Samuel Luterbacher

Samuel Luterbacher is a current PhD candidate at Yale University in the department of Art History. His dissertation focuses on the collection and use of Japanese export lacquer in the Spanish and Portuguese empires and the larger impact of East Asian lacquer on Western artistic practice and theory. He is a current Andrew W. Mellon  Predoctoral Dissertation Fellow at the Center for Advanced Study in the Visual Arts (CASVA) in Washington D.C. for 2018-2020.

He’s also a visiting researcher at the Institute of Art History at Universidade NOVA de Lisboa for the 2018 fall semester.

Damian Sutton

Damian Sutton is Professor of Photography Theory and Culture at Coventry University, where he has been since 2016. He was previously at Middlesex University and The Glasgow School of Art. He has published widely on photography, cinema and film, with a particular focus on philosophy, and is the author of Photography, Cinema, Memory (2009) and co-author of Deleuze Reframed. His current focus is the portrait in photography and wider visual culture, from the perspective of film and philosophy, and with a particular focus on Kant, Deleuze, and the diagrammatic.

Andrew Watsky

Andrew M. Watsky is professor of Japanese art history at Princeton University and his research focuses primarily on the sixteenth century. His current work concerns chanoyu, the Japanese practice of drinking tea and appreciating the diverse objects employed in its consumption. He recently completed a series of collaborative projects on the tea leaf storage jar named Chigusa, and is now working on a book about tea objects recorded in the 1588 treatise, The Records of Yamanoue no Sōji. His book Chikubushima: Deploying the Sacred Arts in Momoyama Japan (University of Washington Press, 2004) won both the Shimada Prize and the John Whitney Hall Book Prize.

Alain Quemin

Alain Quemin is an exceptional class professor of sociology of art at Université Paris-8 / Institut d’Etudes Européennes, France, and a honorary member of Institut Universitaire de France. He holds a PhD from Ecole des Hautes Etudes en Sciences Sociales and an «Habilitation à diriger des recherches» from Université Paris-3 Sorbonne nouvelle. He is an alumni of Ecole Normale Supérieure de Cachan and Institut d’Etudes Politiques de Paris. He is a past president of the sociology of art research committee of the International Sociological Association and was an invited professor in numerous universites worldwide (Columbia University and the New School in the USA, Université de Montréal in Canada, Unicamp in Brazil, Moscow University in Russia…). He has been lecturing for years at UCLA in the USA, Universität Zürich in Switzerland, Bologna University in Itay and Universitat de Barcelona in Spain.

Quemin specializes in the sociology of art markets and institutions. He also studies visitors’ surveys, the internationalization of the visual arts and the social construction of artistic reputations and consecration for visual artists. Among his most recent books are: Les stars de l’art contemporain. Notoriété et consécration artistiques dans les arts visuels, Paris, éditions du CNRS, 2013, 458 p, and Alain Quemin & Glaucia Kruse Villas Boas (Ed.), Arte e Vida Social. Pesquisas recentes no Brasil e na França, OpenEdition Press, Marseille, 2016, 456 p.

Alain Quemin also works as a journalist and art critic and is a regular contributor to La Gazette Drouot, artpress and Le Journal des Arts.

Rajyashree Pandey

Rajyashree Pandey is Reader in Asian Studies at the Politics department of Goldsmiths, University of London. She received her education in India, the United Kingdom, the United States, and Australia and has taught in many academic institutions across the world. She is the author of Writing and Renunciation in Medieval Japan: The Works of the Poet-Priest Kamo no Chõmei (Michigan University, Japanese Monograph Series,1998) and Perfumed Sleeves and Tangled Hair: Body, Woman, and Desire in Medieval Japanese Narratives (University of Hawaii Press, 2016). She has also published articles in a wide range of journals from Monumenta Nipponica to Postcolonial Studies on medieval Japanese literature and Buddhism, as well as on sexuality and Japanese popular culture.

Jesús Carrillo

Jesús Carrillo é licenciado em História da Arte pela Universidade de Múrcia, mestre em Estudos Históricos pelo Warburg Institute da Universidade de Londres e Doutor em História pela Universidade de Cambridge (King’s College). Foi investigador convidado na Huntington Library, em Los Angeles, na Brown University, em Rhode Island, e no Conselho Superior de Investigação Científica, em Madrid. Desde 1997, é professor no Departamento de História e Teoria da Arte na Universidade Autónoma de Madrid. De julho de 2008 a dezembro de 2014, dirigiu o departamento de Programas Culturais do Museu Reina Sofía. Carrillo escreveu e editou várias publicações, incluindo: Arte en la Red (Cátedra, 2004), Naturaleza e Imperio(12 calles, 2004), Tecnología e Imperio (Nivola, 2003), ed., Modos de hacer: arte crítico, esfera pública y acción directa (Ediciones de la Universidad de Salamanca, 2001), ed., Tendencias del Arte. Arte de Tendencias (Cátedra, 2003), ed., Desacuerdos: sobre arte, políticas y esfera pública en el Estado español, vols. 1, 2, 3, 4 e 8 (2004-2014), ed., Douglas Crimp: Posiciones críticas (Akal, 2005), ed., e Martha Rosler. Imágenes Públicas (Gustavo Gili, 2008).

James Elkins

Grew up in Ithaca, New York, where he got the BA degree in English and Art History. For the last twenty-five years he has lived in Chicago; he got a graduate degree in painting, and then switched to Art History, got another graduate degree, and went on to do the PhD in Art History, which he finished in 1989 (all from the University of Chicago). Since then he has been teaching in the Department of Art History, Theory, and Criticism, at the School of the Art Institute of Chicago.

His writing focuses on the history and theory of images in art, science, and nature. Some of his books are exclusively on fine art (What Painting Is, Why Are Our Pictures Puzzles?). Others include scientific and non-art images, writing systems, and archaeology (The Domain of Images, On Pictures and the Words That Fail Them), and some are about natural history (How to Use Your Eyes). Recent books include What Photography Is, written against Roland Barthes’s Camera Lucida; Artists with PhDs, second edition; and Art Critiques: A Guide, third edition.

Miguel von Hafe Pérez

Nasceu no Porto em 1967. Licenciado em História da Arte pela Faculdade de Letras da Universidade do Porto. Entre 1988 e 1995 colaborou com a Fundação de Serralves, onde coordenou o Serviço Educativo e foi assistente do director artístico. Entre 1995 e 1998 foi director artístico da Fundação Cupertino de Miranda em Vila Nova de Famalicão. Foi responsável pela área de Artes Plásticas, Arquitectura e Cidade do Porto 2001, Capital Europeia da Cultura. Entre 2002 e 2005 fez parte da mesa curatorial do Centre d’Art Santa Mónica em Barcelona, onde era co-responsável pela programação da instituição e comissariou projectos de artistas portugueses e internacionais, entre eles os de Antoni Abad, Graham Gussin, Maria Nordman, Runa Islam, Helena Almeida, Francisco Queirós, Filipa César e João Tabarra. Foi responsável pelo projecto de arquivo sobre arte contemporânea em Portugal intitulado anamnese (www.anamnese.pt) – o site e o livro, desenvolvido para a Fundação Ilídio Pinho. Através de um concurso internacional foi eleito director do Centro Galego de Arte Contemporánea (CGAC) de Santiago de Compostela (2009-2015). Recentemente editou para a Fundação de Serralves uma antologia de textos críticos de Fernando Pernes (Dizer a imagem) e comissariou as exposições Julião Sarmento. No fio da respiração para a Galeria Municipal de Matosinhos e Álvaro Lapa. No Tempo Todo, no Museu de Serralves. Sócio fundador da Inc. – livros e edições de artistas, Porto. Curador do projecto Right Cloud@Wrong Weather no Porto. Desde 2013 é assessor do Conselho de Compras da Colección Fundación Arco.

Terry van Druten

Studied Art History at the University of Amsterdam, after having completed the Willem de Kooning Academy of Fine Arts in Rotterdam. He is specialized in nineteenth-century Dutch art and the history of museums. Since 2008 he works at Teylers Museum in Haarlem as Curator of the Art Collections. He has been responsible for many exhibitions, devoted to a diversity of themes ranging from the botanical art of Pierre-Joseph Redouté to the similarities between the work of Rineke Dijkstra and Claude Lorrain. Recently, he curated exhibitions about Dutch and Russian Romantic painting in collaboration with Moscow’s Tretyakov Gallery, and about nineteenth-century Dutch watercolors with The Mesdag Collection in The Hague. Currently he is preparing an exhibition on the botanical art of Franz and Ferdinand Bauer.

Raquel Henriques da Silva

Associate Professor at the Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa (FCSH-NOVA), Department of Art History. Head of the Master in Museology, FCSH-NOVA. Author of research and dissemination studies on the fields of museology and and artistic heritage, urbanism and architecture (19th-20th century), and visual arts.

Principal investigator of the following research projects:
–Sources for the History of Art Museums in Portugal (2010-2013). Funded by the Foundation for Science and Technology (PTDC/EAT-MUS/101463/2008)
–Lx Conventos – From sacred city to secular town. The extinction of religious orders and the dynamics of urban transformation in the nineteenthe century Lisbon (2013-2015).
Funded by the Foundation for Science and Technology (PTDC/CPC-HAT/4703/2012)

Scientific director of the Neo-Realism Museum. Curator of art exhibitions. Director of the Instituto de História de Arte (Institute of History of Art), FCSH-NOVA, from 2010 to 2017. Former director of the Museu do Chiado- Museu Nacional de Arte Contemporânea (National Museum of Contemporary Art), from 1994 to 1997. Former director of the Instituto Português de Museus (Portuguese Institute of Museums), from 1997 to 2002. Former member of the board of directors of the Serralves Foundation, representing the Ministry of Culture (2000-2006). Scientific coordinator of the Lisbon’s historical centre candidacy for World Heritage, later participating in the Working Group, which outlined the Strategic Plan for the Baixa-Chiado. Member of the National Council for Culture, in the Museums’ Section.

Carles Guerra (Amposta, 1965)

Director da Fundació Antoni Tàpies desde 2015. Entre 2011 e 2013 foi curador no Museu d’Art Contemporani de Barcelona (MACBA), tendo anteriormente dirigido o La Virreina Centre de la Imatge (Barcelona) (2009-2011). Doutorado em Artes Visuais pela Universidade de Barcelona, Guerra é professor associado de Arte Contemporânea na Universitat Pompeu Fabra e tem colaborado no curso de Pós-graduação de Estudos de Cultura Visual da Universidade de Barcelona. É professor convidado no Center for Curatorial Studies do Bard College (Nova Iorque), na Konstfack (Estocolmo) e na Haute École d’Art et Média da Universidade de Genebra. O seu trabalho tem aprofundado aspectos dialógicos da prática artística e as políticas culturais do Pós-Fordismo. Entre as exposições que comissariou destacam-se “Allora & Calzadilla” (2018), conjuntamente com Sara Nadal-Melsió; “Susan Meiselas. Mediations” (2017), com co-curadoria de Pia Viewing; “Harun Farocki. What is at Stake” (2016) e “Empathy” (2016), ambas em colaboração com Antje Ehmann, entre outras. Autor de inúmeros ensaios, Carles Guerra tem colaborado com várias publicações nacionais e internacionais.

Maria José Marcondes

Maria José de Azevedo Marcondes é Professora do Programa de Pós-Graduação em Artes Visuais –  Linha de Pesquisa História, Teoria e Crítica; dos Cursos de Graduação em Artes Visuais e de Arquitetura e Urbanismo no Instituto de Artes da UNICAMP- Universidade Estadual de Campinas.

Foi   Chefe do Departamento de Artes Plásticas do Instituto de Artes e membro do Conselho de Defesa do Patrimônio Histórico, Artístico, Arqueológico e Turístico do Estado de São Paulo, entre outras funções. Tem publicações em periódicos e livros no tema Arte e Paisagem na América Latina, Paisagens Culturais e Modernismo na América Latina. Foi contemplada com a Bolsa Cátedra Ibero-americana2017 da DERI- Diretoria Executiva de Relações Internacionais da Universidade Estadual de Campinas no Instituto de História da Arte da FCSH – Universidade Nova de Lisboa.

Maria de Fátima Morethy Couto

Doutora em História da Arte pela Universidade de Paris I – Panthéon/Sorbonne. Realizou investigação de pós-doutoramento no TrAIN/University of the Arts London, com bolsa FAPESP, e no INHA (Instituto Nacional de História da Arte), Paris, no programa de investigador convidado.

Professora Livre-Docente do Instituto de Artes da Unicamp, pesquisadora do CNPq. Presidente do Comitê Brasileiro de História da Arte no triênio 2010-2013. Autora do livro Por uma vanguarda nacional. A crítica brasileira em busca de uma identidade artística – 1940/1960 (Ed. Unicamp, 2004) e co-autora/organizadora dos livros ABCdaire Cézanne (Flammarion, 1995), Instituições da Arte (Zouk, 2012), Espaços da arte contemporânea (Alameda, 2013),  História das artes em exposições: modos de ver e de exibir no Brasil e Histórias da arte em coleções (Riobooks, 2016).