In 2010 ICI launched PROJECT 35, a program of single-channel videos selected by 35 international curators who each chose one work from an artist they think is important for audiences around the world to experience today. The resulting selection has been presented simultaneously in more than 30 venues around the globe, inspiring discourse in places as varied as Berlin, Germany; Cape Town, South Africa; Lagos, Nigeria; Los Angeles, California; New Orleans, Louisiana; Skopje, Macedonia; Storrs, Connecticut; Taipei, Taiwan; and Tirana, Albania. Following the widespread popularity and success of PROJECT 35, ICI is collaborating with 35 more international curators to produce PROJECT 35 VOLUME 2.
ICI is once again drawing from its extensive network of curators to trace the complexity of regional and global connections among practitioners and the variety of approaches they use to make video. 35 curators from 6 continents each chose one work for this compilation, showcasing a variety of artists’ takes on the medium.
Born in Afghanistan and based in New York, Leeza Ahmady is an independent curator, the Director of Asian Contemporary Art Week (ACAW), and dOCUMENTA(13) Agent. Ahmady has traveled widely in Central Asia, presenting the largely unknown artists of the region in international art forums such as the Venice Biennale, Istanbul Biennial, and Asia Art Archive in Hong Kong. She directs Asian Contemporary Art Week (ACAW), an annual event initiated by the Asia Society, New York, comprising a series of special exhibitions, lectures, and performances at leading city museums and galleries. Ahmady’s efforts in complicating categorical notions about Asia have resulted in an expanded list of participating artists, and a broad consortium of venues that support the initiative, such as the Guggenheim Museum and the Museum of Modern Art.
Meskerem Assegued is an anthropologist, curator, and writer. In 2002, she founded ZCAC (Zoma Contemporary Art Center), an artist residency located in Addis Ababa and Harla, a small village south of Dire Dawa, Ethiopia. Over the last 16 years, Meskerem has curated numerous exhibitions both in Ethiopia and abroad. These include Giziawi #1, an art happening in Addis Ababa (2002); Devine Light by David Hammons at ZCAC (2003); Green Flame with Elias Sime, Ernesto Novelo, and Julie Mehretu; and the co-curated Eye of the Needle, Eye of the Heart by Elias Sime with Peter Sellars (2009). She was a member of the selection committee for the 2004 Dak’Art Biennale and the 2007 Venice Biennale African Pavilion, and is currently doing research for an upcoming exhibition at the Staatliche Kunstsammlungen Dresden, Germany.
Daina Augaitis has been the chief curator/associate director at the Vancouver Art Gallery, Canada, since 1996, where she plays a key role in shaping the museum’s exhibition program and building its collections. In the last decade Augaitis has organized solo exhibitions of artists such as Rebecca Belmore, Stan Douglas, Brian Jungen, Song Dong, Ian Wallace, Gillian Wearing, Paul Wong, and Yang Fudong, and thematic exhibitions that have featured socially based works. She was formerly director of the Visual Arts Program at the Banff Centre for the Arts, where she organized residencies for artists and curators, and has held curatorial positions at the Walter Phillips Gallery, Western Front, Convertible Showroom, and Franklin Furnace. Augaitis recently curated the exhibition Muntadas: Entre/Between at the Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain, touring to Gulbenkian Museum, Lisbon, Portugal, and Jeu de Paume, Paris, France.
Defne Ayas is the Director and Curator of Witte de With, Center for Contemporary Art in Rotterdam. Before that, Ayas worked as a director of programs of Arthub Asia and as an art history instructor at New York University in Shanghai. Ayas has also been a curator/programmer of PERFORMA since 2004, the biennial of visual art performance based in New York City, where she has managed the biennial’s collaborative partnerships with a consortium of 80+ cultural institutions across New York City and (co-) organized acclaimed projects and programs with an international roster of artists, architects, curators, and writers. She remains a curator-at- large at Performa. In September 2012, Ayas co-curated the 11th Baltic Triennale (with Benjamin Cook, LUX).
Regine Basha completed her undergraduate degree in Studio Art and Art History at Concordia University in Montreal, Canada and went on to direct and curate the Saidye Bronfman Centre Gallery in Montreal from 1992 to 1995. In 1996 she graduated from the inaugural class of the Center for Curatorial Studies at Bard College, NY, and remained in New York until 2002, curating independently and within collaboratives. From 2002 to 2007 Basha became adjunct curator of the new Arthouse in Austin, TX, and produced special projects with artists such as Daniel Bozhkov and Dario Robleto and exhibitions including Treble at Sculpture Center, New York (2004). From 2007 to 2012 she returned to New York and independently curated exhibitions including The Marfa Sessions at Ballroom Marfa, TX (2008); Substitute Teacher at Atlanta Contemporary Art Center, Georgia (2010); An Exchange with Sol LeWitt at Cabinet, Brooklyn, NY and Mass Moca, Williamstown, MA (2011); and Speculative Futures at Bloomberg Headquarters, New York (2011). Most recently, Basha was the Executive Director of the residency program Artpace in San Antonio, TX.
Valerie Cassel-Oliver is senior curator at the Contemporary Arts Museum, Houston, TX. She was director of the Visiting Artist Program at the School of the Art Institute of Chicago, IL, and a program specialist at the National Endowment for the Arts, Washington DC. In 2000 she was one of six curators selected to organize the Biennial for the Whitney Museum of American Art in New York. Cassel-Oliver has organized numerous exhibitions including Splat Boom Pow! The Influence of Cartoons in Contemporary Art (2003); the acclaimed Double Consciousness: Black Conceptual Art Since 1970 (2005); Black Light/White Noise: Sound and Light in Contemporary Art (2007); Cinema Remixed and Reloaded: Black Women Artists and the Moving Image (2008) with Dr. Andrea Barnwell Brownlee; Hand +Made: The Performative Impulse in Art and Craft (2010); a major retrospective on Black Fluxus artist Benjamin Patterson, Born in the State of Flux/us, and, most recently, the survey Donald Moffett: The Extravagant Vein (2011), the artist’s first major survey, now on tour.
Rosina Cazali is a critic and independent curator specializing in contemporary Guatemalan art. She studied arts at Universidad de San Carlos de Guatemala and attended the first Cultural Studies lecture organized by FLACSO. Cazali has worked as an independent curator since 2000 and participated in several art projects such as La Curandería. In 2000, she co-founded Colloquia, a space for contemporary art, and the art festival Octubre Azul. From 2003 to 2006 Cazali was director of the Spanish Cultural Centre in Guatemala where she started projects like the photography festival Foto 30. In 2006, she initiated the editorial project Colección Pensamiento, a compilation of interviews with Guatemalan intellectuals about contemporary thought, supported by the Spanish Cultural Centre in Guatemala. She also participated as a guest curator for Guatemala in different international biennials and as an independent curator for several exhibitions in Guatemala and Latin America, including: Móvil, an exhibition and performance by Regina José Galindo, Museo de Arte Contemporáneo (MUAC) and UNAM’s Independence BiCentury celebration project: The Liberty Ghost, México 2010. She curated Mirando al Sur, an itinerant show about migration in Central America and México, exhibitied in Miami, México, the Dominican Republic, different Central American countries and the Pontevedra Biennale, Galicia, Spain in 2010.
She is an author of countless essays about contemporary art in Guatemala, and in 2010 published the essay A Brief History of Dissociation, about the work of the Guatemalan artist Luis González Palma. Rosina Cazali currently is a columnist and essayist for the cultural section of the Guatemalan newspaper El Periódico as well as its cultural supplement El Acordeón. In 2010, Cazali received the John Simon Guggenheim Grant to conduct research on contemporary art in Guatemala.
Stuart Comer is the Chief Curator of the Department of Media and Performance Art at The Museum of Modern Art, New York. He will oversee the department’s program of special exhibitions, installations from the collection, and acquisitions. He previously served as the curator of Film at Tate Modern, London, UK where he oversaw film and video work for the Tate Collection and Displays and was co-curator for the opening program of The Tanks at Tate Modern. He was editor of Film and Video Art (Tate Publishing, 2009) and has contributed to several publications and numerous periodicals including Artforum, Frieze, Afterall, Mousse, Parkett, and Art Review.
Veronica Cordeiro is a curator and writer based in Montevideo, Uruguay. She studied Art History at Edinburgh University and has an MA in Visual Anthropology from Goldsmiths, University of London. Founder of surcontexto.org, an independent organisation devoted to research and curating in context within the field of contemporary South and Latin American art and history, her ongoing projects include Plato Crítico, an art criticism platform that takes place monthly in different galleries and museums in Montevideo; Inter/View, an audiovisual project with Dokumental collective that maps thought-processes through interviews with artists, curators, philosophers, writers, etc. Recent curatorships include two survey shows of Brazilian artist and filmmaker, Cao Guimarães (Le monde atmosphère at Galerie Xippas, Paris, 2011 and Inmersión Sensoria, residency followed by exhibition at SUBTE, Montevideo, 2010) and a six-week residency followed by an exhibition of new work by Rosângela Rennó in Montevideo, 2011-2012. Among her current projects are an exhibition of new work by Pablo Uribe (1962) and a retrospective of Ernesto Vila (1937). Recent publications include an interview with Rosângela Rennó for BES Photo 2012 (Lisbon) and an essay on the collective Alonso+craciun for Marcelina (2011, São Paulo). She writes regularly for exhibition catalogues and has published over 60 reviews, studios visits and essays in Art Nexus (Colombia), Arte y Parte (Valencia), trans>arts.cultures.media (NY), Trópico (SP), Marcelina (SP), among others. Cordeiro is the co-curator of the Urugay Pavilion at the 2013 Venice Biennial.
Christopher Cozier is an artist and writer living and working in Trinidad. He is a member of the editorial collective of Small Axe, A Caribbean Journal of Criticism, and co-director of Alice Yard, part of the Global Africa Project at MAD. in New York, NY. Cozier co-curated Wrestling with the Image, Art Museum of the Americas, Washington DC (2011). In 2004, he was awarded a Pollock-Krasner Foundation grant. Editions of Cozier’s prints have been produced and exhibited by David Krut Projects in New York and Johannesburg, SA, and he has exhibited in the 5th and 7th Havana Biennials (1994; 2000); Infinite Island, Brooklyn Museum of Art, New York (2007); the Trienal Poli/Gráfica de San Juan, América Latina y el Caribe, Puerto Rico (2009); Rockstone and Bootheel: Contemporary West Indian Art, Real Art Ways, Hartford, CT (2009); and AFRO MODERN, Journeys through the Black Atlantic, Tate Liverpool, UK (2010).
María del Carmen Carrión is an independent curator and art critic from Quito, who received an MA from the Curatorial Practice Program at California College of the Arts, in San Francisco, and taught at Universidad Católica in Quito. She is currently Associate Director of Public Programs & Research at Independent Curators International in New York. She co-founded Constructo /, an international collective platform devoted to research and debate of art and visual culture. Since 2009, she has been a member of the curatorial college of ceroinspiración, an exhibition and residency space in Quito. Recent projects include: The Life of Objetcs, VOGT Gallery, New York (2011), Materia Prima, 8va Bienal de Mercosur, Porto Alegre (2011), Otros Fueros, collaboration with Tercerunquinto, EACC, Castelló (2011), Historias Fugaces, LABoral, Gijón (2011), and The Nature of Things at the Biennial of the Americas, chief curator Paola Santoscoy, Denver (2010). Former positions include: Associate Curator at New Langton Arts in San Francisco, and Research Coordinator for Museo de la Ciudad in Quito.
Rifky Effendy was born in Jakarta in December 1968. He studied at Art Departement, ITB. Effendy’s recent curatorial projects include, FLOW: Contemporary Art from Indonesia, Michael Janssen Gallery, Berlin (2012); Fixer, North Art Space, Jakarta, Indonesia (2010); In Between, The First Jakarta Contemporary Ceramics Biennale, North Art Space, Jakarta (2009); South East B(L)ooming, Primo Marella Gallery, Milan, Italy (2008); KOI and TRINACRIA by Filippo Sciascia and Robert Coda Zabetta, National Gallery of Indonesia, Jakarta (2008); and Pilgrim Project by Dadang Christanto, Gaya Fusion Artspace, Bali (2006). In late 2001, he established and directed the 1st Bandung Biennale, and in 2004 became a fellow of the New York-based Asia Cultural Council (ACC). In 2009, he co-founded the Jakarta Contemporary Ceramics Biennale (2009). Along with fellow curators and artists, Rifky established the Bandung-based art space Platform3 in 2009, while in 2010 he formed Inkubatorasia, a Jakarta-based space dedicated to promoting emerging contemporary artists. He has edited and contributed to several publications including Tempo, Visual Arts, and Art Asia Pacific magazines as well as Indonesia’s newspaper of record, Kompas. He is now working as curator of Indonesia Pavilion at 55th Venice Biennale, 2013.
Özge Ersoy is a curator and writer based in Istanbul. She holds a MA from the Center for Curatorial Studies at Bard College, and a BA in International Relations from Bogazici University and Binghamton University. Ersoy worked in the curatorial departments of various nonprofits in New York, Istanbul, and Cairo, and combined this experience with her work at foundations that aim to support the growth and stability of the arts field through resource creation and capacity building in the U.S. and the Middle East. Her writings have been included in The Journal of The Society of Architectural Historians, Domus Magazine, Bidoun, Ma’arav, Ararat Magazine, and Nafas Art Magazine, among others. In 2010, Ersoy edited and produced a publication entitled How to Begin? Envisioning the Impact of Guggenheim Abu Dhabi. She participated in the AICA Summer Seminars in Yerevan, geoAIR in Tbilisi, and the A&P Residency at the Delfina Foundation in London. Özge is currently the Project Manager at Collectorspace, a New York-based nonprofit that opened its first venue in Istanbul.
N’Goné Fall is an independent curator, art critic, and consultant in cultural engineering. She graduated from the École Spéciale d’Architecture in Paris, France, and was editorial director of the Paris-based contemporary African art magazine Revue Noire from 1994 to 2001. Fall has edited books on contemporary visual arts and photography in Africa including An Anthology of African Art: The Twentieth Century (D.A.P./Editions Revue Noire, 2002), Photographers from Kinshasa (Distributed Art Publishers, Inc., 2002) and Anthology of African and Indian Ocean Photography: a Century of African photographers (Distributed Art Publishers, Inc., 1998). She has curated exhibitions in Africa, Europe, and the US. Fall was one of the curators of the African photography Biennale in Bamako, Mali, in 2001, and a guest curator at the 2002 Dakar Biennale in Senegal. Fall is an associate professor at the Senghor University in Alexandria, Egypt. As a consultant in cultural engineering she is the author of strategic plans, orientation programs, and evaluation reports for Senegalese and international cultural institutions. She is also a founding member of the Dakar-based collective Gaw-Lab, a platform for research and production in the field of new media and visual arts.
Amirali Ghasemi is a graphic designer, media artist and curator. In 1998 Ghasemi founded Parkingallery, an independent project space in Tehran, and in 2002 he set up Parkingallery.com, a virtual gallery, as an online platform for young Iranian artists. Ghasemi has shown his photography, video, and design works in various festivals and exhibitions internationally. Among his curated exhibitions, workshops, and talks at the Parkingallery are Deep Depression (2004-2006); Sideways (2008); Urban Jealousy, 1st international roaming biennial of Tehran (2008-2009); and three editions of Limited Access Festival (2007-2011), which led to a variety of projects with art and education institutions in Germany, Netherlands, Serbia, UK, Egypt, Turkey, Brazil, and India.
Vít Havránek is a theoretician and organizer based in Prague, Czech Republic. He has been working since 2002 as director of the contemporary art initiative Tranzit.cz. In 2007, Havránek co-founded Tranzitdisplay, a resource center for contemporary art, and has since been lecturing on contemporary art at the Academy of Art, Architecture and Design in Prague. He serves as an associate editor of JRP|Ringier art publisher, and was a member of Tranzit.org, one of the three curatorial teams for the European contemporary art biennial Manifesta 8, held from October 2010 to January 2011 in several locations around southeast Spain. In addition, he has curated and co-curated exhibitions including Monument to Transformation, City Gallery Praguem Prague, Czech Republic (2007-10); and tranzit–Auditorium, Stage, Backstage, I, series of exhibitions in three acts, Frankfurter Kunstverein, (2006). Havránek has edited and co-edited Atlas to Transformation (JRP|Ringier, 2011), Jiří Skála (JRP|Ringier, 2011), Kateřina Šedá (JRP|Ringier, 2008), Jan Mančuška (JRP|Ringier/Tranzit series, 2007), Jiří Kovanda (JRP|Ringier/Tranzit series, 2007), and others such as Autobiographies (Revolver Books, Secession Wien, tranzit.c, 2006); The Need to Document (Zurich: JRP|Ringier, 2005); Lanterna Magika (PUBLISHER, 2002); and action, word, movement, space (PUBLISHER, 1999). Havránek has written for books and catalogues including Manifesta 8 (Silvana Editoriale, 2010); Promesses du passé (Praha: Kant, 2002); Reconsidering the Documentary and Contemporary Art (Sternberg Press, CCS Bard, 2008); Voids (Centre Pompidou, Kunstalle Bern, 2009); Right About Now (Valiz, 2007); and Yves Klein (Centre Pompidou, Springer Wien, New York, 2007), among others.
Hou Hanru’s prolific curatorial work addresses contemporary practice and the conditions of artists living in the diaspora from the perspective of cultural hybridity. Hou gained international attention with Cities on the Move (1997-2000), a traveling exhibition he curated with Hans Ulrich Obrist, which emphasized the ways in which Asian contemporary artists have dealt with rapid changes in urban lifestyles and values. He has also curated many seminal exhibitions in Europe, the U.S., and Asia, including international biennials in Shanghai (2000), Istanbul (2007), the Chinese Pavilion at the Venice Biennale (2007), and Lyon (2009). He has acted as a consultant for cultural institutions across the world including the Solomon R. Guggenheim Museum, the Global Advisory Committee of the Walker Art Center, and the Asian Art Council. Hou is currently curating the 5th Auckland Triennial, If you were to live here.. (May–August 2013).
Virginija Januskeviciute is curator at the Contemporary Art Centre (CAC) in Vilnius, Lithuania, where she has organized numerous projects such as The Joy is Not Mentioned, 2007, (part of an ongoing ‘young Lithuanian artists’ series, featuring Egle Budvytyte, Goda Budvytyte and Ieva Miseviciute); and For the First and the Second Time, 2008 (an exhibition of artists investigating the history of Modernism, in collaboration with Stroom, a center for visual arts and architecture based in The Hague). Most recently, Virginija is programming the Reading Room, CAC’s venue for talks, discussions, lectures, performances and presentations as well curatorial and artistic experimentation.
Abdellah Karroum is a curator, publisher and independent artistic director based in Paris and Rabat. Karroum has organized and co-curated numerous international exhibitions and programs for various institutions including capcMusée d’art contemporain de Bordeaux, where he worked from 1993–1996; the 2006 DAK’ART Biennial for African Contemporary Art; the Position Papers program in the Gwangju Bienniale 2008 (invited by the artistic director Okwui Enwezor), and the 2009 Marrakech Biennale, among others. He is also a member of the Prince Pierre Monaco Foundation’s Artistic Council for its International Contemporary Art Prize. Karroum is the founder and artistic director of several art projects: most notably, L’appartement 22, an experimental collaborative space for exhibitions and artists’ residencies founded in 2002 in Rabat, Morocco; and the Le Bout Du Monde art expeditions, a long term project which has taken place in different locations around the globe since 2000. In 2007 Karroum launched the web radio R22 as an extension of L’appartment 22.
Sun Jung Kim is a Seoul-based curator, director of SAMUSO: Space for Contemporary Art, co-artistic director for Gwangju Biennale 2012 and a dOCUMENTA(13) agent. From 1993 to 2004 Kim worked as the chief curator at Artsonje Center, a contemporary art center in Seoul, South Korea. She was commissioner of the Korean Pavilion at the 51st Venice Biennale, Italy (2005), and in 2006 initiated the annual contemporary art festival Platform Seoul. Kim co-curated Your Bright Future, an exhibition of 12 contemporary artists from Korea presented at the Los Angeles County Museum of Art, CA, and Houston Museum of Fine Arts, TX (2009–10), and has curated solo exhibitions for artists such as In-Hwan Oh, Martin Creed, Beom Kim, and Haegue Yang at Artsonje Center. Kim was the artistic director of the 6th Seoul International Media Art Biennale Media City Seoul 2010.
Pablo León de la Barra is an exhibition maker, independent curator, researcher, editor and blogger, and holds a PhD in History and Theories from the Architectural Association, London. He has curated, among other exhibitions, To Be Political it Has to Look Nice (2003) at apexart and Art in General in New York; PR04 Biennale (2004, co-curator) in Puerto Rico; George and Dragon at ICA (2005) at the ICA-London; Glory Hole (2006) at the Architecture Foundation-London; Sueño de Casa Propia (2007-8, in collaboration with Maria Ines Rodriguez) at Centre de Art Contemporaine-Geneve, Casa Encendida-Madrid, Casa del Lago-Mexico City, and Cordoba, Spain; This Is Not America (2009) at Beta Local in San Juan, Puerto Rico; Incidents of Travel in Central America, Chiapas, Yucatan and Elsewhere (2010) at the CCE in Guatemala; To Know Him Is To Love Him (2010) Cerith Wyn Evans at Casa Barragan, Mexico City; Incidents of Mirror Travel in Yucatan and Elsewhere (2011) at Museo Tamayo, Mexico City; Bananas is my Business: the Southamerican Way (2011, co-curated with Julieta Gonzalez) at Museu Carmen Miranda, Rio de Janeiro; MicroclimaS (2012) at Kunsthalle Zurich. León de la Barra has written for publications including: Frog/Paris, PinUp/New York, Purple/Paris, Spike/Austria, Wallpaper/London, Celeste/Mexico, Tomo/Mexico, Rufino/Mexico, Ramona/Buenos Aires, Arte al Dia/Miami, Metropolis M/Amsterdam, Numero Cero/Puerto Rico. He has participated in numerous international symposiums and conferences and is editor of his blog Centre for the Aesthetic Revolution.
Maria Lind is Director of the Tensta Konsthall and an independent curator and writer interested in exploring the formats and methodologies connected with the contemporary art institution. She was the director of the graduate program at the Center for Curatorial Studies, Bard College from 2008–10. Before that, she was director of lASPIS in Stockholm (2005–07) and Director of the Munich Kunstverein (2002–04). Previous to that she was curator at Moderna Museet in Stockholm (from 1997–2001) and in 1998 was co-curator of Manifesta 2, Europe’s nomadic biennial of contemporary art. Lind was the 2009 recipient of the Walter Hopps Award for Curatorial Achievement. A compendium of her essays to date, Selected Maria Lind Writing, was published by Sternberg Press in 2010.
Yandro Miralles graduated in Art History from the University of Havana in 2006, and completed postgraduate studies in Museology and Museography in the UNESCO Department on Sciences for the Comprehensive Preservation of Cultural Property at the National Center for Preservation, Restoration and Museology in Cuba (CENCREM). He was Professor of Art History at the Faculty of Arts and Letters at the University of Havana. Miralles has organized exhibitions for various institutions such as the National Museum of Fine Arts, the Cuban National Ballet, the National Museum of Dance, the National Museum of Decorative Arts, the Cuban Photographic Library, and the Servando Cabrera Moreno Museum and Library, all in Cuba, as well as for the Cuban Artists Fund, Magnan Metz Gallery, Chashama 217 Gallery and the Metropolitan Pavilion, in New York City. He also participated in the organization of various events like the Havana International Ballet Festival, the International New Latin American Film Festival in Havana and the Havana Biennial, among others. He has offered lectures and published various texts in specialized magazines and other publications on Cuban contemporary art. He is currently the Curator in Residence of the Cuban Artists Fund.
Srimoyee Mitra is a curator and writer. She has written for publications in India such as Time Out Mumbai, Art India—The Art News Magazine of India, and served as artistic director of Ek Aur Level Chalte Chalte: A Festival of Theatre for Change (2006), Mumbai, India. Mitra has participated in conferences including Shift: Dialogues on Migration in Contemporary Art (2011), MacKenzie Art Gallery, Regina, Canada; and Extra-Curricular: Between Art and Pedagogy, Part I, Justina M. Barnicke Gallery, Toronto, Canada. Her curatorial essay “Crossing Lines: An Intercultural Dialogue” (2009) was published in Cultivating Canada: Reconciliation through the Lens of Cultural Diversity (2011). Her project Changing Stakes: Contemporary Art Dialogues with Dubai (2011) has been listed by Now Magazine as a “Must See” exhibition. From 2008-11 Mitra was programming coordinator of South Asian Visual Arts Centre (SAVAC) in Toronto, Canada. She is currently the curator of contemporary art at the Art Gallery of Windsor, Ontario, Canada.
Nat Muller is an independent curator and critic based between Rotterdam, The Netherlands, and the Middle East. Her main interests include the intersections of aesthetics, media and politics, media art, and contemporary art in and from the Middle East. Muller is a regular contributor to Springerin and MetropolisM, and has been published in Art Papers, Bidoun, ArtPulse, X-tra, Majalla Foreign Affairs Magazine, De Volkskrant, and The Daily Star. She has taught at universities and academies across Europe and the Middle East, served as an advisor on European-Mediterranean collaborations for the European Cultural Foundation of the EU and as an advisor on e-culture for the Dutch Ministry of Culture. Currently Muller is art and new media advisor to the Dutch city of Utrecht, serves on the advisory board of the Palestinian website project Artterritories, the arts organization TENT, Rotterdam, and is on the selection committee of the Mondriaan Fund (NL). She is 2012 curator of the Abraaj Capital Art Prize.
Sharmini Pereira is an independent curator and publisher. She is the director and founder of Raking Leaves, a nonprofit independent publishing organization. In 2011 she was the international guest curator of the Abraaj Capital Art Prize and in 2006 she co-curated the 1st Singapore Biennale. She has written extensively on contemporary Asian art and spoken at many international conferences. Pereira lives and works in the UK and Sri Lanka.
Nataša Petrešin-Bachelez is an art critic and independent curator based in Paris, France. In 2010 she was appointed co-director of the Laboratoires d’Aubervilliers. Since 2006 she has co-organized the seminar “Something You Should Know,” EHESS, Paris, France. In 2010 she was associate curator of The Promises of the Past, Centre Pompidou, Paris, and guest curator of Paris Photo. Curatorial projects include Yona Friedman. Around ville spatial, Mala galerija, Ljubljana (2010); Conspire, festival transme- diale.08, Haus der Kulturen der Welt, Berlin, Germany (2008); Distorted Fabric, De Appel, Amsterdam, The Netherlands (2007); Participation: Nuisance or Necessity?, lASPIS, Stockholm, Sweden (2005); Our House is a House that Moves, Galerija Škuc, Ljubljana, Living Art Museum, Reykjavik, Iceland (20036) ), and In the Gorges of the Balkans, Kunsthalle Fridericianum, Kassel, Germany (2003). She was co-curator of the project Société Anonyme, Le Plateau and Kadist Art Foundation, Paris (20078). She has contributed to magazines including e-flux journal, Springerin, Parkett, Bidoun, and Sarai Reader, and is a member of the editorial board of ARTMargins. Since 2011 Petresin-Bachelez has been chief editor of Manifesta Journal.
Kathrin Rhomberg lives and works as an independent curator in Vienna, Austria. She is a co-curator of the ongoing project “Former West” and a corresponding member of Secession, Vienna. Her curatorial projects in 2011 included an exhibition on Christoph Schlingensief, Fear of the Core of Things, at the BAK, basis voor aktuele Kunst, Utrecht, Netherlands, and a show on Bauhaus in India 1922, Bauhaus Dessau. Previous projects (selection): 6th Berlin Biennale, Berlin, 2010; Czech and Slovak Pavilion at the 53rd Venice Biennale: Roman Ondák, Loop, Venice 2009; Ion Grigorescu, In the Body of the Victim 1969–2008, Museum of Modern Art in Warsaw, 2009; Sanja Iveković, (with Nataša Ilić), Fundació Antoni Tàpies, Barcelona, 2007; Project Migration, Cologne 2002-2006 (with Marion von Osten); Manifesta 3 (with Francesco Bonami, Ole Bauman, Maria Hlavajova), Lubljana, 2000.
Stjernstedt studied Art History at Lund University, Lund, Sweden, and is currently serving as artistic director at Kunstnernes Hus, in Oslo. He has curated and co-curated many exhibitions and projects including Oslo Contemporary Art Exhibition 2011: Akram Zaatari, Composition for Two Wings, Kunstnernes Hus, Oslo, Norway, CODE SHARE 2009 (as part of “Vilnius — European Capital of Culture 2009”), Contemporary Art Center, Vilnius, Lithuania 2009, Maria Lindberg (a retrospective), Futura Center for Contemporary Art, Prague, Czech Republic, 2009, and Dak’Art: African Contemporary Art Biennale, Dakar, Senegal, 2008. He has worked with such prominent European Institutions as Turku Art Museum, Turku, Finland, Tranzit, Prague, Czech Republic, and Kunsthalle Bern, Berne, Switzerland, among many others. He has written art criticism for such notable publications as ArtForum, Flash Art, and Art + Text. Stjernstedt is currently living in Sweden.
David Teh’s research centers on contemporary art in Southeast Asia. He is based in Sydney, Australia and works at the National University of Singapore, in the fields of critical theory and visual culture. From 2005-9 Teh was an independent critic and curator based in Bangkok, Thailand. His recent projects have included The More Things Change…, 5th Bangkok Experimental Film Festival (2008); Unreal Asia, 55, Kurzfilmtage Oberhausen, Germany (2009); Itineraries, VWFA, Kuala Lumpur, Malaysia (2011); and Video Vortex #7, Yogyakarta, Indonesia (2011). Teh’s writings have appeared in Third Text, Art Asia Pacific, LEAP Magazine, Art & Australia, Broadsheet, and The Bangkok Post. He is director of Future Perfect, a new gallery and project platform in Singapore.
Philip Tinari is director of the Ullens Center for Contemporary Art in Beijing, China’s leading independent museum of contemporary art. Since 2009 he has also served as founding editor-in-chief of LEAP, the international art magazine of contemporary China. Tinari is a contributing editor to Artforum and adjunct professor at the China Central Academy of Fine Arts. Tinari is based in Beijing, China.
Christine Tohme is a Beirut-based cultural organizer, art activist and curator. In 1994, she founded Ashkal Alwan, the Lebanese Association for the Plastic Arts, a non-profit organization that initiates and supports contemporary artistic practice. Through her work, she provides a platform for free thought and critical discourse in Lebanon, promotes and develops critical reflection and cultural theory, and fosters regional and international cultural exchange. In 2001, Tohme initiated Home Works: A Forum on Cultural Practices. In 2006, she received the Prince Claus Award Award, in recognition of her achievements in stimulating local multi-disciplinary art production and art criticism.
Voinea is an art critic and curator based in Bucharest, Romania. She is co-director of Tranzit.ro (a member of the Tranzit.org network) and is involved in several other curatorial and editorial collectives from Romania (E-cart.ro, IDEA arts + society, Long April).
Jochen Volz is Head of Programmes at Serpentine Gallery. Volz was previously Artistic Director at the Instituto Inhotim, Minas Gerais, Brazil, where he co-curated many large-scale site-specific projects, as well as numerous exhibitions from the collection. He has contributed to many exhibitions throughout the world, including curating Olafur Eliasson as part of the 17th International Festival of Contemporary Art–SESC_Videobrasil, São Paulo, Brazil (2011); The Spiral and the Square, Bonniers Konsthall, Stockholm, Sweden (2011); the Aichi Triennale, Nagoya, Japan (2010); and the Biennale de Lyon, France (2007). In 2009 he organized the international section of the 53rd Venice Biennale, Italy, together with Daniel Birnbaum. In 2006 he guest curated for the 27th Bienal de São Paulo a special exhibition project in homage to Marcel Broodthaers. Between 2001 and 2004 he was curator of Portikus, Frankfurt am Main, Germany. Volz is based in London, UK.
Adnan Yildiz participated in the traveling curatorial research program, Curatorlab/Konstfack in Stockholm (2006-2008), and was supported by Si (Swedish Institute). He was awarded a research fellowship and independent study program at the Valand Art Academy (2008). Yildiz was a nominee for ICI’s Independent Curatorial Vision Award in 2012. Yildiz co-curated the video program Nightcomers for the 10th Istanbul Biennial (2007), and also Hot-Desking (Curatorlab) for Manifesta 7 (2008), in collaboration with Raqs Media Collective. He received the Montehermoso Curator Research Grant 2009 and manifested the project, There is no audience, an exhibition about public imagination at Montehermoso, Vitoria-Gasteiz, Spain, as well as Time-Challenger, an exhibition on critical reconstruction at HISK, Gent, Belgium. Yildiz participated in curatorial education programs such as the Curatorial Intensive, organized by ICI, New York (during Performa 2011); the curatorial seminar at Townhouse Gallery, Cairo (2008); and Fast Forward within the framework of the 4th Berlin Biennial, Young Curators’ Workshop, KW, Berlin (2006). He has contributed to international periodicals such as Metropolis M, Mousse, Paletten, Idea, art- ist, Bidoun, Politiken, Manifesta Online Journal, Res-Art, as well as Radikal, Taraf, Bianet, and Milliyet Sanat in Turkish. Yildiz has given lectures in Istanbul, Berlin, Bucharest, Stockholm, Copenhagen, Oslo, Taipei, and Venice. Since January 2011, Yildiz has been the Artistic Director of Künstlerhaus Stuttgart, currently focusing on the solo exhibitions series, Artistic Dialogues, at Künstlerhaus Stuttgart, Methodical Inquiries at Polistar Gallery, Istanbul, and a discussion-based event program, Critical Voices, at Künstlerhaus Stuttgart and Platform3 in Munich.
Number of artists or artist groups: 35
Number of works: 35
Space required: extremely flexible
Available dates: Fall 2012–Fall 2014