Frame hosts a curatorial residency programme in collaboration with HIAP – Helsinki International Artists Programme. The programme offers opportunities for deep insight into Finnish contemporary art and an opportunity to research future exhibition or publication projects.
HICP – Helsinki International Curatorial Programme
Frame hosts a curatorial residency programme in collaboration with HIAP – Helsinki International Artists Programme. The open call for applications for the HICP residency programme is in October. A residency is offered to four international curators annually.
HICP Curators 2020
Kate Brehme is an Australian independent curator and arts educator based in Berlin. She has worked internationally on a variety of projects, exhibitions and events and since 2008 she has run Contemporary Art Exchange, a curatorial platform providing professional development opportunities for emerging and young artists.
Kate began her curatorial career in 2002 while undertaking a Diploma of Visual Arts and BA in Contemporary Art in Melbourne, Australia. After completing her MA in Cultural Heritage Studies (also in Melbourne) in 2008, Kate lived and worked in Scotland, where she became involved in arts education working for organisations such as The Fruitmarket Gallery, The National Galleries of Scotland and Strathclyde University.
In 2009 Kate founded Contemporary Art Exchange, a nomadic curatorial platform fostering professional development, accessibility and inclusion of young artists through international projects. In 2012 Kate curated Through the Looking Glass Dimly, an international collaboration project with two visually impaired artists which featured as part of the Edinburgh Art Festival.
After relocating to Berlin in 2013 Kate organised the British Council-funded follow-up project Common Bond. Both projects explored the nature of accessibility in visual art and featured accessible exhibitions, events and workshops.
Kate recently completed a DFG-funded Doctoral Fellowship at the Center for Metropolitan Studies at Berlin Technical University where she explored the relationship between contemporary art production and urban development through the case study of the Berlin Biennale for Contemporary Art. Kate is currently a lecturer in the Master in Arts Education programme at the Piet Zwart Institute in Rotterdam and at the NODE Center for Curatorial Studies in Berlin. She is also the co-founder of Berlinklusion – Berlin’s Network for Accessibility in Arts and Culture – an organisation established in 2017 to make the arts in Berlin more accessible for artists and audiences with disabilities.
HICP residency in April 2020
Mary Conlon is a curator based in Limerick, Ireland. She is a Shinnors Scholar and her PhD in Curatorial Studies at Limerick School of Art and Design focuses on Italo Calvino’s Harvard lectures. She is the Founder and Co-Director of Ormston House (est. 2011), a cultural resource centre in the heart of the city where she has produced 65 exhibitions and multidisciplinary projects, working with over 300 artists from 26 countries.
She is currently Artistic Director of the Creative Europe Project Memory of Water in six post-industrial cities, and co-curator of the Feminist Supermarket, developing the Useful Curating method. Recent projects include The Lore of Water (2019) in partnership with the Municipality of Levadia in Greece, Shipyard (2019) in partnership with the Baltic Sea Cultural Centre in Poland, and The Museum of Mythological Water Beasts (2017, 2018) co-curated with Niamh Brown at Ormston House.
HICP residency in September 2020
Syaheedah Iskandar is an independent curator and researcher based in Singapore. She is currently researching modes of visuality within the paradigm of Southeast Asia by intersecting relations between contemporary art practices with vernacular histories.
She was the inaugural Emerging Writers’ Fellow for the academic journal Southeast of Now: Directions in Contemporary and Modern Art in Asia, publishing a paper on contemporary art practices embodying notions of ghaib (unseen) within the vernacular Malay world.
Since completing her MA in History of Art and Archaeology at the School of Oriental and African Studies (SOAS), University of London, she has been working on collaborative projects that explore ways of presenting artistic knowledge outside the exhibitionary model. She was previously Curatorial Assistant at the NTU Centre for Contemporary Art Singapore (2014–18) where she worked on numerous exhibitions and developed outreach strategies for art education.
HICP residency in April 2020
Kathy-Ann Tan is a Berlin-based curator, writer and independent scholar of the visual arts and performance, postcolonial and decolonial theory, critical diversity and gender/queer studies. She is interested in alternative models of art dissemination, exhibition-making and institution-building that are attuned to issues of social justice in the contemporary moment.
Her ongoing project on decolonial aesthetics aims to collaboratively build a forum for artists and curators to develop ways of interrogating and challenging colonial narratives. As a former full-time academic, she has extensive experience in teaching, research, publishing and public speaking. Kathy-Ann also teaches at the Node Center for Curatorial Studies, and is currently pursuing an MA in Curatorial Practice at KMD, University of Bergen, Norway (2019–2021).
HICP residency in September 2020
HICP Curators 2019
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). She also contributed an essay looking at artistic and curatorial practices focusing on botanical politics for the publication Theatrum Botanicum edited by Uriel Orlow and Shela Sheikh (Sternberg Press, Berlin, 2018).
Recently, she curated Alter Me, Alter You [Промени ме, променям те] at the Goethe-Institut Sofia, Bulgaria (summer 2018); Olympic Stadium at Le Patio Paris, France (spring 2018); Au loin les signaux, al lou’lou’, exhibition, performance and night screening, in the dockyards of L’Anse du Pharo Marseilles, France (autumn 2017).
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).
HICP residency in May 2019.
Annie Jael Kwan (b. 1973) is an independent curator, researcher and educator based in London. She has worked on numerous art projects in the UK and internationally since 2005, working with major arts and cultural institutions including the Southbank Centre, Geffrye Museum, Barbican Centre, and the Live Art Development Agency.
She founded the curatorial partnership, Something Human, in 2012, to focus on her interests in the critical ideas and explorations surrounding movement across borders. In 2017, Something Human launched the M.A.P. (Movement x Archive x Performance) project at the Diaspora Pavilion in Venice; and in London, the pioneering Southeast Asian Performance Collection at the Live Art Development Agency that would offer researchers, artists and curators access to performance art materials from Southeast Asia.
She was selected for the International Curators Forum’s curatorial programme, Beyond the Frame, and for Outset and Arts Council England’s development programme for emerging curators for which she curated the colloquium Curating Radical Futures that took place at Tate Modern in November 2017. In 2018, she curated UnAuthorised Medium, at Framer Framed, Amsterdam, and she is the founding core member of Asia-Art-Activism, which is currently in residence at Raven Row till June 2019.
She holds a BA Honours in Drama and Theatre Arts from Goldsmiths, University of London, and a MA (Distinction) in History of Art and/or Archaeology from SOAS, University of London. She is a contributor to Art Asia Pacific, and teaches at Central St Martins and Sotheby’s Institute of Art.
HICP residency in September 2019.
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 the past two years, she curated/co-curated Alexandra Pirici’s performative project Delicate Instruments of Enagagement at National Gallery, Prague; Healing at Czech Centre Berlin; performance project of Barbora Kleinhamplová at Art in General, New York; Hanky Panky at Fotopub Festival, Novo Mesto; Apparatus for a Utopian Image at EFA Project Space, New York; Monument – A School of Gestures at CCC Gallery, Beijing; and GIRLFRIEND at National Gallery, Prague.
HICP residency in May 2019.
HICP Curators 2018
Ceci Moss is a curator, writer and educator based in Los Angeles. She is the founder of Gas, a mobile, autonomous, experimental and networked platform for contemporary art located in a truck gallery parked around Los Angeles and online. She has a MA and PhD in Comparative Literature from New York University, and a BA in History and Sociology from U.C. Berkeley. Her academic research addresses contemporary internet-based art practice and network culture.
Her writing has appeared in Rhizome, Art in America, ArtAsiaPacific, Artforum, The Wire, CURA, New Media & Society and various art catalogs. Previously, she was Assistant Curator of Visual Arts at Yerba Buena Center for the Arts, the Senior Editor of the art and technology non-profit arts organization Rhizome, and Special Projects Coordinator at the New Museum. She has held teaching positions at the San Francisco Art Institute, Scripps College and New York University.
HICP residency in May 2018.
Cory Scozzari is a curator and artist. He is the founder and director of Cordova, a curatorial project initiated in 2016 in Vienna, currently located in Barcelona. From 2015–2017 he worked as assistant curator at Thyssen-Bornemisza Art Contemporary. He was a founding member and co-director of Jupiter Woods, London/Vienna from 2014–2016.
He received his BFA in photography from SCAD in 2010 and a MFA in curating at Goldsmiths in 2015. Recent exhibitions include: Holly White: ORANGE WORLD at Cordova in Barcelona, and Crater by Miguel Fernández de Castro and Lydia Ourahmane at Veda in Florence.
HICP residency in November 2018.
Adwait Singh is an independent curator and art theorist based out of New Delhi. His works frequently weave in and out of areas of inquiry such as subjectivity formation, gender and sexuality, posthumanism, contemporary technogenesis and ecofeminism. Shortly after completing his education at Goldsmiths, he seized the opportunity to be part of the Students’ Biennale (Kochi, 2016) as a curator and has since conceptualised different art projects and workshops for/with students from various art colleges and universities in the country (College of Art Delhi, Shiv Nadar University, and Banaras Hindu University) for the biennale. Almost simultaneously, he joined the editorial team of TAKE on Art magazine, the leading publication on contemporary art in the Southeast Asian region.
Recent curations include the exhibition ‘G/rove’ (Feb, 2017) at Latitude 28 that examined the mythopoetic imperative of non-anthropocentric modalities of planet sharing, and an upcoming exhibition investigating the notion of a body-based historiography at the Shrine Empire Gallery (New Delhi, 2018).
HICP residency in June 2018.
Asep Topan is an independent curator and writer based in Jakarta, Indonesia. He holds an MFA in Curating from Bandung Institute of Technology, Indonesia, and attended de Appel Curatorial Programme, the Netherlands (2015–16). Asep was one of the curatorial team members of Jakarta Biennale 2015 “Neither Forward Nor Back: Acting in The Present.” As a curator, he focuses on exhibitions’ history and theory, art and activism, as well as labour conditions in contemporary art.
Asep has collectively and individually initiated numerous exhibitions, public programmes and long-term projects. Currently, he works as the vice-director for Jakarta Biennale 2017 and as a lecturer at the Jakarta Institute of Art.
HICP residency in November 2018.
HICP Curators 2017
HICP Curators 2016
- Richard Birkett, Artists Space, USA, 6.6.-6.7.
- Marianne Mulvey, Great Britain, 2.-29.9.
- Xavier Acarín, USA, 2.-30.11.
- Adelaide Bannerman, Great Britain, 2.-30.11.
HICP Curators 2015
HICP Curator 2014
Curator Yasmina Reggad participated in the HICP residency programme in 2015. Photo: HIAP.