events

Caroline Ferreira

After studying law and art history, Caroline Ferreira worked in various institutions from Jeu de Paume, to Institut Français as well as cultural attachée at the French Embassy in London from 2008 to 2012 where she created Fluxus Fund which brings support to British and French artists. She developed several projects as a curator and has been also teaching Art History at Ecole Centrale in Paris. She is part of the collective Caro Sposo proposing once a month in Paris screening of artists ‘films. At Centre Pompidou since 2016 as head of service Manifestations Art & Société, she was part of the curatorial team of a new festival for Dance, Performance and moving image called MOVE in 2017 and a new biennial Cosmopolis « Collective Intelligence » which closed in December 2018. She is now curating every edition of MOVE at Centre Pompidou and has commissioned projects to artists such as Liz Magic Laser, Tarik Kiswanson, Cécile B. Evans, Than Hussein Clark or Hannah Quinlan & Rosie Hastings.

Holly Harrison

Holly Harrison serves as Curatorial Assistant in the Contemporary Art Department at the Los Angeles County Museum of Art. She is currently at work on several projects at LACMA, including retrospective exhibitions for Noah Purifoy and Pierre Huyghe, and the exhibition, Futbol: The Beautiful Game. She is also organizing an installation on the LACMA campus by the artist Christine Corday, scheduled to open in fall 2014. Harrison has previously assisted on such exhibitions as Asco: Elite of the Obscure, a solo exhibition on Blinky Palermo, and Christian Marclay’s The Clock. Harrison is a member of an internal LACMA task force mandated to develop new strategies for curating and conserving media art. She has a particular interest in the role of conservation within contemporary art institutions, in both its practical and theoretical dimensions. She recently co-organized the panel, “Uneasy Guardians: Ensuring the Future of Intractable Art Forms,” at the 2013 College Art Association annual conference in New York. The panel discussion examined the divergent priorities of the stakeholders responsible for the preservation, presentation, and historicization of art forms such as film and new media, installation art, and performance.

Arnau Horta

Arnau Horta is an independent curator, art critic, journalist and researcher. His practice focuses both in the phenomenological and political dimension of sound. He collaborates with MACBA (Museum of Contemporary Art of Barcelona), the National Museum of Art Reina Sofia (Madrid), the Picasso Museum of Barcelona, CCCB (Center for Contemporary Culture of Barcelona), Sónar Festival of Advanced Music and Multimedia Art, Loop Festival. He holds a degree in Media Studies; an MA in Theory and Aesthetics of Contemporary Art; an MA in Contemporary Philosophy and is a PhD candidate in Philosophy with a dissertation on Alvin Lucier’s seminal piece “I am sitting in a room”. In 2013 he took part in the program “Curating Time-Based Media” organized by Independent Curators International (ICI) in New York. He has attended in symposiums at the Edge Hill University (Liverpool), The New School (New York) and the Massachusetts Institute of Technology (Cambridge). His project “On Listening”, commissioned by the Museum of Contemporary Art of Barcelona, is part of Re-Imagine Europe project, co-funded by the Creative Europe Program of the European Union. His project “Sonic Genealogies”, commissioned by the National Museum of Art Reina Sofia, has recently been reviewed in the internationally renowned The Wire magazine. His piece “Am I sitting in a room?” (a re-work of Lucier’s work), has been selected in 2017 at the Radiophrenia festival in Glasgow.

Euridice Kala

Euridice Kala (Maputo, 1987) is an artist currently based in Paris. She was trained as a photographer at the Market Photo Workshop, Johannesburg.  Her interests in history take her to spaces of metamorphoses, mythology, cultural manipulations i.e. culture as power, etc.  She’s currently working towards her first solo exhibition ‘Scores of Labor’ in November 2018, as well as been invited to curate the Boda Boda Video Art Festival 2018. Other performances and exhibitions include: Feedback, Art Africa and the 1980s, Iwalewahaus, Bayreuth (2018), Being Her(e), Banco Economico, Luanda (2017), Infecting the City festival, Cape Town (2017) and Mistake! Mistake! said the rooster…and stepped down from the duck, Lumiar Cité, Lisbon (2017), Co-habitar, Casa da America Latina, Lisbon (2016),. Her work has previously been shown at, among others, 12th Dak’Art Biennial, Senegal (2016); 3rd Casablanca Biennial (2016). Kala has been awarded several residencies, most recently at the Maison des Arts George & Claude Pompidou, Cajarc (2018), Centro Cultural Português Maputo (2016) and at Hangar, Lisbon (2016). She was a founding member of PAN!C, a platform for independent contemporary art spaces on the African Continent. And is the founder of the entity e.a.st (Ephemeral Archival Station) a laboratory for artistic research practice.

Tasja Langenbach

Tasja Langenbach studied Art History and Cultural Sciences in Erlangen and Leipzig, Germany and Barcelona, Spain. After working for the exhibition project MakingThings Public – Atmospheres of Democracy at the ZKM / Center for Arts and Media Karlsruhe, Germany, she held a position as gallery manager at Gallery Anita Beckers, Frankfurt, Germany. In the following years she curated the yearly film program of SoundTrack_Cologne / See the Sound in Cologne, Germany, formed part in diverse prize and program juries, contributed to catalogues and was responsible for the festival program auf Videonale - Festival for Video and Time-Based Arts, Bonn, Germany. Since 2012 she has been the Artistic Director of Videonale and to date was responsible for the festival editions no. 14-16. The 17th edition will take place in February 2019. Langenbach still periodically takes part in video and media art juries, curates video and film programs for different occasions and is teaching in the MA program Culture, Aesthetics, Media at the University for Applied Sciences in Dusseldorf.

Beth Malone

Beth Malone is the founding director of Dashboard Co-op, a curatorial venture that activates raw space with immersive art. Since 2010, Malone has curated ten exhibitions in vacant properties around Atlanta, the majority of which leased following the shows. Dash has received press for its revitalization efforts and curatorial vision by WABE (Atlanta’s NPR affiliate), Business Insider, HGTV, ArtsATL, and the Atlanta Regional Commission. In addition to her work with Dashboard Co-op, Beth curates exhibitions in traditional galleries, most recently 100,000 Cubicle Hours at the Atlanta Contemporary Art Center (2012). In 2011, Beth became the Coordinator of Teen Programs at the High Museum of Art where she continues to connect thousands of teenagers every year through art and culture. She holds a Masters of Letters from the University of Glasgow and sits on review committees for the Forward Arts Foundation, WonderRoot, and Mint Gallery. Her animated films have screened in New York and Atlanta, and she was recently awarded a grant by the City of Atlanta to produce four large-scale works of art for Elevate, Atlanta’s annual public art event.

Erik Martinson

Erik Martinson (b. 1980) is an independent curator based in Toronto, Canada. He received his BA in Film in 2004, and has worked as the Submissions and Outreach Coordinator for video art distributor Vtape since 2005. Martinson has curated a number of film and video programs and exhibitions including a solo screening of work by Sara Angelucci’s work for Art Star 3: Video Art Biennale at SAW Gallery in Ottawa (2007), a group exhibition titled Where the Wild Things Are for Vtape’s Curatorial Incubator (2009), Rendezvous with Madness Film Festival (2010 and 2011), a thematic screening titled Memorie di uno Smemorato (Memoirs of an Amnesiac) for The Images Festival (2012), This Story Begins and Ends With Us for A Space Gallery (2012), and a solo exhibition of Basma Alsharif’s work titled The Fallacy of Misplaced Concreteness for Art Gallery of Mississauga (2013). He has been a member of the Pleasure Dome programming collective since 2006, programming numerous events, including the thematic screenings Magic Kingdoms, Ready for Extinction in 2012, and a solo screening of Jesse McLean’s work titled It’s Going Through You Like an X-Ray in 2013. Since 2010, Martinson has been the Chair of Pleasure Dome’s Board of Directors. With Cressida Kocienski, Martinson is co-editor of The Institute of Immaterialism, an experimental publishing project that explores the immaterial forces shaping our lives through live events and published and circulated PDF minutes.

Elizabeth Matheson

Elizabeth Matheson, President of Strandline Curatorial Collective, has fifteen years of experience as an independent curator, lecturer, and writer in the field of contemporary art/film/media. She has worked on notable lens-based projects with internationally recognized artists and filmmakers Rebecca Belmore (Canada), Janet Cardiff (Canada), Joan Foncuberta (Spain), Jo Spence (U.K.), Lourdes Portillo (U.S./Mexico), and Rosângela Rennó (Brazil); and on a series of curatorial projects investigating filmic architecture and cinematic events in urban renewal. Currently she is a collaborator on Atom Egoyan in Media Res, the first retrospective exhibition on the film installation work of Atom Egoyan, funded by the Social Sciences and Humanities Research Council of Canada (SSHRC). She has worked with artist-run centers, galleries, and cultural organizations in Canada, and organized conferences in a number of institutions. Matheson lectures widely, most recently at Cambridge University’s Moving Image and Institution: Cinema and the Museum in the 21st Century. Matheson also has developed pioneering approaches to collaborative and cross-disciplinary work including the co-founding of the Strandline Curatorial Collective. She serves as an advisor to Prefix Institute of Contemporary Art (Toronto) and the Prince Claus Fund (Amsterdam), and is a member of the International Association of Art Critics (AICA) and the International Association of Curators of Contemporary Art (IKT). She has been published internationally, and her works have been translated into several languages, including the following publications: Un Portrait de Deux: L’Oeuvre d’Esther Shalev-Gerz (2012); Traces et disparitions dans l’oeuvre d’Oscar Muñoz (2009); Monografía: Rosângela Rennó (2009); A Última Foto (2008); and iyiniwak anohc (1996). Matheson has been awarded grants from the Canada Council for the Arts and is a recipient of the Management of the Arts Certificate from the Banff Centre.

Melissa Pellico

Melissa Pellico has held curatorial and research positions at the San Francisco Museum of Modern Art (SFMOMA), the Long Beach Museum of Art, the Museum of Contemporary Art (MOCA) Los Angeles, and the Sundance Institute. At SFMOMA she co-curated a thematic screening of videos and films about artistic and activist interventions with a sly or humorous bent. Pellico has contributed writing to museum publications, such as short texts for The Art of Participation: 1950 to Now (SFMOMA), and the Long Beach Museum of Artʼs Exchange and Evolution: Worldwide Video Long Beach. She researched for the catalogue Under the Big Black Sun: California Art 1974 – 1981. Pellico was commissioned to write text on Ryan Heffington + The East Siders, who provided a series of immersive dance projects. She received her MA in History of Art (Modern and Contemporary) from Goldsmiths College, University of London, and is currently based in Los Angeles.

Matthew Perkins

Matthew Perkins is an Australian curator, writer, and artist with a specialized interest in advancing the awareness of historical Australian video art. He has curated a number exhibitions focusing on this subject including Parallel Universes: International Cross Currents in Early Australian Video Art, Queensland University of Technology (2012) and Video Void, Centre for Contemporary Photography in Melbourne, Australian Experimental Arts Foundation in Adelaide, and QUT in Brisbane (2010). In this field, Perkins has also contributed to a number of books including Video Void: Australian Video Art (Australian Scholarly Publishers, forthcoming November 2013) and “Historical continuums: video art at the George Paton Gallery” in When You Think About Art: The Ewing & George Paton Galleries 1971-2006, ed. Helen Vivien (Macmillan 2008). More broadly Perkins has curated a number of exhibitions that focus on video and digital media including A Space Oddity at Linden Centre for Contemporary Arts (2013); exURBAN SCREENS at Frankston in Melbourne (2012, 2013); and Vernacular Terrain at Beijing Film Academy, China, QUT, and The Faculty Gallery, Monash University, Melbourne (2007). Perkins also co-founded, with Anne Marsh, the Australian Video Art Archive and has recently founded Australian Curatorial Projects, which develops, tours, and supports curatorial projects.

Christine Ramsay

Dr. Christine Ramsay is Associate Professor in Film Studies (University of Regina). She holds a PhD in Social and Political Thought (York University). Her research is in the areas of Canadian / Saskatchewan cinemas, masculinities in film and popular culture, film installation art, the culture of small cities, and philosophies of identity. She published Making It Like A Man: Canadian Masculinities in Practice (Wilfrid Laurier UP, 2011) and is co-editing Mind the Gap: Saskatchewan Cultural Spaces (Regina UP, forthcoming 2014). In 2012, she was Visiting Scholar at the Graduate Program in Canadian Studies (University of Edinburgh), where she worked on her current monograph on David Cronenberg. She has been invited to present this research at The Cronenberg Project, a multi-platform career retrospective and exhibition at TIFF Bell Lightbox in fall 2014. She serves on the editorial boards of Topia: Canadian Journal of Cultural Studies and Imaginations: Journal of Cross-Cultural Image Studies; and on the boards of Regina’s Dunlop Art Gallery and Creative City Centre. She is a past President of the Film Studies Association of Canada, and past Chair of the Regina Arts Commission. She has curated and programmed several exhibitions and film series over the past ten years, including: QC15 (5th Parallel Gallery, URegina, 2010); Cronenberg’s Doubles (exhibition at MacKenzie Art Gallery, 2010); Screening the Queen (film series on Regina for Realizing the Creative City, 2004); and Making It Like a Star: Canadian Actors, Directors, Masculinities (film series for Making It Like A Man! exhibition-conference, MacKenzie/URegina, 2004).

Thaís Rivitti

Thaís Rivitti is an art critic and curator that lives and works in São Paulo, Brazil. As an art critic, Rivitti has contributed articles for various Brazilian magazines, including Bravo!, Número, and Ars. She has published books on contemporary Brazilian artists, such as Beatriz Milhazes, Carmela Gross, and Leda Catunda. Rivitti has worked at the Center for Research and Curation of Museum of Modern Art of São Paulo (2007), and on Monica Nador’s panoramic exhibition at the Pinacoteca do Estado de São Paulo Museum (2010). She currently runs Ateliê 397, an independent art space in Vila Madalena, with Brazilian artist Marcelo Amorim. Ateliê 397 is a space dedicated to the circulation and production of contemporary art in the form of exhibitions, interdisciplinary events, video art sessions, performances, and happenings. In this space, Rivitti curated REC GRU with a collective of artists from Recife (in northeastern Brazil), and Where the River Ends with an artist collective from Pará (in northern Brazil). In addition, she organized Independent Spaces project, a national award-winning exhibition, which featured work of more than five independent arts spaces around Brazil. Rivitti served as editor for the following publications: Independent Spaces (2010) and Nino Cais: poems and songs. She is a co-collaborator with other young curators on the online magazine of art criticism, Maré.

Linsey Young

Linsey Young is a curator based in London and Glasgow. Since 2016, Linsey has held the position Curator British Contemporary Art at Tate, where recent and forthcoming projects include: Rachel Whiteread, Anthea Hamilton: The Squash and Turner Prize 2018. Linsey is commissioner and curator of Scotland+Venice 2019, presenting Charlotte Prodger at the 58th International Art Exhibition – La Biennale di Venezia. Since 2013 Linsey has run the itinerant not for profit project, YOUNG TEAM.