CURATORIAL Exchange PARTICIPANTS
Senior Research Fellow
National Museum of China
Chen Lyusheng is a Senior Research Fellow of the National Museum of China. From November 2011 to August 2016, he was the Deputy Director of the National Museum of China. He is the recipient of many awards, including the first of Central Academy of Fine Arts Professor Zhang Anzhi Scholarship Found for Criticism in the History of Fine Arts; Second Prize of the Beijing Literary Association Award for Art Criticism (2001); the Annual Award for Theoretical Innovation issued in 2005 by the newspaper Journal of Literature and Art; a Silver Medal of the 2005 Annual National Competition of Newspaper Supplements; the final round of selection for The Sixteenth National News Award. In 2006, he was selected by the Chinese Ministry of Culture as an Outstanding Scholar, and won the fifth Award for Young Artists for Virtue and Artistic Achievements.
For the past thirty years, Chen Lusheng has been dedicated to research in art history, theory and criticism, while pursuing his creative works in fine arts. He has published more than 50 books (including compiled), which include The Art History of People’s Republic of China: 1949-1966; In the Name of ‘Art’; and Revolutionary Art: since the Yan’an Era 1942–2009, along with over hundreds of articles. He has had solo exhibitions, both in China and abroad, and has published seven catalogues of his paintings, five anthologies, and three photography albums. Chen Lyusheng also serves as Guest Professor at School of Arts Peking University; Nanjing University of the Arts; Jishou University; Guangzhou Academy of Fine Arts; and Academy of Arts & Design Central University for Nationalities; China Foreign Affairs University; National Taiwan Normal University; and Special Professor of Faculty of Humanities and Social Sciences Social of City University of Macau.
Dr. Li Xiangning
China Pavilion at the 2018 Venice Architecture Biennale
Dr. Li Xiangning, is Deputy Dean and full Professor in history, theory and criticism at Tongji University College of Architecture and Urban Planning. He is a member of CICA (Comité International des Critiques d'Architecture), and Secretary General of China Architectural Society Architectural Criticism Committee. He has published widely on contemporary Chinese architecture and urbanism in international architectural magazines including Architectural Review; A+U; Architectural Record; Arquitectura Viva; Space; Domus; and Volume. He has taught as a visiting scholar at MIT, and has served as the UFI Fellow at MAK Center of Art and Architecture in Los Angeles, and Erasmus Mundus visiting professor at TU Darmstadt. He has held positions and lectured at UCLA, Tokyo Institute of Technology, Princeton University, University of Southern California, University of Florence, and the Canadian Center for Architecture. He is a Visiting Professor in Architecture at Harvard GSD.
He is co-curator of 2011 Chendu Biennale, 2011 Shenzhen Biennale, academic director and curator of 2013 Shenzhen/Hong Kong Bi-city Biennale, curator of Shanghai Westbund 2013 Biennale, and curator for 2015 and 2017 Shanghai Urban Space Art Season. He has been working with international museums and institutes, including Milan Triennale and Goethe Institute, curating exhibitions. He served as director for 2017 Busan Architectural Culture Festival (Korea). He recently curated the Chinese Pavilion at 2018 Venice Biennale. His books include The Real and the Imagined: A Study of Value in Contemporary Urban Theory (2009); Updating China: Projects for a Sustainable Future (2010); Made in Shanghai (2014); Shanghai Regeneration (2017); and Towards a Critical Pragmatism (2018).
Jacob Fabricius is currently Artistic Director at Kunsthal Aarhus. Previously, he was Director at Malmö Konsthall, Sweden (2008-12) and at Kunsthal Charlottenborg, Copenhagen (2013-14), where he curated many exhibitions including solo shows by Rivane Neuenschwander, Henrik Olesen, Pascale Marthine Tayou, Karl Holmqvist, Hans-Peter Feldmann, Judith Hopf, Josef Strau, and David Shrigle, among others. Fabricius does not limit himself to the institution space and, as a Director, initiated innovative public exhibitions such as the hitchhiking exhibition Auto Stop (2008), the crime novel-based exhibition Polis Polis Potatismos (Police Police Potato Mash, 2010) and Tournament d’objet a gestalt by Henrik Plenge Jakobsen (2013). Fabricius has also presented a number of international exhibitions and projects at unusual venues among them What is a guy from Leicester, a Swedish girl, a family father and a gay couple doing on a deserted island between Denmark and Sweden? (1997); Rent-a-Bench (2002); and Sandwiched (2003, 2014).
Den Frie Centre of Contemporary Art
Kirse Junge-Stevnsborg holds a master’s degree in Aesthetics and Culture/Art History and has served as Director of Den Frie Centre of Contemporary Art in Copenhagen since 2009. From 2006–2009 she worked as Director at Gavle Konstcentrum in Sweden. Previously, Junge-Stenvsborg worked at Dunkers Kulturhus in Helsingborg, Sweden, The Center for Danish Visual Arts, Copenhagen, Gallery Nicolai Wallner, Copenhagen and Tate Gallery in London. Junge-Stevsborg is a board member of the Danish Kunsthalle association. She participated in 2014 in the Executive Education Program for Museum Leaders, The Getty Leadership Institute, Los Angeles. She also holds a Diploma in Arts leadership, Denmark, Museum curating, Denmark and Cultural leadership, Sweden. Projects include exhibitions with Hans Op de Beeck, Tue Greenfort, Carla Chan, Mika Rottenberg, Rokni Haerizadeh, Susan Hiller, Jens Haaning, Lisi Raskin, and Andrea Fraser, among others. She is currently working on an exhibition with Pauline Curnier Jardin.
Director of 89plus Europe, Africa, and India
Julie Boukobza is an independent curator based in Paris and is in charge of the LUMA Arles Residency Program.
Julie Boukobza co-curated with Simon Castets a group show at the Museum of Contemporary Art in Belgrade called FADE IN 2 EXT. MODERNIST HOME in July 2017. In 2016 she curated the exhibition Pure Fiction at Marian Goodman gallery and a solo show of Peter Shire at New Galerie, both in Paris. She currently runs the LUMA Arles residency program as well as the 89plus residency at the Lab of the Google Cultural Institute in Paris. In the spring 2020, she will co-curate with Julia Morandeira Arrizabalaga an exhibition at Centro de Arte Dos de Mayo in Madrid, Spain.
Alice Motard is Chief Curator at CAPC musée d’art contemporain in Bordeaux, where among others she organized a survey of the 1970s independent publishing house Beau Geste Press. Prior to this position, she worked as Deputy Director and Exhibitions Organiser of Raven Row in London from 2008 to 2013, where she curated the group exhibition Unto This Last (2010) and co-curated The Stuff That Matters (2012)—the first exhibition of the collection of historic textiles assembled by Seth Siegelaub—and the first posthumous retrospective of the work of the Czech artist Běla Kolářová (2013). From 2014 to 2016, she was Curator at Spike Island in Bristol, where she curated an off-site project by Gareth Moore and the first solo exhibitions in a public art gallery in the UK by Anna Franceschini, Isabelle Cornaro, Reto Pulfer, Michael Beutler, and Xavier Antin. She holds MAs in Curating Contemporary Art from the Royal College of Art in London and in Art History from the Université Paris 1 Panthéon-Sorbonne/Freie Universität Berlin.
Since 2009, Frida Carazzato has worked as Assistant Curator at the Museum for Contemporary Art in Bolzano, Italy. With Maria Garzia, Carazzato curated the e-flux video rental, a project by Julieta Aranda and Anton Vidokle, at the Fondazione Giuliani per l’arte contemporanea, Rome (May 2010) and the exhibition State of Transit together with Maria Garzia in the Open Space - Centre for Art Projects in Vienna (April, 2012). Together with Maria Garzia, Carazzato is the author of the publication Pratiques et expériences curatoriales italiennes, which consists of interviews with ten Italian curators. Additional career highlights include a curatorial project for the Piccolo Museion – Cubo Garutti, a public art initiative created by the Italian artist Alberto Garutti; she was the curator for the video and performance program of the Museum Media Façade and coordinated the curatorial and artistic Museion's awards. From 2012 to 2015 she was curator for the Museion Project Room, a space designed to present recent and/or previously unexhibited works by artists from the local area and beyond.
Frida studied Curatorial Practices at the International Curatorial Training Program (2007-2008) of Ecole du Magasin-Le Magasin-CNAC in Grenoble (FR); Master in "Cultural Activities and Museum Management” (2005-2006); MA Philosophy (2000-2005). Since 2014 she has been a Member of the Advisory Board of the Italian Culture Department of the Province of Bolzano (Italy).
Museo de Arte Moderna e Contemporanea di Trento e Rovereto
Daniela Ferrari (b. 1973, Trento) is an art historian who is currently Curator and Conservator at the Museum of Modern and Contemporary Art of Trento and Rovereto (MART). She was educated at the Academy of Fine Arts in Brera where she studied painting and at the University of Milan where she studied literature. She was awarded a Masters in cultural institution management in Trento. Her main research interests include the art theory and art history of the XX and XXI century, in particular, Futurism, Novecento Italiano and Visual Poetry.
Selected exhibitions include Visual Poetry: The Donation of Mirella Bentivoglio (Rovereto, 2011); Claudio Olivieri. The Unveiled Colour (Riva del Garda, 2013); Beyond the Canvas Border. Fontana Burri Manzoni Dadamaino Bonalumi Scheggi (Riva del Garda, 2015); Divisionism to Futurism. Italian Art Towards Modernity (Madrid-Rovereto, 2016); Fontana / Melotti: Angelic Spaces and Infinite Geometries (London, 2016); An Eternal Beauty. The Classical Canon in Early 20th Century Italian Art (Madrid-Rovereto, 2017); Claudio Verna. Color as an Absolute (Riva del Garda, 2018); More Than Words (London, 2018); and Margherita Sarfatti. Novecento Italiano in the World (Rovereto, 2018-2019).
Ferrari’s writing has appeared in numerous catalogues and publications, including The Word in Art. 20th-century Avant-Garde Research. From Futurism to the Present Day Seen Through MART’s Collections (2007); Window to the World. From Dürer to Mondrian and Beyond (2012); and Felice Casorati: Collections and Exhibitions in Europe and the Americas (2014). In 2012 she published ANS Archive of New Writing of Paolo Della Grazia: History of a Collection and the general catalogue for the VAF-Stiftung collection. In 2018 she edited the book with Andrea Pinotti The Frame. Stories, Theories, Texts.
Independent Curator; Artistic Director
miart - International Fair of Modern and Contemporary Art, Milan
Alessandro Rabottini is an art critic and curator who lives and works in London. Since 2017, he is the Artistic Director of miart – International Fair of Modern and Contemporary Art, Milan. Rabottini curated many exhibitions in museums and galleries, among which, between 2014-2015 only, Robert Overby’s retrospective Robert Overby (1935-1993) at Centre d’Art Contemporain, Geneva, which then travelled to GAMeC – Galleria d’Arte Moderna e Contemporanea in Bergamo, Bergen Kunsthall in Bergen, and Le Consortium in Dijon; as well as the solo shows Great Noir. Works 1955-1998 by John Latham and Cold Cinema. Films, Videos and Works 1960-1999 by Gianfranco Baruchello at La Triennale, Milan. Following the latter, he co-edited Baruchello’s first monograph dedicated to his films and videos from the Sixties onwards (Gianfranco Baruchello: Archive of Moving Images (1960-2016), Mousse Publishing). Previously, as Curator-at-Large at Museo MADRE in Naples, Rabottini curated the retrospectives by Walid Raad, Ettore Spalletti and Padraig Timoney. Moreover, as Curator-at-Large at GAMeC in Bergamo, he curated solo shows by International artists such as Mircea Cantor, Keren Cytter, Latifa Echakhch, Giuseppe Gabellone, Johannes Kahrs, David Maljkovic, Victor Man, Kris Martin, Pratchaya Phinthong, Pietro Roccasalva, Tim Rollins & K.O.S, Sterling Ruby, Tris Vonna-Michell, and Jordan Wolfson.
Paula van den Bosch
Curator of Contemporary Art
Drs. Paula van den Bosch (1964) is a Dutch art historian, senior museum curator, and writer. In 2000 the Kröller-Müller Museum in Otterlo, the Netherlands published her catalogue raisonné of the renowned Visser Collection of international neo-avantgarde art. As an artist-oriented curator Van den Bosch has organized since 1998 international traveling solo shows at the Bonnefantenmuseum Maastricht with artists including Luc Tuymans; Roman Signer; Joëlle Tuerlinckx; Peter Doig; Lily van der Stokker; Pawel Althamer; Monika Baer; Laura Owens; Mary Heilmann; and Rebecca Morris. Recent and upcoming collaborations with artists/curators include: Carol Lu and Liu Ding; Ernst Caramelle; Dan Walsh; and Paloma Varga Weisz. In 2005, Van den Bosch received the Dutch AICA Curatorial Award for Thomas Hirschhorn’s Anschool. She was again nominated in 2016 for an experimental collection display in collaboration with Dutch artist collective gerlach en koop. Van den Bosch is Associate Fellow at the Maastricht University and contributes annually to the educational programs of the Academy of Fine Art and Van Eyck Postgraduate Academy Maastricht.
Annie Fletcher is Chief Curator at the Van Abbemuseum. Recent and current projects include the solo of Qiu Zhijie, the ten-day caucus project in collaboration with DAI called Becoming More (2017), a collaborative research project led by Vivian Ziherl called Frontier Imaginaries Trade Markings (2018), and a large scale and traveling museum retrospective of the Otolith Group in 2019. As a Curator Fletcher is interested how this practice, now firmly established in institutions of contemporary art (through artworks, buildings, programmes, spaces, and bodies), achieve resonance in public space today. She explores curatorial modes and practices which actively address how the art institution has been released from the production of progressive or modernist time and fixed ideas of autonomous praxis and rather address more heterogeneous, constitutive and complex ideas of time and space today. She is interested in how and whether the mode of the exhibition, or a cultural programme/narrative, or put more simply the encounter with art, can generate relevant shared civic space today.