Elmgreen & Dragset
Elmgreen & Dragset (Michael Elmgreen, dr.h.c. and Ingar Dragset, dr.h.c.) are an artist duo who have worked together since 1995. Their artistic practice spans many genres, including installation, sculpture, performance, and theater. Their work has been included in the Istanbul (2013, 2011, 2001), Liverpool (2012), Singapore (2011), Moscow (2011, 2007), Venice (2009, 2003), Gwangju (2006, 2002), São Paulo (2002), and Berlin (1998) biennials. The artists were shortlisted for the Hugo Boss Prize, Guggenheim Museum, New York in 2000 and won the Preis der Nationalgalerie, Hamburger Bahnhof, Berlin in 2002. In 2012, Elmgreen & Dragset were selected for London’s Fourth Plinth Commission in Trafalgar Square. They were awarded honorary doctorates at the Norwegian University of Science and Technology (NTNU) in 2015.
Previous curatorial projects include “The Collectors” at the Danish and Nordic Pavilions at the 53rd Venice Biennale in 2009, marking the first-ever merging of two national pavilions to present a single exhibition, which received a Special Mention entitled “Curating Worlds.” In 2013, the duo curated “A Space Called Public”, a wide-ranging temporary public art project throughout the city of Munich, with the aim of generating a new conversation about the concept of public space today. The same year, with their exhibition “Tomorrow” at the Victoria and Albert Museum in London, the artists designed a setting in which they staged paintings, furniture, and artifacts from the museum’s permanent collection. Earlier curatorial projects include “Not a Drop But the Fall”, together with Susanne Pfeffer, Künstlerhaus Bremen (2005) and “Update”, a performance-based festival that was part of Copenhagen’s European Capitals of Culture program (1996).
Other collaborative projects include the artistic direction of the operas “L’Amour de Loin” at the Bergen International Festival (2008) and “Faustus, The Last Night” at Staatsoper, Berlin (2008), Opéra de Lyon (2006), and Théâtre du Châtelet, Paris (2006). The duo’s theater plays include “Drama Queens”, first performed at Skulptur Projekte Münster (2007), and “Happy Days in the Art World”, a Performa Commission for Performa 11 (2011).
Elmgreen & Dragset’s recent solo exhibitions include “Van Gogh’s Ear”, an upright swimming pool sculpture installed at New York City’s Rockefeller Center (Public Art Fund, 2016); “The Well Fair”, a fictional art fair staged in the Great Hall of the Ullens Center for Contemporary Art in Beijing (2016); and “Aéroport Mille Plateaux”, a Deleuze-inspired airport terminal at PLATEAU, Samsung Museum of Art in Seoul (2015). Additionally, Elmgreen & Dragset have held numerous solo exhibitions in art institutions worldwide, including the National Gallery of Denmark, Copenhagen (2014); Astrup Fearnley Museet, Oslo (2014); Museum Boijmans Van Beuningen, Rotterdam (2011); ZKM Museum of Modern Art, Karlsruhe (2010); Museo de Arte Contemporáneo de Castilla y León (2009); The Power Plant, Toronto (2006); Serpentine Gallery, London (2006); Tate Modern, London (2004); and Kunsthalle Zürich (2001).
Author, organizer of events and exhibitions, and researcher into artistic practices, the histories of art and the politics of aesthetics, Carolyn Christov-Bakargiev was born on December 2, 1957, in Ridgewood New Jersey, of an Italian mother and Bulgarian father. She is an Italian as well as an American citizen, whose practice and life have been primarily based in Italy. She speaks English, French and Italian fluently (written and oral) and speaks German intermediate level. She has written on the work of contemporary artists worldwide for numerous publications and her global curatorial activities have spanned from Europe to the Americas, from the Middle East and Africa to Australia and Asia.
She completed her High School studies in Washington D.C. with a French Baccalauréat (Académie de Caen, 1976, mention très bien) and later graduated Magna cum Laude from the University of Pisa, Faculty of Letters and Philosophy, in 1981. Her master thesis was on the relation between contemporary poetry and painting.
She was Senior Curator at P.S.1 Contemporary Art Center – a MoMA affiliate, New York, from 1999–2001.
She was Chief Curator at the Castello di Rivoli Museum for Contemporary Art, Turin, Italy, from 2002–08, and interim Director of Castello di Rivoli Museum for Contemporary Art in 2009.
She was the Artistic Director of the 16th Biennale of Sydney, Australia, in 2008.
From January 2009 to February 2013, she was Artistic Director of the thirteenth edition of the periodic ‘documenta’ international art exhibition dOCUMENTA (13). The exhibition took place in Kassel, Germany (and for the first time also in Kabul, Afghanistan, Cairo/Alexandria, Egypt and Banff, Canada) from June 9 – September 16, 2012, and drew over 860,000 visitors in 100 days, as was widely recognized as a ground-breaking exhibition in the field.
She is currently Edith Kreeger Wolf Distinguished Visiting Professor in Art Theory and Practice at Northwestern University, Evanston (2013-2015). She has received the Leverhulme Professorship from the University of Leeds for 2014. In 2013, she was also the Menschel Visiting Professor in Art at The Cooper Union, New York as well as the Pernod Ricard Visiting Professor in the philosophy of art and naturecultures at the Goethe-Universität Frankfurt am Main / Institut für Philosophie.
Interested in the relations between historical avant-gardes and contemporary art, she has written extensively on the Arte Povera movement and other art for magazines and catalogues. Her book Arte Povera was published by Phaidon Press, London, in 1999. She also published the first monograph on the work of South African artist William Kentridge, which accompanied Kentridge’s first touring retrospective exhibition (Palais des Beaux Arts, Brussels; Serpentine Gallery, London; MACBA, Barcelona) in 1998-1999, and the first monograph on Canadian artist Janet Cardiff (PS1 Contemporary Art Center, New York, 2001) as well as a monograph on the work of Pierre Huyghe (Skira, Milan, and Castello di Rivoli, 2004) and Franz Kline (Skira, Milan, and Castello di Rivoli, 2004). For dOCUMENTA (13), she authored essays and commissioned over 100 essays for the three volume catalog and publication series with Hatje Cantz publisher, “100 Gedanken/ 100 Notizen” (100 Notes / 100 Thoughts).
As an independent curator from 1987 onwards, she organized exhibitions including “Molteplici Culture”, Rome, 1992 that brought together over fifty artists and curators such as Liam Gillick, Dominique Gonzales-Foerster, Philippe Parreno and David Hammons; and “Il suono rapido delle cose”, a homage to John Cage, co-curated with Alanna Heiss, Angela Vettese and Ludovico Pratesi for the Venice Biennale in 1993.
As part of the curatorial team for “Antwerp ‘93: European Capital of Culture” with Iwona Blazwick and Yves Aupetitallot, she devised the international survey exhibition “On taking a normal situation and retranslating it into overlapping and multiple readings of conditions past and present” at the MUKHA in Antwerp (1993).
In 1996, she curated the first large-scale survey on Italian post-war artist Alberto Burri in Rome (Palazzo delle Esposizioni), Brussels (Palais des Beaux Arts) and Munich (Lenbachhaus); and, in 1997, she organised “Citta’-Natura”, a city-wide group exhibition of international artists including Lucio Fontana, Yves Klein, Lawrence Weiner, Giovanni Anselmo, Mario Merz, Marisa Merz, Luca Vitone, Jannis Kounellis, Willie Doherty, Gary Hill and Mark Dion, held in Rome in museums and public spaces, ranging from the Palazzo delle Esposizioni to the Zoology museum and the Botanical gardens. She then co-curated with Laurence Bossé and Hans Ulrich Obrist, “La Ville, le Jardin, la Memoire” at Villa Medici in Rome (1998-2000), a three-year project which included new artworks by over one hundred artists ranging from Janet Cardiff to Olafur Eliasson, Annette Messager, Christian Boltanski and Cai Guo Qiang.
As Senior Curator at P.S.1, she was the initiator and a co-curator of the first edition of “Greater New York” in Spring 2000, a collaboration with The Museum of Modern Art that marked a generation of new art from the United States, with over one hundred and twenty artists included. She then curated a historical exhibition on international art in the eighties, “Around 1984: A Look at Art in the Eighties” (Fall 2000). She also organised a second group show of young artists, “Some New Minds: Julia Loktev, Omer Fast, James Yamada, John Pilson, Christophe Girardet” (December 2000), and solo shows of “Georges Adeagbo”, “Massimo Bartolini”, “Santiago Sierra” and “Carla Accardi”, as well as the first U.S. survey exhibition of Luigi Ontani’s work (2001). In Fall 2001, she curated the first retrospective exhibition of Janet Cardiff’s works, and the group exhibition “Animations” that explored the ways artists round the world today - from Pierre Huyghe and Angus Fairhurst to Oladele Bamgboye and Damian Ortega - are using animation, both returning to the early twentieth century utopian beginnings of the medium or approaching high-tech software programs. At P.S.1, she also organized a number of experimental Studio Projects, dedicated to young and emerging artists in the New York area and globally, including Nedko Solakov and Michael Rakowitz.
She was appointed Chief Curator at the Castello di Rivoli Museum for Contemporary Art in January 2002. Her first project at the Castello was Matrix.2 by Francis Alÿs, an automated answering system for the museum, in May 2002. In 2003, she curated the group show “The Moderns / I moderni” which explored new modernist perspectives in the works of younger visual artists and sound artists from around the world. For the Castello di Rivoli she curated a survey exhibition of works by William Kentridge in early 2004, an exhibition which toured throughout 2004 and 2005 to the Kunstmuseum K20 in Düsseldorf; the MCA Museum of Contemporary Art in Sydney; the Museum of Contemporary Art, Montreal, and the Johannesburg Art Gallery, Johannesburg. This was followed by a solo exhibition of works by Pierre Huyghe in Spring 2004, premiering a new project by the artist. In Fall 2004 she curated a survey of works by American postwar artist Franz Kline which was followed in 2004/2005 by the group exhibition Faces in the Crowd / Volti nella folla, co-curated with Iwona Blazwick, an exhibition exploring figuration as an avant-garde practice from Édouard Manet to Destiny Deacon through paintings, sculptures, installation, photography, film and video works by over one hundred artists from 1873 to today. Faces in the Crowd / Volti nella folla toured to the Whitechapel in London. She co-curated with Ida Gianelli and Judith Blackall the exhibition of Arte Povera, at the MCA Museum of Contemporary Art, Sydney, in 2006.
She co-curated The Pantagruel Syndrome. T1 TorinoTriennaleTremusei, the first Turin Triennial, a project which opened in November 2005 and which explored excess, conceptual gigantism and the fragility of our pantagruelian world, through two solo exhibitions (Takashi Murakami and Doris Salcedo) and a city-wide group exhibition of works by 75 younger artists from around the world, including Tamy Ben-Tor, Fernando Bryce, Sebastián Díaz Morales, Jin Kurashige, Araya Radsjamroensook, and Apichatpong Weerasethakul.
She was the Artistic Director for the 16th Biennale of Sydney (June-September 2008). Titled Revolutions – Forms That Turn, this city-wide project hosted in various venues in Australia including The Art Gallery of New South Wales, the Museum of Contemporary art, Artspace, the Sydney Opera House and Cockatoo Island, is a constellation of artworks exploring the impulse to revolt and the forms embedded in the etymology of the word ‘revolution’ – the relation and the gap between revolutionary art and art for the revolution from the early avant-gardes to today.
She was the Artistic Director of the thirteenth edition of documenta, dOCUMENTA (13), from January 2009 to February 2013 (exhibition dates: June 9 – September 16, 2012), held in Kassel, Germany, and including workshops, seminars and exhibitions also in Alexandria, Egypt, Kabul, Afghanistan and Banff, Canada. dOCUMENTA (13) was dedicated to artistic research and forms of imagination that explore commitment, matter, things, embodiment, and active living in connection with, yet not subordinated to, theory. In dOCUMENTA (13), politics are inseparable from a sensual, energetic, and worldly alliance between current research in various scientific and artistic fields and other knowledges, both ancient and contemporary. dOCUMENTA (13) presented new works by over 150 artists and other participants, including Janet Cardiff and George Bures Miller, William Kentridge, Manon de Boer, Tino Seghal, Wael Shawky, Walid Raad, Etel Adnan, Mariam Ghani and Goshka Macuga. dOCUMENTA (13) also included an editorial project entitled 100 Notes – 100 Thoughts that is comprised of facsimiles of existing notebooks, commissioned essays, collaborations, and conversations. With contributions by authors from a range of disciplines, such as art, art history, science, philosophy and psychology, anthropology, economic- and political theory, language- and literature studies, as well as poetry, 100 Notes – 100 Thoughts constituted a space of dOCUMENTA (13) to explore how thinking emerges and lies at the heart of re-imagining the world.
Anna Boghiguian (b. 1946) is an artist who lives and works in various places around the world. The work of Boghiguian represents a conflation of various perspectives, textures and impressions, which emerge from the influences and impact of travelling, particularly in urban spaces. Her solo exhibitions include Unstructured Diary for an Autobiography, daadgalerie, Berlin (2013) and Cavafy Museum, Alexandria (1995). Group shows include dOCUMENTA (13), Kassel (2012) and Sharjah Biennial 10: Plot for a Biennial, Sharjah (2011).
Arlette Quynh-Anh Tran (b. 1987, Berlin) lives and works in Ho Chi Minh City (Saigon). She has participated in various cultural and visual art projects as coordinator, curator, researcher or advisor. She is currently a member of Art Labor, a Saigon artists collective founded in 2012, and Assistant Curator at Sàn Art. In 2007 she curatorially assisted Rirkrit Tiravanija and Gridthiya Gaweewong for the Saigon Open City project, the first large-scale exhibition of contemporary art in Vietnam. Tran is also a writer on creativity and contemporary art for a number of publications. Recently, she curated Unconditional Belief, Sàn Art (2014) and was a researcher for World Biennale Forum, Kwangju (2012).
Aslı Çavuşoğlu (b. 1982, Istanbul) is an artist who lives and works in Istanbul. Her projects examine the way in which cultural and historical facts are transformed, represented and interpreted by individuals. Working across various media, Çavuşoğlu often assumes the role of an interpreter, writer or facilitator in her projects in order to highlight the precarious and subjective nature of our shared histories. Recent solo shows include The Stones Talk, ARTER, Istanbul (2013) and Murder in Three Acts, Delfina Foundation, London (2013). Recent group shows include The Crime Was Almost Perfect, Witte de With Center for Contemporary Art, Rotterdam (2014) and Signs Taken in Wonder, MAK Museum, Vienna (2013).
Cevdet Erek (b. 1974, Istanbul) is an artist who lives and works in Istanbul. His art is characterised by a marked use of rhythm and site specificity. Erek often combines spatial interventions, sound, graphics, text and performance in an attempt to alter the viewer’s perception and experience of a given space. His solo exhibitions include Alt Üst, Spike Island, Bristol (2014) and Week, Kunsthalle Basel (2012). Erek realized the installation Raum der Rhythmen, dOCUMENTA (13), Kassel (2012) and his book Room of Rhythms 1 (2012) was published by Verlag der Buchhandlung Walther König.
Chus Martínez (b. 1972, Ponteceso) currently lives and works in Basel, where she is the Head of the Art Institute at the Fachhochschule Nordwestschweiz FHNW – University of Applied Sciences and Arts Northwestern Switzerland. She has a background in philosophy and art history. She was dOCUMENTA (13) Head of Department and Member of Core Agent Group. Previously she was the Chief Curator at MACBA – Museu d’Art Contemporani de Barcelona (2008 – 2010), the Director of Frankfurter Kunstverein, Frankfurt (2005 – 2008) and the Artistic Director of Sala Rekalde, Bilbao (2002 – 2005). For the 50th Venice Biennial (2005), Martínez curated the National Pavilion of Cyprus, and in 2010 she served as a Curatorial Advisor for the 29th São Paulo Biennial. She lectures regularly and has written numerous catalogue texts and critical essays.
Elvan Zabunyan (b. 1968, Paris) is a contemporary art historian and art critic based in Paris. She is a professor at Rennes University, France and the Director of the Curatorial Program in the Art History Department. Her current research focuses on a redefinition of contemporary art history through postcolonial theories and the genealogy of cultural displacement. She also works on feminist art and theories at the turn of the 1970s. She is the author of many essays on contemporary visual arts in books, exhibition catalogues and journals. She published, amongst others, Black is a Color: A history of Contemporary African American Art (2004 – 2005) and Theresa Hak Kyung Cha, Berkeley, 1968 (2013).
Emin Özsoy (b. 1950, Ankara) lives and works in Mersin where he is a professor and the Head of Physical Oceanography at the Institute of Marine Sciences, Middle East Technical University. His research and expertise in oceanography is focused on basin and shelf circulation, wave and tidal motions, tsunamis, strait dynamics and outflows, ocean modelling, double diffusive convection, isotope tracers, ecosystem dynamics, as well as regional meteorology and transport. Özsoy is the author of major research, review papers and essays included in books and published proceedings. He has been a visiting professor at the University of Bologna (2014 – 2015) and Harvard University, Cambridge (1989 – 1990), amongst other universities.
Emre Hüner (b. 1977, Istanbul) is an artist who lives and works in Istanbul and Amsterdam. Working with drawing, video, sculpture, installations and other mediums, Hüner's practice focuses on constructed narratives and eclectic assemblages which explore the subjects of utopia, archaeology, ideas of progress and future through re-imagination of the spatial and architectural entities, organic and artificial forms. Recent solo exhibitions include Aeolian, Rodeo, Istanbul (2013) and MAMProject 019, Mori Art Museum, Tokyo (2013). Recent group exhibitions include Approximately Infinite Universe, Museum of Contemporary Art San Diego (2013) and Manifesta 9, Genk (2012).
Füsun Onur (b. 1938, Istanbul) is an artist who lives and works in Istanbul. As one of Turkey's pioneering contemporary artists, Onur’s works deal with potentials of space, time, rhythm and form that are inherent in simple, everyday materials charged with narrative and oblique autobiographical references. Onur’s works often push the boundaries of painting and sculpture, aiming at breaking the boundary between them. Her recent solo exhibitions include Through the Looking-Glass, Arter, Istanbul (2014) and Variations, Maçka Sanat Galerisi, Istanbul (2012). Her group shows include do it Moscow, Garage Centre for Contemporary Culture, Moscow (2014) and EindhovenIstanbul, Van Abbemuseum, Eindhoven (2005).
Griselda Pollock (b. 1949, Bloemfontein) lives in Leeds where she is Professor of Social and Critical Histories of Art at the University of Leeds. She is an art historian and a cultural analyst who has been involved in critically rethinking art's many histories through engagement with postcolonial, queer, international feminist challenges to knowledge. She is currently working on trauma, memory and the aesthetic. Her recently published books include After-affects I After-Images: Trauma and Aesthetic Transformation in the Virtual Feminist Museum (2013); Visual Politics and Psychoanalysis: Art & the Image in Post-Traumatic Cultures (2013) and Art in the Time-Space of Memory and Migration: Sigmund Freud, Anna Freud and Bracha Ettinger in the Freud Museum (2013). Pollock has also recently co-edited Concentrationary Memories: Totalitarian Terror and Cultural Resistance (2013) with Max Silverman.
Marcos Lutyens (b. 1964, London) is an artist who lives in Los Angeles. His work with the mind has led him to develop events and exhibits that reflect research with specific groups such as the Muxhe, from the Zapotec culture in Southern Mexico. Building on his investigations into consciousness and social dynamics, Lutyens has worked on large-scale projects that involve the broader surroundings and that often make use of hypnosis. His recent solo shows include Pulled, Alberta Pane Gallery, Paris (2014) and Pushed, Chambers Fine Art, Beijing (2014). His recent group exhibitions include Rockaway!, MoMA PS1 in collaboration with Honolulu Biennial, New York City (2014) and thingworld, NAMOC – National Art Museum of China, Beijing (2014).
Merve Kılıçer (b. 1987, Istanbul) is an artist who lives and works in Istanbul. Her works can be described as visualised moments of contextual questions on personal and interpersonal relations as they stem from fragile textures, structures and experimentation. Kılıçer is also a member of the Istanbul-based artist collective KABA HAT. Recent exhibitions include Trümmer auf Trümmer (with KABA HAT), Apartment Project, Berlin (2013); After the Working Hours (with KABA HAT), Onur Gökmen Atelier, Ankara (2012); I am the Property Owner (with KABA HAT), Fatma Belkis & Yaprak Kırdök Atelier, Istanbul (2012) and Cooperative, Sabanci University FASS Art Gallery, Istanbul (2011).
Pierre Huyghe (b. 1962, Paris) is an artist who lives and works in Paris. His art makes use of the themes of pleasure, adventure and celebration. Through exhibitions, films and public events Huyghe creates scenarios that explore the borders of fiction and reality. His work ranges from puppet theatres to small town parades and model amusement parks. His recent solo shows include Celebration Park, Tate Modern, London (2006) and Pierre Huyghe, Castello di Rivoli Museo di Arte Contemporanea, Turin (2004). His recent group exhibitions include dOCUMENTA (13), Kassel (2012) and the 16th Biennale of Sydney (2008).
Russell Storer (b. 1970, Wyalkatchem) is Senior Curator at the National Gallery Singapore. He has written widely on Asian and Australian contemporary art. He was previously Head of Asian and Pacific Art (2010 – 2014) and Curator of Contemporary Asian Art (2008 – 2010) at the Queensland Art Gallery and Gallery of Modern Art in Brisbane, and a curator at the Museum of Contemporary Art, Sydney (2001 – 2008). He was on the curatorial teams for the 6th and 7th Asia Pacific Triennials of Contemporary Art, Brisbane (2009, 2012); a co-curator of the 3rd Singapore Biennale (2011); a curatorial comrade for the 16th Biennale of Sydney (2008); and a visiting curator at documenta 12, Kassel (2007).
William Kentridge (b. 1955, Johannesburg) is an artist who lives and works in Johannesburg. Kentridge is one of South Africa’s pre-eminent artists, internationally acclaimed for his drawings, films, theatre and opera productions. His work draws on varied sources, including philosophy, literature, early cinema, theatre and opera to create a complex universe. His solo exhibitions include William Kentridge, Castello di Rivoli Museo di Arte Contemporanea, Turin (2004) and William Kentridge, Palais des Beaux-Arts, Brussels (1998). His recent group shows include DEEP FEELINGS. From antiquity to now, Kunsthalle Krems, Krems an der Donau (2013) and dOCUMENTA (13), Kassel (2012).
Fulya Erdemci is a curator and writer based in Istanbul and Amsterdam. Erdemci was curator of the 2011 Pavilion of Turkey at the 54th International Art Exhibition, Venice Biennale. Between 2008 and September 2012 she acted as Director of SKOR (Stichting Kunst en Openbare Ruimte) Foundation For Art and Public Domain in Amsterdam. Her projects at SKOR include: ‘Morality Wall: Between You and I’, four facade projects in collaboration with Witte de With, Rotterdam, 2010; ‘Actors, Agents and Attendants’, international research, symposium and publication series, the first edition, ‘Speculations on the Cultural Organisation of Civility’ was co-curated with Andrea Philips and Markus Miessen in 2010, and the second edition ‘Social Housing-Housing the Social’ (Amsterdam 2011) with Andrea Philips.
Fulya Erdemci, was among the first directors of the Istanbul Biennial (1994-2000), was director of Proje 4L in Istanbul (2003-2004) and worked as temporary exhibitions curator at Istanbul Modern (2004-2005). She was invited to curate the ‘Istanbul’ section of the 25th Biennale of São Paulo ‘Metropolitan Iconographies: Cities’ in 2002 and joined the curatorial team of the 2nd Moscow Contemporary Art Biennial ‘Footnotes on Geopolitics, Market and Amnesia’ (2007). Erdemci initiated the ‘Istanbul Pedestrian Exhibitions’ in 2002, the first urban public space exhibition in Turkey that centred on the “pedestrian” and co-curated the second edition in 2005 with Emre Baykal. In 2008 Erdemci co-curated SCAPE “Wandering Lines: Towards A New Culture of Space”, the 5th Biennial of Art in Public Space in Christchurch, New Zealand with Danae Mossman, presenting the work of 25 international artists throughout the urban spaces of Christchurch city. Erdemci has served on international advisory and selection committees, including “The International Award for Excellence in Public Art” initiated by the Public Art (China) and Public Art Review (United States) Shanghai, May 2012; the SAHA, Istanbul, 2012; the 12th International Cairo Biennial, Cairo, 2011; and, De Appel, Amsterdam’s, Curatorial Programme ‘10/’11 and ‘09/’10. Erdemci has taught at Bilkent University (1994–1995), Marmara University (1999–2000) and at Istanbul Bilgi University’s MA Programme in Visual Communication Design (2001–2007). Recently, in 2012 she was named the Laurie Chair at Rutgers University, New Jersey.
Adriano Pedrosa, born in 1965 in Rio de Janeiro, is an independent curator, editor and writer based in São Paulo. He has published in Artforum (New York), Art Nexus (Bogota), Art+Text (Sydney), Tate etc (London), Exit (Madrid), and Frieze (London), among others. Pedrosa curated F[r]icciones (with Ivo Mesquita, Museo Nacional Centro de Arte Reina Sofia, Madrid, 2000), was adjunct curator and editor of publications of the XXIV Bienal de São Paulo (1998), co-curator and co-editor of publications of the 27th Bienal de São Paulo (2006), curator of Museu de Arte da Pampulha, Belo Horizonte (2001-2003), curator of InSite_05, San Diego/Tijuana (2005), curator of 31st Panorama da Arte Brasileira (Museu de Arte Moderna de São Paulo, 2009), and artistic director of the 2nd Trienal Poli/Gráfica de San Juan (2009). He was a juror of the UNESCO Prize for the Promotion of the Arts (Istanbul Biennial, 2001), of the Prêmio EDP Novos Artistas (Museu Serralves, Porto, 2003), and of the Hugo Boss Prize (Guggenheim Museum, New York, 2004). Pedrosa is on the editorial board of The Exhibitionist: A Journal for Exhibition Making and is the founding director of Programa Independente da Escola São Paulo-PIESP.
Jens Hoffmann, born in 1974 in San José, Costa Rica, is a writer and curator of exhibitions based in San Francisco where he is the Director of the CCA Wattis Institute for Contemporary Arts. Hoffmann has worked for a number of art institutions including the Solomon R. Guggenheim Museum, New York; KIASMA -- Museum for Contemporary Art, Helsinki; Kölnischer Kunstverein, Cologne; The Hugh Lane Museum of Modern Art, Dublin; DIA Center for the Arts, New York, Kunstverein in Hamburg; Kunst-Werke, Berlin; Los Angeles Contemporary Exhibitions, Los Angeles; Museum Kunst-Palast, Düsseldorf as well as for exhibitions such as Documenta X (1997), the 1st Berlin Biennial (1998), and the 9th Lyon Biennial (2007). He was the Director of Exhibitions at the Institute of Contemporary Arts in London (2003--2007) and co-curator of the 2nd Trienal Poli/Gráfica de San Juan (2009). He is currently co-curating, with Harrell Fletcher, the 1st People's Biennial, taking place in five US museums in 2010. Hoffmann is senior lecturer at the Curatorial Practice Program of the California College of the Arts in San Francisco, a guest professor at the Nova Academia di Bella Arti in Milan and an adjunct faculty member of the Curatorial Studies Program of Goldsmiths College, University of London. He is the founding editor of The Exhibitionist: A Journal on Exhibition Making.
The curators of the 12th Istanbul Biennial were appointed by the Advisory Board of the Istanbul Biennial. The advisory board consists of the artistic director of dOCUMENTA (13) Carolyn Christov-Bakargiev, contemporary artist Ayşe Erkmen, art consultant Melih Fereli, director of Exhibitions and Public Programs and chair of the Exhibitions and Museum Studies Program at San Francisco Art Institute Hou Hanru and director of the Sharjah Art Foundation and Al-Ma'mal Foundation for Contemporary Art, Jerusalem Jack Persekian.
What, How and for Whom/WHW
What, How & for Whom (WHW) is a non-profit organisation for visual culture and curators' collective formed in 1999 and based in Zagreb, Croatia. Its members are curators Ivet Ćurlin, Ana Dević, Nataša Ilić and Sabina Sabolović, and designer and publicist Dejan Kršić. Since May 2003 WHW has been directing the program of Gallery Nova, city-owned gallery in Zagreb.
WHW's international shows include "What, How & for Whom, on the occasion of 152nd anniversary of the Communist Manifesto" (Association of Croatian Artists, Zagreb, 2000 and Kunsthalle Exnergasse, Vienna, Austria, 2001); "Broadcasting project, dedicated to Nikola Tesla" (Technical Museum, Zagreb, 2002); "Looking Awry" (Apexart, New York, 2003); "Repetition: Pride and Prejudice" (Gallery Nova, Zagreb, 2003); "Side-effects" (Salon of Museum of Contemporary Art, Belgrade, 2004); "Normalization" (Gallery Nova, 2004); "Collective Creativity" (Kunsthalle Fridericianum, 2005); "Normalization, dedicated to Nikola Tesla" (Gallery Nova, Zagreb, 2006); "Here and Now Real, Not Yet Concrete" (Mala Galerija, Museum of Modern Art, Ljubljana, 2006); "Ground Lost" (Forum Stadtpark, Graz & Gallery Nova, Zagreb, 2007); "All Dressed Up With Nowhere to Go" (Gallery TranzitDisplay, Prag, 2007); "Vojin Bakić" (Gallery Nova & Grazer Kunstverein, 2008).
WHW published several books including Dataesthetics edited by Stephen Wright, Against Indifference, selected essays by Renata Salecl, Hieroglyphs of the Future, selected essays by Brian Holmes, Zagreb, 16/6/01, book of interviews by Hans Ulrich Obrist with Croatian artists, reader for the What, How and for Whom exhibition with essays by Slavoj Žižek, Richard Barbrook, Boris Buden, Fredric Jameson, Charles Esche; the collective regularly publishes Gallery Nova newspapers.
Hou Hanru is an independent curator and a critic. Born in 1963 in Guangzhou, China, he lives in Paris since 1990 and travels and works around the world as a curator and a lecturer. Hou Hanru trained at the Central Institute of Fine Arts in Beijing. He is an advisor at the Rijksakademie van Beeldende Kunsten, Amsterdam, Netherlands and a visiting professor at HISK, Hoger Instituut voor Shone Kunsten, Antwerp, Belgium.
Hou Hanru recently curated "Beyond: An Extraordinary Space of Experimentation for Modernization, the 2nd Guangzhou Triennale" (China, 2005), "Go Inside", the 3rd Tirana Biennale (Tirana, Albania, 2005) and "Out of Sight" organized by De Appel Foundation (Amsterdam, the Netherlands, 2005).
He has curated or co-curated major exhibitions such as "Nuit Blanche" (Paris, 2004), "Beijing Morphing" (EW/NS, Are-en-Rêve, Bordeaux, France, 2004), "Arte all'Arte 8" (San Gimignano, etc., Italy, 2003), "Z.O.U - Zone Of Urgency " (the 50th Venice Biennale, 2003), "P_A_U_S_E, the 4th Gwangju Biennale", (Gwangju, Korea, 2002), "Small Is OK" (Fri-Art, Fribourg, Switzerland, 2002), "Asian Party, Global Game" (ARCO, Madrid, 2001), "Paris Pour Escale" (Musée d'art moderne de la ville de Paris, 2001), "My Home is yours, Your home is mine" (Samsung Museum, Seoul, 2001), "Shanghai Biennale" (Shanghai, 2000), "Leaving The Island" (Busan, Korea, 2000), The French Pavilion (Venice Biennale, 1999), "Cities on The Move" (Secession, Vienna and other 6 venues in Europe, USA and Asia, 1997 - 2000), "Hong Kong, etc." (Johannesburg Biennale, 1997), "Parisien(ne)s" (Camden Arts Centre, London, 1997) and "Out of the Centre - Chinese contemporary art" (Pori Art Museum, Pori, Finland, 1994).
Hou Hanru is the author of On The Mid-Ground, (ed. Yu Hsiao-Hwei, Time Zone 8, Hong Kong. 2002) and Of Non-Being, Frank Tam's Art and Thoughts (Annie Wong Foundation,Vancouver-Hong Kong, 1999). He has written for numerous catalogues and books such as Beyond: An Extraordinary Space of Experimentation for Modernization, the 2nd Guangzhou Triennale (Guangzhou, 2005), D-Lab 1 (the 2nd Guangzhou Triennale, Guangzhou, 2005), Save and Sorry, --Bert Theis (Bruxelles, 2005), Fabricated Paradise (Le Parvis, Ibos, 2004), Ozawa Tsuyoshi, answer yes or no (Mori Art Museum, Tokyo, 2004), The Fifth System, Public Art in the age of 'Post-Planning (Shenzhen, 2003), Content (Rem Koolhass, OMA/AMO, Taschen, 2003) Dreams and Conflicts, the 50th Venice Biennale (Venice, 2003), Vitamin P (Phaidon, London/New York, 2002), Pause, Gwangju Biennale 2002 (Gwangju, Korea, 2002), Chen Zhen, Metaphors of the Body ( EMET, Athens, Greece, 2002), Asianvibe (EACC, Castellon, Spain, 2002), Paris pour Escale (Musée d'art moderne de la ville de Paris, 2000), The Mind on the Edge (of the New Centres) (Circulo de Bellas Artes, Madrid, 2000), Shanghai Spirit, Shanghai Biennale 2000 (Shanghai Art Museum, 2000), Beijing, Shanghai, Shenzhen (Bauhaus, Weimar, Germany, 2000) Beyond the Future, The Third Asia-Pacific Triennial of Contemporary Art (Queensland Art Gallery, Brisbane, 1999), Big Tail Elephants (Daweixiang) (Kunsthalle, Bern, Switzerland, 1998), Cream, Art in Contemporary Culture (Phaidon Press, London, 1998), "Uncertain Pleasure" (Art Beatus Gallery, Vancouver, 1997), Heart of Darkness (Kröller-Müller Museum, Otterlo, Netherlands), Silent Energy (MOMA, Oxford, 1993) and Small, Medium, Large, Lifesize (Museo Pecci, Prato, Italy, 1992), etc.
Hou Hanru continues to contribute to journals on contemporary art, such as Art Monthly, Third Text, Art and Asia Pacific, Atlantica, Time Asia, Texte Zur Kunst, Atlantica, Omnibus, Technikart, Kanal Europe, Neue Bildendekunst, Artists, Gallery, Domus, Jiangsu Art Monthly, Trans, Art in India, Tema Celeste, Frieze, Area, Urban China, Area and Flash Art International for which he works as its French correspondent.
Hou Hanru has been a member of the Advisory Committee of De Appel Foundation, Amsterdam, of the Global Advisory Committee of Walker Art Center, Minneapolis,USA and ICI (Independent Curators International) Exhibition Committee, New York and an advisor of Contemporary Art Museum, Kumamoto, Japan. He has served in international juries such as Fondazione Arnaldo Pomodoro, international competition for young sculptors, 2005, Philip Morris ASEAN Art Awards, Bangkok, 2004 , DAAD, Berlin 2003, Rencontre de la photographie, Arles, 2003, France, Hasselblad Award, ( Götergorg, Sweden, 2003), Artissima, (Torino, 2002), Evens Foundation Prize for Public Art (Paris, 2002, director), Philip Morris Art Awards (Japan, 2002), Echigo-Tsumari Triennale (Japan, 2001-2003), International Media Art Award 2000, ZKM, Karlsruhe, Germany, Baloise Art Prize, Basel Art Fair, Basel, 2000, Chinese Contemporary Art Awards (Beijing, 2000, 2002, 2004), the Hugo Boss Prize 1998, The Solomon Guggenheim Museum, New York. He has been invited to numerous institutions in China, France, Taiwan, United Kingdom, Australia, Austria, Germany, the Netherlands, Finland, Hong Kong, Canada, Spain, USA, Mexico, Switzerland, Italy, Belgium, Russia, Poland, Croatia, Korea and Portugal for lectures and conferences.
Charles Esche is a curator and writer. He is currently the director of the van Abbemuseum, Eindhoven and editor of AFTERALL, an art publication based at Central St. Martins College of Art and Design, London and CalArts, Los Angeles as well as a visiting theorist at the Rijksakademie, Amsterdam.
In the last years he co-curated the Gwangju Biennale 2002 in Korea with Hou Hanru and Song Wang Kyung and co-curated two large-scale exhibitions: 'Intelligence: New British Art' at the Tate Gallery, London and 'Amateur: Variable Research Initiatives' at Konstmuseum and Konsthall, Göteborg in 2000. In 2002 and 2003, he jointly organised two 'Community and Art' workshops with Asian and European artist groups. From 1998-2002 he organised the international art academic research project called "protoacademy" at Edinburgh College of Art. From 2000 - 2004 he was the director of Rooseum Centre for Contemporary Art, Malmö, Sweden.
He has written for numerous catalogues and magazines including: Lisbeth Bik and Jos van der Pol (forthcoming); What? How? For Whom?, Zagreb; Shifting Map, RABK, Amsterdam; Claudia and Julia Müller, Kunstmuseum Thun; Tobias Rehberger, Galerie der Stadt Stuttgart; Haegue Yang, Sonje Art Center, Seoul; Olaf Nicolai, Kunsthalle Wolfsburg; Superflex, Walther König; Simon Starling, GfzK, Leipzig; Julika Rudelius, Stedelijk Museum Bureau Amsterdam; Berlin Biennale 2001; Douglas Gordon, Kunstverein Hannover; Otto Berchem, Artimo, Amsterdam; Hinrik Sachs, Moderna Museet, Stockholm; Mark Lewis, Film and Video Umbrella, London. An edited volume of his writings in Turkish and English Modest Proposals published by Bağlam Press in 2005 and launched at the opening of the Biennial.
From 1993-1997 he was Visual Arts Director at Tramway, Glasgow where he curated exhibitions by Elisabeth Ballet, Christian Boltanski, Christine Borland, Roderick Buchanan Douglas Gordon, Niek Kemps, Jonathan Monk, Stephen Willats and Richard Wright as well as group shows such as Trust and The Unbelievable Truth. He has curated international exhibitions and events around art and new technology at Video Positive 97 and ISEA 98 in Liverpool and Manchester.
Vasıf Kortun is the director of Platform Garanti Contemporary Art Center. He was the founding director of Proje4L İstanbul Museum of Contemporary Art (2001-2003), and the chief curator and director of the 3rd International İstanbul Biennial (1992). Between 1994 and 1997, he worked as the founding director of the Museum of the Center for Curatorial Studies, Bard College.
His writings and interviews over the last years include Mars, NU, Flash Art, Art Asia Pacific, Art Journal, New Art Examiner, Contemporary ,Crudelia, C Magazine, Ars Atlantic and other magazines, and contributions to publications such as the 48th Sao Paolo Biennial, 2nd Johannesburg Biennial, Manifesta 2, 1999, 48th Venice Biennial, İstanbul Biennial (5, 6 and 8), Zeitwenden, How Latitudes Become Forms: Art in a Global Age and many other exhibition catalouges. He was one of the curators for Fresh Cream: 10 Curators 100 Artists (Phaidon Press), and has also participated in recent publications such as: "Curator's Vade Mecum," Independent Curators International, NY; and Foci: Interviews with ten international Curators.
Exhibitions in 2004 include, Institut für Auslandbeziehungen, Stuttgart, Berlin (co-curator); and Lastwinterspringnevercame, Platform Garanti Contemporary Art Center, (co-curator). In 2003 he was one of the curators of the 2nd Tirana Biennial, Albania; and the 2nd Biennial of Ceramics, Albissola, (co-curator), and organised Here at Platform, and Undesire, at Apex Art, New York
He was on the Bush Global Advisory Committee of the Walker Art Center (1999-2003), the International Foundation Manifesta board (2000 -2002). He is currently an advisor for the Israel Museumin Jerusalem. In 2002 he was a jury member for The Querini Stampalia Foundation-Furla for Art Prize, Venice and Onufru 2002, Tirana. In 2003, he served on the Jury of Internationaler Kunstpreis der Kulturstiftung Stadtsparkasse München, and the Jury for the International Exhibition 50th Biennale di Venezia. In 2004 he was a jury member for the Gwangju Biennale.
Kortun has been a guest professor at HISK/Higher Institute for Fine Arts, Antwerp, Helsinki Academy of Fine Arts, and Konsftack, Stockholm.
Dan Cameron is Senior Curator at the New Museum of Contemporary Art in New York, a position he received in 1995. Cameron, based in New York since 1979, has organised such exhibitions as Extended Sensibilities (New Museum, 1982); Art and its Double (Fundacio ‘La Caixa’, Barcelona and Madrid, 1986-87); Aperto (Biennale di Venezia, 1988); What is Contemporary Art? (Rooseum, Malmo, 1989); Modern Detour (Vienna Secession, 1990); The Savage Garden (Fundacio ‘la Caixa,’ Madrid, 1991); Future Perfect (Heilegenkreuzerhof, Vienna, 1993); Cocido y Crudo (Museo Reina Sofia, Madrid, 1994); Threshold (Fundacio Serralves, Oporto, 1995); and Kenny Scharf (MARCO, Museo de Arte Contemporaneo de Monterrey, 1996).
Since joining the New Museum as a Senior Curator in 1995, he has organised the exhibitions Carolee Schneemann: Up to and Including her Limits (Nov. 1996); Enclosures: Teresita Fernandez, Nedko Solakov, Hale Tenger (Nov. 1996); Remota: Airmail Paintings of Eugenio Dittborn (Feb. 1997); Cardoso Flea Circus (Dec. 1997); Unland: Doris Salcedo (March 1998); Martin Wong (May 1998); Bili Bidjocka/Los Carpinteros/Rivane Neueschwander (June 1998); Dancing at the Louvre; Faith Ringgold’s French Collection and Other Story Quilts (Oct. 1998); Marcel Odenbach (Oct. 1998); Ana Prada (Oct. 1998); Xu Bing: Introduction to New Englsih Calligraphy (Oct. 1998); Fever: the Art of David Wojnarowicz (Jan. 1999), Open House: Michael Smith and Joshua White (April 1999), Cildo Meireles (Nov. 1999), Pierre et Gilles (Sept.2000), Paul McCarthy (Mar 2001), William Kentridge (Jun 2001), and Wim Delvoye: Cloaca (Jan 2002); and Media Lounge projects by Christian Marclay and Antoni Abad.
He has written extensively on contemporary art since 1981, and has been Contributing Editor for Art Magazine, Art&Auction, Artforum and Flash Art, as well as a writer for Parkett and trans. He has published exhibition catalogues and monographic texts on numerous artists, including Afrika, Janine Antoni, Stefano Arienti, Mathew Barney, Luca Buvoli, Max Cole, Braco Dimitrijevic, Wim Delvoye, Willie Doherty, Carroll Dunham, Jimmie Durham, R.M. Fischer, Luis Gordillo, Peter Halley, Deborah Kass, William Kentridge, Igor and Svetlana Kopystianski, John McCracken, Kiki Lamers, Pieter Laurens Moll, Matt Mullican, Daniel Oates, Marcel Odenbach, Pepon Ossorio, Perejaume, Pierre et Gilles, Pedro Cabrita Reis, Rosangela Renno, Allen Ruppersberg, Edward Ruscha, David Salle, Juliao Sarmento, Laurie Simmons, Serge Spitzer, Juan Usle, Xavier Veilhan, Antoni Tapies, Rigoberto Torres, Meyer Vaisman, Sue Williams, and others. Other museum catalogue texts by Cameron have been published by the Royal Academy of Arts, London; ICA, London; Fundacio ‘La Caixa’, Barcelona; Museum of Modern Art, Oxford; Museum fur Moderner Kunst, Vienna; Neue Museum, Bremen; Le Magasin, Grenoble; Newport Harbor Art Museum; University Art Museum, Santa Barbara; University Art Museum, Long Beach and other institutions.
1989 Tokyo University of Fine Arts and Music, Master of Fine Arts in Art History
1979 Graduated from Kyoto University, Bachelor of Arts in Law
1999 Aug.- Chief Curator, Contemporary Art Museum, Kanazawa, Ishikawa Pref.
1993-'99 Curator, Setagaya Art Museum, Tokyo
1992-'93 Visiting curator at Whitney Museum, New York (supported by a grant from A.C.C.)
1989-'93 Curator, Contemporary Art Gallery, Art Tower Mito, Mito Arts Foundation, Ibaragi Pref.
• Passage - New French Art, 40 paintings, photographs, site specific installations by Huang Yong Ping, Bili Bidjocka, Sophie Calle, Fabrice Hybert, Bojan Sarcevic, Majita Khattari and others; Itinerary: Setagaya Art Museum (SAM), Tokyo, Hokkaido Prefectural Museum, Hiroshima Contemporary Art Museum, Nagoya City Art Museum, 1999-2000
• James Turrell-Where does the light in our dreams come from?, A show of 5 site-specific installations, 10 machines for perceptural experience, and prints and drawings; Itinerary: SAM, Saitama Prefectural Museum, Nagoya City Art Museum, 1997-8
• De-Genderism-detruire dit-elle /ıı, 95 paintings, sculpture, photographs, site specific installations by Yayoi Kusama, Eva Hesse, Matthew Barney, Janine Antoni, Minako Nishiyama, Kazuhiko Hachiya, Ma Liuming, Mona Hatoum, Soo-Ja Kim, Marina Abramovic, Vito Acconci, Rebecca Horn, and others; SAM, Tokyo, 1997
• Richard Long-Sangyo Suigyo, Co-curated with Shinji Komoto; A show of 6 Site-specific installations, 20 photographs, 3 mud drawings; Itinerary: SAM, National Museum of Modern Art, Kyoto 1996
• Spirits on the Crossing - Travellers to/from Nowhere - Contemporary Art in Canada 1980 - 94, Co-curated with Shinji Komoto and Tomoya Sato; A show of photographs, videos, and installations by Jeff Wall, Stan Douglas, Jana Sterbak, Rodeny Graham, Genevieve Cadieux, Krzysztof Wodiczko, Angela Grauerhalz, Barbara Steinman, Vera Frenkel; Itinerary: SAM, National Museum of Modern Art, Kyoto, Hokkaido Prefectural Museum 1995
• Cai Guo Qiang - Chaos, A site specific installation by Cai Guo Qiangi 1994
• Another World, A show of prints, paintings, site specific installations and media projects by Hokusai, Mark Rothko, Anish Kapoor, F. Clemente, Jan Fabre, Dumb Type, IFP, Richard Wilson, LSX; Art Tower Mito (ATM) 1992-3
• Christian Boltanski, Co-curated with Fumio Nanjo, A show of 5 installations, photographs, and objects by Christian Boltanski; Itinerary: ICA, Nagoya, ATM, 1990-91
• Beyond the Photographic Frame, A show of photos, videos and projector-installations by Sophie Calle, Berenhard Prinz, Doug and Mike Starn, Morimura Yasumasa, Compresso Plastico, Ideal Copy, Tetsuya Yusa and others; ATM, 1990
INDEPENDENT CURATORIAL PROJECTS
• Fancy Dance, A show of 13 Contemporary Japanese Artists after 90's, Sonje Art Museum, Kyonju, Sonje Art Center, Seoul. 1999
• Join Me, A show of new projects by Rirkrit Tiravabanija, Bul Lee, Regina Frank, and Junya Yamaide; Spiral, Wacoal Art Center, Tokyo. 1996
• Liquid Crystal Futures: 11 Contemporary Japanese Photography, Co-curated wirh Shinji Komoto: A show of 100 photographs by Nobuyoshi Araki, Toshio Shibata, Ryuji Miyamoto, Naoya Hatakeyama, others; Itinerary: Fruitsmarket Gallery, Edinburg; Charlottenbourg Udstilingsbygning, Copenhagen; Spiral, Wacoal Art Center, Tokyo; Neue Gesellschaft fur Bildende Kunst, Berlin. Muscarnok Palace of Art, Budapest; Kunsthallen Goteborg, Sweden, 1994-1996
• Hara Document; Flood-Sacred Irruption
A show of collaborative installation by Chiyuki Sakagami, Toru Koyamada and Yves Klein: Hara Museum, Tokyo 1993-4
• Yutaka Sone - One Hand Clapping
A show of installations by Yutaka Sone; Yokohama Galleria, Nomura Arts Foundatıon 1993
• 1999-present Tokyo University of Fine Arts and Music, Art History
• 1998-present Gakushu-in Women's University, Tokyo, Instructor, Art Management
• "Cai Guo Qiang" Ausblick - ZeitWenden Global Art Rheinland 2000, Kunstmuseum Bonn, Dumont, 1999 pp. 66-68
• "Circulating QI (Energy) of Mind and Intellect" Cai Guo Qiang, I am the Y2K Bug. Kunsthalle Wien, Vienna 1999 pp. 8-18
• "Performance and time art in Japan" So What-Japanese Contemporary Art. Ecole Nationale Superieure des Beaux-arts, Paris. 1998
• "Pachinko , Mandala and Merry Amnesia, Modern Japanese Art and its Background" Japan Today, MAK - Austrian Museum of Applied Arts, Vienna, 1997
• "Phantom- Limb; Motohiko Odani - Art as Vanishing Point", Phantom-Limb, P-House, Tokyo. 1997
• "Die Friedlich Kompromi losen Bemerkungen zur japanischen Kunstauffassung", 6. Triennale Kleinplastik 1995 Europa-Ostaslen, Cantz. 1995
• "Women Artists in Japan", Age of Anxiety, The Power Plant, Toronto. 1995
• "Reset - Matthew Barney and Pipilotti Rist" Actual Sexuality, Musashino Art no. 115, Musashino Art University Press, Tokyo. Jan. 2000
• "Asian Concepts for the 21st Century - Consciousness, Collaboration, and the Possibility of Collective Intelligence" Flash Art, Giancarlo Politi Editore, Milan. Mar. Apr. 2000-07-17
• " Consciousness, Field, Time - For the new being of Independency" Musashino Art no. 114, Musashino Art University Press, Tokyo. Oct. 1999
• "Frame and Frameless" Report of AICA Congress in Japan, 1999
• "Tabi no Tochu - Trip Days; Rout of Tokaido" (photograph of Tierry Girarred and Ukiyoe), Marval, Paris. 1999
• "Sensation of Mental Illness - Kusama, Hess, Sakagami 3 Women Artists", BIGAKU (Aesthetics) The Japanese Society for Aesthetics, 1999 pp.21-30
• "Photograph and Drawing by Edgar Degas" Musashino Art no. 106, Musashino Art University Press, Oct. 1997 pp. 30-34
• "Soft Urbanism", INAX publishing co., Tokyo. 1996
• "Depressed Wonderful Life-Contemporary Young Artists in Tokyo" Flash Art, Giancarlo Politi Editore, Milan. May,June, 1996
• "dumb type" dumb type Hases Wacoal Art Center, 1993 pp.56-57
• "Impossible Vision - Manet and Photography" Eureka-Poetry and Criticism, Seido-sha, Tokyo, Mar. 1988, pp. 107-117
• "Manet-Origin of Modernism: Manet and Photography" Japanese Journal od Imagei Arts and Sciences, Tokyo, 1988, pp. 24-37
SELECTED JURIES AND PANELS
• Juror The 48 Esposizione La Biennale di Venezia, 1999
• Art Advisory Fondazuione Sanretto, Rerebandengo Turin Italy, 1999
• Art Advisory Panel Conclave for the exhibiton Zeitwenden, Kunstmuseum Bonn,
Rheinsches Landesmuseum, Stiftung fur Kunst und Kultur Bonn, 1997
• Art Advisory Panel, Art Scholarship Lenbachhouse Museum, Munich 1997
• Board Member of CIMAM
• Member of International Association of Art Critics
• Member of IKT (International Association of Curators of Contemporary Art)
1976 - 1977 Columbia University, New York. Graduate Study in General Studies (Art History)
1975 - 1976 Yale University, New Haven, Connecticut. Graduate Study in American Studies
1967 - 1975 University of Rome. Laurea di dottore
1975 - 1977 Harkness Fellowship
1989 - present Director, Centre d' Art Contemporain, Genève
1985 - 1989 Director of Exhibitions, Tyler School of Art, Temple University, Philadelphia
1984 - 1985 Curator, Northern Illinois University Art Gallery, Chicago
1983 - 1984 Research Assistant, Museum of Contemporary Art, Chicago
• For the Centre d 'Art Contemporain, Genève:
1998 Gillian Wearing
1997 Sue Williams
Jane and Louise Wilson
Fatto in Italia : Contemporary Art from Italy (travelled to ICA London)
Veronica's Revenge : Contemporary Photography from the Lambert Art Collection (travelling to MUHKA, Antwerp; Deichtorhallen, Hamburg; IMMA, Dublin)
1996 Pipilotti Rist
1995 Nan Goldin
Tony Oursler (with Elizabeth Janus). Collaboration with Portikus, Frankfurt; Musée des Beaux Arts, Strasbourg; van Abbe Museum, Eindoven.
1994 Silvia Bächli (travelled to Instituto Moreira Salles, Brazil)
Louise Lawler: "Presses-papiers, cartes postales et cannibalism"
1993 Allan McCollum (travelled to Kaiser Wilhelm Museum, Haus Esters, Krefeld)
1992 Ketty La Rocca
1991 Geneviève Cadieux (travelled to Institute of Contemporary Art, Amsterdam)
Kiki Smith (travelled to Institute of Contemporary Art, Amsterdam)
1990 Hopeful Monster: An Exhibition of Independent Publishing
Robin Winters (travelled to Boymans van Beuningen Museum, Rotterdam and Kortrijk Stedelijk Museum, Belgium)
• For Tyler Gallery:
1989 Kiki Smith
1988 Robert Gober
1987 Aeropittura Futurista (travelled to Smithsonian Institution, Washington)
• For Northern Illinois University Gallery, Chicago:
1985 Four Italian Artists : Piero Pizzicannella, Sabina Mirri, Nunzio, Marco Tirelli
Boyd Webb (travelled to University of Massachusetts, Amherst and California State University, Long Beach)
• "Fatto in Italia" in Fatto in Italia exh. cat. Centre d' Art Contemporain/Institute of Contemporary Art, London, Electa, Milan: 1997
• "East of Eden: Jane & Louise Wilson's 'Stasi City'" in Jane and Louse Wilson exh. cat. Kunstverein, Hannover (1997)
• "Pipilotti Rist: Shooting Divas", Parkett no. 48 (Dec. 1996)
• "An Autobiography of Contradiction" in exh. cat. Heyday: Ugo Rondinone, Memory Cage, Zurich: 1996
• "Pia Stadtbäumer" in exh. cat. Pia Stadtbäumer, Bonner Kunstverein, Bonn: 1995
• "Some Notes on Recent Work by Tony Oursler" (with Elizabeth Janus) in exh. cat. Tony Oursler: Dummies, Clouds, Organs, Flowers, Watercolors, Videotapes, Alters, Performances and Dolls. Portikus, Frankfurt am Main, 1995
• Silvia Bächli. Exh. cat. Centre d' Art Contemporain, Genève: 1994
• "Nicos Baikas", Arti (March-April, 1994)
• Allan McCollum. Exh. cat. Centre d' Art Contemporain, Genève and Museum Haus Esters, Krefeld: 1993
• "Introduction" in exh. cat. Anne Sauser-Hall. Centre d 'Art Contemporain, Genève: 1993
• "Silvia Bächli" in Silvia Bächli , Prix Breguet, Genève: 1991
• "Some Thoughts on the Art of Kiki Smith", (with Elizabeth Janus) in Kiki Smith. Institute of Contemporary Art, Amsterdam and Centre D 'Art Contemporain, Genève: 1991
• "Piero Manzoni: 8 Tavole di Accertamento," in Piero Manzoni. Hirschl and Adler Modern, New York: 1990
• "Philip Haas", with Andrea Miller-Keller. Wadsworth Atheneum, Hartford, Connecticut: 1989
• "Aeropittura Futurista", with Gerald Silk. National Air and Space Museum, Smithsonian Institution: 1989
• "Robert Gober", Tyler School of Art, Philadelphia: 1988
• "Carroll Dunham", Tyler School of Art, Philadelphia: 1988
• "Bianchi, Ceccobelli, Dessi, Gallo". Tyler School of Art, Philadelphia: 1986
• "Boyd Webb", Centric XVII. California State University, Long Beach: 1986
• "The Watchrepairman", Whitewalls, Chicago: 1986
• Alternative Spaces : A History in Chicago. (exh. history) Museum of Contemporary Art, Chicago: 1986
• "Nicos Baikas", Design and Art in Greece, Athens: 1984
• "Four Poems", Whitewalls, Chicago: 1983
• Editor, New Observations, no. 5, New York: 1982
Rosa Martinez is an art critic and independent curator. She is based in Barcelona, Spain where she graduated in History of Art in 1979.
She is currently co-curator (with Xabier Arakistain) of the exhibition "Trans Sexual Express Barcelona 2001: A Classic for the Third Millennium" at the Santa Monica Art Center in Barcelona. She was curator of the exhibition of "Living and Working in Vienna" (together with Paulo Herkenhoff and Maaretta Jakkuri) for the Kunsthalle Wienn (Vienna, Austria), running through October 2000 to March 2001.
In 1999 she was the curator of "Looking for a Place", the III International SITE Santa Fe Biennial, held in various venues in Santa Fe and other cities of New Mexico (U.S.A.). She was also a member of the International Jury of the 1999 Venice Biennial. She was the artistic director of the 5th International Istanbul Biennial, entitled "On Life, Beauty, Translations and Other Difficulties" (1997) presenting 86 international artists in historical venues such as Hagia Eirene Church, Topkapi Palace and the Yerebatan Cistern, and also in civil ones such as the International Ataturk airport or Haydarpasa and Sirkeci train stations.
Other commissions include her participation as one of the 10 curators of CREAM (Contemporay Art in Culture), a portable exhibition published in the form of a book by Phaidon Press (London, October 1998). She has been curator of "Mediterranea. Tradition and Modernity in Ceramics" presented at the Turkish and Islamic Arts Museum in Istanbul (October-November, 1998) and of the exhibition "Mar de Fondo" held in the Roman Theatre of Sagunto (Valencia, Spain), with site-specific projects by Mediterranean female artists (July-August, 1998).
She has been director of the curatorial training programme, "Passion and Ennui in Contemporary Art", organised by la Caixa Foundation (1996-1997) in Barcelona. She was co-curator of Manifesta I, a new European Biennial, held in Rotterdam (Holland) in 1996, together with Katalin Neray, Victor Misiano, Hans-Ulrich Obrist and Andrew Renton. She was curator of the exhibition "Thinking of you. A selection of Spanish Contemporary Art" for the Goeteborg Kunsthalle (Goeteborg, Sweden) in 1996 and curator for two seasons at la Caixa Foundation's Sala Montcada (Barcelona, Spain), a hall given over to experimental artists. The first cycle of exhibitions at Sala Montcada was presented in 1992 with the title "5 Values for the Next Millennium", and the second one in 1997 with the title "The Meteors".
From 1988 to 1992 she was director of the Barcelona Biennial and coordinator of Barcelona's participation in the Mediterranean Biennials held in Bologna, Salonika, Marseilles and Tipasa. From 1978 to 1988 she directed the activities entitled Art and History, staged under the auspices of La Caixa Foundation's Social Activities Programme.
Her editorial and publishing comissions include being the art director of the volume "Ultimas Tendencias" (Latest Trends) of the Historia Universal del Arte, published by Editorial Planeta in 1992, and editorial and artistic director of Historia Universal del Arte, a 16-volume collection published by Grupo Oceano in 1996. She is a regular contributor to several newspapers and art journals, notably Flash Art International, El Pais, Atlantica, Letra Internacional and La Guia del Ocio, and has written numerous essays for artists catalogues. She has also lectured in many museums, art centers and universities all over the world.
Rosa Martinez is a member of AICA (International Art Critics Association) and of the advisory council of IKT (International Association of Curators of Contemporary Art). She is also a member of VOTI (The Union for the Imaginary) and of the "Pelicano Art Club". She is Advisor to the Fondazione Sandretto Re Rebaudengo (Turin, Italy) and to the Foundation for Culture and Arts (Istanbul, Turkey).
In 1996, she was awarded the Espais Prize for the best Spanish Art Critic and in 1999 she was declared "The Best Curator in the World" by the World Association of Curators (WAC).
She is also promoter and artistic director of the first Kathmandu Biennale.
Born in 1942 near Düsseldorf.
Opened a gallery in Berlin in 1964 at the age of 22, whose first exhibitions and performances were arranged by then young artists as Gerhard Richter, Sigmar Polke, Wolf Vostell, Joseph Beuys and Nam June Paik a.o.
As Germany's youngest gallery owner he was admitted in 1967 to the "Association of Progressive German Art Dealers", which organized the first art fairs in Cologne.
In 1974 he was awarded with the art prize of the German Critics Association for his ten-year gallery program in Berlin.. In the same year he opened an exhibition space in New York with "I like America and America likes me" by Joseph Beuys.
At the same time Block started his work as an independent curator, he curated "Downtown Manhattan: SoHo", 1976, and "Für Augen und Ohren", 1980, for the Berlin Festival and the Akademie der Künste Berlin as well as, "Art Allemagne Aujourd'hui" for the Musée d'Art Moderne de la Ville de Paris, 1981.
In 1982 Block started his work for the Berlin Artists Residence Program of the DAAD. Until 1992 he was in charge of the visual artists and composers and organized many exhibitions and concerts (i.e. the Festival of Music "Inventionen").
From 1993 until 1995 he determined the program of the exhibition service at the Institute for Foreign Relations (IFA), which is responsible for the presentation of German Art abroad.
The most important exhibitions organized by Block in recent years were:
• 1990 "The Readymade Boomerang", 8. Biennial of Sydney
• 1991 "Medienkunst", National Gallery, Seoul
• 1992 "Mit dem Kopf durch die Wand", Statens Museum, Copenhagen
• 1993 "Über Malerei", an exhibition for the 300th anniversary of the Akademie der Bildenden Künste, Wien
• 1995 "Orient/ation", 4. Istanbul Biennale
• 1997 "Pro Lidice", Museum of Fine Arts, Prague
• 1998 "Echolot", Kunsthalle Fridericianum, Kassel
• 2000 "Eurafrica", 3. Kwangju Biennial, Korea; "Das Lied von der Erde", Kunsthalle Fridericianum, Kassel
In 1994 he received the Danish "Arthur Kopcke-Preis" in Copenhagen (after Lawrence Weiner (1991), Per Kirkeby (1992) and Ilja Kabakov (1993).
Since July 1997 René Block is the director of the Kunsthalle Museum Fridericianum in Kassel.