23–26 November, international curators for Amsterdam Art Weekend
In collaboration with Amsterdam Art, initiator and organizer of the Amsterdam Art Weekend, the Mondriaan Fund will invite 15 international curators to visit the event. This annual three-day art festival highlights the role of Amsterdam as a catalyst for new and up-coming artistic talent. Key institutions such as renowned post- graduate art residencies, galleries and museums will be visited in Amsterdam.
This year’s Amsterdam Art Weekend will take place from 23 – 26 November 2017. In an extensive program of over 100 exhibitions, performances, screenings and debates more than 50 participants showcase the newest developments in contemporary art. The Weekend gives the opportunity to be the first to see tomorrow’s artistic talent unfold at Amsterdam’s cutting edge contemporary art venues.
Daria de Beauvais
Curator Palais de Tokyo
Daria de Beauvais is a curator at the Palais de Tokyo. Previously, her experience has included work with institutions (the Biennale and Peggy Guggenheim Collection in Venice; the Museum of Modern Art and Independent Curators International in New York) and galleries (Zlotowski, Paris; Alessandra Bonomo, Rome; Lili Marleen, New York). She is also a freelance curator. She regularly sits on various juries, and writes for a number of magazines and publications. Amongst her recent exhibitions at the Palais de Tokyo: Mel O’Callaghan “Dangerous en-the-way”, 2017; Mika Rottenberg, 2016; Céleste Boursier-Mougenot, “acquaalta”, 2015; “Inside”, co-curated with Jean de Loisy and Katell Jaffrès, 2014; Julio Le Parc, 2013. She has worked with artist Camille Henrot on her Carte Blanche at the Palais de Tokyo in the Fall 2017.
Head of programs at the Serpentine Galleries, where she oversees exhibitions, as well as educational and digital projects.
Lizzie Carey-Thomas joined the Serpentine Galleries as Head of Programmes in 2015 after 16 years at Tate Britain as Curator of Contemporary Art. Working alongside Artistic Director Hans Ulrich Obrist to devise the programme, she leads the curatorial team in the delivery of the Exhibitions, Public Programmes and Education Projects. During her time at Tate, she was curator of the Turner Prize since 2002 and lead curator of the Art Now series of projects for emerging artists (2002–2012). She worked closely with Nicolas Bourriaud in devising the Tate Triennial: Altermodern (2009) and curated the major Sotheby’s Commissions Fiona Banner: Harrier and Jaguar (2010) and Simon Starling: Phantom Ride (2013). In 2012 she was the lead curator for the exhibition Migrations: Journeys into British Art, which explored the impact of migration on 500 years of British art through the Tate collection. She is a trustee of both The Elephant Trust and Fluxus Art Projects.
Founding Director Delfina Foundation, London
Aaron Cezar is the founding Director of Delfina Foundation, where he curates and develops its interrelated programme of residencies, exhibitions and public platforms. Over the last ten years, he has positioned Delfina Foundation as one of the leading centres for the development of creative practice through ground breaking initiatives, from its highly acclaimed Politics of Food programme to Collecting as Practice, the first-ever integrated residencies for collectors alongside artists. Curatorial and co-commission projects have included Tate, Victoria & Albert Museum, Hayward Gallery, Videobrasil and the Institute of Contemporary Arts, London, among others.
Curator Fondation Louis Vuitton, Paris
Ludovic Delalande is an art historian and curator based in Paris. Since 2011 he is working as curator, exhibitions, collection and cultural program at Fondation Louis Vuitton, Paris. Recently he was co-curator of the exhibitions The insiders and Being there, South Africa a contemporary art scene and the cultural program related.
Director and Curator of the Fiorucci Art Trust, London
Milovan Farronato is Director and Curator of the Fiorucci Art Trust, for which he has developed the ongoing residential itinerant project Roadside Picnic and, since 2011, the yearly festival Volcano Extravaganza in Stromboli. With Paulina Olowska he initiated, in 2014, the symposium Mycorial Theatre in Rabka, Poland, which in 2016 was held in São Paulo. Further collaborations include theMagazine Sessions (2016) with the Serpentine Galleries: performative nights which have included Matt Copson with Felicita and Musarc, Anthea Hamilton, Celia Hempton, Karl Holmqvist, Christian Holstad and Emily Sundblad. He conceived The violent No! as part of the public programme of the 14th Istanbul Biennial, 2015. From 2005 to 2012, he was director of the non-profit organisation Viafarini and curator at DOCVA Documentation Centre for Visual Arts, Milan. From 2006 to 2010 he was Associate Curator of the Galleria Civica di Modena. He was also professor of Visual Cultures at CLADEM, University IUAV, Treviso, Venice, from 2008 to 2015. Recent exhibitions curated by Farronato include Lucy McKenzie’s first solo show in Italy, La Kermesse Héroïque at Fondazione Bevilacqua La Masa, Venice, 2017; Si Sedes Non Is at The Breeder Gallery, Athens, 2017; Prediction at Mendes Wood, DM São Paulo, 2016; Peter Doig’s solo exhibition at Fondazione Bevilacqua La Masa, Venice, 2015; Christodoulos Panayiotou’s solo show at Kaleidoscope Project Space, Milan, 2014; and Arimortis at Museo del Novecento, Milan, co-curated with Roberto Cuoghi, 2013. Milovan Farronato is also part of the curatorial team of the Dhaka Art Summit 2018.
Works with time-based visual arts, community engagement and collective social actions. As a Chinese-Russian-American, Hoover reframes issues of displacement, language failure, and cultural disjuncture. His art takes on many forms including video installation, performance, social practice and installations. It is underscored by values often found in traditional Chinese art practices such repetition, meditation and the utilization of basic non-art materials including water, copper, sweat, and basic found objects. Often Hoover works with conceptual strategies, allowing the concept of the work to guide the form and materials, layering these works with textual or written elements.
In addition to his work as a visual artist, since 2004, Hoover has worked as a curator and gallery director, focusing on participatory design and community engagement as well as empowering audiences through exhibitions, public programs, festival and special events. These range from conventional white wall art shows in museums, galleries and art fairs, to black box screenings, popup happenings, performances, and art in alternative contexts. Some of the more untraditional contexts in which he has curated exhibitions include a variety of public spaces such as garages, moving trucks, parking lots, former military forts and a sea cave. Currently his works as the founder and director of Collective Action Studio, an art production and participatory engagement design company based in San Francisco and works on independent curatorial projects internationally.
Hoover holds Bachelor Degrees in Peace Studies and French Literature from Colgate University, a Master Degree in New Genres Fine Art from the San Francisco Art Institute and a Master Degree of Public Administration of International Management from the Monterey Institute of International Studies. Hoover has performed, curated, and exhibited at numerous venues around the world including the Venice Biennale for Architecture, 2012, as an artist featured in the US Pavilion (Design Action for the Common Good); the Sculpture Quadrenniale Riga, Latvia, 2016; the San Francisco Museum of Modern Art; Art Life Festival in Guangzhou, China 2011; Werkstattkino, München, Germany; Time-Based Art Festival at the Portland Institute of Contemporary Art, Portland, OR, 2011; the Yerba Buena Center for the Arts, San Francisco; the Berkeley Art Museum, and many other venues.
Contemporary Art Curator The Box, Plymouth
Is a curator based in London. She holds an MA in Philosophy and in Art Theory from Goldsmiths College. From 2010 until 2017 she worked as Curator, Exhibitions and Collection at DRAF, London. Since June 2017 she joined The Box, Plymouth, as Contemporary Art Curator. She is a contributor for Cura Magazine.
Director of Wysing Arts Centre, Cambridge
Highly respected and sought after, Donna Lynas has been Director of Wysing Arts Centre since 2005 and has developed Wysing’s identity as a research centre for the visual arts; introducing experimental artists’ residencies and retreats and commissioning and curating ambitious projects including the annual festival of art and music. Many of the artists whom she invites to be in residence at Wysing have gone on to win major awards (The Turner Prize, Jarman Award, Artes Mundi, Paul Hamlyn Artist Award) and show new work in international galleries and museums.
Donna was instrumental in delivering Wysing’s RIBA award-winning capital development project which opened in 2008 and now offers a unique set of facilities including purpose-built artists’ studios. Donna is Chair of the Contemporary Visual Arts Network in the East and plays an active role on the steering committee of the Plus Tate network of Directors.
Previously, Donna was Curator at South London Gallery (1999-2005) where she established the gallery’s influential performance and off-site programmes and worked with artists including Christian Boltanski, On Kawara, Joelle Tuerlinckx and Keith Tyson on their solo exhibitions, alongside curating a number of group exhibitions.
Independent curator and art-critic, St. Petersburg
She focuses on the themes of creative spaces and incubators, self-organizing art initiatives, artist-in-residencies, research based curatorial projects, social engaged art and art as a tool for community engagement. She works as a project manager in the international organization CEC ArtsLink which encourages multi-cultural collaborations between former Soviet republics, Russia and USA. She also co-curated the artist-run space LUDA gallery together with artist and curator Peter Belyi. Besides working in these organizations Lizaveta also curates exhibitions independently in museums, galleries and self-orgaized spaces (recent shows: Dairy, Museum of Freud’s Dreams, St. Petersburg, 2017; Guises. More than Reality, State Theater Museum, St. Petersburg, 2016-2017; Shape of Unseen, Winzavod, Moscow, 2016; The New Blockheads, Moscow Museum of Modern Art, 2016) and advises established institutions about St. Petersburg contemporary art-scene (Garage Museum of Contemporary Art, Moscow; New Museum, NYC, USA). She is also one of the founders of the independent artist-run art fair in St. Petersburg, and she is currently curating the first art fair SAM Fair at the Museum of Street Art, St. Petersburg.
Assistant Curator KW Institute for Contemporary Art, Berlin
Cathrin Mayer is working as Assistant Curator at the KW Institute for Contemporary Art where she programs Bob’s Pogo, a weekly format hosting performances, screenings and performative interventions that maintain an ephemeral character. She worked for the 9th Berlin Biennale as curatorial assistant to DIS. Besides her institutional work she recently curated shows at Forum Stadtpark (Graz) and Oslo 10 (Basel).
Curator Liverpool Biennial, Liverpool
She has been working as Curator at Liverpool Biennial since March 2017. Prior to joining Liverpool Biennial, she was Associate Curator at the Barbican Centre from 2016- 17 and edited the publication The Vulgar: Fashion Redefined (Koenig, 2016). She previously worked with Artangel on the production of numerous large-scale projects from 2009- 2015, including Susan Philipsz’s Surround Me (2010), Ryan Gander’s Locked Room Scenario (2011), Yael Bartana’s And Europe Will Be Stunned (2012), Maria Fusco’s Master Rock (2015) and Jorge Otero Pailos’s The Ethics of Dust (2016). She has also worked with Electra, the Pump House Gallery and as a freelance producer on artist commissions including Daniel Silver’s Boat (2016).
Founding director Block Universe – International Performance Festival, London
Louise O’Kelly is an independent curator and arts professional based in London. In 2015 she founded Block Universe, London’s International Performance Art Festival that takes place annually across major institutions and unique off-site spaces throughout the city. Through Block Universe, O’Kelly curates a programme of performances that cross boundaries between visual arts, music and contemporary dance, creating a high-profile platform to raise the visibility of a new generation of artists. Operating under a single curatorial vision, O’Kelly explores a series of interlinking themes with each edition of the festival, commissioning and producing works by UK-based and international artists.
Previous projects have focussed on performance and the live encounter, manifesting mostly as one-off collaborative, multidisciplinary events in partnership with institutions, artist-run spaces and collectives. Underlining her curatorial practise is a keen interest in the relationship of cultural and embodied memory in performance, and the role of choreography and dance in the visual arts.
O’Kelly regularly speaks on panels in relation to performance and since 2014 co-hosts an ongoing talk series on contemporary art for the Soho House Group. She is also currently Artforum’s Representative for the United Kingdom and Republic of Ireland. She has been nominated for the ICI’s ‘Independent Vision Curatorial Award’ (2016), been nominator for The Arts Foundation’s ‘Live Art’ Award (2017), Jury member for The Celeste Prize – Installation, Sculpture and Performance category (2017), and selector for Delfina Art Foundation’s ‘Performance as Process’ residency (2018). O’Kelly holds a MA in Contemporary Art Theory from Goldsmiths College, London.
Director of the Istanbul Biennial, Istanbul
Örer came aboard on the Istanbul Foundation for Culture and Arts in 2003 and worked in the coordination of cultural and artistic projects until she was appointed director to the Istanbul Biennial in 2008. Since 2009, she has been the advisor of the Pavilion of Turkey at the International Art Exhibition of la Biennale di Venezia. She has acted as a consultant and a jury member for a number of international cultural and artistic projects as well as an independent expert in the European Union’s department that evaluates cultural funds. She was also a member of the project Capacity Building for Cultural Policy in Turkey and a member of the team that wrote the alternative Cultural Policy Compendium of Turkey.
Bige Örer’s breadth of activity embraces both the artistic and the academic fields. In 2017, she curated the group exhibition Flâneuses, an exhibition which explores flânerie from different perspectives and celebrates its potential for creative thought and for reimagining the world. In 2016, she initiated and developed an exhibition of Cansu Çakar, Linear Transcendency at Darat al Funun, Amman. In 2015, she produced an independent exhibition titled Self-Help with İnci Furni and Leyla Gediz at Elhamra Han, Beyoğlu. Together with Fulya Erdemci, she was the co-curator of the ‘Agoraphobia’ exhibition in Berlin, which was a prologue to the 13th Istanbul Biennial.
Her contribution in various publications includes the research she co-conducted on the financing of international contemporary art biennials. She was the co-author of the children’s book A Colourful Journey In A Time Machine: Istanbul Biennials for Children with Süreyyya Evren. She has also been teaching, between 2011 and 2013, courses on the subject of managing biennials and international exhibitions at the Istanbul Bilgi University. Since March 2013, she is the vice-president of the International Biennial Association.
Her main lines of action is focused on the analysis of the perception of the work of art in society as its consideration as labour. This study started with the research Artist working, (thinking on) new economies, a report and exhibition about the labour conditions in the contemporary art, in collaboration with Ana Leticia Fialho for the sociological considerations. Likewise, she is part of History in display (WT), a collaborative project with contemporary artists on critical insertion in Brazilian museums.
Following these two lines of investigation, she curated Emmathomasteca; Error as a star; Sublime and Dystopia, Ícaro Lira: General Field, and WORK – DO +, in São Paulo, Brazil; History is written by the victors, Felipe Ehrenberg 67//15 and its public program Visual scores, and After, Despois, Según, in Madrid, Spain; Rafa Munárriz, Sulla curva chiusa in Cagliari, Italia; and Applications of the various flow theories, with Carlos Amorales and Los Torreznos as guests in Buenos Aires, Argentina.
She has written several texts for artists –Ricardo Alcaide, Marlon de Azambuja, Alberto Casari, Cristina Garrido, Julius Heinemann, Victor Leguy, Bruno Moreschi, Yoshua Okón, Sara Ramo, Flora Rebollo, Matheus Rocha Pitta, Sara&André, Tercerunquinto or Fábio Tremonte among others– and she also writes for magazines as Arte al día, arthishock and a-desk.org.
Marta Ramos-Yzquierdo is an art historian from the UCM, Madrid, MA in Cultural Management from Instituto Ortega y Gasset, and she is part as curator of the ICI New York (Bogotá, 2014). After five years living in Chile, in 2009 she moved to Brazil where she was director of Galeria Baró. Between August 2012 and July 2013 she was appointed director of the independent art center Pivô. Back in Spain, she has run the LOOP Fair 2017. Nowadays she is living in Barcelona, where she continues working in her researches and new projects.
Curator Centre for Contemporary Arts (CCA), Glasgow
Ainslie Roddick is Curator at the Centre for Contemporary Arts, Glasgow. She managed CCA’s open source programme from 2012-2017. Recent projects include The House that Heals the Soul, a library exhibition space exploring the radical potential of libraries and publishing, and The Sky is Falling, with Black Audio Film Collective, Laura Oldfield Ford, Clara Ianni, Dora Mejía and Carol Rhodes – an exhibition and long-term event program examining the disposition and potential of urban space. Ainslie is editor of 2HB – a journal for artists’ creative writing published by CCA, and is co-founder of Publication Studio Glasgow. She was selected for the most recent Curatorial Programme for Research residency in the Baltic sea region, which took place in October 2017. She co-founded the artist project space The Duchy with artist Lauren Printy Currie in 2009 and is currently enrolled in the Curatorial / Knowledge Masters in Research programme at Goldsmiths University, London.