Carla Macchiavello, PhD, Assistant Professor in Art History, 
​Borough of Manhattan Community College, CUNY, New York​

Carla Macchiavello is an Assistant Professor in Art History at the Borough of Manhattan Community College, CUNY, New York. Originally from Chile, she received a PhD in Art History and Criticism from Stony Brook University in 2010 and worked as Assistant Professor in Art History (2010-2014) at Universidad de los Andes, Bogotá, Colombia. Her work centres on Latin American contemporary art with a focus on Chilean art; networks of solidarity and resistance; migrant identities in video art and documentary practices; appropriation and neocolonial violence; intersections between contemporary art and ecology; and the relations between art, politics, and performative practices.
Her work has been published in various journals including ArtMargins, Revista de Estudios Sociales, ERRATA#, seismopolite, and emisférica, as well as catalogues and edited books. She has been twice recipient of the CEDOC Artes Visuales essay prize for “Vanguardia de exportación: la originalidad de la ‘Escena de avanzada’ y otros mitos chilenos” (2011) and “Apropiaciones del sur del sur en el arte chileno de los noventa” (2016), and has worked as independent researcher for the Museo de la Solidaridad Salvador Allende, publishing with it the essays “Una bandera es una trama” (2012) and “Fibras resistentes: Sobre el/los/algunos Museos de la Resistencia” (2016) on the international networks of solidarity and resistance that helped build the Museum in the 1970s and 1980s. She is currently completing her book on Chilean conceptual practices and territorial discourses during the military dictatorship (forecoming with Metales Pesados). She is part of the editorial committee of Cuadernos de Arte and co-edits the periodical Más allá del fin/Beyond the End for Ensayos -a nomadic research program based in Tierra del Fuego, that brings together artists, social scientists, natural scientists, and local agents to engage in research and reflection on the political ecology affecting the archipelago.

Cristiana Tejo, Curator and PhD Candidate in Sociology  (UFPE), Recife / Lisbon

Cristiana Tejo é curadora independente e doutoranda em Sociologia (UFPE). Organiza juntamente com Kiki Mazzuchelli a Residência belojardim, no Agreste de Pernambuco. Foi co-fundadora do Espaço Fonte – Centro de Investigação em Arte (Recife) e curadora do Projeto Made in Mirrors, que envolveu intercâmbio entre artistas do Brasil, China, Egito e Holanda. Foi coordenadora-geral de Capacitação e Difusão Científico-Cultural da Diretoria de Cultura da Fundação Joaquim Nabuco e co-curadora do 32º Panorama da Arte Brasileira do MAM – SP, com Cauê Alves. Foi Diretora do Museu de Arte Moderna Aloísio Magalhães, curadora de Artes Plásticas da Fundação Joaquim Nabuco (2002-2006), Curadora do Rumos Artes Visuais do Itaú Cultural (2005-2006), Curadora visitante da Torre Malakoff (2003 – 2006) e curadora do 46º Salão de Artes Plásticas de Pernambuco (2004-2005). Foi curadora da Sala Especial de Paulo Bruscky na X Bienal de Havana, co-curou Brazilian Summer Show – Art & the City (Museu Het Domein, Holanda, 2009)  com Roel Arkenstein, Futuro do Presente (Itaú Cultural, 2007) com Agnaldo Farias e Art doesn´t deliver us from anything at all (ACC Galerie, Weimar, 2006). Participou de diversas comissões de seleção e de premiação, entre elas: Bonnefanten Contemporary Art Prize 2014 (Maastricht, Holanda), Videobrasil 2013, Solo Projects – Focus Latin America (ARCO Madri, 2013), Rumos Artes Visuais da Argentina (júri internacional, 2011), Salão de Goiás, Salão Arte Pará, do Programa BNB Cultural, Situações Brasília, entre outras. Lecionou História da Arte nas Faculdades Integradas Barros Melo por 8 anos onde também coordenou o Bacharelado em Artes Plásticas (2008-2009). Publicou Paulo Bruscky – Arte em todos os sentidos (2009), Panorama do Pensamento Emergente (2011) e Salto no Escuro (2012). Foi organizadora do livro Paulo Bruscky – Arte e multimeios (2014) e Cinco Dimensões da Curadoria (no prelo). Contribui regularmente com as revistas Select (Brasil) e Terremoto (México). Vive e trabalha entre Recife e Lisboa.

Isabel Plante, PhD, Professor of Art History, CONICET-IDAES/UNSAM, Buenos Aires​

Isabel Plante is a researcher of the National Conseil of Scientific and Technical Reserches (CONICET) at the Institut for High Social Studies, Universidad Nacional de San Martín (IDAES-UNSAM), Argentina. Her doctoral thesis was published in Argentina in 2013 as Argentines of Paris. Art and cultural travels during the sixties. Her PHD dissertation and current investigation focus on international art exchanges, cultural identification and geographical migrations of artists and visual productions during the 1960’ between Paris and South-American metropolis, such us Buenos Aires.

Maria Thereza Alves, Artist, Berlim
(1961, Brazil, lives in Germany)

Some exhibits: Sharjah Biennial 13, São Paulo Biennale (2016 and 2010), CAAC, (solo) Sevilla; MUAC, (solo) Mexico City; MAMAM, Recife; 8th Berlin Biennale, dOCUMENTA(13), Taipei Biennale; MAC, Marseilles; Maison Rouge, Paris; National Gallery of Canada, Guangzhou Triennale; Manifesta, Trento;  Arnolfini Center for Contemporary Art in Bristol, Tamayo Museum, Mexico City; Fondazione Sandretto, Torino; Berlin Film Festival; Kunsthalle, Basel; San Francisco Art Institute; Liverpool Biennale; Palais Tokio, Paris; Central Space Gallery, London; Temistocles 44, Mexico City; Casa del Lago, Mexico City; New Museum, New York; La Estacion Gallery, Cuernavaca; Mexico, Minor Injury Gallery, New York; Kenkeleba Gallery, New York.
Upcoming: Slow Violence: Tracing the Anthropocene History, Kunsthal Charlottenborg in Copenhagen; Frestas Trienal 2017: Entre Pós-Verdades e Acontecimentos / Between Post-truths and Events.  Sorocaba, São Paulo State, Brasil 2017; A Botany of Colonization, Sheila C. Johnson Design Center, (solo), New York; Verschwindende Vermächtnisse: Die Welt als Wald, Centrum für Naturkunde, Universität Hamburg; Survival Kit 9, Latvian Centre for Contemporary Art; Carry Forward,  KW Art Gallery, Ontario, Canada; 4.543 billion. The matter of matter. CAPC / musée d’art contemporain de Bordeaux, France 2017-2018.
Alves has been awarded the Vera List Center Prize for Art and Politics for 2016-2018, New York.
For further information see: http://www.mariatherezaalves.org

Ariane Varela Braga

Ariane Varela Braga is SNSF research assistant at the University of Zürich. She studied at the University of Geneva and obtained her PhD (summa cum laude) at the University of Neuchâtel in 2013 with a dissertation on Owen Jones’s Grammar of Ornament (published by Campisano Editore in 2017). She has been a scholarly member of the Swiss Institute in Rome and a lecturer at John Cabot University. She is the co-founder of the Rome Art History Network and the Visual Studies-Rome Network. Her interests focus on the theory of ornamentation, the reception of non-Western art and the transfers of decorative and architectural models in the 19th century. She is the co-editor of volumes on architectural Orientalism, on the use of colored marbles in sculpture and the decorative arts and editor of a volume on the theory of ornament.

 Gail Feigenbaum

Gail Feigenbaum is associate director of the Getty Research Institute. A scholar of early-modern European Art, she received her BA at Oberlin College and her doctorate in art history at Princeton University. She has held numerous awards including the Rome Prize at the American Academy.  Before joining the Getty, she worked at the National Gallery of Art, at the Center for Advanced Study in the Visual Arts, and at the New Orleans Museum of Art. Among the exhibitions she has curated are Ludovico Carracci, (Bologna and Fort Worth); Degas and New Orleans: A French Impressionist in America, (New Orleans and Ordrupgaard), Jefferson’s America and Napoleon’s France: An Exhibition for the Bicentennial of the Lousiana Purchase, NOMA, and Annibale Carracci Drawings at the National Gallery of Art.  She has published extensively on the Carracci, Caravaggio and 17th century French painting, and  she edited three recent books on collecting Italian art, provenance, and display of art in Roman palaces. She is currently directing a research project on America and the international art market 1880-1930.

Peter Fuhring

Peter Fuhring obtained his PhD in art history at Leiden University (Cum Laude) in 1994. He received for his dissertation on the life and work of Juste-Aurèle Meissonnier (1695-1750) the Præmium Erasmianum Price and the Mr. J.W. Frederiks Price. He specialised in the history of ornament and design and has published numerous articles and books on the history of design drawings, prints and printmaking, ornament and decorative arts, and organized several exhibitions. He was the first to hold the Ottema Kingma Chair for the History of the Decorative Arts at the Radboud University in Nijmegen from 2005 to 2009. He is currently working for the Fondation Custodia in Paris where he is in charge of Frits Lugt’s Marques de collections de dessins & d’estampes, a database of collectors’ marks on drawings and prints launched online in 2010, and which is continuously enriched.

Horacio Fernandez

PhD in Art History, he teached History of Photography in Cuenca University. He is a well-known art critic and curator of many photobook exhibitions. Among many others, his seminal exhibition was Fotografía pública/Photography in Print 1919 -1939  (Reina Sofia Musem, Madrid 1999-2000). He is also the author of many works devoted to photobooks. In 2011 he published  El foto libro latino-americano, which won the award for the best photobook of the 2012 year in Arles Art Encounters. His contribution to photobooks role in visual culture is internationally recognized. He was PHotoEspaña curator between 2004 and 2006.

Doutorado em História da Arte, professor de História da Fotografia na Universidade de Cuenca, é também um bem conhecido crítico de arte e curador de exposições sobre o tema dos foto-livros. Entre elas contam-se a seminal exposição Fotografía pública/Photography in Print 1919 -1939  (Museu Reina Sofia, Madrid 1999-2000). É igualmente o autor de muitos trabalhos dedicados aos foto-livros. Em 2011 publicou El foto libro latino-americano, que ganhou o Prémio do melhor foto-livro de 2012 nos Encontros de Arles, França. A sua contribuição para o estudo do papel dos foto-livros é fundamental para a cultura visual e é reconhecida internacionalmente. Foi o curador do FHotoEspaña entre 2004 e 2006.

Javier Ortiz Echagüe 

He has a graduation in Art History and a PhD in Information Sciences by Madrid Complutense University. He was visiting scholar at New York University and at the University of Provence (France). He published Yuri Gagarin y el conde de Orgaz. Mística y estética de la era espacial (2014), and was the editor of the anthology about José Val del Omar, Escritos de técnica, poética y mística (2010), as well as co-author with Horacio Fernández of Fotos & Libros. España 1905-1907  (Reina Sofia Museum, Madrid, 2010).  He is currently professor at the Navarra University. In 2016 he was the invited Curator to the exhibition “Nunca visto. Do Informalismo ao foto-livro do pós-guerra” at the Juan March Foundation, Madrid.

É Licenciado em História da Arte e doutorado em Ciências da Informação pela Universidade Complutense de Madrid. Foi visiting scholar na Universidade de Nova Iorque e na Universidade da Provença (França). Publicou  entre outros trabalhos de relevo, Yuri Gagarin y el conde de Orgaz. Mística y estética de la era espacial (2014). Foi o editor da antologia de José Val del Omar, Escritos de técnica, poética y mística (2010), bem como co-autor com Horacio Fernández de Fotos & Libros. España 1905-1907 (Museu de Reina Sofia, Madrid, 2010).  Actualmente é professor de História da Fotografia na Universidade de Navarra. Em 2016 foi convidado como curador para a exposição “Nunca visto. Do Informalismo ao foto-livro do pós-guerra” na Fundação Juan March, Madrid.

Paul Melo e Castro

Lecturer of the University of Leeds, he is a researcher in the area of Lusophone literature, film and visual culture, as well as on the use of photography and photojournalism for propaganda purposes by the Portuguese authoritarian regime (1926-1974). He is currently working on Ricardo Rangel’s photographic approach to the urban colonial city of Maputo (Mozambique). He published, among other works, “The Eye of the Photographer and the Foot of the Flâneur: Eduardo Gageiro’s Lisboa no Cais da Memória (2003)” (2012) and the book Shades of Grey: 1960s Lisbon in Novel, Film and Photography (2011).

Professor assistente na Universidade de Leeds, é investigador na área da Literatura Lusófona, cinema e cultura visual. Interessa-se, igualmente, pelo uso da fotografia e do fotojornalismo para fins de propaganda durante o regime do Estado Novo português (1926-1974). Actualmente investiga a contribuição do fotógrafo moçambicano Ricardo Rangel na vida colonial da cidade de Maputo (Moçambique). Publicou, entre outros trabalhos, “The Eye of the Photographer and the Foot of the Flâneur: Eduardo Gageiro’s Lisboa no Cais da Memória (2003)” (2012) e o livro Shades of Grey: 1960s Lisbon in Novel, Film and Photography (2011). 

Reesa Greenberg (Carleton University, Ottawa; York University, Toronto)

Reesa Greenberg is an Ottawa-based art historian who analyzes the roles of history and memory in recent exhibition practices. Her essays include ‘Remembering Exhibitions’: From Point to Line to Web; Archival Remembering Exhibitions; Editing The Image: Two Onsite/Online Exhibitions; MOMA and Modernism: The Frame Game; and The Exhibition as Discursive Event. She co-edited Thinking About Exhibitions, a key publication in opening the fields of curatorial and exhibition studies. Currently, she is Adjunct Professor of Art History at Carleton University, Ottawa and York University, Toronto. She was Visiting Professor in the Curatorial MA program of the California College of the Arts and taught in the first Moscow Curatorial Summer School.

Remembering Exhibitions Online: From Inventory, to Augmented, to Interactive Sites – A Discussion of Taxonomy and Implications        

Abstract: Since 2008 when I began writing about exhibitions documented online, a lot yet little has changed. In this presentation, I want to reconsider the premises, practices and paradoxes of online exhibition documentation. Much of what I will say can be used to build a provisional, if partial, archeological and interpretive framework of attempts by museums to record their temporary exhibitions.

Although digital technologies for recording exhibitions and their dissemination are barely twenty years old, there is an urgency to looking back at what has happened in the digital domain in order to consolidate and remember an already fleeting history. It is my hope that a fuller understanding of past iterations, issues, and implications involved in documenting exhibitions online may lead to more strategic and productive approaches as we move forward.

Rémi Parcollet (HICSA université Paris 1 Panthéon-Sorbonne)

Rémi Parcollet is art historian. He works on the history of exhibitions, using contemporary approaches to visual archives, digital heritage and humanities, and image processing in the history of museums. He was a postdoctoral fellow at the Laboratoire d’Excellence Création, Art et Patrimoines and worked on setting up the exhibition history program at the Centre Pompidou and initiated the catalogue raisonné of the MNAM-CCI exhibitions. Co-curator of the exhibition Soixante Dix Sept Experiment at the Photographic Center of Ile de France (11th March-16th July 2017) as part of the fortieth anniversary of the Centre Pompidou, he co-directs Postdocument and works in affiliation with the Laboratoire Histoire culturelle et sociale de l’art (HICSA), Paris 1. Rémi Parcollet published « (Re)producing the Exhibition, (Re)thinking Art History. On the Visual Archives of Primary Structures » (Revue Critique d’art, no45, june 2016), «The photographic archives of Pompidou Center» (Cahiers du CAP, march 2015).

Exhibition view. The primary sources of exhibition history        

Abstract: It is useful to bear in mind that the universal fame of several important exhibitions of the 20thcentury essentially stemmed from the photographs which had molded their “becoming-image”.

Following the establishment in 2011 of its research program on the history of exhibitions, the Centre Pompidou decided to catalogue all its past exhibitions using the form of the catalogue raisonné as methodological departure point. But how can the genre catalogue raisonné be adapted to exhibition history? What shape should it take?

As often recalled in recent publications concerned with exhibition history, exhibition views appear dominant amongst the various documents used to reconstruct the history of an exhibition. De facto, this kind of archival photograph holds a determining place in the project of the catalogue raisonné of exhibitions. Yet it wasn’t before 2010 that the Centre Pompidou began to digitalize its entire collection of exhibition’s view. This process of inventory being as much the cause as it is the consequence of the production of a catalogue raisonné of exhibitions. An interesting comparison can be established between the Centre Pompidou project and the archival project carried out by the MoMA which following similar intentions, yet using different methods.

If the photographic reproduction operates a radical decontextualisation of the work of art, favouring cognition over perception, an exhibition view is determined according to time and space. It is, before, during and after the exhibition, both an indicator and a verifier of information. The indications, which it supplies, establish elements for the critical analysis of an exhibition. Recording an exhibition thanks to the medium of photography has always given rise to objects that allow comparisons and verifications.

The importance of archiving and documentation of exhibitions is growing. For this reason, it seems important to compare the collections kept in the archives of the Centre Pompidou with other collections of archives.

 Alberto Samaniego (Facultad de Bellas-Artes, Universidad de Vigo)

Alberto Ruiz de Samaniego.

 PhD in Philosophy and Master in Aesthetics and Theory of the Arts (Madrid Autonomous University). Professor of Aesthetics and Theory of the Arts (Vigo University) and coordinator of the Master de Arte Contemporáneo: investigación y creación at the same University. He was director of the Luis Seoane Foundation, Coruña (2008-2011) and curator of the Spanish Pavilion at the 52nd Venice Biennale (2007). Espais Award for art criticism (Espais Contemporary Art Foundation). He is co-director (with Miguel Ángel Ramos) of the Larva collection, Editorial Mayan-Abada. Books published: Blanchot: una estética de lo neutro and Semillas del tiempo (1999); La generación de la democracia. Nuevo pensamiento filosófico en España (2002), in collaboration with Miguel A. Ramos; La inflexión posmoderna: los márgenes de la modernidad (2004); James Casebere and Belleza de otro mundo. Apuntes sobre algunas poéticas del inmovilismo (2005); Paisaje fotográfico. Entre Dios y la fotografía (2007); Ser y no ser. Figuras en el dominio de lo espectral (2014); Las horas bellas. Escritos sobre cine and Negro teatro de Jorge Molder (2015). Literary editor of the books Mitos de fin de siglo (2000) and Estéticas de la Animación (2009). Co-director of the documentary film Pessoa/Lisboa (2016).

 Alberto Ruiz de Samaniego. Doutorado em Filosofia e Teoria das Artes (Universidade Autónoma de Madrid). Professor de Estética e Teoria das Artes (Universidade de Vigo) e coordenador do Master de Arte Contemporáneo: investigación y creación na mesma Universidade. Foi Director da Fundação Luis Seoane, Coruña (2008-2011) e curador da representação espanhola na 52ª Bienal de Veneza (2007). Prémio Espais de crítica de arte (Fundación Espais de Arte Contemporáneo). É co-director (com Miguel Ángel Ramos) da Colecção Larva, Editorial Mayan-Abada. Livros publicados: Blanchot: una estética de lo neutro eSemillas del tiempo (1999); La generación de la democracia. Nuevo pensamiento filosófico en España (2002), em colaboração com Miguel A. Ramos; La inflexión posmoderna: los márgenes de la modernidad (2004); James Casebere and Belleza de otro mundo. Apuntes sobre algunas poéticas del inmovilismo(2005); Paisaje fotográfico. Entre Dios y la fotografía (2007); Ser y no ser. Figuras en el dominio de lo espectral (2014); Las horas bellas. Escritos sobre cine and Negro teatro de Jorge Molder (2015). Editor literário dos livros Mitos de fin de siglo (2000) e Estéticas de la Animación (2009). Co-director do filme documentalPessoa/Lisboa (2016).

​ Jörg H. Gleiter (Institute for Architecture, Technische Universität Berlin)

Jörg H. Gleiter (Prof. Dr.-Ing. habil., M. S., BDA) since 2012 he is the head of the chair of architectural theory and the managing director of the Institute for Architecture of Technische Universität Berlin. In 2002 he received his PhD in architectural theory and in 2007 his Habilitation in philosophy of architecture. In 2008-12 he held a professorship in aesthetics at Free University in Bolzano. Prior to this he was a visiting professor in Venice, Tokyo, Weimar, Bolzano and Providence (RI). Jörg Gleiter is a two times fellow in residence of Kolleg Friedrich Nietzsche at Weimar. Among his publications are Architektur und Philosophie [Architecture and Philosophy] (ed. together with Ludger Schwarte, Bielefeld 2015); Ornament Today. Digital. Material. Structural (in English, ed. by Jörg H. Gleiter, Bolzano 2012); Der philosophische Flaneur. Nietzsche und die Architektur [The Philosophical Flaneur. Nietzsche and Architecture] (Würzburg 2009).

Jörg H. Gleiter (Prof. Dr.-Ing. habil., M. S., BDA) é, desde 2012, o responsável pela cadeira de Teoria Arquitectónica e o Director Executivo do Instituto de Arquitectura da Universidade Técnica de Berlim. Em 2002, doutorou-se em Teoria da Arquitectura e em 2007 concluiu a sua Habilitation em Filosofia da Arquitectura. Em 2008-12, ocupou a cátedra de Estética na Universidade Livre de Bolzano. Anteriormente, foi Professor  Convidado em Veneza, Tóquio, Weimar, Bolzano e Providence (RI). Jörg Gleiter foi já por duas vezes investigador residente no Kolleg Friedrich Nietzsche de Weimar. Entre as suas publicações, destacam-se Architektur und Philosophie (editado em colaboração com Ludger Schwarte, Bielefeld 2015); Ornament Today. Digital. Material. Structural  (editado em colaboração com Jörg H. Gleiter, Bolzano 2012); e Der philosophische Flaneur. Nietzsche und die Architektur (Würzburg 2009).

Maria Filomena Molder (Faculdade de Ciências Sociais e Humanas – Universidade NOVA)

Maria Filomena Molder is Full Professor at the FCSH of the New University of Lisbon. Between 2003 and 2009, she was a member of the Scientific Committee of the Collège International de Philosophie. Her main publications include O Pensamento Morfológico de Goethe, INCM, 1995. Semear na Neve. Estudos sobre Walter Benjamin, Relógio d’Água, 1999 –  Pen-Club Essay Award of 2000. Matérias Sensíveis, Relógio d’Água, 2000. A Imperfeição da Filosofia, Relógio d’Água, 2003. O Absoluto que pertence à Terra, Vendaval, 2005. Símbolo, Analogia e Afinidade, Vendaval, 2009. O Químico e o Alquimista. Benjamin, Leitor de Baudelaire, Relógio d’Água, 2011 –  Pen-Club Essay Award of 2012.  As Nuvens e o Vaso Sagrado, Relógio d’Água, 2014. Depósito de Pó e Folha de Ouro, Lumne Editora, 2016. Rebuçados Venezianos,Relógio D´Água, 2016.

 Maria Filomena Molder é professora catedrática da FCSH da UNL. Entre 2003-2009 foi membro do Conselho Científico do Collège International de Philosophie. Principais publicações: O Pensamento Morfológico de Goethe, INCM, 1995. Semear na Neve. Estudos sobre Walter Benjamin, Relógio d’Água, 1999 – Prémio Pen- Club 2000 para Ensaio. Matérias Sensíveis, Relógio d’Água, 2000. A Imperfeição da Filosofia, Relógio d’Água, 2003. O Absoluto que pertence à Terra, Vendaval, 2005. Símbolo, Analogia e Afinidade, Vendaval, 2009. O Químico e o Alquimista. Benjamin, Leitor de Baudelaire, Relógio d’Água, 2011 – Prémio Pen-Club 2012 para Ensaio.  As Nuvens e o Vaso Sagrado, Relógio d’Água, 2014. Depósito de Pó e Folha de Ouro, Lumne Editora, 2016. Rebuçados Venezianos,Relógio D´Água, 2016.

Nayia Yiakoumaki (Curadora / Curator, Whitechapel Gallery)

Nayia Yiakoumaki

  is a curator with substantial experience in the field. She has lectured regularly in universities in the UK and abroad since 1991 on Curating and Visual Arts. Since 2005 she is curator at the Whitechapel Gallery in London where she has been developing an innovative programme of exhibitions related to the use of archives as a curatorial resource. This programme has attracted international attention from professional peers and institutions, and has been running for almost a decade. Whilst maintaining her long commitment to the Whitechapel Gallery, in September 2016 Nayia Yiakoumaki became the Director of Research and International Networks of the Athens Biennale, being of its co-directors.

 Nayia Yiakoumaki é curadora com uma vasta experiência no campo tendo, desde 1991, lecionado regularmente sobre curadoria e artes visuais em universidades no Reino Unido. É curadora na Whitechapel Gallery desde 2005, Londres, onde tem vindo desenvolver um programa inovador de exposições relacionadas com a utilização de arquivos como recurso de curadoria. Este programa, que decorre há quase uma década, tem suscitado o interesse de colegas e instituições internacionais.  Mantendo o seu longo compromisso com a Whitechapel Gallery, em setembro de 2016 Nayia Yiakoumaki tornou-se Directora de Investigação e Redes Internacionais da Bienal de Atenas, sendo um dos seus co-directores.

Sabeth Buchmann (Academia de Belas Artes de Viena)

Sabeth Buchmann is an art historian and art critic in Berlin and Vienna. She also teaches History of Modern and Post-modern Art at the Fine Arts Academy of Vienna. Her publications include Hélio Oiticica, Neville D’Almeida and others: Block-Experiments in Cosmococa (2013, together with Max Jorge Hinderer Cruz); Film Avantgarde Biopolitik (2009, co-edited with Helmut Draxler e Stephan Geene); Denken gegen das Denken. Produktion – Technologie – Subjektivität bei Sol LeWitt, Yvonne Rainer und Hélio Oiticica (2007); Art After Conceptual Art (2006, co-edited with Alexander Alberro). She is also co-editor of the series PoLyPen (b_books, Berlim) and a member of the Advisory Board of Texte zur Kunst (Berlin).

Sabeth Buchmann, historiadora de arte e crítica de arte, Berlim/Viena; professora de História da Arte Moderna e Pósmoderna na Academia de Belas Artes de Viena. As suas publicações incluem: Hélio Oiticica, Neville D’Almeida and others: Block-Experiments in Cosmococa (2013, em coautoria com Max Jorge Hinderer Cruz); Film Avantgarde Biopolitik (2009, coeditado com Helmut Draxler e Stephan Geene); Denken gegen das Denken. Produktion – Technologie – Subjektivität bei Sol LeWitt, Yvonne Rainer und Hélio Oiticica (2007); Art After Conceptual Art (2006, coeditado com Alexander Alberro). Coeditora da série PoLyPen (b_books, Berlim). Membro do Conselho Consultivo de Texte zur Kunst (Berlim).

Johannes Nathan (Chair at The International Art Market Studies Association).

Johannes Nathan studied Art History at NYU (BA) and the Courtauld Institute of Art (MA, PhD). He taught art history at the University of Berne until 2001 when he became director of his family’s Galerie Nathan in Zurich, now Nathan Fine Art in Zurich and Potsdam. He has taught – particularly Renaissance art history and the history of the art market – at the universities of Berlin (TU), Cologne, Leipzig, New York (NYU) and Zurich. In 2012 he co-founded the Forum Kunst und Markt at TU Berlin. With De Gruyter Publishers, Berlin, he initiated the Art Market Dictionary for which he serves as Editor-in-Chief. Among his books are Leonardo da Vinci, The Graphic Work (Cologne 2014, with Frank Zöllner) and The Enduring Instant. Time and the Spectator in the Visual Arts (Berlin 2003, co-edited with Antoinette Friedenthal).

Peter Burke (Emeritus Professor of Cultural History of Emmanuel College).

A (Oxford and Cambridge), Hon PhD (Brussels, Bucharest, Copenhagen, Lund and Zurich), FBA, Member of the Academia Europaea, FRHistS.
Educated by the Jesuits and at Oxford (St John’s and St Antony’s), Peter Burke taught in the School of European Studies, University of Sussex from 1962 to 1979 as Assistant Lecturer and Lecturer in History and as Reader in Intellectual History. He moved to Cambridge to become a Lecturer in History and subsequently Reader in and then Professor of Cultural History. In Emmanuel he has served as Librarian and Archivist. He has published 23 books, and has been translated into 28 languages.
Significant publications:
The Italian Renaissance (1972), Popular Culture in Early Modern Europe (1978), New Perspectives on Historical Writing (1991),The Fabrication of Louis XIV (1992),History and Social Theory (1992), The Art of Conversation (1993), A Social History of Knowledge (2000), Eyewitnessing (2000), What is Cultural History? (2004),Languages and Communities in Early Modern Europe (2004)

Amélia Maria Polónia da Silva (Universidade do Porto)

Associate Professor at University of Porto; researcher of CITCEM (Transdisciplinary Research Centre Culture, Space, Memory), member of the Academia Europaea; vice-president of.IMHA (International Maritime History Association). Seaports history, migrations, transfers and flows between continents and oceans, informal mechanisms of empire building, the role of women in colonial dynamics and the environmental implications of the European colonization overseas are key-subjects of her research.

Co-editor of Beyond Empires: Self Organizing Cross Imperial Networks vs Institutional Empires, 1500-1800 (Leiden: Brill, 2016); Mechanisms of Global empire Building (Porto: CITCEM/ Afrontamento, 2017), Maritime History as Global History (Newfoundland: IMEHA 2011) and Connecting worlds: Production and Circulation of Knowledge in the First Global Age (Cambridge: Cambridge Scholars Publishing, forthcoming), she authors “The environmental impacts of the historical uses of the seas in the First Global Age” in EOLSS (Oxford, UK: Eolss Publishers, 2014).

Miguel Ángel Hernández Navarro (University of Murcia, Spain)

Miguel Ángel Hernández Navarro is Associate Professor of Art History at University of Murcia, Spain and formerly the director of the CENDEAC in Murcia. He is author of several books on art and visual culture including Materializar el pasado. El artista como historiador benjaminiano (2012), Robert Morris (2010), 2Move: Video Art Migration (2008, with Mieke Bal), La so(m)bra de lo real (2006) and co-editor of Art and Visibility in Migratory Culture (with Mieke Bal, 2011). He is also fiction writer, author of the novels El instante de peligro (Finalist Herralde Prize, 2015) and Intento de escapada (2013, translated into German, French, English and Italian)

Hani Rashid, with Lise Anne Couture, is the co-founder of Asymptote Architecture, the highly acclaimed New York City based practice. Through its award winning design for buildings, interiors, installations and masterplans, Asymptote has gained an international reputation for design excellence. Current and recent projects include a commission for the new Hermitage Museum of Contemporary Art, residential towers in the cities of Moscow and Miami, the Yas Viceroy Marina Hotel in Abu Dhabi, UAE, an ING Bank Headquarters in Ghent, Belgium, and the ARC, a multi-media exhibition building in Daegu, South Korea.

Hani Rashid also has an ongoing distinguished academic career that includes visiting professorships at the Royal Academy of Fine Arts School of Architecture in Copenhagen, SCI-Arc, the Berlage Institute in Amsterdam, and the ETH in Zurich.

He and his partner Lise Anne Couture were awarded the prestigious Frederick Kiesler Prize for Architecture and the Arts in recognition of exceptional contributions to the merging of art and architecture. Asymptote was named by TIME magazine as Leaders in Innovation for the 21st Century.

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Marisa Olson

Marisa Olson is an artist, writer, and media theorist. Her interdisciplinary work combines performance, video, drawing and installation to address the cultural history of technology, the politics of participation in pop culture and the aesthetics of failure. These works have been exhibited at the Venice Biennale, Centre Pompidou, Tate(s) Modern + Liverpool, New Museum, the Nam June Paik Art Center, British Film Institute, Sundance Film Festival, Performa Biennial; commissioned and collected by the Whitney Museum, Museum of Modern Art, Houston Center for Photography, Experimental Television Center, and PS122; and reviewed in Artforum, Art21, the NY Times, Frieze, Liberation, the Globe & Mail, Folha de Sao Paolo, the Village Voice, and elsewhere.

Marisa Olson has written widely on the relationship between art, politics and media technology. In her essay “Lost Not Found: The Circulation of Images in Digital Visual Culture” (2008), she has coined the term Post-Internet Art, which she has addressed in subsequent publications and also in her curatorial work. She has organised exhibitions in leading institutions such as the Guggenheim Museum, SFMOMA, and Rhizome/New Museum, where she was previously editor and curator.

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Salvatore Iaconesi & Oriana Persico

Salvatore Iaconesi is an interaction designer, robotics engineer, artist, hacker. TED Fellow 2012, Eisenhower Fellow since 2013 and Yale World Fellow 2014.

He currently teaches Interaction Design and cross-media practices at the Faculty of Architecture of the “La Sapienza” University of Rome, at ISIA Design Florence, at the Rome University of Fine Arts and at the IED Design institute.
He produced videogames, artificial intelligences, expert systems dedicated to business and scientific research, entertainment systems, mobile ecosystems, interactive architectures, cross-medial publications, augmented reality systems, and experiences and applications dedicated to providing products, services and practices to human beings all over the world, enabled by technologies, networks and new metaphors of interactions, across cultures and languages.

Oriana Persico holds a degree in Communication Sciences, is an expert in participatory policies and digital inclusion. She is an artist and writer.
She has worked together with national governments and the European Union to the creation of best practices, standards and researches in the areas of digital rights, social and technological innovation, Digital Business Ecosystems (DBE), practices for participation and knowledge sharing.
Oriana writes critical, scientific, philosophical and poetical texts that connects to technological innovation, and on its cultural, sociological, economic and political impacts.
She is an expert on the formal analysis of cultural and social trends, with specific focus on social networks.
She creates breakthrough communication campaigns, performances, research methodologies and strategies.

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Morten Søndergaard

Morten Søndergaard (MA & PhD) is Associate Professor and Curator of Interactive Media Art at Aalborg University, Denmark. He is a member of the Media Art Histories Faculty (Krems) and the co-founder and AAU-coordinator of Erasmus Master in Media Arts Cultures (www.mediartscultures.eu). He is the co-founder (with Peter Weibel) of ISACS – International Sound Art Curating Conference Series and (with Laura Beloff) of the upcoming EVA-Copenhagen symposium. He was deputy director and curator at The Museum of Contemporary Art in Roskilde, Denmark 1999-2008. As Media Art Curator, he has operated in mixed and public spaces since 1995. Upcoming curatorial projects includes C / Borg – Parliament of Robots by Ken Rinaldo at the DIAS Gallery, which is situated in a S-train station in Copenhagen. His latest research is published / under publication at MIT Press, Routledge, De Gruyter, Continent.cc, MT Press (Copenhagen University), and Mediekultur.dk (among others).
Further information at: www.sondergart.dk

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Pieternel Vermoortel(FormContent, KASK (Ghent), Goldsmiths, University of London)

Pieternel Vermoortel is artistic director of Netwerk Aalst, with Els Silvrants-Barclay. She is curator and writer, and cofounder/director of the curatorial institute FormContent, where the most recent project, “The Subject Interrupted,” looks at the drives and conditions around cultural production. Currently she teaches curating at Curatorial Studies KASK, Ghent, and was a lecturer in Critical Studies at Goldsmiths, University of London. She has also taught at LUCA, in Brussels, and HISK, in Ghent. Vermoortel has written for various catalogues and magazines, such as Art Agenda and Metropolis M, and has edited publications including a.o., Cave#1: Territories (2016, Sternberg Press, met Els Silvrants-Barclay), It’s Moving from I to It (2014), The Responsive Subject (2011), and Out of the Studio (2008). Recent exhibitions she has curated include A Faraway Rendez-vous, at SixtyEight Art Institute in Copenhagen (2016), Practicing the Habits of the Day, at the ICA in Singapore (2016); The Play, with Tim Etchells, at Tate Modern (2015); If I Can’t Dance, in Amsterdam (2015); and The Young People Visiting Our Ruins See Nothing But a Style, at the GAM, in Turin (2010).

Ferran Barenblit (Museu d’Art Contemporari de Barcelona)

Ferran Barenblit (Buenos Aires, 1968) studied Art History at the Universitat de Barcelona (1991) and Museology at New York University (1995). Since 2008 he has been director of CA2M Centro de Arte Dos de Mayo de la Comunidad de Madrid. CA2M opened in Móstoles, in the metropolitan area of Madrid. From 2002 to 2008 Barenblit was director of the Centre d’Art Santa Mònica, a space dedicated by the Generalitat de Catalunya to contemporary art. Barenblit has lectured in universities and museums around the world, including: UC Berkeley; UC Santa Barbara; Universidad de Buenos Aires; Université Paris III – Sorbone Nouvelle; Royal Academy of Fine Arts, Copenhagen.He is a member of: ACCA, Catalan Association of Art Critics (Board: 2000–2); IKT, International Association of Contemporary Art Curators (Board: 2011–14); ADACE, Asociación de Directores de Arte Contemporáneo de España (Board since 2007); CIMAM, International Committee for Museums. More…

Annika Gunnarsson (Moderna Museet, Stockholm, Sweden)

Annika Gunnarsson holds a PhD in Art History and is curator of Prints and Drawings at Moderna Museet since 2001. At the museum she has curated exhibitions, edited catalogues, worked with programming and is currently researching the early history of the museum. Annika Gunnarsson holds an interest in images, visuality, art theory and museum studies.

Luiz Camilo Osório (Rio de Janeiro, 1963) É Doutor em Filosofia, Professor do Departamento de Filosofia da PUC-Rio. Entre 2009 e 2015 foi Curador do Museu de Arte Moderna do Rio de Janeiro. Em 2015 foi o curador do pavilhão brasileiro na Bienal de Veneza. Autor dos seguintes livros: Flavio de Carvalho, Cosac&Naify, SP, 2000; Abraham Palatnik, Cosac&Naify, SP, 2004; Razões da Crítica, Zahar, RJ, 2005 e Angelo Venosa, Cosac&Naify, SP, 2008, Olhar à Margem, SP, Editora SESI-SP/Cosac, 2016

Foi crítico de arte do jornal O Globo entre 1997 e 2008 e do conselho de curadoria do MAM-SP entre 2006 e 2008. Publicou ensaios e críticas em revistas e catálogos e fez curadorias independentes no Brasil e no exterior.