events

Beatriz Alonso

Beatriz Alonso is an independent curator based in Madrid.  Recent projects include the group exhibition ‘La timidez de la copa de los árboles’, a coproduction by 49 Nord 6 Est-Frac Lorraine (Metz, FR, 2017), MARCO Vigo (ES, 2017) and SFKM Førde (NO, 2018) awarded with their Award for Young Curators, and ‘No siempre que estuvimos / estuvimos’, a cycle of specific proposals by Luz Broto, Diego Delas, Marta Fernández Calvo, PLAYdramaturgia, Wilfredo Prieto, Leonor Serrano Rivas, Julia Spínola and Marc Vives held at four historical museums in Madrid in 2017.  Previously, she has curated exhibitions and screenings at CA2M, La Casa Encendida, Sala de Arte Joven, Salón (Madrid, ES), MACBA (Barcelona, ES) and Centro de Arte La Regenta (Las Palmas de Gran Canaria, ES). She has been curator in residence at Lugar a dudas (Cali, CO, 2015), and researcher at the Centre Pompidou (Paris, FR, 2010), and at the Musée du Louvre (Paris, FR, 2006). Upcoming projects include the co-curated group exhibition ‘Querer parecer noche’ that will take place at CA2M, Centro de Arte Dos de Mayo (Madrid, ES, 2018-2019), and a solo show by Dalila Gonçalves at Centro de Arte Alcobendas (Madrid, ES, 2018). She holds a BA in Art History from the Universidad Complutense and a MA in Contemporary Art from the Universidad Europea, both in Madrid.

Clara Bolívar

Clara Bolívar is a researcher in academic and curatorial projects based in Mexico City. She is interested in critical approaches to historiography of artistic practices in twentieth century Mexico. She was curatorial assistant at the Celda Contemporánea - UCSJ, and Coordinator of the Education Program at the Blaisten Collection Museum at Centro Cultural Universitario Tlatelolco - UNAM. She was researcher and part of the exhibition team at Museo Nacional de Arte and Museo del Palacio de Bellas Artes. At those museums, she participated in the exhibitions: Denuncia Gráfica (CCUT, UNAM, 2011), Posada: Transmisor (MUNAL, INBA, 2011), Escuelas de Pintura al aire libre (MUNAL, 2013), among others. She was a researcher at the Centro de Documentación Arkheia from MUAC – UNAM, where she co-curated the exhibition Expandir los espacios del arte. Helen Escobedo en la UNAM 1961 - 1979 (2017). She holds an MA in History from Universidad Iberoamericana and completed her degree in Cultural Sciences at Universidad del Claustro de Sor Juana. She belongs to the third generation of the Escuela Crítica de Arte convened by Proyecto Siqueiros (INBA) at La Tallera, Cuernavaca (2017). Currently, she coordinates the studies group Political (hi)stories of objects at the independent artist space Biquini Wax.

Marco Calderón

Marco Calderon is a curator, artist, and art director based between Paris and Mexico City. In his curatorial practice, he establishes connections and long-term dialogues with a variety of artists.  His artistic formation started in Mexico where he studied Visual Arts at the Autonomous University of Morelos State. Marco continued his studies in Paris at the École Nationale Supérieure des Arts Décoratifs. He was artistic resident at the Banff Center in Canada. He was the assistant curator for the exhibition: Resisting the present Mexico 2000-2012, at the Musée d’Art Moderne de la Ville de Paris in 2011. In 2015, Marco temporally joined the team of the Embodied Audio Visual Interaction Group at Goldsmiths University in London (UK) to perform research. He is currently studying a double professional MA in curatorial studies and the market of contemporary art at the Paris 8 University and L’IESA, respectively. Besides his studies he is currently employed by the Coordination of Culture and Exhibitions at the French Institute for Latin America (IFAL) and the Casa de Francia in Mexico City. His most ambitious project is P-L-A-Y-E-R-S an artistic association which is focused on curatorial practices that promote the development of emerging contemporary artists and give exposure to more established ones.

Marielsa Castro

Marielsa Castro is a Mexican architect and curator, she recently graduated from a Master in Design Studies in Art, Design and the Public Domain, at Harvard’s Graduate School of Design (GSD). Her interests are related to the intersection of art and architecture, and to the construction of architectural knowledge through a synthesis between practice and theory, particularly in Latin America. Her latest research is related to the role of the museum as a public forum, and she is currently developing an exploration on Museums of Memory in Latin America. After graduating, she worked with the exhibition department of the GSD for the exhibition Soft Thresholds: Projects of RMA Architects, Mumabi exhibited at Gund Hall Gallery at Harvard. During the last year of her postgraduate studies she co-directed FortyK, an art student-run gallery, where she engaged in curatorial practices, exhibition, lecture and film screening programming. She has been twice awarded by the Rockefeller Center for Latin American Studies (DRCLAS) to research the relationship between memory, museums, and architecture in four Latin American countries. 

For three years (2012 – 2015), she directed LIGA, Space for Architecture, Mexico City, an independent platform established to promote the exchange of ideas and research of contemporary Latin American architecture through a site-specific exhibition program, leading more than 10 site-specific exhibitions and multiple events. As Director, she coordinated curatorial research around architectural offices in Latin America, and in addition to the exhibition program, she organized a series of events, lectures, screenings, and dialogues with professionals related to the architectural discipline. With LIGA, she participated in the Lisbone Architecture Triennale: Close, closer. In 2013, she was part of the editorial team of the first publication: LIGA 1-10, Vol 1: Even Small Spaces Start Small. On several occasions Marielsa has lectured internationally on exhibition practices, and she is a published author who has collaborated with different architectural magazines and publications.

Daril Fortis

Daril Fortis lives and works in Tijuana (Mexico) as an art curator. He received his BFA with honors from the Autonomous University of Baja California (2015). He attended the Curatorial Intensive of Independent Curators International (2018). He has collaborated with diverse cultural institutions as the Oaxaca Textile Museum, Ministry of Culture of Coahuila, Tijuana Cultural Center, State Council for Cultures and Arts of Chiapas, Museum of Contemporary Art Oaxaca, Sinaloa Cultural Institute, Tamayo Contemporary Art Museum, Ministry of Culture of Baja California; he has also collaborated with independent exhibition spaces and projects as Shaped in Mexico, Tijuana International Festival of Photography, International Symposium on Contemporary Art Theory, 206 Arte Contemporáneo, Salón ACME, Modern Love, among others. In 2014 he co-founded Periférica, an organization dedicated to the creation, socialization, and preservation of content related to the visual arts of Baja California, of which he was program coordinator until its dissolution in 2019. He was awarded the grant by the Jumex Grant Program (2019-2020) with the research project Cuerpo, tiempo, espacio  (Body, time, space) about performance art history in Tijuana.

Anamaría Garzón Mantilla

Anamaría Garzón Mantilla is an independent curator and full time professor at the College of Communication and Contemporary Arts (COCOA), at Universidad San Francisco de Quito. She teaches Contemporary Art Theory and Curatorial Studies. Garzón is the general editor of post(s), (posts.usfq.edu.ec), an academic international journal dedicated to art and critical theory. Since 2017, Garzón is the Creative Director of Khôra, a non-profit experimental space located in Quito-Ecuador. Garzón studied Journalism and Art History at USFQ and Universidad Autónoma de Barcelona. She holds an MA in Contemporary Art from Sotheby’s Institute of Art, New York. She has participated in conferences at the Latin American Studies Association and The Arts on Society. Amongst her curated exhibitions, are Sísifo, el heroísmo del absurdo (Arte Actual - FLACSO, 2013); El cuerpo queer, la construcción de la memoria (Arte Actual – FLACSO, 2014). In 2015, she was the academic responsible for the critical museology symposium Unravelling the Museum, and she was appointed curator for two projects at the Premio Nacional de las Artes Mariano Aguilera, both events were organized by Fundación Museos de la Ciudad de Quito.

Rolando Hernández

Hernández’s practice is being developed between the fields of curatorship, archive research, performativity, composition and art production with a strong focus on sound and the elements that surrounds it. Since 2013 he runs and co-curates alongside Gudinni Cortina, Umbral, a project space and festival in Mexico and Oaxaca City that exhibits practices that have sound as its main foucs and since 2015 he`s the director of CCADDASM (Centro de Creación, Archivo y Difusión de Documentos de Arte Sonoro en México) an artistic institution that is creating an archive of sound practices in México that will help to visibilise practices around sound in the history of Mexico and making projects to exhibit the research such as curatorial projects, installations, performative conferences or workshops.  During 2018, he s finishing the curatorial project “Imaginate todo aquello que no podrías imaginarte nunca” a web documentary showing the experimentation during the 80`s in Mexico City looked through the archive of Angel Cosmos (1949-1993), curator, editor, artist, but most important, Poet with capital letters.  He is also preparing the first retrospective exhibition of swiss composer Manfred Werder and mexican collector and musical dealer Arturo Castillo to be shown next year in Mexico.

Jorge Lopera

Jorge Lopera is an independent researcher and curator based in Medellín (Colombia). He holds a BA in Spatial Design from Colegiatura Colombiana University Institution, postgraduate studies in Cultural Management at Ortega & Gasset Foundation in Buenos Aires (Argentina) and a Master’s degree in Humanities from EAFIT University. His work has been focused on the history of art through exhibitions, Latin American conceptual art, decolonial discourses, and visual studies. He worked at the Curatorial Department of the Museum of Modern Art of Medellín from 2011 to 2012. He was awarded with the Research Grant in Visual Arts (2016) by the Ministry of Culture of Colombia and the VIII Historical Curatorship National Award (2015) by Fundación Gilberto Alzate Avendaño. He is co-author of the book Medellín Museum of Modern Art: A Brief History. Some of his recent projects include Wanderjahre (2017); Athens Salon. A critical history (1975-1984) (2016); Gestural Deployments. Adolfo Bernal, Jorge Ortiz, María Teresa Cano (2016); The Exhibition at the Edge of History. Conceptualism and Institutionality of Art in Latin America (1968-1981) (2016); La Vorágine (2015), among others. Since 2015 he often writes for ArtNexus.

Alejandro Morales

Alejandro ‘Luperca’ Morales graduated with Honorary Mention of the Degree in Theory and Criticism of Art at the Autonomous University of Ciudad Juárez (UACJ, 2013). He has taken seminars and workshops in spaces such as Node Center for Curatorial Studies (2015, 2014), FLACSO-17 Instituto de Estudios Críticos (2013) and the University of Chile (2012). As an artist he has participated in Hotel Juárez , Sala de Arte Público Siqueiros in collaboration with Francis Alÿs (2015); Mexico // The Future is Unwritten (Benetton Foundation Collection, 2015); XIX and XX Biennial of Santa Cruz de la Sierra (Bolivia 2014 - 2016); V Festival A-part (France, 2014); International Festival of Belo Horizonte (Brazil, 2013); Third Biennial Frontier Juárez - El Paso (Mexico-US, 2013), among others. He has worked in the areas of organization, research and development of exhibitions and catalogs at the Museo de la Solidaridad Salvador Allende and Centro Cultural Palacio La Moneda, both in Santiago de Chile. Among his curatorial projects are Index: Archiving the edges of Violence at the Rubin Center for the Visual Arts (2014); Horror Pleni, in Espacio de Arte Contemporáneo, (Montevideo, 2015), Third Salón ACME (CDMX, 2015), Fallas de Origen, Ciudad Juárez Art Museum (2016) and Francis Alÿs. Ciudad Juárez Projects at the ASU Museum in Arizona (2017). Resident Curator by the Gilberto Alzate Avendaño Foundation in Bogotá, Colombia (2015). He is in charge of Proyectos Impala, exhibition space and mobile library in Ciudad Juárez. With this project he obtained support from the Chihuahuan Institute of Culture (2015), ISE NY Cultural Foundation (2016), Patronato de Arte Contemporáneo (2016 - 2017) and FONCA Programa de Fomento a Proyectos y Coinversiones Culturales (2016).

Isabel Parkes

Isabel Parkes is a British-Ameican curator and writer. In recent years she has worked with Performance Space New York, Creative Time and Lincoln Center to realize a variety of projects with artists including Phil Collins, Sarah Ortmeyer and Leilah Weinraub. Prior to this, Isabel worked for the Sammlung Hoffmann in Berlin and directed a project space. She is the author of Interviews (Doppell, 2015) and a forthcoming book about the Sammlung Hoffmann (2021), and has lectured at museums and universities internationally. Isabel received her BA from Brown University and her MA from the Courtauld Institute of Art.

Josseline Pinto

Josseline Pinto (1996, Guatemala) is an independent curator, educator and poet based in Guatemala City. Co-founder and director of the independent space MANIFESTO-espacio. She is currently an educational curator for Fundación Nacional para las Bellas Artes y la Cultura FUNBA. He also teaches Art History at La Fototeca and at the Escuela Municipal de Artes Visuales. Previously, she co-coordinated the art education program Laboratorio de Arte Contemporáneo at Fundación Paiz. Her essays are published in the book “Darío Escobar Ensayos Dispersos” (2019) and “Agentes Culturales” (2016), as well as in magazines such as Arte al Día, Artishock, Revista Gimnasia and esQuisses. She’s also written for independent projects such as Residencia Chichicaste and the 20 Bienal de Arte Paiz catalogue. She’s worked before as assistant for curator Alma Ruiz during the 20Bienal and in galleries such as The 9.99 Gallery and Proyectos Ultravioleta. Her recent curatorial projects include: Ernesto Bautista: “Un vacío infinito llenándose con la memoria” at Galería Valenzuela Klenner in Bogotá, Colombia (2019), the group show “Después de mí el sueño” at MANIFESTO-espacio (2018);  Jason Mena: Victoria sobre el sol (2017),  among others. As a poet, she’s also published Objetos1 (2017), Sión Editorial and Cartas Íntimas (2015), Chuleta de Cerdo Editorial; and in anthologies from El Salvador, México and Guatemala. She was selected for the program “Programa de Formación Curatorial” at TEOR/éTica, Costa Rica and for the “Curatorial Intensive Mexico City”, Independent Curators International. She was also part of the 3rd edition of “Escuela de Crítica de Arte”, La Tallera, Cuernavaca, México in 2017.  Her work revolves around the study and manifestation of the poetic image and the artistic process as a tool for educational mediation.

Lorenzo Sandoval

Sandoval works as an artist and curator. He holds a B.F.A and a Masters in Photography, Art and Technology from UPV (Valencia, Spain). He received curatorial prizes such as Inéditos 2011, Can Felipa curatorial prize and Nogueras Blanchard 2012. He won the art prize ‘Generación 2017’ presented in La Casa Encendida (Madrid) and ‘V Beca DKV- Álvarez Margaride’ for ‘Shadow Writing (Algorithm /Quipu)’ at LABoral, Gijón, 2017. He was nominated for the ‘Berlin Art Prize 2018’ and ‘Premio Arte Contemporáneo Cervezas Alhambra 2020’. He presented ‘Shadow Writing (Lace/Variations)’ in Lehman + Silva Gallery in Porto and Nottingham Contemporary. He was part of ‘Canine Wisdom for the Barking Dog. Exploring the sonic cosmologies of Halim El Dabh’ curated by Bonaventure Soh Bejeng Ndikung, Kamila Metwaly and Marie Helénè Pereira for Dak’art Biennale 2018. He was artist in residency with Bisagra in Lima, with an exhibition at Amano Museum. He was part of the Miracle Workers Collective representing Finland in the Venice Biennale 2019. He presented ‘Shadow Writing (Fábrica Colectiva)’ at IVAM Alcoi, a research on the collectivization of factories related to sound. He was part of ‘Part of the Labyrinth’, Göteborg International Biennial for Contemporary Art 2019, curated by Lisa Rosenthal. Together with Tono Vízcaino, he’s preparing ‘Industria. A partial study about sound and immaterial practices in the industrial heritage of Comunidad Valenciana’ for IVAM. Since 2015, he runs The Institute for Endotic Research, which opened as a venue in 2018, in collaboration with Benjamin Busch. http://lorenzosandoval.net