Expert visitors 2019
An overview of Frame’s expert visitors in 2019
1–11 September 2019
On Frame travel grant
Amara Antilla is an Assistant Curator at the Guggenheim Museum and specializes in international modern and contemporary art. She has 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. Antilla has assisted with coordinating performances by Paulo Bruscky, OPAVIVARA!, Amalia Pica, Public Movement, Naufus Ramirez-Figueroa and Slavs and Tatars. 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 was awarded an Asian Cultural Council grant for art history (2015–16) and studied art history at Tufts University, the Museum School, and Hunter College, 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.
17–23 June 2019
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.
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 X, We 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).
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.
In collaboration with HIAP
Clelia Coussonnet (b. 1989) 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 Erruas, Nadia Kaabi-Linke, Nicène Kossentini, Amina Menia and Zineb Sedira (early 2019).
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.
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.
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.
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.
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.
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.
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).
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.
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.
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.
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.
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).