2-6 December – Niilofur Farrukh, Raphael Fonseca, Miguel A. López, Ugochukwu-Smooth C. Nzewi
CEO Karachi Biennale and Managing Trustee of the Karachi Biennale Trust, Pakistan
Niilofur Farrukh is a Karachi based art interventionist whose seminal initiatives have expanded the space for art publication, curation and public art. A long-time advocate for an interface between art and public audiences, she has curated exhibitions like No Honor in Killing that toured 5 small and big towns in the country for two year. She has contributed as the Pakistan Commissioner at Tashkent Biennale, Asian Art Biennale and Kathmandu International Art Festival. In Pakistan she co-founded ASNA and co-curated four iterations of ASNA Clay Triennials, the longest running Triennial in the country to connect to reclaim the craft-art continuum. In 2017, along with a group of colleagues she established the Karachi Biennale to instrumentalize art to connect a fractured city to itself, and the world with the country’s largest international art contemporary art event. Niilofur co- founded NuktaArt and served as its Founder Editor for the ten years it was in publication (2004-2014). Her book Pioneering Perspectives on pioneer women artists was aimed at countering the anti-women political narrative of the 1980s in her country. Niilofur is the President of AICA Pakistan and has served on the International Board of the International Art Critics Association.
She has written extensively for national and international publications. Her second book The 70s Pakistan’s Radioactive Decade: An Informal Cultural History of Pakistan (co-edited with Amin Gulgee and John MacCary) was launched in early 2019. A Beautiful Despair, an anthology of essays on eminent artist Meher Afroz, which she has edited, is expected soon. At present she is researching the art history of Karachi for a publication and documentary.
Curator at MAC Niterói (Contemporary Art Museum of Niterói) and professor at Colégio Pedro II, Rio de Janeiro
Raphael Fonseca holds a PhD in Art History at the State University of Rio de Janeiro. He is a researcher in the areas of curating, art history, art critic and education. He was part of the curatorial comitee of the VideoBrasil Biennial (2019). He received the Marcantonio Vilaça Curatorial Award (2015) and the Centro Cultural São Paulo curatorial award (2017).
Recent shows include To-and-fro (Centro Cultural Banco do Brasil, São Paulo, 2019), Lost and found (ICA Singapore, 2019), Sleepers – Pierre Verger (Caixa Cultural Rio de Janeiro, 2018), Bestiary (Centro Cultural São Paulo, 2017), When the time presses (Palácio das Artes, Belo Horizonte, 2016), Swipe <surf skate> (Museu de Arte do Rio, 2014) and Soft water, hard rock (1st Clay Biennial, Caruaru, 2014).
Miguel A. López
Co-director and chief curator of TEOR/éTica, a Central American and Caribbean contemporary art Center in San José, Costa Rica
Miguel A. López is a Peruvian writer and researcher. His work investigates collaborative dynamics and transformations in the understanding of and engagement with Latin American politics, and feminist and queer re-articulations of art and culture in recent decades.
He is co-curator of the 21st Contemporary Art Biennial Sesc_Videobrasil (2019), and contributed with the curatorial section God is Queer for the 31th Bienal de São Paulo (2014). He curated several historical exhibitions addressing intersections of art, feminism and politics in the Americas, such as Cecilia Vicuña, a retrospective exhibition at Witte de With, Rotterdam (2019), Virginia Pérez-Ratton. Central America: Desiring a Place (with Maria P. Malavasi) at MUAC, Mexico City (2019-2020), Social Energies/Vital Forces. Natalia Iguiñiz: Art, Activism, Feminism (1994-2018) at the ICPNA, Lima (2018), Balance and Collapse: Patricia Belli, Works 1986-2016 in TEOR/éTica, San José, and Fundación Ortiz Gurdian, Managua (2016-2017) and Teresa Burga: Structures of Air (with Agustín Pérez Rubio) at MALBA, Buenos Aires (2015) among others. He was part of curatorial team for the exhibition Losing the Human Form. A Seismic Image of the 1980s in Latin America, curated by Red Conceptualismos del Sur at the Reina Sofía Museum, Madrid (2012-2013).
López is author of Ficciones disidentes en la tierra de la misoginia [Dissident Fictions in the Land of Misogyny] (Pesopluma, 2019), and Robar la historia. Contrarrelatos y prácticas artísticas de oposición (Metales Pesados, 2017). He co-edited book such as The Words of Others: León Ferrari and Rhetoric in Times of War (together with Ruth Estévez and Agustín Diez Fischer, REDCAT and JRP-Ringier, 2017), Agítese antes de usar. Desplazamientos artísticos, sociales y educativos en América Latina (with Renata Cervetto, MALBA and TEOR/éTica, 2016), among others. His texts have been published in journals such as Afterall, Artforum, E-flux Journal, ramona, Art in America, Art Journal, and Manifesta Journal, among others.
Since 2012 he is member of the curatorial advisory team for the Contemporary Art Acquisition Committee of Lima Art Museum (MALI), Peru. In 2016 he received the Independent Vision Curatorial Award, given every two years by Independent Curators International, New York.
Ugochukwu-Smooth C. Nzewi
Artist, art historian, and the Steven and Lisa Tananbaum Curator in the Department of Painting and Sculpture at the Museum of Modern Art, New York
Ugochukwu-Smooth C. Nzewi was formerly curator of African art at the Cleveland Museum of Art as well as at Dartmouth College’s Hood Museum of Art, Hanover, New Hampshire. Nzewi has curated major international exhibitions including the Dakar Biennale, Senegal, in 2014, and he served on the curatorial team for the 11th Shanghai Biennale in 2016–17. He has lectured and given talks at academic institutions and museums around the world. His recent publications include Emeka Ogboh: Lagos Soundscapes (2019). Nzewi holds a PhD in art history from Emory University; a postgraduate diploma in museum and heritage studies from the University of the Western Cape, South Africa; and a BA in fine and applied arts from the University of Nigeria, Nsukka. As an artist, he has participated in international artists’ residencies and workshops in Africa, Europe, and the United States. He has exhibited internationally and is represented in public and private collections including the Smithsonian National Museum of African Art, Washington, DC, and Newark Museum, Newark, New Jersey.