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dOCUMENTA (13) Curatorial Team / Agents
Leeza Ahmady Leeza Ahmady is an independent art curator and educator based in New York. Born in Afghanistan, she spent her adolescence in the United States. 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. Ahmady’s notable exhibitions include: "The Taste of Others," apexart, New York (2005); "The Paradox of Polarity: Contemporary Art from Central Asia," Bose Pacia, New York (2007); "Parable of the Garden: New Media Art from Iran and Central Asia," College of New Jersey Art Gallery, Ewing (2008); "I Dream of the Stans," Winkleman Gallery, New York and MARTE–Museo de Arte de El Salvador (2008); "Tarjama / Translation," Queens Museum of Art, Flushing, N.Y. (2009) and Herbert F. Johnson Museum of Art, Cornell University, Ithaca, N.Y. (2010). She is a founding member of a number of nonprofit organizations in the U.S. and Central Asia, such as Center for Contemporary Arts Afghanistan (CCAA).
>> Leeza Ahmady
Ayreen Anastas & René Gabri Ayreen Anastas abandons the exhausting pursuit of an old piece of herself, she does not try to "restore" herself (as one would say of a monument). She does not say: "I am going to describe myself" but: "I am writing a text, and I call it my short biography." She shifts from imitation (from description) and entrusts herself to nomination. Does she not know that, in the field of the subject, there is no referent? The fact (whether biographical or textual) is abolished at the same moment it is written, because it immediately coincides with it. "Writing oneself" as one’ s own symbol, she is the story which happens to her: freewheeling in language, she has nothing to compare herself to; and in this movement the pronoun of the imaginary "I" or "she" is impertinent; essential danger for the life of the subject: to write on oneself may seem a pretentious idea; but it is also a simple idea: simple as the idea of suicide. René Gabri writes: It is October 14, 2010, on the writing of this brief biographical statement. I have just finished a workshop with students and people seeking employment thinking together about the concept of work, labor, and action; distinctions outlined by Hannah Arendt in her book The Human Condition. Day by day, my conviction grows, that neither a biography nor a list of job accomplishments can come close to describing the life or vocation that seemingly evades me (us?). Unlike 30 years ago, we can no longer claim that we are separated from the work or labor we perform. Indeed, there is a separation, but the quality is not the same as the types of alienated labor associated with Fordism and even what was experienced in the postwar period into the ’60s. No doubt these kinds of labor and even more archaic forms of organizing production still remain, but the difference today is that the large profits come less from the surplus earned on the backs of this type of work and more in mining the everyday affective, creative, relational, linguistic, and cognitive capacities of individuals. Thus, our very capacity for politics, that is, our capacity to speak to others, and consider together what it means to live alongside other humans, is central to production. The task today is to consider how we can wrest these elemental conditions of politics (that is, our intellectual, linguistic, relational, and performative capacities) away from their unquestioned instrumentalization toward an almost sacred pursuit of profit (even if it risks planetary destruction). If the work (of art) was once seen as a portal or a means to measure the confines of our world, to find our place in it, then let us ask with Hannah Arendt, "What are we doing?"
>> Ayreen Anastas
>> René Gabri
Sofía Hernández Chong Cuy Since June 2009, Sofía Hernández Chong Cuy has served as director of Museo Tamayo in Mexico City. Prior to this, she was curator and programs manager at Art in General and, earlier, associate curator at Americas Society, both nonprofit arts organizations in New York. As an independent curator, she organized the exhibitions "Autopsia de lo invisible," MALBA, Buenos Aires (2008); "Archaeology of Longing," Kadist Art Foundation, Paris (2008); and, together with Raimundas Malašauskas and Alexis Vaillant, the IX Baltic Triennial: "Black Market Worlds" (a.k.a. BMW; TK). She writes regularly for exhibition catalogues and art magazines and, more recently, in the blog she initiated: www.sideshows.org. Born in Mexicali, Baja California, Mexico, Hernández studied art at the Universidad de Monterrey, Mexico. In 2000, she received the Ramapo College Curatorial Award for her thesis exhibition at the Center for Curatorial Studies, Bard College, where she also spent a yearlong curatorial residency in 2008. She was awarded a study grant by Fondo Nacional para la Cultura y las Artes in Mexico in 1998–99, and an Independent Travel and Research Grant by the American Center Foundation in 2007.
Sunjung Kim Sunjung Kim is a Seoul-based independent curator and professor at the Korea National University of Arts. Since the 1990s, Kim has played a pivotal role in linking Korean contemporary art and the international art world. From 1993 to 2004, Kim worked as the chief curator at Artsonje Center, a contemporary art centre in Seoul. She was the commissioner of the Korean Pavilion at the 51st Venice Biennale (2005). In 2006, she initiated the annual contemporary art festival Platform Seoul. The first festival, titled "Somewhere in Time," was followed by "Tomorrow" (2007), "I have nothing to say and I am saying it" (2008), "Platform in KIMUSA: Void of Memory" (2009) and "Projected Image" (2010). She co-curated "Your Bright Future," an exhibition of 12 contemporary artists from Korea presented at the Los Angeles County Museum of Art and Houston Museum of Fine Arts (2009–10). Kim has also curated solo exhibitions for artists such as In-Hwan Oh, Martin Creed, Beom Kim and Haegue Yang at Artsonje Center. Most recently, she was the artistic director of Media City Seoul 2010, the 6th Seoul International Media Art Biennale.
>> Sunjung Kim
Koyo Kouoh Koyo Kouoh is a Cameroonian-born curator and cultural producer educated in banking administration, cultural management, and curatorial practice in Switzerland, France, and the United States. She is the founding director of RAW MATERIAL COMPANY, a mobile site for art practice and critical exchange. She was the coordinator of cultural programs at the Gorée Institute in Senegal from 1998 to 2002; collaborated with the Dakar Biennale from 2000 to 2004; and co-curated Les Rencontres Africaines de la Photographie in Bamako in 2001 and 2003. Specializing in photography, video, and public interventions, Kouoh has curated exhibitions in Senegal, Brazil, Switzerland, Austria, Germany, and the U.S. and written on contemporary African art. She served as advisor to the artistic director for documenta 12 and was a member of the Golden Lion Jury at the 50th Venice Biennale in 2003. She co-curated "Hypocrisy: The Site Specificity of Morality," National Museum for Art, Architecture, and Design, Oslo (2009); the contemporary section of "GEO-graphics: A Map of Art Practices in Africa, Past and Present," BOZAR, Brussels (2010); and "Make Yourself at Home," Kunsthal Charlottenborg, Copenhagen (2010). Kouoh is associate curator of SUD 2010, Salon Urbain de Douala. She lives and works in Dakar.
>> Koyo Kouoh
Joasia Krysa Joasia Krysa is a curator, writer, and academic. She is a founding director of KURATOR, a combined curatorial platform and research project at the intersection of art and technology, and is also associate professor at the University of Plymouth, UK. Previously she worked with WRO Media Art Biennale in Wroclaw, Poland, and for Polish Television. She is co-editor of the DATA browser book series published by Autonomedia (New York), and as part of the series she edited Curating Immateriality: The Work of the Curator in the Age of Network Systems (2006). Krysa regularly lectures and contributes to publications on curating, digital culture, and technology. Her recent curatorial projects include the exhibitions "After The Net" (Spain, UK, Mexico, 2008–10) and "Silicon Dreams" (with the Spanish Ministry of Science and Innovation, and La Agencia, Madrid, 2010). She lives and works in the UK and Poland.
Marta Kuzma Marta Kuzma is a curator, writer, lecturer, and, since 2005, director of the Office for Contemporary Art Norway (OCA). Recently curated exhibitions at OCA include "Big Sign—Little Building" and "Whatever Happened to Sex in Scandinavia?"—a look at the juncture of the political and erotic in the countercultural movements of the 1960s. She co-curated Manifesta 5 in San Sebastián, Spain, and numerous other exhibition projects reflecting wider research initiatives. Kuzma is a visiting professor at the University IUAV in Venice and a member of the editorial board of the London-based contemporary arts journal Afterall. She is the founding director of the Soros Center for Contemporary Art in Kyiv, Ukraine, and has served as the director of the WPA in Washington, D.C. in addition to heading the International Exhibitions Program at the International Center of Photography in New York. She is a graduate of Barnard College, New York, and postgraduate of art theory and aesthetics from the Centre for Research in Modern European Philosophy/Middlesex University in London.
Raimundas Malašauskas Raimundas Malašauskas, born in Vilnius, is a curator and writer. From 1995 to 2006, he worked at the Contemporary Art Centre in Vilnius, where he produced the first two seasons of the weekly television show GAG TV, an experimental merger of commercial television and contemporary art that ran under the slogan "Every program is a pilot, every program is the final episode." He curated "Black Market Worlds," the IX Baltic Triennial, at CAC Vilnius in 2005. From 2007 to 2008, he was a visiting curator at California College of the Arts, San Francisco, and, until recently, a curator-at-large of Artists Space, New York. In 2007, he co-wrote the libretto of Gellar Door, an opera by Loris Gréaud produced in Paris. Malašauskas curated the exhibitions "Sculpture of the Space Age," David Roberts Art Foundation, London (2009); "Into the Belly of a Dove," Museo Rufino Tamayo, Mexico City (2010), and "Repetition Island," Centre Georges Pompidou, Paris (2010). His other recent projects, Hypnotic Show and Glifford Irving Show, are ongoing.
Chus Martínez Born in Spain, Chus Martínez has a background in philosophy and art history. Since July 2008, she has been the chief curator of MACBA in Barcelona. Previously she was director of the Frankfurter Kunstverein (2005-2008); the artistic director of Sala Rekalde, Bilbao (2002-2005); and director of the project space of La Caixa Foundation, Barcelona (2001-2002), where she curated a oneyear program under the title "The Lowest Common Denominator." For the 50th Venice Biennale (2005), Martínez curated the National Pavilion of Cyprus under the title "Gravy Planet," and in 2010 served as a curatorial advisor for the 29th São Paulo Bienal. Martinez lectures regularly at the Royal College in London, the Oslo Fine Art Academy, and HISK in Antwerp. She has written numerous catalogue texts and her critical essays have appeared in magazines such as Kaleidoscope and Artforum. Her recent exhibitions include "Are you ready for TV?" and "Thomas Bayrle," MACBA (2010); "Le Grand Monde de Mona Hatoum," Fundación Botín, Santander, Spain (2010); "The Malady of Writing," MACBA (2009); "Natascha Sadr Haghighian: Fruit of One’ s Labour," "Ibon Aranberri: Disorder," and "Manon de Boer: The Time That Is Left" (2008), and "Pensée Sauvage: On Freedom" (2007), at Frankfurter Kunstverein.
>> Chus Martínez
Lívia Páldi Born in Budapest, Lívia Páldi has been chief curator at the Mücsarnok / Kunsthalle Budapest since 2007. She has organized numerous exhibitions, including "Other Voices, Other Rooms—Attempt(s) at Reconstruction. 50 Years of the Balázs Béla Studio," Mücsarnok / Kunsthalle Budapest (2009); "Robert Capa," Ludwig Museum – Museum of Contemporary Art, Budapest (2009); "The Producers," Ernst Museum–Mücsarnok / Kunsthalle Budapest (2008); "Mircea Cantor: Future Gifts," Mücsarnok / Kunsthalle Budapest (2008); "Deimantas Narkevičius: History Continued," Mücsarnok / Kunsthalle Budapest (2007); "!REVOLUTION?" (with Ulrike Kremeier), Collegium Hungaricum, Berlin (2006); and "Dreamlands Burn," Nordic Art Show 2006 (with Edit Molnár), Mücsarnok / Kunsthalle Budapest (2006). Currently she is preparing the English edition of a Balázs Béla Studio reader. Páldi has edited several exhibition catalogues; she was a contributing editor of East Art Map magazine and book organized by theartist collaborative IRWIN in Ljubljana (2002–5). She participated in the Curatorial Training Programme at De Appel in Amsterstam and is currently a doctoral candidate in the Institute for Art Theory and Media Studies at Eötvös Loránd University, Budapest.
Hetti Perkins Hetti Perkins is a member of the Eastern Arrernte and Kalkadoon Aboriginal communities. Currently the senior curator of Aboriginal and Torres Strait Islander art at the Art Gallery of New South Wales in Sydney, she has worked with Indigenous visual art for over twenty years. Major exhibitions presented at the gallery include "Half light: Portraits from Black Australia" (2008); "Crossing Country: The Alchemy of Western Arnhem Land Art" (2004); and "Papunya Tula: Genesis and Genius" for the Sydney 2000 Olympic Arts Festival. She co-curated the Australian Indigenous Art Commission for the new Musée du Quai Branly in Paris (2006), in partnership with the Australia Council. In 1997, she co-curated (with Brenda L. Croft) the exhibition "fluent," to represent Australia at the 47th Venice Biennale. Perkins was an advisor to the 2008 Biennale of Sydney, a member of the International Selection Committee for the 2000 Biennale of Sydney, and on the Selection Panel for Australia’ s representation at the 2003 Venice Biennale. In 2010, Perkins wrote and presented the national three part documentary series, art + soul,for ABC television.
Eva Scharrer Eva Scharrer is a curator and critic, currently based in Kassel, Germany. As a freelance curator, she has worked on exhibitions in Germany and Switzerland. She has written various catalogue essays on renowned and emerging artists and has been a regular contributor to international contemporary art journals such as Artforum and Artforum.com, New York; Modern Painters, New York; Kunst- Bulletin, Zurich; Spike Art, Vienna; C Magazine, Toronto; Neue Review, Berlin; Regioartline.org, Freiburg/Basel; and for the Basler Zeitung. In 2007 she was co-curator of the Sharjah Biennial 8 "Still Life. Art, Ecology and the Politics of Change" in the United Arab Emirates. Since April 2009 she has been working as as curatorial researcher and writer for dOCUMENTA (13).
>> Eva Scharrer
Kitty Scott Kitty Scott is Director of Visual Arts at The Banff Centre, Alberta, Canada, a post she has held since 2007. Previously she was chief curator at the Serpentine Gallery, London, and curator of contemporary art at the National Gallery of Canada, Ottawa. Scott has curated exhibitions of artists such as Francis Alÿs, Janet Cardiff, Paul Chan, Peter Doig, Ragnar Kjartansson, Silke Otto-Knapp, Ken Lum, and Ron Terada. She organized the symposium "Trade Secrets: Education / Collection / History" at The Banff Centre (2008) and edited Raising Frankenstein: Curatorial Education and Its Discontents (2010). She has written extensively on contemporary art in journals such as Parachute, Parkett, and Canadian Art, and has contributed to numerous books on curatorial studies and monographic publications on the work of Matthew Barney, Peter Doig, Brian Jungen, and Daniel Richter. Scott was the Canadian coordinator for the 7th International Istanbul Biennial (2001) and also worked on the inaugural SITE Santa Fe Biennial (1995). She is an adjunct professor at York University, Toronto; University of British Columbia, Vancouver; and University of Ottawa; and a visiting professor in the Curatorial Practice Program, California College of the Arts, San Francisco.
Andrea Viliani Andrea Viliani is the director of the Fondazione Galleria Civica–Centro di Ricerca sulla Contemporaneità in Trento, where he has curated solo shows of Robert Kuśmirowski, Melvin Moti, and Gustav Metzger, commissioned Lara Favaretto’s public intervention Momentary Monument #3, and organized workshops and co-edited books of the Otolith Group, Dora García, Tris VonnaMichell, Cesare Pietroiusti, and Alberto Garutti. Conceived as a chapter of an ongoing exploration of the relationship between contemporary institutions and artists, the program at the Fondazione has been devoted to the relation between "story" and "history," "real" and "hypothetical." From 2005 to 2009, Viliani was curator at the MAMbo–Museo d’Arte Moderna di Bologna, where he presented an exhibition program focused on the contemporary legacy of the 1960s/1970s institutional critique, and on a possible new approach to it, which he called "institutional narrative." For the series +Museum–Shows and MAMbo Practices (No Dance Lessons), he curated solo shows of Nico Dockx (with Building Transmissions), Ryan Gander, Jay Chung & Q Takeki Maeda, Markus Schinwald, Adam Chodzko, Bojan Šarčević, Natascha Sadr Haghighian, Guyton\Walker, Trisha Donnelly, and Seth Price as well as cocurated solo shows of Giovanni Anselmo, Christopher Williams and Jeroen de Rijke-Willem de Rooij. Viliani, who in 2005 was awarded the "Lorenzo Bonaldi per l’Arte" prize for emerging curators, recently took part in a series of interviews published in Pratiques et expériences curatoriales italiennes (Dijon: Les Presses du Réel, 2010). Among the 60 "players" of the 2007 Biennale de Lyon, he is a frequent contributor to FROG, Mousse ("Curator’s Corner"), Kaleidoscope, and Flash Art.
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