Curatorial Seminar Public Symposium

Curatorial Seminar Public Symposium
Wednesday, September 25, 2013

SALT Galata
Bankalar Caddesi 11 

Karaköy 34420 İstanbul Türkiye
T +90 212 334 22 25

The public symposium in Istanbul will present the research of the following seven international curators brought together for the Curatorial Seminar: Özge Ersoy, Mónica Espinel, Nazli Gurlek, Olga Hatzidaki, Kate Brehme, Anna Santomauro, and Claire Shea.

Developed by ICI in collaboration with SAHA, the Curatorial Seminar focuses on Istanbul as a case study, exploring a number of key issues that challenge our understanding of what constitutes an emerging art scene, the strengths and pitfalls of working within such a context, and questions of how to develop a curatorial practice that supports the development of artists and local infrastructure within the international art world.

Between June 25 and September 20 the seminar was conducted via online sessions that included lectures from curators (Hou Hanru, Zoe Butt, Kate Fowle, and Sally Tallant), roundtable discussions, reading groups, and workshops to explore each participant’s research topic. Between September 21 and 25 the seminar will be held in Istanbul, and includes site visits to artists’ studios and selected venues, seminar sessions with guest curators, and an in-depth study of the 13th Istanbul Biennial. Four months of research culminate in a presentation by each participant in this daylong public symposium at SALT Galata. The research will be presented in its current state, and participants will continue to work on their research papers post-Seminar, with the advisement of the Seminar faculty.

This event is free and open to the public.

September 25, 2013

SALT Galata
Bankalar Caddesi 11 

Karaköy 34420
İstanbul Türkiye


Özge Ersoy

Özge Ersoy is Public Programmes Lead at Asia Art Archive, Hong Kong. Before joining AAA, she was Curator and Program Manager of collectorspace, Istanbul. She is also Managing Editor of, an online publication conceived as an artist-centered initiative. Ersoy is Editor of “Fatma Bucak: I must say a word about fear” (2014), “telegenic” (with Ekberzade, SPOT, 2014), and “How to Begin? Envisioning the Impact of Guggenheim Abu Dhabi” (CCS Bard, 2010). She contributed to “Constituent Museum” (I’Internationale/Valiz, 2018), “Sarkis: Respiro” (İKSV, 2016), “Rethinking Contemporary Art and Multicultural Education” (New Museum, 2014), and “Speculation, Now” (Vera List Center/Duke Uni. Press, 2014). Her writings have been included in ArtAsiaPacific, Bidoun, Brand-New-Life, Domus, Modern Painters, and The Journal of the Society of Architectural Historians, among others. Ersoy holds an MA from the Center for Curatorial Studies, Bard College. She lives and works in Hong Kong.

Mónica Espinel

Monica Espinel is an independent curator and writer specialized in Modern and Contemporary Art from Latin America.  She is currently a guest curator for Artpace in San Antonio and a Ph.D. candidate in the History of Art at The Graduate Center, City University of New York.  She has experience working internationally in museums, galleries, alternative art spaces, biennials, auction houses, art fairs, and philanthropy; and has been navigating curatorial practice and collaboration across various institutional (Metropolitan Museum, Bronx Museum, Whitney Museum, Liverpool Biennial, Artpace) and commercial platforms (Marvelli Gallery, Wildenstein, Latincollector, Phillips, Deutsche Bank, Armory Show, SP-Arte, ArtRio) for over a decade.  She cultivates long-term relationships with artists and employs postcolonial and feminist theory to advocate for artists from Latin America. Her research interests include issues of representation, international artistic networks, the intersection of art and politics, the body, film, literature, performance, and visual culture.

Curatorial projects include: ‘‘Black Milk: Theories on Suicide’’ (Marvelli Gallery, New York, 2004), ‘‘Carmen Herrera - Estructuras’’ (Latincollector, New York, 2008), ‘‘Memory Leaks’’ (Creon, New York, 2010), “Photographic Treasures from the Collection of Alfred Stieglitz” (curatorial assistant, Metropolitan Museum of Art, 2011), “Rituals of Chaos” (Bronx Museum of the Arts, 2012), “The Skin I Live In” (SP-Arte, 2013), “Bruno Miguel: Todos à Mesa” (Galeria Emma Thomas, São Paulo, 2015) and “Hybrid Topographies - Encounters from Latin America” (Deutsche Bank, New York, 2018). 

Espinel was a Mentor for the Associate Artists program of the Liverpool Biennial (2016-18) and is the recipient of numerous awards including ArtTable’s Diversity Grant to be a curatorial fellow at Wave Hill (2009), a Milton & Sally Avery Arts Foundation Curatorial Fellowship at the Bronx Museum of the Arts (2010), and a Roswell L. Gilpatric Award to work in the department of Photographs at The Metropolitan Museum of Art (2011). 
She has participated in curatorial workshops in Asia, Europe, and South America; lectured and published widely; and her writing has been featured in ArtNexus, Arte al Dia, Flash Art and

Espinel holds a BS in psychology from Florida International University and an MA in Art History from Hunter College, where she wrote her thesis about Mexican photojournalist Enrique Metinides.

Nazli Gurlek

Nazli Gurlek is an independent curator and writer based in Istanbul, where she is Vice President of AICA Turkey. She obtained an MFA in Curating at Goldsmiths College in London (2008), and a BA in Painting at the Academy of Fine Arts in Florence (2006). She was Assistant Curator of the Pavilion of Turkey at the 53rd Venice Biennale (2009), and curated a number of solo and group exhibitions including BENGÜ BURAK VOLKAN ALP ELMAS İZ (Maçka Sanat Galerisi, Istanbul, Sept 2011–June 2012), Shared (5533, Istanbul, 2012), The Riot Act (Galerie Mor Charpentier, Paris, 2011), İnci Eviner (Nesrin Esirtgen Collection, Istanbul, 2011), Rehearsal (Gallery Non, Istanbul, 2011), and Fold (Elgiz Museum of Contemporary Art, Istanbul, 2011). Recently Gurlek curated DIYALOG: Art From Turkey at the Vienna Fair, The New Contemporary (September 2012); and co-organized an AICA Turkey event, a series of talks entitled CONTEMPORARY ART IN TURKEY FROM 1980’s TO PRESENT: TESTIMONIES AND SHARED EXPERIENCES at Mimar Sinan University of Fine Arts, Istanbul. Her writings have been published in Flash Art International, Sanat Dünyamız, and Frieze Blog, among others. Gurlek is the author of Sarkis and When Attitudes Become Form, soon to be published by SALT Istanbul. She is going to be the curator-in-residence at the CCA Ujazdowski Castle in Warsaw in July 2013, and also currently working on an exhibition that will open at Nesrin Esirtgen Collection in Istanbul in December 2013.

Olga Hatzidaki

Olga Hatzidaki is a curator and cultural producer based in Athens. She is currently the General Coordinator of the Biennial Foundation and coordinated the first edition of the World Biennial Forum in Gwangju (South Korea) and served as the Editorial Assistant for Forum’s publication, Shifting Gravity. Hatzidaki is also an Associate Curator for Artist Pension Trust (APT). Previously she was the Director of AMP gallery in Athens, which frequently produced large-scale exhibitions. Recent curatorial projects include a gathering (co-curated with Maria-Thalia Carras), a collaboration with international artists, where artworks were printed as offsets and exhibited around Athens, and culminated in one exhibition at the Athens Festival. The exhibition was then presented in Thessaloniki (Macedonian Museum of Contemporary Art) and TedX, Athens. Her next project will involve highly acclaimed architect Christos Papoulias, which involves developing a narrative about the neighborhood of Metaxourgio, on the occasion of ReMap4, a biannual platform of contemporary art, taking place in Metaxourgio, Athens. Hatzidaki holds an MA from the Courtauld Institute of Art with a concentration in Contemporary Art Theory and is a scholar of the Onassis Foundation.

Kate Brehme

Kate Brehme is the founding director of Contemporary Art Exchange in Berlin, a curatorial and arts education platform that produces international projects and exhibitions of young and emerging artists. She has curated and organized several exhibitions along the themes of place and cultural identity, labour and work, globalisation, disability and socially engaged practices, including If One Were Two at Tete (2019), Glory Box at MeinBlau (2016), and Zusammenspiel at Das Gift (2014) all in Berlin, and Through the Looking Glass Dimly at the Edinburgh Art Festival (2012), Life:Death:Edinburgh:And at the Edinburgh Sculpture Workshop (2010), and Neither Here Nor There at The Old Ambulance Depot in Edinburgh (2010).

Previously, Brehme worked as arts educator at various institutions and organizations such the National Galleries of Scotland, The Fruitmarket Gallery in Edinburgh and the University of Strathclyde in Glasgow. She received her Masters of Cultural Heritage in Museum Studies at Deakin University in Melbourne, Australia and recently completed her doctorate at Berlin’s Technical University’s Center for Metropolitan Studies exploring the contemporary art biennale and urban space.

Currently, Brehme divides her time between curating Contemporary Art Exchange projects, lecturing for both the Master Education in Arts programme at the Piet Zwart Institute in Rotterdam and NODE Center for Curatorial Studies in Berlin and running Berlinklusion, a Network for Accessibility in Arts and Culture co-founded with colleagues in 2017, to make Berlin’s arts and cultural sector more accessible for artists and audiences with disabilities.

Anna Santomauro

Anna Santomauro is an independent curator based in Andria, Italy, and is the Co-Founder and Chief Curator of Vessel in Bari, Italy, a non-profit arts organization devoted to developing critical discourse around pertinent contemporary social, political, and economic issues. She has developed several projects and curated multiple exhibitions such as The Pacifist Library – Sarajevo, a project by Valentina Curandi and Nathaniel Katz (2013); Giant Step, a collaboration with the Van Abbemuseum in Eindhoven, Netherlands, Mostyn Gallery in Llandudno, Wales, and Galeria Labirynt in Lublin, Poland (2012); and For an Ecology of the Museum at the Museum of Villa Croce in Genoa, Italy (2012). In early 2013 she taught a research seminar at Newcastle University on independent curation. Santomauro received her Master’s in Visual Arts at Bologna University, graduating with honors in 2012.

Claire Shea

Claire Shea is the Deputy Director of Para Site, Hong Kong. She was an Associate Curator for the 8th Shenzhen Sculpture Biennial, ‘We have never participated’ (2014) at OCT Contemporary Art Terminal, Shenzhen, which featured works by Cao Fei, Cheng Ran, Morgan Wong, Adrian Piper and Polit-Sheer-Form Office.  Shea was previously Curatorial Director for Cass Sculpture Foundation in Goodwood, United Kingdom, (2008-2016) where she oversaw the strategic development of the institution and managed curatorial projects including the commissioning of works. In 2016, Shea curated ‘A Beautiful Disorder’ which featured new commissions by contemporary artists from Greater China including Cheng Ran, Cui Jie, Li Jinghu, Wang Wei, Xu Zhen (MadeIn Company). In 2012, she curated a major exhibition of Tony Cragg’s works on Exhibition Road and at the V&A, Natural History Museum, Science Museum, London for the Cultural Olympiad.  Shea has also lent her expertise in outdoor, site-specific projects to non-profit organisations such as Bold Tendencies (2010-2015), an annual project that transforms a disused multi-storey car park in southeast London’s Peckham district with visual art, music and literature. She is currently a researcher for the Institute of Public Art, Shanghai Academy of Fine Arts.

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