Nataša Petrešin-Bachelez

Based in Paris, France
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Nataša Petrešin-Bachelez is an independent curator, editor and writer, she lives and works in Paris. Among the projects and exhibitions she curated are Let’s Talk about the Weather. Art and Ecology in a Time of Crisis  at the Sursock Museum in Beirut (with Nora Razian, 2016), Resilience. Triennial of Contemporary Art in Slovenia at Moderna galerija/Museum of Contemporary Art (Ljubljana, 2013), Conspire – Transmediale 08 at HKW (Berlin, 2008), Our House is a House that Moves at Living Art Museum (Ljubljana, Reykjavik, 2004-2006), and in France Becoming Earthlings. Blackmarket for Useful Knowledge and Non-Knowledge #18 at Musée de l’Homme (with Alexander Klose, Council and Mobile Academy, 2015), Tales of Empathy at Jeu de Paume (2014), The Promises of the Past at the Centre Pompidou (with Christine Macel and Joanna Mytkowska, 2010), Société anonyme at Le Plateau/FRAC Ile-de-France (with Thomas Boutoux and François Piron, 2007).
Between 2010 and 2012, she was co-director of Les Laboratoires d’Aubervilliers and co-founder of the European network of small-scale art institutions Cluster. She is a co-organizer and co-founder of the seminar Something You Should Know at EHESS, Paris (with Elisabeth Lebovici and Patricia Falguières), and a member of the research group Travelling Féministe, at Centre audiovisuel Simone de Beauvoir, Paris. She is the chief editor of L’Internationale Online, the publishing platform of L’Internationale – the confederation of cultural institutions, and was the chief editor of the Manifesta Journal between 2012 and 2014. She contributed to various publications and magazines (e-flux journal, Bidoun, Sarai Reader, Springerin, Parkett Magazine, Maska) and various publications. She held lectures and organized seminars in which she presents her ongoing research into situated curatorial practices, empathy and transnational feminism, slow institutions, performative practices in the former Eastern Europe, and engaged artistic practices in the current era of the Anthropocene. She occasionally teaches at the KASK School of Arts in Gent.


Joseph del Pesco

Based in Baltimore, USA
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Joseph del Pesco is a curator, writer and online media publisher. Since 2009 he’s been Director, and in 2016 became International Director of KADIST (Paris & San Francisco). At KADIST SF del Pesco established a fast-paced program of weekly events that positioned art as a vehicle for discussion about global social and political issues, and started the first residency for international art magazines. Previously he was adjunct curator at Artists Space (New York), and a curatorial fellow at the Banff Centre (Canada). As an independent curator he’s organized exhibitions, projects and publications at The Berkeley Art Museum and Pacific Film Archive, The San Francisco Museum of Modern Art, Temple Contemporary, CCA Wattis Institute for Contemporary Arts, The Yerba Buena Center for the Arts, and the UC Davis Museum among others. He’s been in residence on Fogo Island in Newfoundland, SOMA in Mexico City, Beta-Local in Puerto Rico, The Luminary in St. Louis and ArtPort in Tel Aviv. His forthcoming book, The Museum Took a Few Minutes To Collect Itself, will be published by Art Metropole in Toronto in Fall 2017.


Magalí  Arriola

Based in Mexico City, Mexico
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Magalí Arriola is an art critic and independent curator currently living in Mexico City. She was curator at Fundación Jumex Arte Contemporáneo between 2011 and 2014, where she organized exhibitions of artists such as James Lee Byars (co-curated with Peter Eleey and co-produced with MoMA-PS1), Guy de Cointet and Danh Vo, and curated shows contextualizing works from the Jumex Collection. She was Chief Curator of Museo Tamayo between 2009 and 2011 where she curated exhibitions and projects with artists such as Roman Ondák, Joachim Koester, Claire Fontaine, Adrià Julia and Julio Morales. She was visiting curator at the Wattis Institute for Contemporary Art in San Francisco in 2006 where she curated Prophets of Deceit. From 1998 to 2001 she was Chief Curator at the Museo de Arte Carrillo Gil in Mexico City, where she worked with a generation of artists that include Eduardo Abaroa, Francis Alÿs, Miguel Calderon, Daniela Rossell and Pablo Vargas Lugo. Her independent projects include The Sweet Burnt Smell of History: The 8th Panama Biennial (2008); 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); Erógena (Museo de Arte Carrillo Gil, Mexico City / SMAK/ Stedelijk Museum voor Actuele Kunst, Ghent, 2000). Arriola has extensively written for books, and catalogues and has contributed to publications such as Artforum, Curare, Frieze, Mousse, Manifesta Journal, Afterall and The Exhibitionist, among others.


Hyunjin Kim

Based in Seoul, South Korea
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Hyunjin Kim is a curator, writer and researcher, based in Seoul. She is currently director of Curatorial Lab Seoul that she found to continue her independent projects in 2012. She was a co-curator of 7th Gwangju Biennale, Annual Report (2008), and recently worked as Director for Arko Art Center, Seoul (2014-2015). Since 2001, Kim has worked for institutions including Ilmin Museum of Art (2013), Vanabbemuseum, Eindhoven (2005-2006), Artsonje Center, Seoul (2001-2003) and Ssamzie Space, Seoul (2000). She curated a number of exhibitions and projects such as Two Hours, Tina Kim Gallery (New York, 2016); Nina Canell_Satin Ion, Hwayeon Nam_Time-Mechanics, and Tradition (Un)Realized, Arko Art Center (Seoul, 2014-2015); Seo Young Chung_The Speed of the Large, the Small, and the Wide (2013), The Brilliant Collaborator, Ilmin Museum of Art (Seoul, 2013); Play Time: The Waiting Room of Episteme, Culture Station Seoul 284, (Seoul, 2012); Perspective Strikes Back, Doosan Gallery, (Seoul, 2009); L’appartement22  (Rabat, 2010); Movement, Contingency and Community, Jewyo Rhii_Ten Years, Please, Gallery27, (Uiwang, 2007), Gallery27, (Uiwang, 2007); Haegue Yang_Sadong 30, (Inchon, 2006); Plug-In#3-Undeclared Crowd, Vanabbemuseum, (Eindhoven, 2006) and so on. Since 2009, Kim has initiated and closely collaborated to produce some of contemporary artists’ performance pieces like In the Room 3 by Sung Hwan Kim, Performa (New York, 2009); Off-Stage /Masterclass by siren eun young jung, Culture Station Seoul 284 (Seoul, 2012) and Festival BO:M (Seoul, 2013); Ten Years by Jewyo Rhii, Mullae factory (Seoul, 2016) and Namsan Art Center (Seoul, 2017). Her catalogues and edited publications include: Satin Ion-Nina Canell, BomDia (2015); The Speed of the Large, the Small, and the Wide- Seoyoung Chung, Hyunsil Books, Seoul (2012); Inter-views, BigakuShuppan, Tokyo (2011); The Other There-Gao Shiqiang, Timezone8 (Beijing, 2009); Jewyo Rhii, Samuso, (Seoul, 2008); Sadong 30, Wien Verlag(Berlin, 2007); Dolores Zinny and Juan Maidagan, Sala Rekalde (Bilbao, 2007). She also has contributed to art magazines and journals such as Wolganmisool, Artinculture, Yishu, Art Asian Pacific, Art Review among others. Kim is currently an advisory member of Haus der Kunst der Welt, Berlin and Asia Art Archive, Hong Kong.


For more information about KADIST’s Curatorial Collaborations, visit the International Collaborations page.