he worked as curator at Large at MAXXI Arte, in Roma.
Iwona Blazwick OBE (1955) is director of the Whitechapel Art Gallery, London. Until 2001, she was head of Exhibitions and Displays at Tate Modern, where she was responsible for co-curating the installation of the collection and formulating the exhibitions programme. From 1993 to 1997, Iwona Blazwick worked as an independent curator for museums and major public arts projects in Europe and Japan, devising surveys of contemporary artists and commissioning new works of art. During this period she was also Commissioning Editor for Contemporary Art at Phaidon Press where she created the ongoing book series, Contemporary Artists Monographs and Themes and Movements. From 1986 to 1993 she was Director of Exhibitions at London’s ICA where she curated exhibitions of modern and contemporary art; and from 1984 to 1986 she was Director of the AIR Gallery. She read English and Fine Art at Exeter University before becoming a junior curator at the Institute of Contemporary Arts, under the tutelage of Sandy Nairne, who is now director of the National Portrait Gallery, London. Her first show, Objects and Sculpture (1981), included work by Bill Woodrow, Richard Deacon, Anish Kapoor and Antony Gormley. Exhibitions she has curated include monographic shows of Katharina Fritsch, (Tate Modern) Art and Language, Willie Doherty, Peter Halley, Damien Hirst, Jenny Holzer, Ilya Kabakov, Barbara Kruger, Meret Oppenheim, Clifford Possum Tjapaltjarri, Gerhard Richter, Rosemarie Trockel and Lawrence Weiner (ICA). Group exhibitions, often curatorial collaborations, include Objects and Sculpture, Possible Worlds, True Stories, (ICA); On Taking a Normal Situation… (MUHKA, Antwerp, Belgium), Body of Evidence (Toyama Museum of Modern Art, Japan ), Ha-Ha, (Killerton Park, Devon, UK), Now Here: Work in Progress (Louisiana Museum, Denmark) and Performing Bodies (Tate Modern). Iwona Blazwick was visiting tutor at the Royal College of Art and teaches occasionally at Goldsmith ‘s School of Art, Central St. Martins, Middlesex University, the Slade School and Sothebys MA Course; in addition she has taught at academies in Hamburg, Malmö and Vienna. Her writings have also been published extensively; they include contributions to monographs on Hannah Collins, Ceal Floyer, Katharina Fritsch, Ilya Kabakov, Cornelia Parker, Lawrence Weiner and Rachel Whiteread, among others; and anthologies such as Fresh Cream in 2001. She was editor of the Tate Modern Handbook and Century City and writes art criticism for numerous periodicals. She is also a broadcaster contributing occasional reviews and commentaries for BBC and Channel Four television and BBC radio. Iwona Blazwick has been on numerous juries including the Turner Prize in 1993, the Jerwood Painting Prize in 1997 and as a member of Ohio’s Wexner Center’s International Arts Advisory Council, the Wexner Prize for 2002. She was appointed Officer of the Order of the British Empire (OBE) in the 2008 New Year Honours.
Francesco Bonami (Firenze, 1955) has been senior curator at the Museum of Contemporary Art, Chicago, from 1999 to 2008. He also was artistic director of the Fondazione Sandretto Re Rebaudengo, Torino (Italy) since its foundation (now honorary director), Fondazione Pitti Discovery, Firenze (Italy) and the contemporary art center Villa Manin, Udine (Italy). He was the director of the 50th Venice Biennial of Visual Arts in 2003, and he was the first Italian curator at the Whitney Museum of American Art Biennial. He curated several international exhibitions like The Universal Experience at the Hayward Gallery, London, the Whitney Museum of America Art Biennial in 2010, and of the first edition of the T-Torino Triennale Tremusei. He is a regular contributor to the Italian daily Il Riformista, Zero and Vanity Fair Italy. Until 2013 he was director of Tar, a magazine of art and culture. In 2010 he received the Légion d’honneur of the Franch Republic. He published several books among which Lo potevo fare anch’ io. Perché l ‘arte contemporanea è davvero arte (2009), Dopotutto non è brutto (2010), Si crede Picasso (2010) and Maurizio Cattelan. Autobiografia non autorizzata (2011). Among his last exhibitions, the Takashi Murakami’ s solo exhibition, Il Ciclo di Arhat, (Milan, 2014) and The see is my land–Artisti dal Mediterraneo, at the Milan Triennial with Emanuela Mazzonis (Milan, 2014 and MAXXI, Rome, 2013 ).
Jan Debbaut (Belgium, 1949) is a professor in Curatorial Studies (teaching at the University of Groningen and KASK, Ghent, Belgium) and an independent curator and advisor based in London. Over the past 25 years he has been a curator and museum director, directing a.o. the exhibition program of BOZAR , Brussels, the Van Abbemuseum, Eindhoven (Netherlands) – where he oversaw the building of the new museum – and the Collections Division of Tate, London. He has been curating numerous exhibitions and publications for museums both in Europe and the United States and on special occasions (like a.o. the Dutch and Belgian pavillions at the Venice Bienniale, or as a member of the curatorial team of Magiciens de la Terre). He has been building both public and private collections (a.o La Caixa in Barcelona (Spain) or for Generali, Vienna) sat on many juries (a.o. the Turner Prize ) and boards (a.o. De Appel in Amsterdam, Whitechapel Gallery, London, Palais de Tokyo,Paris). He recently oversaw the creation of UCCA in Beijing and is currently starting up the Herbert Collection Foundation in Belgium and curating a retrospective exhibition of Dutch filmmaker Marijke van Warmerdam for Museum Boymans van Beuningen, Rotterdam (Netherlands) and Fundacio Serralves, Porto (Portugal).
Teresa Gleadowe (London) is a curator, writer, and editor with extensive experience in contemporary visual arts, both nationally and internationally, and Chair of Nottingham Contemporary. She was a member of the Furla Prize 2015. She worked for the Visual Arts Department of the British Council, London, and the Tate Gallery, London, as head of information. In 1992 she joined the academic staff of the Royal College of Art, London, to develop and lead the curating course. She was head of the Curating Contemporary Art department until the summer of 2006, when she left the college to work freelance. From 2006 to 2012 she was Research Consultant and Series Editor for the Exhibition Histories series published by Afterall. She has also taught on curatorial programmes at California College of the Arts, San Francisco; de Appel, Amsterdam; the London Consortium MA Film Curating; the MA Curating at Chelsea College of Art and Design; and on the Curatorial Intensive run by Independent Curators International in New York in July 2011. She has co-convened two conferences with Kitty Scott for the Banff International Curatorial Institute and a symposium, On Remoteness in March 2013. She is a member of the Advisory Board of PEER, a member of the ICA’s Artists Advisory Committee, a specialist adviser to The John Lyon’s Charity and a member of AICA and ICOM. She is also Chair of CAST (the Cornubian Arts & Science Trust), a new charity based in Helston, Cornwall (UK), created in 2012.
Krist Gruijthuijsen (Netherlands, 1980) is a curator, writer, publisher and course director of the MA Fine Arts Department at the Sandberg Institute, Amsterdam. Recently he has been appointed artistic director of the KW, Berlin. As co-founding director of Kunstverein, Amsterdam, he has organised exhibitions, events and publications of o.a. Ian Wilson, Ben Kinmont, Dennis Cooper, Ray Johnson, Mierle Laderman Ukeles, Guerrilla Art Action Group, Adam Pendleton, Simon Martin, Dexter Sinister, Robert Wilhite, Richard Kostelanetz, Nedko Solakov and Raimundas Malasauskas. His exhibitions and projects have been presented at a.o.Manifesta7 (Italy), Platform Garanti (Istanbul, Turkey), Artists space (New York), Extra City (Antwerp, Belgium), Museum of Contemporary Art (Belgrade), Swiss Institute (New York), Anthology Film Archives (New York), A Gentil Carioca (Rio de Janeiro, Brazil), Galeria Vermelho (São Paulo, Brazil), Stedelijk Museum (Amsterdam), Van Abbemuseum (Eindhoven, Netherlands), Marres, Centre for Contemporary Culture (Maastricht, Netherlands) and Stedelijk Museum Bureau Amsterdam, which have included artists such as Renzo Martens, Gabriel Lester, Falke Pisano, Melvin Moti, Will Holder, Luca Frei, Liam Gillick, Amalia Pica, Julika Rudelius and Bik van der Pol. Gruijthuijsen has produced many publications amongst others The Encyclopedia of Fictional Artists + The Addition (JRP Ringier) , “We all Laughed at Christopher Columbus” (Revolver), Novella (not yet another story) (Revolver), Ben Kinmont: Prospectus, works from 1989–2011 (JRP Ringier), Paper Exhibition: Selected Writings of Raimundas Malausaskas (Sternberg Press).
Stefan Kalmár (1970) is the current director and curator of Artists Space, New York, where he has also been the executive director since 2009. He has held previous positions as director of Kunstverein München, director of the Institute of Visual Culture, Cambridge (UK) and curator of Cubitt Gallery, London. He took part as member of jury at the Turner Prize 2014. Exhibitions he has curated include The Secret Public, The last days of the British Underground 1978-1988, Institute for Contemporary Art, London (2007); Oh Girl It Is a Boy, Kunstverein München (2007); Tranzit, Bratislava (2007); I Really Should…, Lisson Gallery, London (2005); and Cognition Control: From the Archive of Stephen Willats, Institute of Visual Culture, Cambridge (2002). He is also co-editor of Be Nice, Share Everything, Have Fun (Verlag der Buchhanlung Walter König, Köln, 2009 ) which is a survey of the four previous years of exhibitions at the Kunstverein Munich.
Charlotte Laubard (1974) is a French curator, director of CAPC Musée d’Art Contemporain de Bordeaux (France) since October 2006 where she recently curated the exhibitions Diego Perrone, David Maljkovic and On Lost Worlds. She has previously worked as a curatorial associate at PS1 Contemporary Art Center, New York (1999 – 2000), at Castello di Rivoli Museo d’Arte Contemporanea, Torino (Italy) (2002-05), and she was the consultant for the Viktor Pinchuk Foundation, Kiev, on the opening of its contemporary art museum (September 2006). In Torino in 2004, Charlotte co-founded the art space More Fools in Town together with Australian artists Geoff Lowe and Jacqueline Riva, where they have organised many events. She also curated the 2003 edition of the Fuori Uso festival in Pescara (Italy) and exhibitions in Fondation Ricard in Paris (Così va il mondo, 2003; Incipit, 2006), and in the Victoria College of Art in Melbourne (Daniel Dewar & Gregory Gicquel, 2006). From 2001 to 2006, Charlotte Laubard was a contributor to Artforum, 02 Magazine, Beaux-Arts Magazine, and the editor of the contemporary art rubric of the magazine Technikart.
Andrea Lissoni is the artistic director of the Haus der Kunst in Munich. Since 2014 he has been Curator of Film and International Art at the Tate Modern in London. He holds a PhD, has been curator at Hangar Bicocca in Milan since 2011, was professor at the Brera Academy from 2001 to 2013 and at Bocconi University since 2007. Co-founder of the cultural organization Xing, he is co-director of the international festival Live Arts Week-Gianni Peng in Bologna. He is curator and co-creator of the magazine Cujo and regularly collaborates with Mousse. He has been curator of group exhibitions including Circular (San Siro Stadium, Milan, 2004), Collateral. Quando l’arte incontra il cinema (Hangar Bicocca, Milan and SESC Pompeia, Sao Paulo, 2007), Check-in Architecture (Venice Architecture Biennale, 2008), Tudo (Pitti Immagine, Florence, 2011). Between 2011 and 2014 at HangarBicocca, he curated solo exhibitions by Céleste Boursier Mougenot, Angela Ricci Lucchi & Yervant Gianikian, Wilfredo Prieto, Carsten Nicolai, Tomàs Saraceno, Apichatpong Weerasethakul, Mike Kelley, Ragnar Kjartansson, Micol Assael, Joan Jonas and Celine Condorelli.
Francesco Manacorda (Torino, 1974) is an independent curator based in London. He graduated from the University of Turin, Torino (Italy) and received a MA in Curating Contemporary Art from the Royal College of Art, London, in 2003. He was appointed artistic director of Artissima in 2010, the International Fair of Contemporary Art in Turin, and since 2012 artistic director of the Tate Liverpool (UK). He worked as a curator at the Barbican Art Gallery, London, (2007–09), and his freelance practice has included curating Subcontinent: The Indian Subcontinent in Contemporary Art, Fondazione Sandretto Re Rebaudengo, Torino (2006) and national pavilions at the 52nd Venice Biennial (Tobias Putrih, Slovenian Pavilion, 2007 and Francis Upritchard, New Zealand Pavilion, 2009). He has written extensively for Domus, Flash Art Italia, Flash Art International, Frieze, Metropolis M, Piktogram, Untitled, and Art Review.
Chus Martínez (Spain, 1972) has a background in philosophy and art history. Currently she is the Head of the Institute of Art of the FHNW Academy of Arts and Design, Basel, Switzerland. Before she was the Chief Curator at El Museo del Barrio, New York, and dOCUMENTA (13) Head of Department and Member of Core Agent Group. Previously she was Chief Curator at MACBA, Barcelona (2008–11), Director of the Frankfurter Kunstverein (2005–08), and Artistic Director of Sala Rekalde, Bilbao, Spain (2002–05 ). For the 51st Biennale di Venezia (2005), Martínez curated the National Pavilion of Cyprus, and in 2008 she served as a Curatorial Advisor for the Carnegie International and in 2010 for the 29th Bienal de São Paulo. During her tenure as Director of the Frankfurter Kunstverein she curated solo exhibitions of Wilhelm Sasnal among others; and a series of group exhibitions including Pensée Sauvage and The Great Game To Come. She was also the founder of the Deutsche Börse Residency Program for international artists, art writers, and curators.
Joanna Mytkowska (1970) is a curator and art critic. Since 2007 she has been director of the Museum of Modern Art, Warsaw. She was co-founder of the Foksal Gallery Foundation, where she worked from 2001–2007. In 2005 she curated the Polish Pavilion at the 51st Venice Biennial, exhibiting Repetition by Artur Żmijewski. Formerly she was a curator at the Centre Pompidou, Paris, where she organised the exhibitions Paweł Althamer (2006), The Magellanic Cloud (2007), Le Nuage Magellan (2007), Les Inquiets. Cinq artistes sous la pression de la guerre (2008) and The Anxious (2008). She was a co-curator of Promises of the Past, a major survey of Eastern European art at the Centre Pompidou, Paris, in 2010. She has also curated: Oskar Hansen. A Dream of Warsaw (Foksal Foundation Gallery, Warsaw 2005), Awkward Objects (Museum of Modern Art, Warsaw, 2009), Alina Szapocznikow, Sculptures Undone 1955-1972 (Centre Art Contemporain Wiels, Brussels; Hammer Museum, Los Angeles; Museum of Modern Art; New York, 2012-2013). She has edited the following publications: Edward Krasiński (1997), Henryk Stażewski.Economy of Thought and Perception (2006).
Renaud Proch is Independent Curators International (ICI)’s Executive & Artistic Director, and from December 2009 to March 2013, he served as ICI’s Deputy Director. Prior to this, he was the Senior Director at the Project in New York, as well as the Director of MC, in Los Angeles. Originally from Switzerland, Proch studied in London and moved to the West Coast of the U.S. in 2001. He co-founded ART2102 of Los Angeles in 2003, a non-profit organization that realized projects by artists and curators on- and off-site; and the backroom in 2005, a growing artists’ archive and itinerant research-oriented project presented in five cities in the U.S., Mexico and France. In 2011, he co-curated with Khwezi Gule a retrospective of South African artist Tracey Rose for the Johannesburg Art Gallery, South Africa, and the Umea Bildmuseet, Sweden, which also traveled to the Nikolaj Kunsthal, in Copenhagen, Denmark.
Mark Rappolt is editor in chief of Art Review and founder of Art Review Asia. He has been editor at AA Files, the journal of the Architectural Association of London, where he has also lectured as well as curated a project on the writings of texts still to be translated by George Perec and other unpublished works by members of Oulipo. His texts have been featured in several publications, such as The Times, Die Zeit, i-D and Citizen K, as well as in various exhibition catalogues, such as those dedicated to Slater Bradley, Alex Katz, Bharti Kher, David Cronenberg and more recently Yuko Mohri and Joh Kømer. Among his books are also monographs dedicated to architects Greg Lynn and Frank Gehry. He is currently co-curator of Xiàn Chãng, a major exhibition of one-artist projects that takes place within West Bund Art & Design Fair of Shanghai. New productions have been commissioned to artists from south-east and far east Asia, with the first projects involving artists Ming Wong and Michael Lin.
Beatrix Ruf (Germany, 1960) is currently the Artistic Director of the Stedelijk Museum Amsterdam, and she was appointed Director/Curator of the Kunsthalle Zürich in 2001. Previously, she had been Director/Curator of the Kunsthaus Glarus, and curator at the Kunstmuseum Thurgau, Warth (Switzerland) between 1994 and 1998. Since 1995 she has been Curator of the Ringier Collection. She has organised exhibitions, written essays and published catalogues on artists such as Jenny Holzer, Marina Abramovic, Peter Land, Liam Gillick, Urs Fischer, Emmanuelle Antille, Angela Bulloch, Ugo Rondinone, Richard Prince, Keith Tyson, Elmgreen & Dragset, Monica Bonvicini, Eija-Liisa Ahtila, Pierre Huyghe/Philippe Parreno: No Ghost just a Shell, Rodney Graham, Isa Genzken, Doug Aitken, Wilhelm Sasnal, de Rijke/de Rooij, Rebecca Warren, Carol Bove, Oliver Payne & Nick Relph, Dominique Gonzalez-Foerster, Sean Landers and many others. Among her last exhibitions, she curated the solo show Avery Singer, Pictures Punish Words, at Fondazione Sandretto Re Rebaudengo, Torino (Italy) in 2015.
Ralph Rugoff (New York, 1957) has been chosen to curate the 2015 Lyon Biennial. He is director of the Hayward Gallery, London, and since his appointment in 2006, he has curated numerous exhibitions including, Psycho Buildings: Artists Take On Architecture, The Painting of Modern Life and most recently, Jeremy Deller: Joy in People. He was previously director of the California College of the Arts (CCA) Wattis Institute for Contemporary Arts, and was the founding chair of CCA’s Graduate Program in Curatorial Practice. In 2002 Ralph served as a curatorial advisor to the Sydney Biennial, and in 2005 he was a curatorial correspondent for the T-Torino Triennale Tremusei. In December 2005, he was awarded the Katherine Ordway Prize given in recognition of important contributions to the field of contemporary arts and letters. His publications include monographs on George Condo, Mark Wallinger and Anya Gallacio, as well as Circus American, Scene of the Crime, and At the Threshold of the Visible.
Bart van der Heide is an art historian, curator, and the director of Museion in Bolzano, where he initiated the multidisciplinary research project TECHNO HUMANITIES. The three-year project (2021-2023) includes exhibitions, publications, roundtable discussions, and art mediation programs. The exhibition series focuses on pressing existential questions concerning human beings at the intersection of ecology, technology, and economy. In TECHNO HUMANITIES, external international research teams delve into and develop the addressed themes, while simultaneously providing a platform for young talents to realize their aspirations. An important aspect of the project is the involvement of local initiatives.
The exhibition “Kingdom of the Ill” represents the second chapter of the three-year project that Van der Heide launched in 2021 with the exhibition “TECHNO” (September 11, 2021 – March 16, 2022).
Andrea Viliani is an art critic and curator and, since 2013, Director of the MADRE, the public museum of contemporary art founded by Campania Region in Naples, where he organised exhibitions by Francis Alÿs, Thomas Bayrle, Daniel Buren, Mimmo Jodice, Mark Leckey, Fabio Mauri, Boris Mikhailov, Giulia Piscitelli, Vettor Pisani,Walid Raad, Ettore Spalletti, Sturtevant, Padraig Timoney, Mario García Torres/Alighiero Boetti. At MADRE he has produced as well seminars and publications by artists such as Gusmao&Paiva, Stephen Prina and Akram Zaatari and oversaw the ongoing projects Per_forming a collection and Progetto XXI. From 2009 to 2012 he worked as Director of the Fondazione Galleria Civica-Centro di Ricerca sulla Contemporaneità, Trento (Italy); from 2005 to 2009 he was Curator at MAMbo–Museo d’Arte Moderna, Bologna (Italy) where he presented an exhibition program focused on the contemporary legacy of the 60s/70s institutional critique and on a possible new approach to it (“institutional narrative”). From 2000 to 2005 he worked as Assistant Curator at the Castello di Rivoli-Museo d’Arte Contemporanea, Torino (Italy). In 2012 Viliani was one of the six curatorial Agents/Core-Group of dOCUMENTA (13), co-curating with the Artistic Director Carolyn Christov Bakargiev and Aman Mojadidi the related position in Kabul and Bamiyan (Afghanistan). He also curated exhibitions and projects in various other institutions as, among the others, Paweł Althamer (MUSEION, Bolzano, Italy), Gabriele Di Matteo (FRAC Limousin, Limoges, France), David Maljković (GAMeC, Bergamo, Italia), Deimantas Narkevičius (Museo Marino Marini, Firenze, Italia) and Haris Epaminonda (Fondazione Querini Stampalia, Venezia, Italy). Among the 60 “players” of the 2007 Biennale de Lyon, he is a contributor to the art magazines Flash Art, FROG, Kaleidoscope and Mousse.
Jochen Volz (Germany, 1971) is a London-based curator, currently Head of Programmes at Serpentine Gallery, London. He has been named curator of the 32nd São Paulo Biennial, slated for 2016. Volz was previously Artistic Director at the Instituto Inhotim, Minas Gerais (Brazil), where he co-curated many large-scale site and specific projects, as well as numerous exhibitions from the collection. He has contributed to many exhibitions throughout the world, including curating Olafur Eliasson as part of the 17th International Festival of Contemporary Art–SESC_Videobrasil, São Paulo (Brazil) (2011); The Spiral and the Square, Bonniers Konsthall, Stockholm (2011); the Aichi Triennial, Nagoya, Japan (2010); and the Biennial de Lyon, France (2007). In 2009 he organized the international section of the 53rd Venice Biennial, together with Daniel Birnbaum. In 2006 he guest curated for the 27th Biennial de São Paulo a special exhibition project in homage to Marcel Broodthaers. Between 2001 and 2004 he was curator of Portikus, Frankfurt am Main (Germany).
Marc-Olivier Wahler (Switzerland, 1964 ) is an international curator, contemporary art critic and art historian. He has been selected as inaugural guest curator for the 2015 Audemars Piguet Art Commission. He is the founder and current director of Chalet Society, Paris, the former director of Palais de Tokyo, Paris (2006 – 2012), the former director of SWISS INSTITUTE, New York (2000-2006), the founding director of CAN, Neuchâtel (Switzerland) (1995 – 2000), and the founding editor of PALAIS Magazine. As an art critic, Marc-Olivier Wahler regularly writes on contemporary art and its theoretical problematic in international magazines, academic books and exhibition catalogues. His most renowned publication is the art encyclopedia From Yodeling to Quantum Physics in 5 volumes. His conferences in Europe, Asia, North Africa, and North and South America primarily focus on the forms of the exhibitions, the ontology of the works and the effect of the language used in the art world. During the last twenty years, Marc-Olivier Wahler has organized over 400 exhibitions – principally as museum director/chief curator, but also as a free-lance curator – in São Paulo (Brazil), Buenos Aires, Zurich, Lausanne (Switzerland), Biel (Switzerland), Geneva (Switzerland), Paris, Dijon (France), Marrakech (Morocco), Madrid, Torino (Italy), Lisbon, Coimbra (Portugal), and Los Angeles. In 2011, he was decorated as a Chevalier in the French Republic ‘s Order of Arts and Letters. In 2013, Wahler was awarded the Meret Oppenheim Prize, Switzerland’s highest cultural award in the contemporary arts.
Dr. Zoé Whitley is Director of Chisenhale Gallery in London’s East End. A leading non-profit space founded by artists, Chisenhale produces and commissions new works of art with emerging British and international artists. Previous exhibitions to her credit include Frieze London’s special themed section, Possessions (2020), co-curating Elijah Pierce’s America at the Barnes Foundation (2020), the British Pavilion presentation of Cathy Wilkes at the Venice Biennale (2019) and co-curating the award-winning international touring exhibition Soul of a Nation: Art in the Age of Black Power. She writes widely on contemporary artists and 20th century designers, including children’s books on Frank Bowling and Sophie Taeuber-Arp. She collaborated with Sharna Jackson on the Thames & Hudson book for young readers, Black Artists Shaping the World (2021).
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