6-9 February – Curators Program Mondriaan Fund in collaboration with Art Rotterdam 2020
In collaboration with Art Rotterdam the Mondriaan Fund has invited a group of curators from different countries to participate in this year’s curators program during the 21th Art Rotterdam art fair between 6 and 9 February 2020. The visit includes a VIP viewing of Art Rotterdam, special visits and guided tours to important cultural institutions and contemporary art centres in Rotterdam, Breda and Tilburg as well as a number of social and professional networking events, specially hosted parties and dinners. The exhibition Prospects & Concepts, organized by the Mondriaan Fund in the old distribution center of the Van Nellefabriek, is part of the art fair.
Marlies Augustijn (6-9.02)
Dutch curator and writer based in London
Marlies Augustijn’s core interests lie with interdisciplinary projects connecting current sociopolitical debates, scientific research and art, non-art spaces, and the potential of the nocturnal city for the arts. Marlies often works in the context of live events and performance art. She is currently Assistant Curator for Block Universe, an international performance art festival and commissioning body based in London, and Programme Maker London Night for Extra Extra, a Rotterdam-based multidisciplinary platform exploring the sensuality of contemporary urban life.
Previously she has worked as Assistant Curator for DRAF (David Roberts Art Foundation), a non-profit organisation for contemporary art in London, where she was involved in the development of the artistic programme including DRAF’s Curators’ Series and annual Evening of Performances, and managed the David Roberts Collection. Marlies contributed to DRAF’s Study Series, a series of case-studies highlighting works from the collection, by conducting in-depth research into Miroslaw Balka’s practice resulting in an extensive essay and public in-conversation. Marlies has also worked in exhibition and events management for visual arts centre The Darling Foundry in Montreal, and annual contemporary arts festival Art Night in London.
Marlies has recently co-curated Alt-Age: Designing Belief, a one-day festival of talks, film screenings, live performances and a publication taking place at the Design Museum in London (2018), and SMOG, an exhibition with coinciding publication at Arthill Gallery, London (2018).
Marlies is a regular contributor to Dutch magazines GLAS and KLEI for which she writes about contemporary glass, design and ceramics. She holds an MA Curating Contemporary Art from the Royal College of Art, London, and a BA Liberal Arts and Sciences from Amsterdam University College.
Sarina Basta (6-9.02)
Curator and producer based in Paris
Sabrina Basta’s approach combines the work of artists both emerging and established, as well as filmmakers, performers, and musicians within the research of new forms of attention. She has served as curator at the SculptureCenter in New York from 2006-2009, and has recently been appointed “Gulbenkian Curator” at the Beaux-Arts (ENSBA) in Paris. She has organized numerous acclaimed international exhibitions, such as Oceanomania with Mark Dion at the Nouveau Musée National de Monaco and the Oceanographic Museum of Monaco; The Prompt for Performa, the Biennial of Performance to which she contributed until 2011, and the group exhibition The Happiness of Objects at SculptureCenter, both in New York. Recently, she was a tutor in the SPEAP program in SciencesPo Paris, created by anthropologist Bruno Latour and Valérie Pihet and seminar leader at the Haute Ecole d’Art et de Design at the HEAD Work. Master in Geneva, exploring questions of language and attention in artistic practices. She is author of Vito Acconci’s chronologie raisonnée published by MACBA, Barcelona in 2005. Her articles have been published in Texte Zur Kunst and Flashart International.
Nouha Ben Yebdri (6-10.02)
Independent curator and researcher based in Tangier, Morocco
Nouha Ben Yebdri is an independent curator based in Tangier, Morocco. After her studies in Madrid, she has worked as a writer at NOTODO.COM, La Fábrica’s online magazine and as an editor in Edelvives editorial house. In 2015 she returned to Morocco and became project manager at Trankat Art Residency (Tetouan, Morocco). Since November 2016, she is the founder and artistic director of Mahal, an interdisciplinary art space dedicated to contemporary art practices and researches in Tangier. Nouha Ben Yebdri is also a member of Madrassa, a curatorial collective who considers exhibition-making as a critical endeavor, by experimenting and investigating collective practices and cross-border collaborations.
Her research is based on the different learning processes related to artistic practices and through this latter, by conceiving art spaces as a place for non-institutionalized capacity development, which opens up to creativity, encounter and experimentation, as opposed to the pedagogical system of different official entities that historically monopolize this function, and which still nowadays, reproduce the curricula established during colonial times.
At the same time, she focuses on contemporary art studies that weave artistic practices in Morocco, Algeria, and Tunisia, through the lens of postcolonialism, identity, and gender studies and how new media shapes these notions in the contemporary lifestyle in these contexts.
Meike studied art history, classical archaeology and modern German literature in Saarbrücken, Madrid and Frankfurt am Main. She organised and realised solo exhibitions with, among others, Marjetica Potrc, Thea Djordjadze, Judith Hopf, David Jablonowski, Melanie Bonajo and Nel Aers as well as group exhibitions with the titles J’adore or Schluss mit Reden, spielen wir!. Since 2014 she is the chairwoman of the ADKV (Arbeitsgemeinschaft deutscher Kunstvereine) in Berlin. Moreover, she is founder of the exhibition project rraum in Frankfurt am Main and Hamburg (1995 to 2006).
Pieter Boons (6-9.02)
Senior curator Middelheim Museum, Art park Antwerp (BE)
Since 2008 Pieter Boons (°1980, BE) has been affiliated with the Middelheim Museum and in 2017 he has been appointed curator. The Middelheim Museum is founded in 1950 as an open air museum for contemporary sculpture in a protected landscape. It’s a free and open air museum where a permanent display of some 500 artworks are being altered with temporary exhibitions. The Middelheim likes to experiment in close collaborations with contemporary artists often resulting in making new commissions, tailor-made for the museum collection or the exhibitions. Therefor Pieter Boons ‘ curatorial practice needs to be hands-on and so it often starts pragmatically from the making itself of artworks or exhibitions. He has worked very closely with artists such as Roman Signer, Erwin Wurm, Kader Attia, Monster Chetwynd, William Forsythe and Andrea Zittel amongst others.
Although most projects test the resilience of sculpture in the most broad sense, the projects relate themselves to an (inter)national zeitgeist where issues as gender, power structures, the politics of identity and the history of imperialism are never far away. In 2019 the museum had a big focus on performance art, programming national and international pioneering artists in an extensive performance program and in 2 soloshows: Ria Pacquée and Ana Mendieta. For the coming projects in 2020, the Middelheim Museum will function as an urban postcolonial utopia, unfolding its own unseen colonial history in the exhibition Congoville (13 june 2020 – 18 okt 2020) and the symposium Zooming in – Zooming out, on colonial monuments on march 20th 2020 (cocurated with Samuel Saelemakers).
Before his assignment as a curator, Pieter Boons was working under the name HEIMAT as an independant architect, scenographer and cultural producer for Designvlaanderen, Flanders Fashion Institute, SMAK, BOZAR & M Leuven amongst others. In Borgerhout, suburbian Antwerp, he co-initiated and artist run space Conflictroom (2010) and ran his own HEIMAT projectspace (2012-2017), both independent alternative art platforms. He worked with Arthur Zmjevski, Wendy Morris, Sarah Vanagt, Rinus van de Velde, Luc Deleu, Bernhard Willhelm, Manor Grunewald and many others in often short, intensly diverse and precarious projects ranging from lectures, screenings, exhibitions and editions as conversations on bridging disciplines and opinions.
Mikkel Elming (6-9.02)
Danish curator of contemporary art primarily based in Aarhus (DK)
Curator at Kunsthal Aarhus, director of Regelbau 411 and chairman of Foreningen for Samtidskunst (The Association of Contemporary Art)
Mikkel Elming holds an MA in Art History with a Master’s thesis in “Curating and Curiosity” and a Special Profile in International Communication & Intercultural Competence, and a BA in Art History and Journalistic Communication with a Bachelor’s thesis about ”The End of Art”, all from Aarhus University (2014-2019). Elming is a curator at Kunsthal Aarhus, which is one of Denmark’s oldest (build in 1917) and most important contemporary art centres. In August 2020 he will be curating an exhibition inspired by and named after the book “The Ignorant Schoolmaster” (1987) by Jacques Rancière. Mikkel Elming is the first curator to be employed as such by Kunsthal Aarhus apart from the artistic director.
Elming is the director of Regelbau 411 which is an international art centre of sound, light and video art in two WWII bunkers located on the southern peak of the peninsula of Thyholm in the City of Sound, the municipality of Struer, Denmark. The bunkers opened in the summer of 2018 and is currently showing the eighth exhibition. Elming is the chairman of Foreningen for Samtidskunst (The Association of Contemporary Art), which is an association founded in 2016 with two fellow students. Today the association has +120 members in Aarhus, Copenhagen and Amsterdam. The association is an open platform for contemporary art projects, exhibitions and network – focusing especially on giving young artists and curators professional experience. Among the projects, the association has been curating a yearly exhibition of transitory art called Aarhus Artspace.
This summer Mikkel Elming has launched a new freelance project in collaboration with the Danish curator Konrad Nielsen working towards the opening of a new museum, beginning with a Phase 0 called Becoming an Institution or How We Learned to Stop Exhibiting and Love the Museum. The aim of Phase 0 is to conceptualize the museum to be through exhibitions and collaborations with artists.
Mikkel Elming mostly works with transitory and performative media and common themes in his curatorial practice are temporality, site-specificity, social engagement, education, communication, contemporary human condition, posthumanism, challenging conventional curation, and performativity.
“Most dominantly, I have a recent interest in pointing out and challenging conventions of temporality in institutional exhibitions. I want art to be present, alive and used by the experiencers. I want to work with and to challenge artists to make art for display formats that are shaped by this aliveness of the art experience.”
Jannie Haagemann (6-9.02)
Senior curator Copenhagen Contemporary (DK)
Jannie is Head of Exhibitions and Senior Curator at Copenhagen Contemporary (CC), and since 2015 part of the management and the development of this new institution since its start up at the Paper Island in the inner harbor of Copenhagen – and with the continuation in a new venue at Refshaleøen in June 2018. She has a MA in Modern Culture and cultural dissemination, first years of study in Comparative Literature at the University of Copenhagen and completed a diploma in Culture Management from University College Zealand in 2016.
Jannie has worked as a curator since 1995 at various art institutions in Denmark, among them Gl. Strand, Danish Arts Foundation, and the Faurschou Foundation.
She has written and lectured on globalization and the new internationalism in the international art world in the past decades with the emergence of the many biennials outside the West, on postcolonialism, cultural theory and relational aesthetics.
Olga Hatzidaki is a curator and cultural producer based in Athens, Greece. She holds a degree in Media Theory, Communication and Culture (Panteion University, Athens) and an MA in Contemporary Art Theory (Courtauld Institute of Art (London)). Olga has been curating exhibitions and projects of various forms and formats in and around Athens during the last several years as locus athens, a nomadic curatorial scheme she is co-directing, interested in public space. Among the various artists she has collaborated are Marjetica Potrç, Tarek Atoui, Dor Guez, Valentina Karga, Jonas Dahlberg, Maria Papadimitriou, Inas Halabi, Angela Melitopoulos, Paky Vlassopoulou. Recently she has founded TAVROS, a non-profit space in Athens, which aims to look closely at issues of equality, democracy, human rights and ecology.
Patrizia Keller (cancelled)
Curator and Deputy Director Museum of art of Nidwaldner (CH)
Patrizia Keller is the Curator and Deputy Director at Museum of Nidwalden in Switzerland, a multidisciplinary venue, where she is primarily responsible for the artistic field. Since 2016 she has curated and co-curated several exhibitions such as a solo exhibition with Christian Philipp Müller (2016), a duo-show with Augustin Rebetez and Laurent Güdel (2017), a group exhibition about the architectural magazine «archithese» with Samuli Blatter, Katalin Déer, Gregor Eldarb and Sophie Nys (2017–2018) or «Collisions», a dual presentation of Luc Mattenberger and Max Philipp Schmid (2018), and a solo exhibition about the photographer Leonard von Matt (2018). She is also the publisher and creator of the publication series accompanying the shows and she was in charge of the entire content and design reorientation.
From 2014 to 2018 she held the chair of the Department of Visual Arts & Performance at the Aargauer Kuratorium (Institution for Cultural Promotion Canton of Argovia) in Switzerland.
Prior to this, she worked at University Zürich, Art History Institute as visiting professor, at Kunsthalle Bern, Kunstraum Baden, as a research trainee at Kunstmuseum Luzern and at Gallery Häusler Contemporary Zürich. From 2012 to 2015 she was the curator and co-director of the non-commercial exhibition space Trudelhaus Baden, Switzerland.
Patrizia Keller holds a PhD in History of Art from the University of Zürich. Her research project (2010–2015) about the promotion of fine art in Switzerland since the 1980s was funded by the Swiss National Fund.
Alice Pialoux is particularly interested in discursive forms such as interviews, talks or lectures. She studied Art History at University Paris 1 Pantheon-Sorbonne, and dance and Theatre History at University Paris 3 Sorbonne-Nouvelle. Her work focused on Douglas Huebler’s artist books. She founded in 2013 with Alice Dusapin the magazine octopusnotes. Baptiste Pinteaux and Martin Laborde joined the team in 2017. Over the years, octopusnotes invited critics and researchers such as Sabrina Tarasoff, Naoki Sutter-Shudo or Zoé Stillpass. They presented interviews with artists such as Alexandra Bircken or Alexandre Estrela, essays on Philip Guston, Seth Price or Bern Porter and artist editions by Bruno Serralongue, Cosey Fanni Tutti or Ana Jotta, among other others. They are currently working on the 10th issue for spring 2020.
In her position at the Centre Pompidou Alice Pialoux is involved in the development of programs such as MOVE festival, dedicated to performing arts, and in various invitations to participate in conferences and talks.
Nicolas Raufaste (6-9.02)
Office member Centre d’art Neuchâtel (CH)
The Centre d’art Neuchâtel (CAN) is run by the association Kunstart. The CAN team is made up of a committee and an office. The latter composed of artists, curators and technicians, responsible for the program and work together as a horizontal organisation and in a collaborative way. The office shares the common tasks of any art center and the knowhow of each is also shared so as to meet the requirements for the production of contemporary art exhibits, as well as the public mediation. The artistic, technical, practical decisions and salaries, are made together.