INDEPENDENT CURATORS INTERNATIONAL
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Liverpool Biennial Associate Artists


Simeon Barclay, installation view of The Feast Wagon, The Tetley, Leeds, 2015. Photo by Jules Lister.


The Liverpool Biennial Associate Artists Programme is a three-year partnership led by the Biennial with ICI and CACTUS gallery in Liverpool. The program offers 10 artists based in the North of England an international framework for artistic development and support.

As part of this three-year partnership (2016-18), each Associate Artist is paired with a curator selected from ICI’s network of Curatorial Intensive alumni, who will serve as mentors. This will provide the artists with an opportunity to develop their practice, gain an insight into the dynamics of the art world, and develop international networks.

The program will launch at the opening of the Liverpool Biennial on July 9, 2016, where the Associate Artists and the curators will meet in person and hold studio and site visits. In addition to regular conversations, in-person encounters will be made possible through the duration of the program as part of a travel budget provided to each Associate Artist to visit their mentors in their home cities.

The artist and curator pairings are:

Simeon Barclay (Chester) — Rattanamol Johal (C-MAP Fellow for Asia, Department of Media and Performance Art at MoMA, New York, NY)

Jacqueline Bebb (Chester) — Amanda de la Garza Mata (Associate Curator at the University Museum of Contemporary Art in Mexico City, Mexico)

Lindsey Bull (Manchester) — Mónica Espinel (Independent Curator based in New York, NY)

Robert Carter & Lauren Velvick (Manchester) — Meaghan Kent (Director and Chief Curator of SITE95 in Guadalajara, Mexico)

Nina Chua (Manchester) — Rotem Rozental (Writer, Curator, and Photo Historian based in Los Angeles, CA)

Matthew Crawley (York) — Marta Ramos-Yzquierdo (Art Historian at the Complutense University if Madrid, Spain)

Frances Disley (Liverpool) — Rachel Cook (Curator at DiverseWorks in Houston, TX)

Daniel Fogarty (Manchester) — Karen Patterson (Curator at John Michael Kohler Arts Center in Sheboygan, Wisconsin)

Harry Meadley (Leeds) — Rosa Lleó (Writer and Independent Curator based in Barcelona, Spain)

Stephen Sheehan (Birkenhead) — Övül Durmusoglu (Freelance Writer and Curator and Director of YAMA screen in Istanbul, Turkey)


The Associate Artists Programme is an initiative of the Liverpool Biennial supported by a £250,000 investment from the Arts Council England International Showcasing Fund. It creates opportunities for artists based outside London to build sustainable international careers, provided they have the opportunity to strengthen their networks and markets beyond the UK.

For more information, please visit the Liverpool Biennial website here.

 

January 1, 2018 - July 9, 2018

Liverpool Biennial
55 New Bird Street
Liverpool L1 0BW

presenter

Rattanamol Singh Johal

Rattanamol Singh Johal is the C-MAP Fellow for Asia in the Department of Media and Performance Art at MoMA and a member of the post Editorial Team. He has previously worked in various capacities, including curator, archivist and publications editor at Khoj International Artists’ Association in New Delhi. He entered the Art History doctoral program at Columbia University in 2013 after earning a BA in Art History & Political Science at the Macaulay Honors College, CUNY (2009) and an MA at the Courtauld Institute of Art, London (2011). Interested in exploring the afterlives of the documentary mode, he examines artistic practices from around the globe that continue to critically push the genre into speculative, fictive, forensic, and other terrains.


Amanda de la Garza Mata

Amanda de la Garza Mata (Mexico,1981) Lives and works in Mexico City. She is curator, art historian and poet. She currently works as Adjunct Curator at the University Museum of Contemporary Art (MUAC, UNAM) since 2012. She holds a BA in Sociology, and a MA in Social Anthropology and in she is pursuing a MA in Art History-Curatorial Studies. She has developed curatorial projects in Mexico, Argentina, Colombia, Chile, Spain and USA. She has been awarded the Emerging Curators Prize, Frontiers Biennial, and several research grants in Mexico and abroad. Some of her recent curatorial projects include Leandro Katz. Project For the Day You’ll Love Me and the Ghost Dance (MUAC, 2018), Tlacolulokos (LALA-PST, Getty Foundation / Los Angeles Central Library, 2017), Ignasi Duarte. Fictional Conversations (MUAC, 2017), Oscar Santillán. Macula (MUAC, 2017), To the Artist of the World. The Museum of Solidarity Salvador Allende. Mexico/Chile 1971-1977 (MUAC-MSSA, Santiago, Chile, 2016); Isaac Julien. Playtime & Kapital (MUAC, 2016); The thick sap. Equidistant essays on the tropics (Casa del Lago, Mexico City, 2016). Jeremy Deller. The infinitely ideal of the popular (MUAC, CA2M, Madrid, 2015); Harun Farocki. Vision.Production.Opression (MUAC, 2014) and Hito Steyerl. Circulationism (MUAC, 2014), co-curated with Cuauhtémoc Medina. She has published poems, interviews, reviews and academic articles in local and international journals on subjects such as poetry, documentary photography, urban studies and contemporary art. She is interested in interdisciplinary practices in contemporary art that involve poetry, cinema, Social Sciences, archival research and contemporary dance.


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 Artforum.com.

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.


Meaghan Kent

Meaghan Kent is the Curator of Exhibitions at the Art and Culture Center/Hollywood in Florida. She is the Founder of Site95, an organization that holds exhibitions in available spaces including Locust Projects, Abrons Arts Center, and public outdoor spaces in Miami and New York. Kent was also a gallery director for the past fifteen years where she managed the careers of internationally emerging and established artists and coordinated exhibitions locally and worldwide. She co-founded Páramo in Guadalajara, Mexico and directed off-site projects at The Mistake Room in Los Angeles, Casa Pedregal in Mexico City, and El Museo de los Pintores Oaxaqueños in Oaxaca. Prior to Páramo, she worked at Casey Kaplan, Andrea Rosen Gallery, and I-20 in New York. Kent completed her MA in art history at George Washington University, Washington, DC and her BA at the College of Santa Fe, New Mexico. She was a participant of Independent Curators International (ICI) Intensive in 2012 and a mentor for the 2016 Liverpool Biennial Associate Artists Programme. Kent has written for several publications including Site95 Journal, ArtHaps, and Art in America. Exhibitions have been reviewed in Frieze, The Washington Post, Washington City Paper, Gallery Monthly, The Miami Herald, and The New York Times.


Rotem Rozental

Rotem Rozental is the Chief Curator of the American Jewish University in Los Angeles, CA. In this capacity, she serves as the Assistant Dean of the Whizin Center and the Director of the Institute for Jewish Creativity (IJC). Rotem is a photo-historian, writer, and curator. Traversing the domains of technology, media and art, Rotem has been working as a consultant, editor, writer, educator and organizer for international publications, cultural non-profits and organizations, among them Dia:Beacon, The Liverpool Biennial, The Brooklyn Institute for Social Research, and the Jerusalem Season of Culture. Her scholarly and curatorial projects were also supported by Artis, Independent Curators International, NurtureArt and the Center for Jewish History (NYC).  Most recently, she curated the dual exhibition Launch Sites L.A., which expands unto two sites in Los Angeles, several countries and a number of potential universes. Rotem’s writings and academic essays appeared in magazines, journals, and publications such as Photographies, Philosophy of Photography, Artforum.com, Tablet.com, and Uncertain States. Rotem is currently pursuing her Dissertation project, in which she explores the intersections of Zionist photographic archives, the image of the body and the writing of a national territory under the guidance of Prof. John Tagg (Binghamton University, NY).


Marta Ramos-Yzquierdo

Marta Ramos-Yzquierdo is an art historian from the UCM, Madrid, MA in Cultural Management from Instituto Ortega y Gasset, and she is part as curator of the ICI New York (Bogotá, 2013). After five years living in Chile, in 2009 she moved to Brazil where she was director of Galeria Baró. Between August 2012 and July 2013 she was appointed director of the independent art center Pivô. Back in Spain, she has run the LOOP Fair 2017. Nowadays she is living in Barcelona, where she continues working in her researches and new projects. As a researcher, Ramos is developing the research Artist working, (thinking on) new economies, about the labor conditions in the contemporary art. She was also part of History in display (WT), a collaborative project with contemporary artists on critical insertion in Brazilian museums. Following these two lines of investigation, Ramos curated ; Error as a star; Sublime and Dystopia, Ícaro Lira: General Field, and WORK – DO +, in São Paulo, Brazil; History is written by the victors, Felipe Ehrenberg 67//15 and its public program Visual scores; and After, Despois, Según, in Madrid, Spain; Rafa Munárriz, Sulla curva chiusa en la Galeria Macca, Cagliari, Italy; The way you read a book is different to how I tell you a story, at Jahn und Jahn, Munich, Germany; and Applications of the various flow theories, with Carlos Amorales and Los Torreznos as guests in Buenos Aires, Argentina.  Ramos writes texts for artists –Ricardo Alcaide, Marlon de Azambuja, Alberto Casari, Cristina Garrido, Julius Heinemann, Victor Leguy, Bruno Moreschi, Yoshua Okón, Sara Ramo, Flora Rebollo, Matheus Rocha Pitta, Sara&André, Tercerunquinto or Fábio Tremonte among others– and she also for magazines as Arte al día, arthishock and a-desk.org.


Rachel Cook

Rachel Cook is the Artistic Director of On the Boards, a Contemporary Performance Center in Seattle. Prior to On the Boards, Cook was Curator at DiverseWorks in Houston, Texas where she commissioned projects by Keren Cytter, Danielle Dean, Kate Gilmore, Chelsea Knight, Kristin Lucas, Liz Magic Laser, Wu Tsang, Heather Rowe, taisha paggett, Sondra Perry, Shelia Pepe, Julien Prévieux, and Mark Tribe. Additionally, Cook curated a number of group exhibitions and performance pieces including What Shall We Do Next? that considered ideas of the real in relation to physical materials, technology, and advertising. Also, The School for the Movement of the Technicolor People, a large-scale installation and performance platform by Los Angeles-based artist taisha paggett and WXPT in collaboration with Ashley Hunt and Kim Zumpfe in which the question, “What is a Black dance curriculum today?” was posed with local company members. In 2015 she received a Curatorial Fellowship from The Andy Warhol Foundation for the Visual Arts to research a series of Walker Evans’ photographs from the African Negro Art exhibition at MoMA in 1935. Cook holds a MA from the Center for Curatorial Studies at Bard College and a BFA from the San Francisco Art Institute. She currently serves on the Board of Directors of the National Performance Network.


Karen Patterson

Karen Patterson is Curator at the John Michael Kohler Arts Center (JMKAC) in Sheboygan, Wisconsin. Her primary focus is the Arts Center’s premier collection of folk art, self-taught art, and artist environments. She incorporates these works into curatorial projects that explore a variety of contemporary themes. She also works with a range of artists, artworks, and commissioned site-specific pieces. Her recent curatorial projects include Ebony G. Patterson: Dead Treez, Ray Yoshida’s Museum of Extraordinary Values, and This Must Be The Place, an exhibition series exploring the relationship between artists and their formative places. Karen completed her Bachelor of Arts in Folklore Studies at Memorial University in Newfoundland, Canada, and her Masters of Art Administration at the School of the Art Institute of Chicago, where her focus was the home collection of Chicago artist Ray Yoshida. Prior to joining JMKAC, she developed interpretive programs for house museums and heritage sites in Canada and the US and co-founded a 12-hour public art festival, Nocturne: Art at Night, in Nova Scotia.


Rosa Lleó

Rosa Lleó (Barcelona, 1980) is the curator and director of the project The Green Parrot in Barcelona founded in April 2014. Since its opening it has established itself as a reference space in the city and abroad with a programme of exhibitions, publications and activities with local and international artists such as Oriol Vilanova, Shana Moulton, Marc Camille Chaimowicz, Basim Magdy, Lúa Coderch, Teresa Solar, among others. Currently the project is in residence at Fundació Antoni Tàpies where it has developed a public programme with the Brazilian collective OPAVIVARÁ! and Daniel Steegmann Mangrané. Lleó has also collaborated with institutions such as MACBA and during 2013 was part of the Curatorlab research program (Konstfack University, Stockholm). He has also curated exhibitions and events at ARCO Madrid (2018), Art-o-Rama, Marseille (2016), Can Felipa - Museu de l’Empordà (2014) Sant Andreu Contemporani, Barcelona (2011) La Casa Encendida, Madrid (2010). She writes occasionally for Babelia and other magazines, in addition to teaching at the Universitat Pompeu Fabra.


Övül Ö. Durmusoglu

Övül Ö. Durmusoglu is a curator, writer, and educator living in Berlin. As a curator, she acts between exhibition-making and public programming, singular languages and collective energies, worldly immersion, and political cosmologies. Currently, Övül is a guest professor and program co-leader in the Graduate School at the University of the Arts in Berlin and a visiting professor in Hochschule für Bildende Kunst Braunschweig. She has co-initiated “Die Balkone: Life, Art, Pandemic and Proximity” in Berlin with Joanna Warsza in April 2020. Her recent curatorial project ‘Stars Are Closer and Clouds Are Nutritious Under Golden Trees’ took place in the MMAG Foundation, Amman in 2019. In the past, Övül was curator for steirischer herbst festival in Graz; curator/director for YAMA public screen in Istanbul; curatorial advisor for Gülsün Karamustafa’s ‘Chronographia’at Hamburger Bahnhof, artistic director for the festival Sofia Contemporary 2013 titled as ‘Near, Closer, Together: Exercises for a Common Ground’. She curated programs within 10th, 13th, and 14th Istanbul Biennials; coordinated and organized different programs and events at Maybe Education and Public Programs for dOCUMENTA (13).


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