24–27 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 24 – 27 November 2016. 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.
Director of the Kunstverein für die Rheinlande and Westfalen
After studying Art History and Cultural Anthropology in Cologne, Berlin and Havana, she worked at the Kunstverein in Hamburg and co-directed Halle für Kunst Lüneburg. From 2010-2016 she was curator of the KUB Arena, the KUB Billboards, and the KUB Projects at Kunsthaus Bregenz. In 2014 she was in charge of the program of Ludlow38 Curatorial Residencies in New York, since 2015 she has been curating the LISTE Performance Project in Basel. Her curatorial practice is characterized by its collaborative nature and its focus on the interrelations of diverse discourses and modes of working within the cultural field. Currently she collaborated with artists such as Alexandra Bachzetsis, Anna-Sophie Berger, Daniel Buren, Maja Cule, Keren Cytter, Feminist Land Art Retreat, Alicia Frankovich, keyon gaskin, Gaylen Gerber, Trajal Harrell, Suchan Kinoshita or the Studio For Propositional Cinema, and featured solo debuts by Dora Garcia, Ulrike Müller, Johannes Paul Raether and Amy Sillman amongst others. Substantial texts by Birkenstock are published on Charlotte Moth (Kunstmuseum Liechtenstein), Lea Lublin (TzK) or Ulrike Müller (TzK), furthermore is she editor of the KUB Arena publication series and of its volumes On Performance (with Joerg Franzbecker), Beginning Good. All Good (with Kerstin Stakemeier/Nina Köller), Art and Ideology After 1989 (with Max Jorge Hinderer Cruz/Jens Kastner/ Ruth Sonderegger), and the soon to be released publication on KAYA (Kerstin Brätsch, Debo Eilers & Kaya Serene).
Curator at Fondazione Sandretto Re Rebaudengo
She holds a degree in Media Studies, Semiotics and Sociology from the University of Bologna and in Visual Arts from the IUAV University in Venice. Among the exhibitions she curated Drama Machine. Sergey Sapozhnikov (Rostov-on-Don, Russia, 2016); Adrián Villar Rojas. Rinascimento (Turin, 2015); Fobofilia (Turin, 2015); Soft Pictures (Turin, 2013); Deep Feelings. From Antiquity to Now (Kunsthalle Krems, 2013; co-curated with Hans-Peter Wipplinger); Sunt Lacrimae Rerum (Turin, 2013); Press Play. Art and the Information Media (Turin, 2012); Modernikon. Contemporary Art from Russia (Turin and Venice, 2010; co-curated with Francesco Bonami); Investigations of a Dog. Works from FACE Collections (Turin, 2009; travelled to Paris, Stokholm, Cascais and Athens, co-curated with FACE). She is tutor and teacher of Curatorial Methodology of Campo – Curatorial Course and was teaching assistant at IUAV University in Venice.
Her work is informed by her background in economics and social sciences and an interest in performativity and modes of communication. She is currently associate curator at Onomatopee project space and publisher in Eindhoven. Together with Sara Giannini they also form The Translation Trip, a research trajectory investigating translation as practice, philosophical notion and curatorial device.
Writer, curator, and stage designer
She is currently the Director and Curator of REDCAT/CalArts in Los Angeles and founder and co-director of LIGA-Space for Architecture in Mexico City, an exhibition platform dedicated to the experimentation in the field of architecture and urbanism. Between 2007 and 2011, Estévez served as the chief curator at the Museo de Arte Carrillo Gil, Mexico City. She has written for numerous exhibition catalogues and art publications and has independently organized exhibitions in Spain, France, Belgium, and the United States, as well as in Mexico.
Visual Art Curator at the Steirischer Herbst Festival, Graz, Austria
From 2009 to 2012, he was the Director of ar/ge kunst Galerie Museum in Bolzano, Italy. A Helena Rubinstein Curatorial Fellow at the Whitney Museum ISP in New York (2008-09), he has written for publications such as Artforum, Mousse, Flash Art, Domus, Art Asia Pacific, Site and is a co-author of Tobias Putrih (Slovenia, 2015), Clement Greenberg. L’avventura del modernismo (Italy, 2011), and Time Out of Joint: Recall and Evocation in Recent Art (Yale University Press, 2009). In 2016 he is a curator of the XVI Quadriennale d’Arte in Rome, Italy and Present Future at Artissima in Turin, Italy.
Curator, cultural manager and writer
Mariana holds a BA in Social Communication from FAAP (São Paulo), and an MA in Arts Politics from NYU Tisch School of the Arts. Her work is focused in the alternative management for independent art spaces and in investigating the body as a political tool in the contemporary art. Currently Mariana works as general coordinator at Casa do Povo, an independent cultural space located in downtown São Paulo. While struggling with structural issues, she and her team develops an experimental, transdisciplinary and cutting-edge contemporary cultural program, connected with local and international community. Besides that, Mariana has curated exhibitions, collaborates with texts for artists and other institutions and co-edits Casa do Povo’s newspaper. She currently lives and works in São Paulo, Brazil.
Critic and curator based in Verona and Milan
Since 2005, he has curated exhibitions in private and public spaces in Italy and abroad, often focusing on the dialogue between sculpture and other media (photography, performance, sound, etc). Recent exhibitions on this subject include the cycle The Camera’s Blind Spot. Sculpture/Photography: Recent Examples (MAN, Nuoro, 2013; Extra City Kunsthal, Antwerp, 2015; Palazzo de’ Toschi, Bologna, 2016) and The Warm Statues. Sculpture – Body – Action, 1945-2013, Museo Marino Marini (Florence). Other recent exhibitions include Michael E. Smith, Triennale di Milano, 2014; LE SILENCE. Une fiction, Nouveau Musée National de Monaco, 2012; Bouvard and Pécuchet’s Compendious Quest For Beauty, David Roberts Art Foundation, London (co-curated with Chris Sharp), 2012.
He has written a number of critical texts on contemporary art that have appeared in the publications of international institutions, such as Ludwig Museum (Budapest), Kunstforum Aachen, Camden Arts Centre (London), Fondazione Prada (Milan and Venice), S.M.A.K. (Ghent).
He teaches History of exhibitions at the European Institute for Design (Rome) and he’s a contributor to Artforum.
Chief curator at the Musée d’Art Moderne de la Ville de Paris, in charge of the video collection.
Since “Francis Picabia. Singulier idéal” (2002-2003), he has collaborated to several exhibitions of the museum, such as “Bonnard. L’œuvre d’art: un arrêt du temps” (2006) and “Ready to Shoot”, on Gerry Schum and Ursula Wevers’s video projects in the 60s-70s, organised with the Kunsthalle Düsseldorf (2004). From 2007 to 2010, he curated the Salle Noire Projects: “Emmanuelle Antille. Barricata”, “Clarisse Hahn. Boyzone”, “Joël Bartoloméo. Portraits”, “Florence Lazar. Faire” and “Alexandra Leykauf”. Then, he organised in the ARC space the exhibitions of Didier Marcel (2010-2011), Ryan Trecartin and Lizzie Fitch (2011-2012) with Odile Burluraux, Roman Ondák (2012), Zeng Fanzhi (2013-2014) with Marine Guyé, David Altmejd (2014-2015) with Robert Vifian, and “Pandora’s Box: Jan dibbets on Another Photography” (2016).
Art historian and the director of Lenbachhaus und Kunstbau in Munich
From 2005 to 2013 he was Head of the Department Collections / Exhibitions / Research and Chief Curator for Art after 1945 at Lenbachhaus. Matthias Mühling majored in art history, theater-, film-, and television studies, and political science at the University of Bochum. From 1999 to 2000 he received a grant from the international graduate school Representation—Rhethoric—Knowledge at the European University of Frankfurt/Oder. In 2001 he was a visiting fellow in the Poetics and Theory Program at New York University. From 2003 to 2005 he worked as an assistant curator at the Hamburger Kunsthalle were he curated shows on The Self on Stage—Self Portraits since 1945 and Samuel Beckett and the Visual Arts. As an author and curator he has realized many publications and organized major retrospectives and exhibitions on the art of the 20th and 21st centuries. His exhibitions included by Monica Bonvicini, Angela Bulloch, Tom Burr, Pablo Bronstein, Willie Doherty, Marcel Duchamp, Cerith Wyn Evans, Maria Lassnig, Kraftwerk, Sarah Morris, Marcel Odenbach and Florine Stettheimer as well as group exhibitions of video art, young Munich artists, labor conditions, or the De Stijl movement.
Director of Collection International Art at Tate, United Kingdom
Gregor Muir has been recently appointed as Director of Collection, International Art at Tate and takes up his post starting January 2017. From 2011 – October 2016 Gregor was the Executive Director of the ICA. Gregor has overseen a programme featuring exhibitions by Tauba Auerbach, Zhang Enli, Richard Hamilton, Bruce Nauman, Jude Blame and Juergen Teller as well as Off-Site exhibitions in Birmingham, London and Hong Kong. Gregor frequently chairs talks with artists, including Lynda Benglis, Tracey Emin and Gilbert & George, and was instrumental in the construction of the Frieze London talks programme.
From 2004 – 2011, Gregor was Director of Hauser & Wirth, London, organising exhibitions in London, Zurich and New York with artists such as Louise Bourgeois, Francis Picabia and Wilhelm Sasnal. Gregor worked as the Kramlich Curator of Contemporary Art at Tate where he co-curated the first moving image show Time Zones at Tate Modern, and In-a-Gadda-da-Vida with Angus Fairhurst, Damien Hirst and Sarah Lucas at Tate Britain, both in 2004. He also worked on contemporary art acquisitions for Tate Collections, and curated several displays of contemporary art from the Tate collection including a special focus on the 1971 Robert Morris exhibition and Carl Andre’s Equivalent series (aka The Bricks).
Independent curator and researcher based in Lausanne, Switzerland
Also curator of Hard Hat, a non-profit art space in Geneva dedicated to publishing multiples and presenting emerging artists. Interested in art practices engaged on a social and political level, he has organized the first monographic exhibition in Switzerland of artists such as Pauline Boudry/Renate Lorenz (CH/DE), Klat (CH), Yuri Leiderman (RU), Adrien Missika (F), Christodoulos Panayiotou (CYP), and Ming Wong (SG). Curator at the Contemporary Art Center in Geneva for 8 years, he has also curated the first solo exhibitions of Aleksandra Domanovic (SL) and Oliver Laric (DE) in France for Villa du Parc in Annemasse. He has organised several screenings and lectures on sexuality and identity, amongst which for Shift festival at the Schaulager in Basel, for Eternal Tour Festival in Jerusalem and Ramallah, and for Exterritory Project in Eilat. He has curated group exhibitions on contemporary art and classical music such as Play Bach at Circuit in Lausanne in 2011, Maison opera at the Bâtiment d’art contemporain in Geneva for the Electron festival in 2012, and The Artwork of the future or the time expanded for the Wagner Geneva Festival and the Musée d’art et d’histoire in 2013. Other group exhibitions took place at mudac, Lausanne Design Museum and Rotwand Gallery in Zurich. He also writes for several magazines such as Le Phare, Annual, Novembre, Dorade, Edelweiss and Kunst-bulletin, and for catalogues on Sylvie Fleury, Adrien Missika and Pauline Boudry/Renate Lorenz. Since 2013, he is part of the research group “Politics of Memory and Art Practices: The Role of Art in Peace and Reconstruction Processes” funded by the Swiss National Science Foundation (SNSF) and has curated an important exhibition, Beyond The Monument, at the Bâtiment d’art contemporain in Geneva. His curatorial practice was awarded with a Swiss Art Award in 2013.
Pontbriand W.O.R.K.S. [We_Others and myself_Research_Knowledge_Systems]
Chantal Pontbriand is a contemporary art curator, critic, and art consultant, whose work is based on the exploration of questions of globalization and artistic heterogeneity. She has curated numerous international contemporary art events: exhibitions, international festivals and international conferences, mainly in photography, video, performance, dance and multimedia installation.
She was a founder of PARACHUTE contemporary art magazine in 1975 and acted as publisher/editor until 2007, publishing 125 issues. After curating several major performance events and festivals, she co-founded the FIND (Festival International de Nouvelle Danse), in Montreal and was president and director from 1982 to 2003. She was appointed Head of Exhibition Research and Development at Tate Modern in London in 2010 and founded PONTBRIAND W.O.R.K.S. (We_Others and Myself_Research_ Knowledge_Systems) in 2012. In 2015 and 2016, she worked on the development of Demo-Graphics for the Greater Toronto Area, and, briefly as CEO-Director at the Museum of Contemporary Art in Toronto. In 2013, she received the Governor General of Canada Award for an Outstanding Contribution in the Visual and Media Arts, in 2014, an Honorary Doctorate from Concordia University, Montreal, and the distinction of Officier de l’Ordre des Arts et Lettres in France (Officer of the Arts and Letters Order of France).
Curator, writer and amateur botanist
With a background in philosophy, economics and art history currently working at the Academy of the Arts of the World in Cologne. As a curator she is pursuing experimental practices in-between literature and visual arts, ex. gonzo curating – a creative practice conceived as a process of appropriation of any phenomena by means of constructing a semi-fictional narrative around it. Gonzo curating manifests itself in performative lectures and guided tours involving virtual institutions of art, fictional artists and non-existent exhibitions. As a writer she creates unconventional texts in-between fiction and art criticism inspired by the concept of anti-documentation. As a botanist, she is currently working on an artistic book about relations between humans and houseplants.
Curator of contemporary art at the Musée cantonal des Beaux-Arts Lausanne
She graduated from the University of Lausanne with an MA in Art History, and from the University of Leeds with an MA in Feminist Theory, History & Criticism in the Visual Arts under the supervision of Griselda Pollock. From 2000 to 2005 she was assistant curator at Kunstmuseum Bern in the departement of drawings, prints and video, and after a year as Fulbright Visiting Student Researcher at New York University in 2005-2006, she took on her current position at the Musée cantonal des Beaux-Arts, Lausanne. There, she has curated among others Alfredo Jaar. The Politics of Images (2007); Renée Green. Ongoing Becomings 1989-2009 (2009); Esther Shalev-Gerz. Between Telling and Listening(2012); Making Space. 40 Year of Video Art (2013) ; Kader Attia. The Injuries Are Here (2015), and is currently preparing a solo show with Yael Bartana for the spring 2017.
Curator at Pirelli Hangar Bicocca in Milan
Joining the curatorial team at Pirelli HangarBicocca in 2015, she recently curated the exhibitions Space Shuttle in the Garden by Petrit Halilaj and GDM – Grand Dad’s Visitor Center by Laure Prouvost. Her future curated projects include solo shows by artists Rosa Barba and Matt Mullican. Part of the curatorial team of the 55th Venice Biennale, where she served as Assistant Curator for artistic research and special projects, between 2006 and 2015 she worked at the Nicola Trussardi Foundation in Milan in the capacity of Assistant Curator and Special Projects Manager, organizing various projects and solo exhibitions with international artists such as Jennifer Allora & Guillermo Calzadilla, Pawel Althamer, Tacita Dean, Peter Fischli and David Weiss, Cyprien Gaillard, Paul McCarthy, Paola Pivi, Pipilotti Rist, and Tino Sehgal and, more recently, the group show The Great Mother. While developing and collaborating to various other curatorial independent projects, she was also part of the curatorial team of the 4th Berlin Biennale in 2006 and she was Guest Curator at Gertrude Art Spaces in Melbourne in 2006. She has written several exhibition texts and contributed writings to numerous magazines as Abitare, Mousse, Domus, Flash Art and Muse, and has collaborated on many editorial projects, more recently with Hatje Cantz, Mousse Publishing and Skira. She has lectured regularly at various institutions, including Università degli Studi di Milano, Università Cattolica del Sacro Cuore, and Il Sole 24 Ore Business School.