(Berlin, 1947-) Is an art critic, media theorist, and philosopher. He is currently a Global Distinguished Professor of Russian and Slavic Studies at New York University and Senior Research Fellow at the Karlsruhe University of Arts and Design in Karlsruhe, Germany. He has been a professor of Aesthetics, Art History, and Media Theory at the Karlsruhe University of Arts and Design/Center for Art and Media in Karlsruhe and an internationally acclaimed Professor at a number of universities in the United States and Europe, including the University of Pennsylvania, the University of Southern California and the Courtauld Institute of Art London.
Professor of Art Theory and the History of Ideas at the Royal Institute of Art in Stockholm, curator and writer. Recent curated projects: Fluidity (co-curated in Hamburg 2016); Harun Farocki A new product (Hamburg, 2012); If we can't get it together. Artists rethinking the (mal)functions of community (The Power Plant, Toronto, 2008); The Jerusalem Show: Jerusalem Syndrome (together with Jack Persekian, 2009); the Armenian Pavillion for the 52nd Venice Biennial.
Recent publications include the edited volumes Brave New Work. A Reader on Harun Farocki’s film ‚A New Product’ (Verlag der Buchhandlung Walther König, 2014); Scandalous. A Reader on Art & Ethics (Sternberg Press, 2013); New Communities (Public Books/The Power Plant, 2009) and Art and Its Institutions (Black Dog Publishing, 2006).
Art critic and independent curator currently living in Mexico City. She was curator at Fundación Jumex Arte Contemporáneo between 2011 and 2014, where she curated exhibitions of artists such as James Lee Byars (co-produced with MoMA-PS1), Guy de Cointet and Danh Vo, as well as collective shows displaying works from the Jumex Collection. She was Chief Curator of Museo Tamayo between 2009 and 2011 where she organised exhibitions and projects with artists such as Roman Ondák, Joachim Koester, Claire Fontaine, Adriá Julia and Julio Morales. Independent projects include: The Sweet Burnt Smell of History: The 8th Panama Biennial (2008); Prophets of Deceit (Wattis Institute for Contemporary Art, San Francisco, 2006); What once passed for a future, or The landscapes of the living dead (Art2102, Los Angeles, 2005); How to Learn to Love the Bomb and Stop Worrying about it (CANAIA, México City / Central de Arte at WTC, Guadalajara, Mexico, 2003-2004); Alibis (Mexican Cultural Institute, Paris /Witte de With, Rotterdam, 2002). From 1998 to 2001 she was chief curator at the Museo Carrillo Gil in Mexico City, and visiting curator at the Wattis Institute for Contemporary Art in San Francisco in 2006. Arriola has extensively written for books, and catalogues and has contributed to publications such as Mousse, Manifesta Journal, Afterall and The Exhibitionist, among others.
He focus his research on the economic and social uses of cultural industries, especially on music, new media and visual arts; the cultural impact on new migrations; Brazil and Central American culture; and the research on new aesthetic phenomena on the digital era. His current project is described as a “post-ranciere” aesthetic, using as reference the new forms of circulation on cultural networks. He is author of El recurso de la cultura (Gedisa, 2002), Culturas emergentes en el mundo hispano de Estados Unidos (Fundación Alternativas, 2009), among others. He has written on numerous magazines and newspapers.
He is professor of Latin-American Studies and cultural theory at the Language and Modern Literature department at Miami University. He is director of the Miami Observatory on Communication and Creative Industries.
Anthropologist and historian, he writes about culture and politics in Mexico and Latin America, experiencing different areas from sociological essay to narrative history, from journalism to theatre. He is author of numerous books, such as Las salidas del laberinto: Cultura e ideología en el espacio nacional mexicano (Joaquín Mortiz, 1995); Deep Mexico, Silent Mexico: An Anthropology of Nationalism (University of Minnesota Press, 2001), El antisemitismo y la ideología de la Revolución Mexicana (Fondo de Cultura Económica, 2010), and The Return of Comrade Ricardo Flores Magón (Zone Books, 2014), among many others.
He has teach in different universities in Mexico and the United States, as well European and Latinamerican universities as Guest teacher. He has directed the Center for Latinamerican Studies at Chicago University, the Historical Studies Research Center at New School for Social Research in Nueva York, and the Center for the Study of Race and Ethnicity at Columbia University. Lomnitz also directed the magazine Public culture (2004-2010). Along with his brother Alberto Lomitz, he won the Premio Nacional de Dramaturgia in Mexico (2009), for the play El verdadero Bulnes .
He currently writes twice a month in the newspaper La Jornada and he is full professor of Anthropology at Columbia University, where he is also director of the Mexican Studies Center.
(México City, 1977) author of the colection of tales Informe (Tusquets, 2008) and the essayContra la vida activa (Tumbona, 2009). He funded the magazine Cuadreno Salmón (2006-2008), he was deputy editor of Letras Libres (2008-2010) magazine and funded Horizontal , he is also editor of the web site. His essays on cultural critic have been published on different newspapers and magazines in Latin America, Spain, USA, and have been collected on numerous collective books. He is Ph. D. candidate at The Graduate Center, CUNY; he lives in New York.
Associate professor and research coordinator in the Journalism Program at Centro de Investigación y Docencia Económicas, A.C. (CIDE) in Mexico. He has a BA in International Relations from El Colegio de México and a Master’s Degree in History from the University of Chicago. He has been a scholar of the Fullbright-García Robles Program, the Ford Foundation, the Mellon Foundation, CONACyT and the CARSO Mexican History Studies Center. He was given the Charles A. Hale Award for Young Mexican Historians, by the Latin American Studies Association. His area of specialty is political and intellectual history. He has also collaborated in different media such as Este País, Etcétera, Letras Libres, Nexos, La Razón, El Universal and Horizontal. As an editor, his work has been published in Animal Político, Proceso, Newsweek en español, El Universal, Letras Libres and The New Yorker.
Architect and editor who has also been a member of Mexico’s National Creators System as well as that nation’s National Academy of Architecture. His most outstanding projects include the Centro de Diseño, Cine and Televisión campus (2003), the Universidad de Guadalajara’s Center for the Performing Arts (2009) as well as the rehabilitation of Mexico’s National Archives at the former Lecumberri Prison (2010). He has served as curator at numerous architecture biennials, notably at Rotterdam, São Paulo, Venice and the Canary Islands. Hernández is a professor of Projects and Architectural Theory at Universidad Anáhuac, CENTRO and the Universidad Iberoamericana. He also worked as a columnist for Mexico City daily Reforma and is currently published in a wide range of Mexican and foreign publications. He is Editorial Director at Arquine magazine.
Studied Communications at Universidad Iberoamericana and holds a master’s degree in Political Sociology from the London School of Economics and Political Science. She has additionally completed specialized editorial studies at Stanford University as well as in cinema at New York University. Starting in 1995, she has been Director at Trilce Ediciones, which develops original content for a wide range of platforms. Holtz has edited books on art, popular culture, poetry and reportage as well as books for children and young people. Notable Holtz-produced exhibitions include Pedro Friedeberg, Sensacional de diseño mexicano, Espectacular de lucha libre and Cholombianos, among others. She has additionally produced web pages and television series, including 2013’s six-episode, half-hour series Sensacional de diseño mexicano, a co-production with Canal Once TV. She has co-hosted numerous television and radio programs and for four years helmed the Alianza de Editoriales Mexicanas Independientes industry organization; she has served as a board member for a number of cultural councils and civil-society organizations.
Author of more than twenty books, including novels as well as story, poetry and essay collections. He has completed studies in philosophy, psychotherapy and Hispanic literatures with an emphasis on critical theory. Published titles include A.B.U.R.T.O and Al otro lado (novels); the essays El Imperio de la neomemoria and Contra la tele-visión as well as poetry collections Por una poética antes del paleolítico y después de la propaganda and El órgano de la risa. He has translated William Blake’s aphorisms into Spanish and is both editor and translator of the poetics of Jerome Rothenberg and Charles Bernstein, translated José Vasconcelos’s English-language works and is co-editor and translator of Ulises Carrión’s artistic and literary writings. He currently divides his time between Tijuana and Berkeley, defining himself as a writer on “The Other Mexico and the Post-United States.”
Independent scholar and art critic based in Mexico City. Since 1998 she has published in a diversity of cultural magazines and journals (El País, Letras libres, La Tempestad, Otra Parte, among others). She has also written for numerous publications such as Drawing: The Bottom Line (S.M.A.K, 2015); Damián Ortega: Casino (Mousse Publishing, 2015); Contemporary Art Mexico (TransGlobe Publishing, 2014); En esto ver aquello (Museo del Palacio de Bellas Artes, 2014); Gabriel Orozco: Natural Motion (Moderna Museet, 2013); Patricia Dauder: The Second Image (Serralves Foundation, 2013); Archivo J. R. Plaza (JRP/Ringier, 2012); Panorama: una revisión del acervo fotográfico del MAM (Museo de Arte Moderno, 2012); Pulsión y método (Turner, 2011); Les enfants terribles (Fundación Jumex, 2010); José Clemente Orozco a contraluz (Instituto Cultural Cabañas, 2010); La revolución de la mirada (Museo Nacional de Arte, 2008). She currently prepares the edition of her book Un paseo por el arte moderno (Turner).
She has a long and outstanding career on the conceptual development and direction of projects related to arts, culture, public radio, and commerce and investment. She has directed the Antiguo Colegio de San Ildefonso, space focused on temporary exhibitions; the IMER (Instituto Mexicano de la Radio) and ProMéxico in France, dedicated to promote foreign investment and support the export of Mexican products. Since august 2011, she is Director of Papalote Museo del Niño.
Licenciada en Ciencias de la Información (especialidad Periodismo) por la Universidad Complutense de Madrid, donde también cursó, sin graduarse, estudios de Filología Inglesa. Completó su educación en Londres (1981-82) y Nueva York (1985, beca ICEX). Ejerció como coordinadora de exposiciones en el Museo Nacional de Ciencias Naturales (1988-89) y posteriormente en CasaAmérica (1990-91), ambos en Madrid. Posteriormente desempeñó diversas funciones en Sociedades Estatales responsables de la participación española en Exposiciones Universales y otros eventos culturales de alto nivel.
En 1995 se incorporó a la Agencia Española de Cooperación Internacional para el Desarrollo (AECID-Ministerio de Asuntos Exteriores y Cooperación de España), organismo para el que dirigió los Centros Culturales de España en Santo Domingo (República Dominicana, 1995-1998), La Habana (Cuba, 2001-2003), São Paulo (Brasil, 2004-2011) y Ciudad de México (2011- julio 2014). Dirige la Fundación Museo Reina Sofía (Madrid), cargo que desempeña desde septiembre de 2014.
New York-based writer and curator. His work has appeared in numerous publications, and he has written hundreds of catalog essays for artists. He was recipient of a 2010 Creative Capital/Warhol Foundation Arts Writers Grant, he was named inaugural Critic-in-Residence at the Bronx Museum for 2010/2011. He is currently the art critic for The Village Voice
As a curator, Viveros-Fauné has organized shows at the Museo de Bellas Artes, Santiago; the Museo de Arte Contemporaneo de Monterrey, Mexico; the Museo de Arte Moderno, Mexico City; the Museo Amparo, Puebla, Mexico;
He has taught at various universities round the world, such as Pratt Institute and Yale University. His critical voice is also featured in the ongoing web series “Strictly Critical”, in collaboration with Blake Gopnik in which they tackle both major exhibitions and minor sensations.
Co-founder and the current director of Bétonsalon – Centre for art and research. Over the last ten years, she has curated numerous projects in various forms that anchor research in society on process-based, collaborative and discursive levels, following different time spans, in cooperation with various local, national and international organizations. In 2012, Mélanie Bouteloup is associate curator with artistic director Okwui Enwezor of the Paris Triennale - an event organised on the initiative of the Ministry of Culture and Communication/DGCA, the Centre National des Arts Plastiques and the Palais de Tokyo. In 2015, Mélanie Bouteloup opens a new art centre associated to Bétonsalon – Centre for art and research - Villa Vassilieff - devoted to accompany artistic research.
Writer and independent curator, lecturer, art critic and essayist. He has published his first novel “Cercueil et Cie” in 1985, followed by “Les Enfants de la Cité” in 1987, “Les Clandestins” and “African Gigolo” in 1989, notably. Njami is the co-founder of Revue Noire, a journal of contemporary African and extra-occidental art, and he was Visiting Professor at UCSD (University of San Diego California). After conceiving the Ethnicolor Festival in Paris in 1987, he curated many international exhibitions being among the first ones to think and show African contemporary artists work on international stages. He has served as Artistic Director of Bamako Encounters, the African Photography Biennale, from 2001 to 2007. Njami is the curator of “Africa Remix”, showed in Düsseldorf (Museum Kunst Palast), London (Hayward Gallery), Paris (Centre Pompidou), Tokyo (Mori Museum), Stockholm (Moderna Museet) and Johannesburg (Johannesburg Art Gallery), from 2004 to 2007. He co-curated the first African Pavilion at the 52nd Venice Biennale. He curated the first African Art Fair, held in Johannesburg in 2008, and was the Artistic Director of Luanda Triennale (2010), Picha (Lumumbashi Biennale – 2010), SUD (Douala Triennale – 2010), among others exhibitions and international art events.
The exhibition "The Divine Comedy – Heaven, Hell, Purgatory by Contemporary African Artists"
Full professor of sociology of art and politics at the Research Center Arts in Society (Groningen University - the Netherlands) and at the Antwerp Research Institute for the Arts (Antwerp University - Belgium). He is editor in-chief of the international book series ‘Arts in Society’. His research focuses on the institutional context of the arts and on cultural politics. Gielen has published many books which are translated in English, Korean, Portugees, Russian, Spanish and Turkish.
London-based writer occupied mainly with questions around art, labour and value. She is the author of Speculation as a Mode of Production (Brill, forthcoming) and A -Autonomy (with Kerstin Stakemeier) (Textem and Mute, forthcoming). She also works regularly with Anthony Iles and with Melanie Gilligan. She contributes to journals such as Mute, Afterall, Texte zur Kunst, and the South Atlantic Quarterly, as well as co-/edited collections and catalogues, most recently Anguish Language (Archive Books, 2015). She is part of the Theory faculty at the Dutch Art Institute, lectures in the history and criticism of artists' moving image at the University of Brighton, and is a visiting lecturer at the Sandberg Instituut and the Riskin School of Art
Licenciada en Lengua y Literatura Hispánicas por la Universidad Veracruzana, Maestra en Museos por la Universidad Iberoamericana y doctorante del programa de Estudios en Museos de la University of Leicester, Leicester, Inglaterra. Trabajó en la Coordinación Nacional de Artes Plásticas, INBA; la Coordinación de Difusión Cultural, UNAM; el Museo de Arte Moderno, INBA y Casa Vecina, Fundación del Centro Histórico de la Ciudad de México, A.C. y el Museo Universitario del Chopo. Fue profesor en la Universidad del Claustro de Sor Juana y en la Universidad Autónoma de la Ciudad de México. Colabora de manera regular en CAÍN, así como en otras publicaciones como Código y GasTv.
Dave Beech is a member of the art collective Freee, writer and Professor of Art at Valand Academy, Gothenburg. His recent book Art and Value, published by Brill 2015, was shortlisted for the Deutscher Memorial Prize. His work had been exhibited at the Istanbul Biennial and the Liverpool Biennial. He is a regularly contributor to Art Monthly, co-authored the book The Philistine Controversy, Verso (2002) with John Roberts, edited the MIT/Whitechapel book Beauty, and is a founding co-editor of Art and the Public Sphere journal.
Stewart Martin is Reader in Philosophy and Fine Art at Middlesex University and editorial collective member for the journal Radical Philosophy. His publications include: Marx (Oxford Encyclopedia of Aesthetics, 2014); Short Treatise on Art (Aesthetics and Contemporary Art, 2011); Artistic Communism – A Sketch (Third Text, 2009); The Absolute Artwork Meets The Absolute Commodity (Radical Philosophy, 2007).
Holds a Ph.D. in Philosophy from Mexico’s National Autonomous University; has completed MA studies in Psychoanalytic Theory at the Centro de Investigaciones y Estudios Psicoanalíticos, has a Diploma from Cornell University’s School of Criticism and Theory, an MA in English and Critical Theory from the University of Sussex as well as a BA in European History and Latin from the same institution. He has worked as a private-practice psychoanalyst in Mexico City since 1999. Mayer is additionally the Founding Director of 17, Instituto de Estudios Críticos where he devised, inaugurated and oversees the master’s, doctorate and post-doctorate programs in Critical Theory. He is founding Co-Director (alongside Alberto Moreiras and Davide Tarizzo) of Política Común, a journal edited on line from the University of Michigan. Mayer has worked as a professor at UAM-Azcapotzalco University’s master’s program in Mexican Historiography and was founding director of Universidad Anáhuac’s Master’s in Semiotics program (1995-2001), a researcher with Mexico’s Sistema Nacional de Investigadores (1996-2005), Director of the Semiotics specialty program at Universidad Anáhuac (1993-1995) and was Director of the UNIVERSUM el Museo de las Ciencias de la UNAM Foundation’s video chronicles program (1991-1993). He served on the SITAC board (2012-2015); has been a member of the Festival de Artes Electrónicas Transitio board since 2012; and he has also be on the Fundación Pedro Meyer board since 2010.
(León, México, 1988). Es un artista visual que actualmente vive y trabaja en la Ciudad de México. Cursó estudios en el programa educativo de SOMA y es fundador y co-director del espacio de exposiciones Bikini Wax. Además ha colaborado con textos para revistas como La Tempestad, Terremoto o El blog de crítica. Recientemente presentó el proyecto ¿Por qué no fui tu amigo? en la galería kurimanzutto.
(Mexico) Journalist and researcher, he studied Art History and Communications Sciences at Mexico’s National Autonomous University. As a member of its Political and Social Sciences faculty, he has taught Art and Communications, Journalism and Narrative Language, and has led a workshop in Aesthetic Appreciation and Media Narrative. In the Arts-Education Mediation realm, he designed and led the Museo Jumex workshop entitled “Desde el arte el entorno” (“From Art, Environment”), and served as “resident interlocutor” at the Centro Cultural Border’s Art Education Platform. He also participated in an “Art and Materiality” seminar that emerged from post-graduate Art History studies. He has worked as editor in the arts section at La Ciudad de Frente as well as a reporter for the National University’s Office of Cultural Awareness. Since 2009, Gómez Vega has written on contemporary art in both academic and general-audience publications. His research is oriented toward contemporary arts practice mediation and its political and social implications.
Sociologist by Universidad de Guadalajara, she served as coordinator of Patronato de Arte Contemporáneo AC from 2001-2004, where she coordinated the I, II and III International Symposium on Contemporary Art and Theory (SITAC). She was Curatorial Assistant for the exhibition and catalog Mexico City: an exchange rate of bodies and values, for PS1 (2001). She was director of Laboratorio de Arte Alameda (2006-2007) in Mexico City; director of Fundación Omnilife, where she opened the space 'La Planta' (2007-2008) and Oficina para Proyectos de Arte (OPA, 2008-2010), both in Guadalajara, Mexico. She was Art Basel and Art Basel Miami Beach representative for Mexico and was part of the artistic committee at the 8th Berlin Biennal