Filmmaker and writer based in Berlin.
Curator and writer, who has served since 1993 to 2020 as Director of the Moderna galerija in Ljubljana, comprised since 2011 of two locations: the Museum of Modern Art and the Museum of Contemporary Art Metelkova. In her work, Badovinac deals with historicization of Eastern European art and situated institutionality. She also initiated the first Eastern European art collection, Arteast 2000+. Her most recent exhibition is Bigger Than Myself: Heroic Voices from Ex-Yugoslavia, MAXXI, Rome. Her most recent book is Comradeship: Curating, Art, and Politics in Post-Socialist Europe (Independent Curators International (ICI), New York, 2019). Founding member of L’Internationale, a confederation of seven modern and contemporary European art institutions. President of CIMAM, International Committee for Museums and Collections of Modern Art, 2010–13.
Degree in Art History from the University of Murcia, a master’s degree in History Studies from the Warburg Institute of the University of London and a doctorate in History from the University of Cambridge, King’s College. He was a visiting researcher at the Huntington Library in Los Angeles, Brown University in Rhode Island and at the Higher Council for Scientific Research in Madrid, and since 1997 has been professor in the Department of Art History and Theory at the Autonomous University of Madrid (UAM), becoming Associate Professor in 2007. From July 2008 to December 2014 he directed the Department of Cultural Programmes of Museo Nacional Centro de Arte Reina Sofía.
Yaiza Hernández Velázquez
Philosopher and lecturer in the department of Visual Cultures at Goldsmiths, University of London. Before this, she led the MRes in Exhibition Studies at Central Saint Martins, University of the Arts, London and worked for over a decade in art institutions. Among her latest publications are “Who Needs Exhibition Studies?” in Art, and its Worlds: Exhibitions, Institutions, and Art Becoming Public (Afterall, 2021) and “Imagining Curatorial Practice after 1972” in Curating after the Global (MIT, 2019).
Degree in Art History from the University of Santiago de Compostela. During 2005 and 2006 he was the content coordinator for the Metrònom Fundació Rafael Tous d’Art Contemporani (Barcelona). Between 2007 and 2009 he was a curator at the Centro Galego de Arte Contemporánea (Santiago de Compostela). In 2009 he resumed his work as an independent curator, carrying out projects for Fundació Joan Miró (Barcelona), La Casa Encendida (Madrid), ARC (Los Choros, Chile), MUSAC (León), Centre d’Art la Panera (Lleida), Pavillon Vendôme (Aix-en-Provence), Kadist Foundation (Paris), Cuenca Biennial (Ecuador), Artebi (Buenos Aires), TENT (Rotterdam) and Centro de Arte Dos de Mayo (Madrid).
He was professor of curatorial practices in different Honours in Curatorship postgraduate and master’s programmes at Michaelis University (Cape Town, South Africa) and the PEI studies programme at MACBA (Barcelona). He is currently tutor of the École du Magasin (Grenoble). He was curator of the Spanish Pavilion at the Venice Biennale in 2017, featuring a project by artist Jordi Colomer. In his most recent projects he attempts to offer forms of a gestural approach to curating as a mode of discursive distribution, in pedagogy and education formats and in curatorial actions linked to performance. He currently directs Centro de Arte Dos de Mayo (CA2M) in Madrid.
Contemporary art researcher and deputy director of the Museo Nacional Centro de Arte Reina Sofía (Madrid). She previously worked as coordinator of L’Internationale, a confederation of seven modern and contemporary art institutions. In addition, she co-directed the DSRA postgraduate programme in Artistic Research, Documentation and Contemporary Art (ÉESI/ENSA Bourges, France) for 3 years, and was coordinator of the Conceptualismos del Sur network, a platform of which she is still a member.
She also worked as coordinating editor of publications such as: Una imagen sísmica de los años 80 en América Latina (MNCARS, 2013 / Eduntref, 2014), Un saber realmente útil (MNCARS, 2014), Desinventario (Ocholibros, 2015) and Archivos del común II. El archivo anómico (Pasamontañas, 2020). In the field of research, she is interested in 21st-century artistic practices that are mainly characterised by the deactivation of the aesthetic function, articulating the use of archives, heuristic proposals and political practice.
Curator, writer and researcher specialising in art and new media. Doctorate in Society of Information and Knowledge from the Universitat Oberta de Catalunya (UOC), he is a collaborating professor at the UOC, and in curatorial and postgraduate courses at the ESDi School of Design and the Node Center for Curatorial Studies. His work explores the different aspects of the interaction between art, technology and society, as well as the relationships between digital art and the art market. He is author of the book on contemporary and digital art collecting You Can Be a Wealthy/Cash-Strapped Art Collector in the Digital Age (Printer Fault Press, 2020). www.pauwaelder.com