Portal de Periódicos da CAPES

Contributors

2023; University of Chicago Press; Volume: 55-56; Linguagem: Italiano

10.1086/729150

2156-4914

French Urban and Social Studies

Previous articleNext article FreeContributorsPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmailPrint SectionsMoreSINZO AANZA is a visual artist, poet, and playwright. His work is a dialogue of fictionalities: new and marginal ones, as well as those already established as social, political, economic, intellectual or religious references. He has exhibited at Kunsthaus, Zurich; galerie Imane Farès, Paris; WIELS, Brussels; Rencontres de la Photographie, Arles (where he was nominated in 2018 for the Nouveau Prix Découverte); Museum Rietberg, Zürich; Lubumbashi Biennial and Cité de l’architecture & du patrimoine, Paris. In 2020–21, he was the artistic director of the second edition of the Yango Biennale in Kinshasa. In 2021, he was a mentor for the ‘Laboratoire Kontempo, Acud Macht Neu Kinzonzi’ project at National Museum of the Democratic Republic of Congo, Kinshasa.CORINA L. APOSTOL, PhD, is an assistant professor of social practice in contemporary art and culture at the University of Amsterdam. She served as a curator and a member of the steering committee for ‘Beyond Matter’ (2020–23). In 2022, she curated the Estonian Pavilion at the 59th Venice Biennale, presenting the project ‘Orchidelirium: An Appetite for Abundance’. She served as a curator at the Tallinn Art Hall, Estonia (2019–23) and guest lecturer at the Art Academy of Latvia (2021–23). In 2019, she curated the Shelter Festival ‘Cosmopolitics, Comradeship, and the Commons’, Helsinki. Apostol held the Mellon Fellowship at Creative Time (2017–19), co-curating ‘On Archipelagoes and Other Imaginaries’, Miami. Apostol obtained her Ph.D. from Rutgers University, where she was the Dodge Curatorial Fellow at the Zimmerli Art Museum (2010–16). She is currently coediting the volume Flora Fantastic: From Orchidelirium to Eco-Critical Art.LOTTE ARNDT is a researcher and curator based in Paris and Berlin. Her research focuses on the work of artists who question the postcolonial present and the antinomies of modernity in a transnational perspective. As part of the international project ‘Reconnecting Objects. Epistemic Plurality and Transformative Practices in and beyond Museums’ (Technische Universität Berlin), she is currently conducting research on toxic conservation, chemical modernity and colonial collections. She is co-founder of the online journal Troubles dans les collections, co-curator of ‘Unextractable. Sammy Baloji invites at Kunsthalle Mainz’ (2023–24). She has recently published ‘Poisonous Heritage: Chemical Conservation, Monitored Collections, and the Threshold of Ethnological Museums’ in Museums & Society (2022).MARWA ARSANIOS is an artist, filmmaker and researcher whose work can take the form of installation, performance and moving image. She reconsiders the political development of the second half of the twentieth century from a contemporary perspective, focusing on gender relations, collectivism, urbanism and industrialization. Her research work includes many disciplines and is deployed in numerous collaborative projects. Several solo exhibitions have been dedicated to her work: Heidelberger Kunstverein, Germany (2023); Mosaïc Rooms, London (2022); Contemporary Arts Center, Cincinnati (2021); Skuc Gallery, Ljubljana (2018); Beirut Art Center (2017); Hammer Museum, Los Angeles (2016); Witte de With, Rotterdam (2016); Kunsthalle Lissabon, Lisbon (2015); and Art in General, New York (2015).Her work has also been featured in numerous group exhibitions including documenta fifteen (2022).CÉLESTIN BADIBANGA NE MWINE was an art critic. He worked as producer of cultural programmes on Congolese national television and radio, museum curator, president of the Espace Akhenaton cultural centre, and was the first president of the Congolese section of AICA, International Association of Art Critics, founded in 1972. He was also professor of art criticism at the National Arts Institute, writer, poet and essayist. He co-founded the Union des Écrivains du Congo and the Pléiade du Congo. He is also known as the organiser of several major exhibitions at the Centre Culturel Français, the Centre Wallonie-Bruxelles, and the Goethe Institut, Kinsasa. Badibanga ne Mwine was the initiator and designer of the introductory course in art criticism introduced at the Université nationale du Congo (Unaco) in 1978 and is the author of Contribution à l’étude historique de l’art plastique congolais moderne (1977).STEPHANIE BAILEY is an editor for M+ in Hong Kong and an advisory board member of D’ivan, A Journal of Accounts. She has curated the Art Basel Hong Kong Conversations programme since 2015, and between 2012 and 2017 was senior editor of Ibraaz. She currently serves as the editor-in-chief of Ocula Magazine and ART PAPERS contributing editor. A member of the Naked Punch editorial committee, she also writes for Artforum International, Yishu Journal of Contemporary Chinese Art, among others.BAUDOUIN BIKOKO has been immersed in the world of photography since childhood, thanks to his photographer uncle. In 1989, in Paris, he discovered contemporary African art at the exhibition ‘Magiciens de la terre’. The Revue Noire introduced him to the precursors of Congolese photography, which he has since endeavoured to promote in the space L’art de vivre in Kinshasa. It was the photographer Simon Tshiamala who inspired him to take up photography. His work includes several series: Ombres, couleurs et Lumières, Au gré des rencontres, Vu d’une baie vitrée, La couleur dominante, Les rues de Kinshasa, Kinshasa détritus. He has organised several exhibitions, including ‘Congotalala’ at the Institut français de Kinshasa. Bikoko holds a large number of negatives and vintage photographs of historical Congolese photography. He is also a novelist and a lecturer at the Kinshasa Fine Arts Academy. He lives and works in Kinshasa.JAREH DAS, PhD, is an independent curator, researcher and writer who lives and works between West Africa and the UK. Das’ academic and curatorial practice is informed by an interest in global modern and contemporary art with a specific focus on performance. She has written for publications including Ocula Magazine, Frieze, Hyperallergic, Bomb Magazine, Nka Journal of Contemporary African Art, and The Art Newspaper.ELVIRA ESPEJO AYCA is an artist, weaver and narrator of the oral tradition of ayllu Qaqachaka, Avaroa province, Oruro. A speaker of Aymara and Quechua, she is the Director of the Museo Nacional de Etnografía y Folklore in La Paz, Bolivia. She is the author of Sawutuq parla (2006) and the poetry book Phaqar kirki-t́ikha takiy takiy – Canto a las Flores (2006), awarded the prize for International Poet in the fourth World Festival of Venezuelan Poetry (2007), and Kaypi Jaqhaypi Por aquí, por allá (2018). Co-author of among others Ciencia de Tejer en los Andes: Estructuras y técnicas de faz de urdimbre (2012), El Textil Tridimensional: El Tejido como Objeto y como Sujeto (2013) and Tejiendo la vida: La Colección Textil del Museo Nacional de Etnografía y Folklore, según la cadena de producción (2013). She won the Eduardo Avaroa first prize in Arts, Native Textiles Specialty, La Paz, Bolivia (2013), and the first prize for Native Creation in Literature, Poetry Specialty, in the fifth edition of the Arica Barroca Festival of South Andean Art, Chile (2018).MELISSA GRONLUND is a writer and lecturer on contemporary. Originally from New York City, she studied comparative literature at Princeton University and film aesthetics at Oxford. She is the author of Contemporary Art and Digital Culture. From 2007–14 she lectured on contemporary art at Oxford University’s Ruskin School of Drawing & Fine Art and was a co-editor of Afterall. She is an art correspondent for The National.NAV HAQ is Associate Director at the Museum of Contemporary Art Antwerp (M HKA) where he is responsible for the development of the artistic programme. He is an editor of Afterall journal.FELIX KALMENSON is a ‘rootless cosmopolitan’ whose practice navigates film, installation, video and performance. Kalmenson’s work variably narrates the liminal space of a researcher’s and artist’s encounter with landscape and archive. By bearing witness to everyday life, and hardening the more fragile vestiges of private and collective histories through their work, Kalmenson gives themselves away to the cadence of a poem, always in flux.HYUNJIN KIM is a curator and writer, living in Seoul. She curated ‘History Has Failed Us, but No Matter’, the Korean Pavilion exhibition at the 58th Venice Biennale, 2019. As KADIST Lead Curator for Asia, Kim has led the three-year program ‘Frequency of Tradition’ expanding from her long-term critical research on the complexity of entanglement among regional modernisation, tradition, and gender norms. She also served as Artistic Director of Incheon Art Platform (2021), Director of Arko Art Center, Seoul (2014–15), and co-curator of the 7th Gwangju Biennale (2008). Her numerous exhibitions include ‘Frequencies of Tradition’ (KADIST, San Francisco, 2022, IAP Incheon, 2021, Guangdong Times Museum, Guangzhou, 2020), ‘Reclamation, New Rocks, Stray Dogs, Birds, and Acoustic of the Garden’ (Incheon Art Platform, Incheon, 2021), ‚2 or 3 Tigers’ (Haus der Kulturen der Welt, Berlin, 2017), ‘Movement, Contingency, and Community’ (Gallery27, Kaywon University of Art & Design, 2007), and ‘Plug-In #3-Undeclared Crowd’ (Van Abbemuseum, Eindhoven, 2006).AILTON KRENAK was born in the Doce River Valley region of southeast Brazil, which has been heavily impacted by mining. In 1987, while giving a speech on indigenous rights at the Brazilian Constituent Assembly, Ailton smeared his face with natural black paint in an unforgettable act of symbolism. Ever since, he has been heralded as one of the foremost Brazilian thinkers, and established a lifelong career fighting for the rights of Brazil’s Indigenous peoples. His first title, Ideas to Postpone the End of the World, was published July 2019.LORRAINE LEU earned her PhD at King’s College, University of London, and taught at the University of Bristol before arriving at UT in 2011. Since 2000 she has been an editor of the Journal of Latin American Cultural Studies. She is the author of Brazilian Popular Music: Caetano Veloso and the Regeneration of Tradition, which was selected by The Year’s Work in Critical and Cultural Theory as one of the most important books in the field (2008). She is co-editor of Latin American Cultural Studies: A Reader (2017). Her new book Defiant Geographies: Race and Urban Space in 1920s Rio de Janeiro (2020) explores how race makes space in Brazil, where race injustice has been notoriously obscured by powerful national discourses of social harmony and colour blindness. The book examines how urbanisation in the capital city functioned as a technology of racial oppression and how racialised subjects defied the implantation of dominant spatial orders and engaged in their own mappings of their city.FILIPA RAMOS, PhD, is a Lisbon-born writer and curator. Her research, manifested in critical and theoretical texts, lectures, workshops and edited publications, focuses on how contemporary art engages with ecology. She founded the artists’ cinema Vdrome; co-curates, with Lucia Pietroiusti, the humanities and science festival ‘The Shape of a Circle in the Mind of a Fish’; is curator of Art Basel Film; and is Lecturer at Institute Art Gender Nature FHNW Basel. She is co-curating, with Pietroiusti, the exhibition ‘Songs for the Changing Seasons’, the main show of the First Vienna Climate Biennale (2024), and ‘Bestiari’, the Catalan representation at the 60th Venice Biennale (2024). Her upcoming book, The Artist as Ecologist, will be published by Lund Humphries, London.ALA ROUSHAN Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean commodo ligula eget dolor. Aenean massa. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Donec quam felis, ultricies nec, pellentesque eu, pretium quis, sem. Nulla consequat massa quis enim. Donec pede justo, fringilla vel, aliquet nec, vulputate eget, arcu. In enim justo, rhoncus ut, imperdiet a, venenatis vitae, justo. Nullam dictum felis eu pede mollis pretium. Integer tincidunt. Cras dapibus. Vivamus elementum semper nisi. Aenean vulputate eleifend tellus. Aenean leo ligula, porttitor eu, consequat vitae, eleifend ac, enim. Aliquam lorem ante, dapibus in, viverra quis, feugiat a, tellus. Phasellus viverra nulla ut metus varius laoreet. Quisque rutrum. Aenean imperdiet. Etiam ultricies nisi vel augue. Curabitur ullamcorper ultricies nisi. Nam eget dui. Etiam rhoncus. Maecenas tempus, tellus eget condimentum rhoncus, sem quam semper libero, sit amet adipiscing sem neque sed ipsum. Nam quam nunc, blandit vel, luctus pulvinar,CHARLES STANKIEVECH Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean commodo ligula eget dolor. Aenean massa. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Donec quam felis, ultricies nec, pellentesque eu, pretium quis, sem. Nulla consequat massa quis enim. Donec pede justo, fringilla vel, aliquet nec, vulputate eget, arcu. In enim justo, rhoncus ut, imperdiet a, venenatis vitae, justo. Nullam dictum felis eu pede mollis pretium. Integer tincidunt. Cras dapibus. Vivamus elementum semper nisi. Aenean vulputate eleifend tellus. Aenean leo ligula, porttitor eu, consequat vitae, eleifend ac, enim. Aliquam lorem ante, dapibus in, viverra quis, feugiat a, tellus. Phasellus viverra nulla ut metus varius laoreet. Quisque rutrum. Aenean imperdiet. Etiam ultricies nisi vel augue. Curabitur ullamcorper ultricies nisi. Nam eget dui. Etiam rhoncus. Maecenas tempus, tellus eget condimentum rhoncus, sem quam semper libero, sit amet adipiscing sem neque sed ipsum. Nam quam nunc, blandit vel, luctus pulvinar,CHLOE TIng is Associate Director of Afterall Research Centre and an editor of Afterall journal.MI YOU is professor of Art and Economies at the University of Kassel / documenta Institut. Her academic interests are in the social value of art, new and historical materialism, and the history, political economics and philosophy of Eurasia. Under the rubric of Eurasia, she has curated exhibitions at Asian Culture Center in Gwangju, Ulaanbaatar International Media Art Festival (2016), Zarya CCA Vladivostok (2018), CHAT Hong Kong (2023) and the research platform ‘Unmapping Eurasia’ with Binna Choi. Her recent exhibitions focus on socialising technologies and ‘actionable speculations’, such as ‘Sci-(no)-Fi’ at the Academy of the Arts of the World, Cologne (2019) and ‘Lonely Vectors’ at Singapore Art Museum (2022). She was one of the curators of the 13th Shanghai Biennale (2020–21). On the social front, she serves as chair of committee on Media Arts and Technology for the transnational NGO Common Action Forum and is a Berggruen Institute Europe fellow in 2023.MAXA ZOLLER trained as an art historian and received her PhD on experimental film history from Birkbeck College, London, where she lived for thirteen years before moving to Egypt. During her 5-year stay in Cairo, Maxa taught contemporary art, and Egyptian and Arab cinema history at the American University. The political shifts from the banking crisis 2008 to the 2011 Arab Spring generated questions around the political effect of images, which she addressed in her publications and film screenings in Cairo and London, notably at the film space no.w.here. run by Noor Mirza and Brad Butler, whose work had a profound effect on her thinking. Since 2018 she holds the position of Artistic Director of the Internationales Frauen Film Fest Dortmund+Köln, one of the world’s oldest and largest women film festivals, where she has fostered the local film scene while internationalising the programme. She is co-editor of Was wir filmten: Filme von ostdeutschen Regisseurinnen nach 1990. Previous articleNext article DetailsFiguresReferencesCited by Afterall Volume 55-56Summer/Autumn 2023 Published by Central Saint Martins, University of the Arts London Article DOIhttps://doi.org/10.1086/729150 © 2023 Central Saint Martins College of Art and Design, University of the Arts London. All rights reserved.PDF download Crossref reports no articles citing this article.