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International scientific committee

International scientific committee

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Juan Vincente Aliaga is a Professor of Modern and Contemporary Art theory at the Universitat Politècnica of Valencia, Spain. His work involves the relations between art and feminism, gender and queer studies. He is the author of publications such as Orden fálico. Androcentrismo y violencia de género en las prácticas artísticas del siglo XX (Madrid, Akal, 2007) and of Arte y cuestiones de género (San Sebastián, Nerea, 2004). He also curated the following exhibitions: Akram Zaatari (2011); En todas partes. Políticas de la diversidad sexual en el arte / everywhere. Sexual Diversity Politics in Art (2009); Martha Rosler (2009); La Batalla de los géneros / Gender Battle (2007); Hannah Höch (2004); Pepe Espaliú (2003); Claude Cahun (2001).

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Joerg Bader has practiced art criticism since 1996. In 2003, he was appointed director of the Centre of Photography Geneva where he curated 70 individual exhibitions and about 15 collective and thematic exhibitions. He also created the Triennal of Photography 50JPG and in 2007 he launched the Centre of Photography Publishings. From 2002 to 2016, he taught at La Haute Ecole d’Art of Perpignan and from 2004 to 2009 at the Geneva School of Art and Design. He has lived between Geneva and Belo Horizonte, Brazil since 2008. Joerg Bader is also a member of the International Association of Art Critics and of commissions for grants supports for photography in Geneva and in the National Centre for Visual Arts (CNAP). His works as an author and as a publisher brought him to contribute to 25 publications about artists and 10 collective books and catalogues.

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Katia Baudin is born in 1967 at Neuilly-sur-Seine of a French father and a German mother. She grows up and studies in New York, where she obtains two Licences in companies Administration and Art History at the University of Hofstra. When she returns to Paris, she completes her formation with a second year of a Master’s degree on Otto Dix. After her collaboration to the Kurt Schwitters and Robert Morris’ retrospectives organized by the Centre Pompidou (1993-1995), she directs during seven years the Frac Nord-Pas de Calais of Dunkerque and then, from 2004 to 2007, the Stransbourg Ecole supérieure des arts décoratifs. From 2008 to 2017, she is the Deputy Director of the Museum Ludwig in Cologne and she prepares, in addition to those responsibilities, a PhD thesis untitled Glissements identitaires : art et design, questionnements actuels sur le statut du créateur [Identity Shifts: Art and Design, current concerns about the creator status]. She is at the present time the Director of the Krefeld Museums.

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Jesús Carrillo is a Professor of Contemporary Art in History and Theory of Art at the University of Madrid (Universidad Autónoma de Madrid) since 1997. After an Art History Licence at the University of Murcia and a Master’s degree in historical Studies at the Warburg Institute of London, he has presented his PhD thesis at the University of Cambridge (King’s College). As a researcher, he has been invited to the Huntington Library of Los Angeles, to the University of Brown at Rhode Island, and to the Scientific Superior Research Committee of Madrid. Between July 2008 and December 2014, he was at the head of the Cultural Programs Department of the Museo Nacional Centro de Arte Reina Sofía (Madrid).

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Christophe Domino is a French historian, art critic and art theoretician. He also works as a curator and as an author. He is a former member of the International scientific committee of Critique d’art from 2002 to 2011. Christophe Domino teaches at the Ecole Supérieure des Beaux-arts de Tours-Angers-Le Mans (ESBA TALM).

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Charles Esche is director of Van Abbemuseum, Eindhoven; professor of contemporary art and curating at Central Saint Martins, London and co-director of Afterall Journal and Books. He teaches on the Exhibition Studies MRes course at CSM, and at Jan van Eyck Academie, Maastricht. Outwith the museum, he (co)curated Le Musée Egaré (Kunsthall Oslo, 2017) and Printemps de Septembre (Toulouse, 2016); Jakarta Biennale 2015; 31st Sao Paulo Bienal (2014), U3 Triennale (Ljubljana, 2011); RIWAQ Biennale (Palestine, 2007 and 2009); Istanbul Biennale 2005; Gwangju Biennale 2002, amongst other international exhibitions. He is chair of CASCO, Utrecht. He received the 2012 Princess Margriet Award and the 2014 CCS Bard College Prize for Curatorial Excellence.

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Robert Fleck is a curator responsible for the collections and for the exhibitions of the Kunstakademie of Düsseldorf where he also serves as Vice-President. Within this academy, he has taught the relation between art and the public sphere since 2012-13. After his studies at the universities of Vienna, Innsbruck and Paris from 1976 to 1987, he defended a PhD thesis in history entitled La Révolution de 1848 à Paris, le rôle des artistes et l’invention de l’Etat Providence. Appointed Officer of the Order of Arts and Letters in 2011 by the French Minister of Culture, he created the European Biennial of Contemporary Art Manifesta 2 (Luxembourg, 1998), the exhibition of the 100th anniversary of the Vienna Secession, the Biennial of Torino (2000) and the Austrian Pavilion at the 2007 Venice Biennial. He headed the Center for Contemporary Art – House of Photography Deichtorhallen of Hamburg from 2004 to 2008 and the Art and Exhibition Hall of the Federal Republic of Germany in Bonn, from 2009 to 2012.

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Véronique Goudinoux is a Contemporary Art historian and theoretician. She defended a PhD thesis in 1996 about the issues and debates of Italian art after 1945. Her researches are now focusing on the studies of the artistic group practices (plastic and visual arts) in the 20th century and on the issues regarding the sexuation and the Contemporary Art practice. She cofounded the journal Critique d’art in 1993 and is a member of its reading committee since 2011.

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Laura Iamurri is a Contemporary Art history professor and a member of the Doctoral School of Roma Tre University. She primarily works on the relations between the production of Contemporary Art and the rhetoric of history and art criticism. Her later researches have been focused on the visual culture and the artists’ networks, reviews, critics and galleries of the 20th century. She is also working on Modern Art historiography, feminism and the arts in Italy and on the memory of the Shoah and the anti-fascist resistance. Her last book is dedicated to Carla Lonzi (Un margine che sfugge. Carla Lonzi e l’arte in Italia, 1955-1970, (Quodlibet, Macerata 2016) for whom she already reissued Autoritratto, Milan 2010 and collected with L. Conte and V. Martini, the Scritti sull’arte, Milan 2012.

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Klara Kemp-Welch is Lecturer in 20th Century Modernism at the Courtauld Institute of Art in London, where she teaches undergraduate and postgraduate courses on the cultural Cold War, countercultures, and experimental art in Eastern Europe and Latin America. She is the author of Antipolitics in Central European Art 1956-1989 (London: IB Tauris, 2014) and recently completed another monograph entitled Networking the Bloc: Experimental Art in Eastern Europe 1968-1981, forthcoming with MIT Press in late 2018.

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Jacques Leenhardt is a Director of studies at the School for Advanced Studies in the Social Science, Paris. He works on art and literature especially from Latin America. Art critic and curator, he has been dedicated to landscapes for many years. Among others publications, he is the author of Lecture politique du roman (1973), Lire la lecture (1982) Les Amériques latines en France (1992), Dans les Jardins de Roberto Burle Marx (1994), Villette-Amazone (1996), Michel Corajoud paysagiste, (2000), Conscience du paysage (2002), A Construção francesa do Brasil, (2008), Wifredo Lam, une monographie (2009).

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Kim Levin is an art critic and a curator. She was a recurring correspondent of The Village Voice from 1983 to 2006. Since then, she has written in Art News on a regular basis. Kim Levin is the author of Beyond Modernism: Essays on Art from the ‘70s and ‘80s (1988). She taught at the Philadelphia College of Art, at Parsons the New School for Design, at the Claremont Graduate School and at The School of Visual Arts. She organized exhibitions in South Korea, in Denmark, in Germany, in Japan, in Norway, in Poland and in the United States. From 1996 to 2002, she was the President of AICA International of which she is now the Honorary President. She was awarded by the Art/World for Distinguished Newspaper Journalism in 1986 and by the San Francisco Museum of Modern Art for the SECA Fellowship for Criticism in 1993.

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Henry Meyric Hughes is an independent curator, advisor and author in the art field. From 1968 to 1992, he worked for the British Council in Germany, in Peru, in France and in Italy where he served as Director of Visual Arts (1986-92) and as Director of Visiting Arts (1994-96). He was then Director of the Hayward Gallery and was also the British Commissioner for the Venice Biennale and the São Paulo Biennial between 1986 and 1992. He curated several exhibitions such as Blast to Freeze: British Art in the Twentieth Century in Wolfsburg and Toulouse (2002-03), the Cypriot Pavilion at the 2003 Venice Biennale and touring exhibitions of Contemporary Art in Oslo (2005-06). He co-curated the 30th Council of Europe exhibition for art and history, The Desire for Freedom: Art in Europe since 1945 in Berlin Deutsches Historisches Museum. Honorary President of AICA France, he also co-founded Manifesta in Amsterdam which he ran from 1996 to 2007. He ensured the functions of advisor for the UNESCO and for the Council of Europe and is now a member of les Archives de la critique d’art.

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Maria Stavrinaki is a professor at the University Paris I Panthéon-Sorbonne where she is teaching Contemporary Art. Her researches focus on art temporalities and history conceptions and also on the relations between art and politics in the two last centuries. Her latest works involved the special issue « Préhistoire/Modernité » with Rémi Labrusse for Les Cahiers du MNAM (#127, Spring 2014) and also the publications Dada Presentism. An Essay on Art and History (Stanford University Press, 2016) and Contraindre à la liberté : Carl Einstein, les avant-gardes, l’histoire (German Forum for Art History, Paris, 2017).

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Philippe Vergne serves as Director of the MoCA (Museum of Contemporary Art) of Los Angeles. He also ran the Museum of Contemporary Art of Marseille (MAC) from 1994 to 1997 before his nomination at the Walker Art Center of Minneapolis as a curator, function he ensured with an interruption in the 2000’s where he was hired by François Pinault to head the foundation that the businessman considered to establish at Île Seguin. Eventually, François Pinault’s decision to move to Venice, brought Philippe Vergne back to the Walker Art Center. He left the center in 2008 after a quite successful experience as co-curator in 2006 at the Whitney Museum Biennial. He is now at the head of the DIA Art Foundation of New York, the legendary institution created in 1974 by Philippa de Menil and Heiner Friedrich.

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