Expert visitors 2019

An overview of Frame’s expert visitors in 2019

Linsey Young
4–9 November
On Frame travel grant

Linsey Young is a curator based in London and Glasgow. Since 2016, Linsey has held the position Curator British Contemporary Art at Tate where she is lead curator of the Turner Prize. Other Tate projects include: Anthea Hamilton: The Squash, Rachel Whiteread and Pablo Bronstein: Historical Dances in an Antique Setting. In 2019 she was Curator and Commissioner of Scotland + Venice presenting Charlotte Prodger ‘s new commission SaF05. In 2013 she founded the itinerant not for profit project Young Team and in this capacity has worked with Giles Round, Sue Tompkins, Jonathan Meese and the Steven Campbell estate.

 

 

Anna-Sophie Springer
9–15 September
Attending the Rehearsing Hospitalities programme

Anna-Sophie Springer is an exhibition maker, writer, editor, and publisher. Since 2011, she directs the boutique publishing imprint K. Verlag in Berlin, advancing new forms of the “book-as-exhibition.” In her research-based practice, Anna-Sophie works with cultural and scientific archives and collections to produce postdisciplinary ecologies of attention and care. She is co-principal investigator of Reassembling the Natural, an exhibition-led inquiry into biodiversity loss and land use transformation that included the exhibition cycle Disappearing Legacies: The World as Forest (2017/18) and 125,660 Specimens of Natural History (2015).

She is also a founding co-editor of the intercalations: paginated exhibition series, published by K. Verlag and the Haus der Kulturen der Welt, Berlin, in the context of Das Anthropozän Projekt, and co-editor of Fantasies of the Library (MIT Press, 2016). Since 2016, Sophie has been a Visiting Lecturer at Institut Kunst, Basel, and a Ph.D. researcher at the Centre for Research Architecture, Goldsmiths, where her dissertation examines the financialization of nature and the role of historical specimen collections in this moment of ecological collapse and species mass extinction.

 


Ūla Tornau
9–14 September
Attending the Rehearsing Hospitalities programme
In collaboration with Lithuanian Culture Institute

Ūla Tornau works as a head of the Exhibition Department at the Contemporary Art Centre in Vilnius and was the co-founder of several independent artist initiatives “Malonioji 6” and “KultFlux”. In the last years she curated and co-curated exhibitions including the Lithuanian pavilion “R” in the 57th Venice Biennale (2017), group exhibitions “Waiting for Another Coming” at Zamek Ujazdowski CCA Warsaw and CAC Vilnius (2018), “Pieces from the Cracked Sidewalk” at Laznia CCA (2017), to name a few. Their long-term subjects of interest lie in questions on current regional and post-institutional subjectivities, informal spaces, collectives and ways of labor, non-verbal means of knowledge production, historical and current urban change.

 

 

Edvinas Grinkevičius
9–16 September
Attending the Rehearsing Hospitalities programme
In collaboration with Lithuanian Culture Institute

Edvinas Grinkevičius (b. 1988, LT) has worked as a curator at the Kaunas Artists’ House since 2017. The broad spectre of his practice consists of curatorial and artistic activities, all connected through an active interest in leftist and queer politics and practices, which aim to provide artistic practices with a transformative potential especially within institutionalised structures. In 2019, he started to curate residency programme “Unlearning Eastern Europe” which invites guest curators from the Eastern Europe countries and aims to reconsider the contemporary issues of the region, ranging from decolonialisation options to the politics of memory. The participant curators link their curatorial and artistic practices with activism, explore the various sociopolitical contexts of the Baltic region and possible new scenario activations. Since 2016 Grinkevičius has been one of the initiators and co-curators of WE ARE PROPAGANDA, the counter-culture queer movement. The same year marked the beginning of performing terrorist drag dj performances under the the artist’s alter ego – drag persona Querelle.

 

Josien Pieters
9–15 September
Attending the Rehearsing Hospitalities programme

Josien Pieters is the founder and co-director of Framer Framed (2010) whose exhibitions are located at the intersection of contemporary art, visual culture and politics. In 2018 Framer Framed opened another art and community space in the Molenwijk in the North of Amsterdam “Werkplaats Molenwijk”. Additionally, she is the co-founder and director of Network Democracy (2011), a platform for democratic innovation—winning the oeuvre prize “Radical Innovators” for this work in 2014. Apart from her own initiatives, Josien is chairman of Consul Foundation (an open source democracy platform initiated by the M15 movement and developed by the municipality of Madrid), one of the board members of Keti Koti Verzoeningstafels (a new ritual to remember Dutch history of slavery) and the chair of Get Me (a political art space and nightclub in Rotterdam).

 

Sofia Lemos
9–15 September 

Attending the Rehearsing Hospitalities programme
In collaboration with the Finnish Institute in London 

Sofia Lemos is a curator, writer, and researcher. She is Curator of Public Programmes & Research at Nottingham Contemporary.Recent projects include new commissions by Caroline Mesquita (with Kunsthalle Lissabon, 2018-2019) and Musa paradisiaca (2018), as well as METABOLIC RIFTS, a multi-platform assembly for visual and performing arts research co-curated with Alexandra Balona.

She has been involved in the research and coordination of exhibitions, public programmes, and publications in various institutions, including Haus der Kulturen der Welt, Berlin; Contour Biennale of Moving Image 8; Museo de Arte Moderno de Buenos Aires; NTU CCA Singapore; PRAXES, Berlin; DRAF, London; and MACBA, Barcelona.

 

Mariana Cánepa Luna
9–15 September
Attending the Rehearsing Hospitalities programme
In collaboration with Finnish Cultural Institute in Madrid and PUBLICS

Mariana Cánepa Luna (b. 1977) is a Montevideo-born, Barcelona-raised-and-based curator. In 2005, together with Max Andrews, she founded Latitudes, a curatorial office that has worked internationally across contemporary art practices in a variety of formats and situations, and has encompassed more than 40 projects including exhibitions, public realm commissions, film screenings, and discursive programmes. Latitudes current research focusses on material narratives, biographies of objects, and a world-ecological perspective on art histories.

She is a regular contributor to art-agenda and since 2015 is a board member of the Fundació Privada AAVC governing Hangar—Centre of Production, Research and Visual Arts in Barcelona. She graduated in Art History from the Universitat de Barcelona (1995–2000) and studied Cinema History at DAMS, Università degli Studi di Bologna (1999) before completing the MA Curating Contemporary Art, Royal College of Art, London (2002–4).

 

Max Andrews
9–15 September 2019
Attending the Rehearsing Hospitalities programme
In collaboration with Finnish Cultural Institute in Madrid and PUBLICS

Max Andrews (b. 1975) is a Bath-born, Barcelona-based curator. In 2005, together with Mariana Cánepa Luna, he founded Latitudes, a curatorial office that has worked internationally across contemporary art practices in a variety of formats and situations, and has encompassed more than 40 projects including exhibitions, public realm commissions, film screenings, and discursive programmes. Latitudes current research focusses on material narratives, biographies of objects, and a world-ecological perspective on art histories.

Since 2015 Max has been Contributing Editor of frieze magazine, where he has written since 2004. Max obtained a BA (Hons) in Critical Fine Art Practice at the University of Brighton (1995–98), before completing the MA Curating Contemporary Art, Royal College of Art, London (2001-3).

 

Anastasia Skvortsova
9–15 September 2019
Attending the Rehearsing Hospitalities programme
In collaboration with the Finnish Institute in St. Petersburg

Anastasia Skvortsova is a curator and educator based in Saint Petersburg, Russia. In her curatorial practice she focuses on public and social engaged art, participatory practices and site specific projects. Anastasia Skvortsova is a laureate of the EUNIC award for young curators (2013) and a participant of Global Cultural Leadership Programme by European Cultural Foundation (2018).

She graduated from the Russian State Academy of Fine Arts (2010) and received her Master’s degree in Curatorial Studies from Bard College department of Saint Petersburg State University (2014). From 2011-2015, Anastasia has been running an independent art space Nepkorennye studio in Saint Petersburg. She worked as a coordinator for the 6th Moscow Biennale of Contemporary Art (2015). Since 2016 Anastasia collaborates with Art Prospect international public art festival organized by CEC Arts Link, which invites artists to create site responsive works of public art that encourage civil activity of local communities. Anastasia curated dozens of exhibitions in Russia and abroad. Her recent works include: Nepokorennye prospect at Moscow Museum of Modern Art (2017), Family at Poppositions art fair in Brussels (2018), The Goods of Time at the Goethe Institute in Sofia (2019). Since 2019 Anastasia works for State Hermitage museum, Educational department.

 

 

Natalia Khvoenkova
9–15 September 2019
Attending the Rehearsing Hospitalities programme
In collaboration with the Finnish Institute in St. Petersburg

Natalia Khvoenkova is a curator, art historian and project manager with a vast experience in organizing and curating art educational programs and various annual events. Natalia is the Head of Art Programs Department at The North-Western Branch of The National Centre for Contemporary Arts, supervising educational events for art professionals, as well as various art events and public programs. She is Program Director of the 1st Curatorial Forum that will be held in October 3-6, 2019 in St. Petersburg, Russia. This Forum aims to develop and strengthen a professional dialogue, create new possibilities for the international partnership, mobilize local and regional creative forces as well as widen audiences for contemporary art.

 

 

Evelyn Raudsepp
12–15 September 2019
Attending the Rehearsing Hospitalities programme
In collaboration with Nordic-Baltic Curatorial Programme

Evelyn Raudsepp (1989) is a Tallinn-based curator and producer for performing and visual arts, interested in cross-disciplinary projects and experimental formats. She received a Bachelor Degree in theatre studies in University of Tartu and Masters Degree in art studies in Estonian Academy of Art. She is currently working as a producer in Sõltumatu Tantsu Lava (STL) and MIMproject and working with independent visual art projects relevant to her research area. Her projects include Performa 17 Estonian Pavilion Without Walls, New York; “(Hyper)emotional: YOU” in EKKM, Tallinn; 5th Artishok Biennale, Tallinn; art-project/magazines with ever-changing identity New Material and New Number!.

 

 

Johanna Linder
9–13 September 2019
Attending the Rehearsing Hospitalities programme
In collaboration with Nordic-Baltic Curatorial Programme

Johanna Linder (b. 1973) is the founder and manager of Österängens Konsthall, a self organized , non profit contemporary art center in a suburb in Jönköping. She has her background in journalism and has previously been working for Sveriges Radio. Österängens Konsthall works closely with their local community and seeks collaboration with artist interested in social, gender, political and environmental issues. At the time, she is co-curating “Naturen tar över” (Nature takes over) – a cooperation between Österängens Konsthall and a local environmental organization, commissioned by the Swedish Arts Council.

 

 

 

Sara Hemmingsson
9–13 September 2019
Attending the Rehearsing Hospitalities programme
In collaboration with Nordic-Baltic Curatorial Programme

Sara Hemmingsson is an art historian and curator based in Sweden. She works as curator at Kalmar konstmuseum, a regional art museum and a contemporary art institution located in Kalmar on the coast of south eastern Sweden. Most recently she produced an exhibition that examined the Swedish county of Småland, exploring art from the museum’s collection, artefacts from historical societies and works by invited contemporary artists.   

Ongoing projects and interests lie in issues of memory, loss and global interdependence, heritage, craft, ecology and rethinking the use of museum collections and archives. She likes to delve deep into art history and history writing and link these to contemporary ideas and issues.

She is part of the working group of Nya Småland, an interregional contemporary art project. Nya Småland’s ambition is to form long-term relationships, experiment and create conditions for critical and cultural sustainability.

 

 

Rael Artel 
9–15 September 2019
Attending the Rehearsing Hospitalities programme
In collaboration with Nordic-Baltic Curatorial Programme

Rael Artel (born 1980) received her initial training in art history from the Estonian Academy of Arts, Tallinn (1998—2003) and curatorial training from de Appel Art Centre, Amsterdam (2004—2005). Artel initiated the Public Preparation series, a platform for discussion on practices of contemporary art in Tallinn. She has curated over 60 exhibitions in Estonia and abroad, always with special focus on art in Eastern Europe. From 2010-2014 she was the artistic director of ART IST KUKU NU UT festival of contemporary art. Rael Artel has worked as a contemporary art curator since 2000. Her curatorial practice is context sensitive, relating to topical issues of contemporary society such as transformation, identity politics and growing nationalism in former Eastern Europe. Artel has been director of the Tartu Art Museum, Estonia in 2013–20017. Currently works at Narva Museum Art Gallery.

 

Marian Kivila
9–15 September
Attending the Rehearsing Hospitalities programme
In collaboration with Nordic-Baltic Curatorial Programme

Marian Kivila (1985) is an independent curator and art critic based in Pärnu and Tallinn, Estonia. Her main projects involve contemporary art of the Soviet-era, but also gender issues (exhibitions “Man and Man” and “Woman and Women”,2019). She is also head curator of Pärnu Fotofest focusing on contemporary photo art in the Baltics. She has also worked in the field of film and video art, curating annual Pärnu Film and Video Festival programme. In 2015 she opened a non-profit gallery space Avangard Gallery, which is currently working in pop-up mode organising art projects and exhibitions in various spaces in Estonia and abroad.

 

 

Anneli Bäckman
9–14 September 2019
Attending the Rehearsing Hospitalities programme 

In collaboration with Nordic-Baltic Curatorial Programme

Anneli Bäckman (b. 1975) is a curator based in Stockholm, Sweden. Since 2012, she has been working at Botkyrka konsthall , a municipality run contemporary arts centre in southern Stockholm, where she is also head of the international residency programme, Residence Botkyrka Most recently, she curated the opening exhibitions at Botkyrka konsthall: From Hereand Archives: Itineraries to the Future” co-curated together with Abir Boukhari.

 

 

 

Hanna Isaksson
9–14 September 2019
Attending the Rehearsing Hospitalities programme
In collaboration with Nordic-Baltic Curatorial Programme

Hanna Isaksson is manager at Resurscentrum för konst (ArtNorth – Norrbotten Contemporary Art Development Center). Hanna is based in Luleå, Sweden, since 2016. She has previously worked as the CEO at the National Artis’t Organization and Marketing director/Producer at Havremagasinet International Art Gallery. Resurscentrum för konst works to strengthen the professional art scene in northern Sweden by creating exhibition possibilities, facilitating commissions as well as organizing education programs for contemporary artists and professional craft makers. Resurscentrum för konst is currently building a new Artist-in-Residence program called Swedish Lapland AiR that was launched in 2018.

 

 

Clelia Coussonet
3–30 May 2019 & 9–14 September 2019
Attending the Rehearsing Hospitalities programme
In collaboration with HIAP // HICP Curator.

Clelia Coussonnet is an independent curator, art editor and writer. She is interested in creating interdisciplinary projects outside of traditional art circuits, particularly in contexts linked to craft or heritage and in spaces previously unused for cultural projects.

Lately, her research has been revolving around botanical politics and power structures, resulting in the exhibitions ‘Botany under Influence’, apexart, New York, USA (2016) and ‘Leave No Stone Unturned [Remuer la terre]’, Le Cube – independent art room, Rabat, Morocco (2019). Clelia likes to explore how visual cultures tackle political, social and spiritual issues in different, or complementary, ways than other disciplines.

 

Tereza Jindrova
3–30 May 2019 & 7–15 September 2019
Attending the Rehearsing Hospitalities programme
In collaboration with HIAP // HICP Curator.

Tereza Jindrová is a curator and art writer. In general, she is interested in methods of creating curatorial ‘frames’ to layer different interactions between artists, artworks and the public. Recently she has focused on the topic of human-animal relations, environmentalism, rational and irrational aspects of healing, irrational beliefs and magic, and gender stereotypes in the context of artistic creativity.

In the past two years, she curated Alexandra Pirici’s performative project ‘Delicate Instruments of Engagement’ at National Gallery, Prague; ‘Healing’ at Czech Centre Berlin; performance project of Barbora Kleinhamplová at Art in General, New York; or ‘Apparatus for a Utopian Image’ at EFA Project Space, New York.

 

Rachael Rakes
17 – 23 June 2019 & 8–15 September 2019
Attending the Rehearsing Hospitalities programme
In collaboration with AV-arkki & Saastamoinen Foundation 

Rachael Rakes is a curator, critic, and teacher from New York City.  Rakes is currently the Head Curator and Manager of the Curatorial Programme at De Appel in Amsterdam, the Editor at Large for Verso Books, and Programmer at Large for the Film Society of Lincoln Center—where she co-curates the annual festival Art of the Real.

From 2011-2017, she served as an Editor for the art and politics journal the Brooklyn Rail.  Rakes has recently contributed criticism to Art-Agenda, Artforum, the Village Voice, and Ocula, among other publications and catalogues. She has independendly organized exhibitions and programmes for Tabakerlara (San Sebastian), SAIC (Chicago), A.I.R. (NYC), Oolite Arts (Miami), The Knockdown Center (NYC), International Studio and Curatorial Program (NYC), Malmö Konsthall, and the Hessel Museum of Art (New York).

Rakes has taught on social practice, aesthetics and documentary art at The New School and Harvard Summer School, and currently serves as Supervisor for the Sandberg Institute Critical Studies programme. From 2010-2013, Rakes was the Assistant Curator at the Museum of the Moving Image, and from 2012-2014 she co-directed Heliopolis Project Space in Brooklyn.

 

Amara Antilla
8 – 21 September 2019
On Frame travel grant

Amara Antilla is Senior Curator at the Contemporary Arts Center (CAC) in Cincinnati. She previously served as Assistant Curator at the Guggenheim Museum, where she contributed to various exhibitions including V.S. Gaitonde: Painting as Process, Painting as Life (2014), Monir Farmanfarmaian: Infinite Possibility, Mirror Works and Drawings, 1974–2014 (2015), Simone Leigh: Loophole of Retreat (2019), as well as the curatorial program of the Guggenheim UBS MAP Global Art Initiative. Independently, she has organized programs in partnership with Clark House Initiative, Mumbai; Dhaka Art Summit; FD13, Saint Paul; Northern Spark, Minneapolis; and N.K. Projekt, Berlin, among others. Antilla studied art history at Tufts University, the Museum School, and Hunter College at the City University of New York.

 

 

Jacopo Crivelli Visconti
26 – 29 August 2019
In collaboration with OCA – Office for Contemporary Art Norway , The Danish Arts Agency & Iaspis – Swedish Arts Grants Committee’s
International Programme for Visual and Applied Artists.

Jacopo Crivelli Visconti (1973, Naples, Italy) is a curator and art critic based in São Paulo. He holds a PhD in architecture from the Universidade de São Paulo (USP), and was a member of the team of the Fundação Bienal de São Paulo from 2001 to 2009, when he curated the official Brazilian participation at the 52nd International Art Exhibition – La Biennale di Venezia (2007). His recent works include: Untimely, Again, Pavilion of the Republic of Chipre at the 58th Biennale di Venezia, Italy (2019); Brasile – Il coltello nella carne, PAC – Padiglione d’arte contemporanea, Milan, Italy (2018); Matriz do tempo real, Museu de Arte Contemporânea of the Universidade de São Paulo, Brazil (2018); Memories of Underdevelopment, Museum of Contemporary Art of San Diego, USA (2017); Héctor Zamora – Dinâmica não linear, Centro Cultural Banco do Brasil, São Paulo, Brazil (2016); Sean Scully, Pinacoteca do Estado de São Paulo, Brazil (2015); and Ir para volver, 12th Bienal de Cuenca, Ecuador (2014).

He is the author of the book Novas derivas (WMF Martins Fontes, São Paulo, Brazil, 2014; Ediciones Metales Pesados, Santiago, Chile, 2016). He regularly collaborates with publications on contemporary art, architecture and design, contributes to exhibition catalogs, and writes monographs on artists.

Jaimie Isaac
1–8 June 2019
In collaboration with OCA – Office for Contemporary Art Norway

Jaimie Isaacis a Winnipeg-based curator and interdisciplinary artist, member of Sagkeeng First Nation in Treaty 1 territory of Anishinaabe and British heritage. Isaac holds a degree in Art History and an Arts and Cultural Management Certificate from the University of Winnipeg and a Masters of Arts from the University of British Columbia, with research focus on Indigenous Curatorial Praxis, and methodologies in decolonizing and Indigenizing.

Recent exhibitions include Woven Together at the Kelowna Art Gallery, at the Winnipeg Art Gallery; organic, Insurgence Resurgence (co curated with Julie Nagam) and Vernon Ah Kee: cantchant, Boarder XWe Are On Treaty Land, and Quiyuktchigaewin; Making Good.

Isaac co-founded of The Ephemerals Collective (with Niki Little and Jenny Western), which was long-listed for the 2017 and 2019 Sobey Art Award.

Isaac was one of the Canada Council’s Indigenous delegation at the 2017 Venice Biennale. She is the Advisory Committee for the Winnipeg Art Gallery, Manitoba Museum and is on the board of directors for Bordercrossings Magazine.

 

Eileen Isagon Skyers
26 May–1 June 2019 

In collaboration with Finnish Cultural Institute in New York 

Eileen Isagon Skyers has worked with contemporary art and non-profit arts organizations including The Whitney Museum, David Zwirner, Rhizome, the New Museum, the Portland Institute for Contemporary Art, and the Digital Museum of Digital Art (DiMoDA). Her first book, Vanishing Acts, was published by LINK Editions (Brescia, Italy) in 2015, and her writing has been published in NATASHA, Wreath, Glass Press of the Future, Web Safe 2k16, Printed Web, and New World UNLTD, among others.

Her moving image work has been exhibited nationally and internationally in the U.S., U.K., France, Italy, the Netherlands, and Mexico. Skyers holds a BA in Philosophy and a BFA in Studio Art from the University of South Florida (Tampa, FL) and an MA in Critical Studies at Pacific Northwest College of Art, (Portland, OR).

 

Tereza Jindrová
3–31 May
In collaboration with HIAP

Tereza Jindrová (b. 1988) is an art critic and curator based in Prague. Currently, she works as the Curator and Manager of Public Programs for the Jindrich Chalupecky Society. On a long term basis, she cooperates with the Educational Department of the National Gallery in Prague, with online platform Artyčok.TV and with the Czech Radio. Since 2014, she has been the co-curator of the Entrance Gallery in Prague and has been a board member of Skutek, a Czech association connecting artists and other cultural producers with a focus on institutional politics and the conditions of artistic production. Her previous experiences include working as the Fine Arts editor at A2 magazine, working for Flash Art magazine Czech and Slovak Edition, the Prague Biennale and Meetfactory – Centre of Contemporary Art in Prague.

She studied History of Art at the Charles University and Theory and History of Design and New Media at the Academy of Arts, Architecture and Design in Prague. She was awarded with Věra Jirousová’s Award (2013) for art criticism for young authors.

 

Clelia Coussonnet
3–31 May
In collaboration with HIAP

Clelia Coussonnet is an independent curator, art editor and writer based Aix-en-Provence. Coussonnet is interested in how visual cultures tackle political, social and spiritual issues in different, or complementary, ways than other disciplines. She also likes to create interdisciplinary projects outside of traditional art circuits, particularly in contexts linked to craft or heritage and in spaces previously unused for cultural projects.

Lately, her research has been revolving around botanical politics and power structures, resulting in the exhibitions Botany under Influence, apexart, New York, USA (autumn 2016) and Leave No Stone Unturned [Remuer la terre], Le Cube – independent art room, Rabat, Morocco (autumn 2019).

As an editor, she collaborated with Clément Faydit and Alexandros Simopoulos to publish driftongue (2018), an editorial object stemming from Hors Pistes’ 2017 residency in Nuuk, Greenland between international designers and local craftsmen. She also co-developed the editorial project In/Visible Voices of Women, together with Missla Libsekal, an artist book about Safâa ErruasNadia Kaabi-LinkeNicène KossentiniAmina Menia and Zineb Sedira (early 2019).

 

Viktor Neumann 
23–27 April 2019

Viktor Neumann is an art historian and curator. He has curated exhibitions and projects for institutions such as the Whitney Museum of American Art in New York, Bildmuseet Umeå, Kunstmuseum Bonn, National Centre for Contemporary Arts in Yekaterinburg, The Kitchen in New York, Künstlerhaus Stuttgart and Gdańsk City Gallery.

He was Curatorial Assistant for documenta 14 Public Programmes (2017), Assistant Curator for the 3rd Moscow International Biennale for Young Art (2012) and a Helena Rubinstein Curatorial Fellow at the Whitney Museum of American Art Independent Study Program (2015–16). He has held a number of international lectureships, including a periodical engagement at the Institute for Time-based Media at the University of Arts in Berlin since 2013.

Together with Paul B. Preciado, he is the co-curator of The Parliament of Bodies, currently collaborating with the Museum of Modern Art Warsaw, the Kölnischer Kunstverein in Cologne, and – in their position as Core Group members – with the Bergen Assembly 2019. He has been awarded the upcoming *Kurator stipend by the Gebert Stiftung für Kultur 2019–20. Viktor Neumann lives and works in Berlin.

 

iLiana Fokianaki
21–24 April 2019

iLiana Fokianaki is a writer and curator based in Athens and Rotterdam. Her research focuses on the notion of the state and the formations of power that manifest under the influence of geopolitics, national identity and cultural and anthropological histories. In 2013 she founded State of Concept Athens, the first non-profit institution of its kind in Athens. In 2016, she co-founded Future Climates, a platform researches viable futures for small-scale organizations of contemporary art and culture. In 2019 State of Concept Athens is launching the first research grant for Greek female artists over 35. Fokianaki is a lecturer at the Dutch Art Institute, and has lectured in independent spaces, museums, and foundations worldwide. She publishes regularly in magazines and journals such as Art Papers, e-flux, Frieze, Ocula a.o. Fokianaki holds an MA in Art Criticism from City University London. Her PhD research focuses on economy, identity, and politics.

 

Merve Elveren
09–13 April 2019
In collaboration with The Finnish Institute in London & Latvian Centre for Contemporary Art

Merve Elveren is a curator based in Istanbul, Turkey. With an emphasis on the social and cultural landscape of the 1980s and 1990s in Turkey, her research-based curatorial practice examines critical discussions and new institutional formations around shifting political urgencies.

Between August 2011 and September 2018, Elveren was part of the founding team of Research & Programs at SALT. Some of her projects include  A Promised Exhibition — Gülsün Karamustafa (co-curated with Duygu Demir, 2013, SALT Beyoğlu and SALT Galata), How did we get here (2015, SALT Beyoğlu and SALT Galata), Continuity Error — Aydan Murtezaoğlu and Bülent Şangar (2018, SALT Beyoğlu).

Her independent projects include the co-production of Köken Ergun’s film Ashura (2013), Volkan Aslan’s solo exhibition Shoot Me! Don’t turn me over! (Pi Artworks, Istanbul, 2018) and Huo Rf’s solo exhibition … was here (Elhamra Han, Istanbul, 2018). Most recently, Elveren initiated an independent group of women art professionals in order to organize temporary exhibitions and public events for the benefit of Women’s Library and Information Centre Foundation, founded in 1990. In 2018 she was the recipient of the Independent Vision Award for Curatorial Achievement, awarded by Independent Curators International, New York. Elveren will curate the Guest Programme of the 39th EVA International, 2020.

 

Matt Packer
09–13 April 2019
In collaboration with The Finnish Institute in London

Matt Packer is the Director / CEO of EVA International – Ireland’s Biennial of Contemporary Art. Previous roles include Director, CCA Centre For Contemporary Art Derry ~ Londonderry (2014 – 2017); Associate Director, Treignac Projet (2013-2016); Curator of Exhibitions & Projects, Lewis Glucksman Gallery (2008 – 2013).

In an independent capacity, he curated numerous exhibitions and projects, including: They Call Us The Screamers, TULCA Festival of Visual Arts, Galway (2017); Disappearing Acts, Lofoten International Art Festival, Norway (2015) (with Arne Skaug Olsen)He was part of the selection committee for the British representation at the Venice Biennale 2017. He was one of the international mentors on the What Could / Should Curating Do programme in Belgrade, in Summer-Autumn 2018, and has also written for numerous magazines, journals including Frieze, Kaleidoscope, and Concreta.

 

Julia Asperska
9–12 April 2019

On Frame travel grant

Julia Asperska is a producer and art&culture manager, she holds a Master in Ethnolinguistics at the Adam Mickiewicz University in Poznań (2006) and a postgraduate course on art history and curation at Adam Mickiewicz University in Poznań (2013).

Her passion for performing arts begun with an internship at Brisbane Powerhouse, Australia(2008). Afterwards she worked in Teatr Dramatyczny in Warsaw where she was responsible for international relations and tour management, she was also an assistant producer at the Warszawa Centralna Festival (2010).

For the past 7 years she has been part of the Key Performance team – an arts management company specialising in international diffusion. She is responsible for project management, networking, strategy building, international distribution and consulting. As part of Key Performance she cooperates with the following artists: Arkadi Zaides (IL / FR), Christos Papadopoulos (GR), Cullberg Ballet (SE), Dana Michel (CA), Jefta van Dinther (SE / DE), Lisbeth Gruwez (BE ), Marlene Monteiro Freitas (PT), Needcompany (BE), Tamara Cubas (UY) and Quarto (SE / BR). Currently Julia is also supporting Tamara Cubas and Campo Abierto in Uruguay in production and international relations.

 

Tamara Cubas
9–12 April 2019

On Frame travel grant

Tamara Cubas holds a degree in Plastic and Visual Arts, National School of Fine Arts, University of the Republic (IENBA / UDELAR), Montevideo, Uruguay as well as a Master in Art and Technology at EMMA, School of Arts of Utrech, Holland, she received EMMA Award in Image & Technology. She also graduated from the contemporary dance school Contradanza, Montevideo, Uruguay.

Tamara Cubas is co-artistic director of the Perro Rabioso collective, where she has carried out numerous cultural projects related to the dissemination, training and artistic production such as FIVU, International Festival of VideoDanza of Uruguay and the Montevideo Video Library. She designed and was the general coordinator (between 2006 and 2009) of PLATAFORMA, Program of incentive towards production and artistic innovation (Ministry of Education and Culture, Uruguay), She was the director of the International Festival of Performing Arts, Scenic September 2009 (MEC), she was a consultant and advisor in the field of dance at the Culture Directorate of Uruguay – Fondos Concursables, AEscena! She was a dance program advisor at the Solís Theater, Montevideo, (2008-2009). Member of the jury at Fondos Concursables Uruguay 2010. in 2012-2014 she was the fellow at FECFA Scholarship, an incentive fund for the artistic creation of the Ministry of Culture of Uruguay. She is currently a member of the artistic programming council of the Solis Theater in Montevideo.

Tmara Cubas runs the program of Campo Abierto founded by Asociación Civil PROAC, located in Rivera, focusing on social development through art and culture.

 

Lea Vene 
21–24 March 2019
On Frame travel grant

Lea Vene is an art historian and cultural anthropologist. She recently completed two post master courses (Critical Images and R-lab) at Royal Institute of Art in Stockholm. She works as a curator in the gallery Miroslav Kraljević in Zagreb, Croatia. She curates different exhibition and conference programs as part of the international photography festival Organ Vida. She is a member of association grey) (area, space for contemporary and media art and a co-leader of projects exploring gender aspects of intangible industrial heritage. In her research in the field of visual art and anthropology Vene constantly rethinks the role of visual media in translating elements of culture and everyday life through documentary film and photography (exploring topics such as: image/visual ethics, self-reflexive practices in film making, sensory ethnography, politics of representation, advocacy in visual research).

 

Regine Rapp 
11–14 March 2019

Regine Rapp is an art historian, curator and co-director of Art Laboratory Berlin (ALB). Her research focuses on art in the 20th and 21st century: Installation Art, Text and Image Theory, the Artist Book, and Art & Science Collaborations. As a research associate at Burg Giebichenstein Kunsthochschule Halle she taught art history.

As co-founder of Art Laboratory Berlin (2006), she has co-directed, curated and researched on the concepts for more then 10 years. The multiple award winning art and research platform Art Laboratory Berlin presents interdisciplinary art projects in an international context. The main goal is the presentation and mediation of contemporary art at the interface of art, science and technology. In recent years, ALB has focused on the field of art, biology and artistic research.

Rapp has curated and researched on more than 40 exhibition projects (Time and Technology, Synaesthesia, [macro]biologies & [micro]biologies, Nonhuman Subjectivities, etc.). In 2011 parallel to the exhibition Sol LeWitt. Artist’s Books, she conceived the international Sol LeWitt Symposium at Art Laboratory Berlin. Along with Christian de Lutz she developed the international conference Synaesthesia Discussing a Phenomenon in the Arts, Humanities and (Neuro) Science (2013). TheNonhuman Subjectivities (2016/17) and Nonhuman Agents (2017/18) series of exhibitions, performances, workshops, and an international conference reflected on Art and Science in the post-anthropocentric era. As a research associate at the Institute of Biotechnology of the TU Berlin, she is currently connecting Art & Science research in the project Mind the Fungi.

 

 

Jochen Volz
11–15 March 2019
In collaboration with Instituto Iberoamericano de Finlandia

Jochen Volz is the General Director of the Pinacoteca de São Paulo. In 2017, he was the curator of the Brazilian Pavilion for the 57th Biennale di Venezia, presenting Cinthia Marcelle – Hunting Ground. Volz was the curator of Incerteza Viva (Live Uncertainty), the 32nd Bienal de São Paulo in 2016.

Prior he has served as Head of Programmes at the Serpentine Galleries in London between 2012 and 2015. He was a curator of the Instituto Inhotim, Minas Gerais, Brazil, between 2004 and 2013, where he also served as General Director between 2005 and 2007 and as Artistic Director between 2007 and 2012. Volz was alongside Daniel Birnbaum the co-curator of Fare Mondi, the international exhibition of the 53rdBiennale di Veneziain 2009 and guest curator of the 27thBienal de São Paulo in 2006.

Between 2001 and 2004, he was curator of Portikus Frankfurt am Main. As a critic he is writing for magazines and catalogues and is contributing editor to Frieze. Volz has been awarded with the Agnes Gund Curatorial Award 2017 by Independent Curators International, New York. He holds a masters in art history, communication and pedagogy by the Humboldt University in Berlin. Lives in São Paulo.

Photo: Levi Fanan, Pinacoteca de São Paulo

 

María Iñigo Clavo
12–15 March 2019
In collaboration with Instituto Iberoamericano de Finlandia 

María Iñigo Clavo is a researcher, curator and lecturer at Open University of Catalonia and associate lecturer at Central Saint Martins School of Arts (University of the Arts London), with a PhD in Fine Arts. Her research focuses on coloniality, curating and museology, modernity, and its inventions of otherness, unstranslability, and art in Latin America with special attention to Brazilian Art.

She was a co-founder of the independent research group Península: Colonial Processes and Artistic and Curatorial Practices, in collaboration with Museo Nacional Centro de Arte Reina Sofía. She was Visiting Fellow of Afterall Research Center (2016-2017), a researcher for the AHRC project Meeting Margins: Transnational Art in Europe & Latin America 1950-1978, University of Essex and University of the Arts London (2009-2011) and postdoctoral Fellow at the University of São Paulo (FAPESP) (2013-2016). She has written extensively for publications such as e-flux, Afterall, Stedelijk Museum Journal, Reina Sofia Press, Museum of Art of Sao Paulo, Frans Hals Museum | de Hallen Haarlem, Versión/sur, Concinnitas, Revista de Occidente, Bilboquet, she was editor of biligual Magazine Re-visiones issue questioning: Is It Possible to Decolonize Western Methodologies? The South as interlocution.

 

Jennifer Teets
12–14 March 2019

Jennifer Teets is a curator, writer, researcher and performer born in Houston, Texas, 1978, living and working from Paris. Her research and writing combines inquiry, sciences studies, philosophy, and ficto-critique, and performs as an interrogative springboard for her curatorial practice.

 

She is co-curator (w/Margarida Mendes) of The World in Which We Occur, a curatorial research-based entity that explores themes concerned with artistic inquiry, philosophy of science, and ecology. TWWWO began as a live event series over the telephone in 2014, and has thus expanded to other formats such as Matter in Flux, an online monthly study group with participants from different fields across the world. TWWWO takes into account modern day issues rooted in the history of materiality and metabolism as well as pertinent politically enmeshed scientific affairs shaping our world today.

 

She also, together with artist/philosopher Lorenzo Cirrincione (2014-onwards), curates Elusive Earths, an ongoing in situ work, process, and dialogue that looks to the elusiveness of rare clays, soils, and earths with forgotten origins, with recent talks and exhibitions held at the 4th Istanbul Design Biennial and documenta14.

 

Kate Strain
12–15 March 2019
In collaboration with Kiasma Commission by Kordelin

Kate Strain (b.1983) researches the overlap between performance and performativity in visual arts practice. She is artistic director of Grazer Kunstverein, Austria, where she curates a seasonal artistic programme of new commissions, presentations, events and publications.

Throughout 2018 she curated the following projects and exhibitions; Carl Johan Högberg, She Who Speaks; Niamh O’Malley, Foiled Glass; Nadia Belerique, On Sleep Stones; Christian Nyampeta, Words After the World; Cesare Pietroiusti, Non-Functional Thoughts; Dennis McNulty, TTOPOLOGY; Anne Tallentire, Plan (…); Mehraneh Atashi, Flotsam, Jetsam, Lagan, and Derelict; Angelika Loderer, Poems to Gadgets; and Triple Candie, If Michael Asher. She also co-curated RGKS Cribs with Rachael Gilbourne, and events for the Department of Ultimology with Fiona Hallinan.

Strain is co-founder of the Department of Ultimology (where Ultimology is the study of that which is dead or dying) at CONNECT Centre for Future Networks and Communications, Trinity College Dublin, Ireland. Strain makes up one half of the paired curatorial practice RGKSKSRG whose current series of RGKS Cribs is now online. She is also curator of The Centre For Dying On Stage digital archive and commissioning platform.

Randi Grov Berger 
8–12 March 2019
On Frame travel grant

Randi Grov Berger (b.1982, Stord, Norway) is a freelance curator, and she runs the exhibition space Entrée in Bergen (NO), which she co-founded with artist Cato Løland in 2009. She holds a BFA from The Academy of Art and Design in Bergen and graduated from Art in Public Realm (MFA) from The Konstfack University of Arts, Crafts and Design in Stockholm (SE) and Curatorial Practice from The Academy of Art and Design in Bergen (2012). She coordinated the Norwegian pavilion ‘Without Walls’ for Performa 13 Biennial, New York (US) and the ‘Norwegian Focus’ at Printed Matter’s New York Art Book Fair at MoMA PS1 in 2014. She has participated in residencies at Independent Fifth Avenue Gallery Residency Program, Harlem, New York; UKS Curatorial Residency, Kysten Kultursenter, Tromsø; Artist in Residency Berlin (through Bergen Municipality), and The International Studio & Curatorial Program, New York (through Office for Contemporary Art Norway). She is appointed curator for the 44th edition of Tendenser, a Nordic Contemporary Craft exhibition taking place at F15, Moss (NO) in 2020.

 

Binna Choi
19–23 February 2019

Binna Choi practices the curatorial in an expanded sense, by situating art in relation to practices of social change, and by working on art institutions as exemplary institutional sites. Since 2008, Casco Art Institute: Working for the Commons in Utrecht has been Binna’s home base for this curatorial practice. There she has curated a number of long-term, collaborative/cross-disciplinary artistic research projects and programs, such as Grand Domestic Revolution, co-curated with Maiko Tanaka (2010–13), Composing the Commons (2013–16), and Site of Unlearning (Art Organizations), with Annette Krauss and the Casco team (2014–18). Currently she’s focusing on the several intersecting “study lines” – as called at Casco Art Institute – with art on the commons, including Unmapping Eurasia (co-curated with You Mi), Center for Ecological Unlearning (with the Outsiders), and Diverse Economies.

In conjunction with her position at Casco Art Institute, Binna teaches at the Dutch Art Institute masters program, and works for and with the trans-local network Arts Collaboratory. Besides, she worked as a curator for the 2016 Gwangju Biennale titled The Eighth Climate (What Does Art Do) and, in that context, co-organized with Maria Lind the global forum and fellowship of experimental art organizations called All the Contributing Factors. Together with Yollótl Alvarado and Brigitta Isabella, she organized an experimental exhibition introducing Arts Collaboratory working principles at the Asia Culture Center, Gwangju. Other curatorial projects include, the annual curatorial seminar Cultivate or Revolutionize? Life Between Apartment and Farmland at Times Museum, in Guangzhou (2014, curated with Nikita Yingqian Cai) and summer school and exhibition Group Affinity at Kunstverein Munich (2011,with Bart van der Heide).