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Reading Committee

Reading committee

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Mathilde Arnoux studied art history at Universities of Paris I, Paris IV and at the Ecole du Louvre. She defended a PhD thesis in November 2003 entitled La Réception de la peinture germanique par les musées français entre 1871 et 1981. Between 2000 and 2002, she was assistant at the Jean Arp Foundation in Clamart and, from 2002 and 2003 she was researcher at German Forum for Art History, Paris, for the “Deutsch-französische Kunstvermittlung 1870-1940” project. She has supervised the critical edition of Henri Fantin-Latour and Otto Scholderer’s correspondence since 2004. She is nowadays Chief Scientific and head of the French-speaking publications department of the German Forum for Art History. The main research domains of Mathilde Arnoux focus on French and German Art of the 19th and 20th centuries, history of museums and history of the cultural transfers and reception. She is Principal Investigator of the project research “OwnReality – A chacun son réel. La notion de réel dans les arts plastiques en France, RFA, RDA et Pologne de 1960 à la fin des années 1980” since 2011 and funded by a Starting Grant of the European Research Council (ERC).

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Paula Barreiro López defended a PhD thesis at Complutense University of Madrid and is now working at the Centro de Ciencias Humanas y Sociales (Madrid). Her research areas deal with art criticism, cultural policies, European cultural exchanges during Cold War and Spain’s artistic trends of the 1950’s, 1960’s and 1970’s. Her latest publications focus on geometrical Abstraction in Spain (La Abstracción geométrica en España, CSIC, 2009) art criticism in Europe (“La Biennale di San Marino et le convegno di Rimini de 1963: Argan, Restany et Aguilera Cerni vers un art engagé”, in Le Demi-siècle de Pierre Restany, 2009) and cultural policies under Francoist Spain (“La invención de la vanguardia en la España franquista: estrategias políticas y realidades aparentes”, In Verdades cansadas, 2009). She is currently completing a book about Spanish art criticism of the 1960’s and the 1970’s and also a collective publication about critical discourses from Cold War to Globalization.

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Nathalie Boulouch is a lecturer and researcher in Contemporary Art history and Photography at the University of Rennes 2. Her researches deal with the issues of color (theories, aesthetic, absorption) especially in 19th and 20th centuries photography and also with the relationship between contemporary art and photography. She has written several publications about these questions including Le Ciel est bleu (2011). She is member of the reading committee of Etudes Photographiques and also of Critique d’art which she joined in 1999. Vice-President of the French Photographic Society, she is heading the Archives de la critique d’art.

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Baptiste Brun has been lecturer and researcher in Contemporary Art at the University of Rennes 2 since September 2015. His fields of research include the interactions between artistic creations, art history and anthropology during the second half of the 20th century and more specifically on publication and artworks related to Art brut and on the epistemology of art history through primitivism’s perspective.

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Sophie Cras is a lecturer and researcher at the University Paris I Panthéon-Sorbonne. Her works focus on creative and critical eye, contemporary artists take on economy. Her upcoming publication L’Economie à l’épreuve de l’art : art et capitalisme dans les années 1960 will be published shortly within Les Presses du réel. She is also completing an anthology of economical treaties written by artists and is training a seminar dedicated to the 1980’s, her new area of investigation.

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Jean-Marie Dallet est artiste, commissaire d’expositions et Professeur des universités à l’Ecole des arts de la Sorbonne, Paris 1. Il est codirecteur du Master pro en alternance Industrie Management Art & Industries Créatives. Il a exposé ses œuvres et ses recherches en France (Biennale Artifices, Villette Numérique, Cité des Sciences et de l’industrie, Le Fresnoy, Le Confort Moderne, Faux mouvement, Le LAIT, etc.), en Belgique (Biennale Update), en Autriche (festival Ars Electronica), au Canada (ISEA), ou encore au Japon (biennale ICC). Son travail théorique et plastique interroge les notions d’interactivité et les figures qui en organisent les interactions, questionne l’archéologie des médias et s’intéresse aujourd’hui aux questions politiques, artistiques, pédagogiques liés aux réseaux internet et aux plateformes. Il a récemment dirigé la publication de l’ouvrage Cinéma, interactivité et société (Université de Poitiers et CNRS, 2013), Architectures de mémoire (Les presses du réel, 2019), ainsi que le catalogue de l’exposition dont il était le commissaire, Mémoires vives. From Nam June Paik to SLIDERS_lab (Lannoo, 2019). Jean-Marie Dallet est membre du collectif d’artistes SLIDERS_lab qui prend en compte un territoire esthétique émergeant autour des images animées, de la mémoire, de l’archivage et du numérique. Une démarche qui s’étend actuellement aux formes contemporaines de représentations et de navigations dans les collections audiovisuelles.

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Elitza Dulguerova is Assistant professor in Theory and History of contemporary art at the Université de Paris I. Since 2016, she is on leave as scientific advisor at the Institut national d’histoire de l’art. Her research follows two main directions: the history of ideas & the social history of art in Russia/URSS, including the avant-garde period; the study of exhibitions as artistic and social challenge in 20th and 21st century art, including the issue of exhibition remakes. Her book Usages et utopies : l’exposition dans l’avant-garde russe prérévolutionnaire (Dijon: les Presses du reel, 2015) brings together these two fields by focusing on the role that group exhibitions played for artists in Russia in the first two decades of the 20th century. In 2010, she edited a special issue of the scholarly journal Intermédialités on “Exposer/Displaying”.

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Diplom (FH) in Graphic Design and Visual Communication, Bielefeld University of Applied Sciences. MA in Political Arts (SPEAP), Sciences Po Paris. Simone Fehlinger develops a research methodology at the intersection of art, design and social sciences. She explores fiction-based realities by questioning the performativity of design and its ability to create ideologies through form. With a particular interest in the imagery of the Anthropocene, political fictions, and contemporary visual and material culture, she understands design as a discipline defining the interactions between human and nonhuman actors. In 2019, on the initiative of Olivier Peyricot (director of research at the Cité du design) and Michel Lussault (director of the Ecole urbaine de Lyon), she co-founds the “Deep Design Lab―the material and the visual of the Anthropocene”. Within the “Deep Design Lab”, Simone Fehlinger conducts the design research project “New Weather TV” that explores the images of the weather report and the modern fictions it incorporates in daily (Western) realities.

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Alexis Vaillant is a curator, writer, and editor whose work focuses on the intersection of art, politics, and new realities: where intelligence and instinct are one. He is currently based in Lisbon where he runs the Art Club: Jack Forno. Prior to this, he was Chief Curator at the CAPC, Contemporary Art Museum, Bordeaux; Curator at Toasting Agency, Paris; Assistant Curator at Mamco, Geneva. Vaillant has curated or co-curated over one hundred exhibitions, commissions, and special projects over the last fifteen years, including the IXth Baltic Triennial ‘Black Market Worlds’ in Vilnius, the cult exhibition ‘Voyage Intérieur’ in Paris; and the groundbreaking shows: ‘Rock Opera’, ’BigMinis: fetishes of crisis’, ‘Dystopia’, and ‘Secret Societies’ in Bordeaux. He has conceived the retrospectives of a.o. Marc Camille Chaimowicz, Robert Breer, Michael Krebber, Tomoaki Suzuki, Aaron Curry, Franz Erhard Walther, as well as the solo presentations of Michael E. Smith, David Lieske, Pauline Boudry & Renate Lorenz, Philip Newcombe, and Raphael Hefti. Author and editor of books and catalogues most of them published by Walther Koenig, Sternberg Press, Les Presses du réel, or JRP/Ringier, Vaillant has also written on art and culture for media outlets such as Mousse, frieze, and Pacemaker. His recent and forthcoming publications include: On Things as Idea; You May Also Like: Robert Stadler; Sylvia Sleigh: Monograph; Marc Camille Chaimowicz: Anthology of Texts (1971-2018); and The First Time I got Paid For It

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Erik Verhagen is a lecturer and researcher in Contemporary Art history at the University of Valenciennes and is also an art critic. He is currently working on the research program about “practicable” art funded by the French National Agency for Research. His latest publications focused on Marc Desgrandchamps, François Morellet and Georg Baselitz.

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Tania Vladova is currently teaching at the School for Advanced Studies in the Social Sciences of Paris where she is training a seminar entitled “Image et texte, XVIIIe-XXIe siècles”. She used to be a Research Fellow at the German Forum for Art History, Paris as part of the project « Esthétique et histoire de l’art ». She is co-founder and member of the reading committee of the on line review Images Re-vues (http://imagesrevues.revues.org). Her research fields deal with the aesthetic of improvisation, the science of art and with the links between arts and literature.

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David Zerbib is teaching philosophy at the Geneva School of Art and Design and coordinates the Research Unit of the Ecole Supérieure d’Art in Annecy. Fellow to the center Culture Esthétique and Philosophie de l’Art (CEPA) of the university Paris 1-Panthéon Sorbonne, his researches focus on contemporary philosophy of art, the question of artistic performance, experimentation and format. Member of AICA-France, he is collaborating to several reviews in a wide artistic and academic context, both in France and overseas. He lately edited In octavo : des formats de l’art (Presses du réel /ESAAA, 2015) and co-published Performance Studies in Motion, International perspectives and practices (Bloomsbury, 2014).

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