KADIST REGIONAL CURATORS
Based in Paris, France
Nataša Petrešin-Bachelez is an independent curator, editor and writer, she lives and works in Paris. Among the projects and exhibitions she curated are: Contour Biennale 9: Coltan as Cotton (Mechelen, 2019), Defiant Muses. Delphine Seyrig and Feminist Video Collectives in France in 1970s-1980s at the Museum Reina Sofia, Madrid and museum LaM, Lille (with Giovanna Zapperi, 2019), 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 Museum of Contemporary Art (Ljubljana, 2013), 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 the publishing platform Versopolis Review, between 2014 and 2017 she was the chief editor of L’Internationale Online, the publishing platform of L’Internationale – the confederation of cultural institutions, and between 2012 and 2014 she was the chief editor of the Manifesta Journal. She contributed to various publications and 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 era of the Anthropocene/Capitalocene. In the scholar year 2019-2020 she teaches at the Sint Lucas School of Arts, Antwerpen.
Based in New York, USA
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Adam Kleinman is an independent curator and writer. He was previously Editor-in-Chief and Adjunct Curator at Witte de With Center for Contemporary Art, Agent for Public Programing at dOCUMENTA (13), and Curator at Lower Manhattan Cultural Council. Kleinman has authored numerous monographs for artists such as Pablo Vargas Lugo (Mexican Pavilion, 58th Venice Biennale, 2019), Pedro Reyes (Harvard University Press, 2018), John Latham (Serpentine Galleries, 2017), Silvestre Pestana (Serralves, 2016), and Rossella Biscotti (WIELS, 2015); he is a frequent contributor to Artforum, Frieze, e-flux journal, and other like publications as well. Most recently, Kleinman was Curator-in-Residence at the Banff Centre (2018). In addition to these activities, he participated in the 56th Venice Biennale, Performa (09 & 11), the 12th Istanbul Biennial (satellite), and the Baltic Triennial (XI & XII).
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.
Based in Seoul, South Korea
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Hyunjin Kim is a curator and writer, and currently the curator for the Korean Pavilion, Venice Biennale 2019. She was co-curator of the 7th Gwangju Biennale (2008) and worked as Director for Arko Art Center, Seoul (2014-2015). Since 2001, Kim has worked for institutions including Ilmin Museum of Art (2013), Van abbe museum, Eindhoven (2005-2006), Artsonje Center, Seoul (2001-2003) and Ssamzie Space, Seoul (2000). Since 1999, She curated numerous exhibitions and projects including 2 or 3 Tigers, Haus der Kulturen der Welt (Berlin 2017); Two Hours, Tina Kim Gallery (New York 2016); Tradition (Un)Realized, Arko Art Center (Seoul 2014); The Brilliant Collaborator, Ilmin Museum of Art (Seoul 2013); Perspective Strikes Back, L’appartement22 (Rabat 2010); Movement, Contingency and Community, Gallery27 (Uiwang 2007); Plug-In#3-Undeclared Crowd, Vanabbemuseum, (Eindhoven 2006) and so on. Kim has curated solo-exhibition for the artists including Nina Canell, Nam Hwayeon, Jewyo Rhii, Haegue Yang and Chung Seoyoung and commissioned performance/theater works by artists like Sung Hwan Kim, siren eun young jung, Jewyo Rhii and so on. Her catalogues and edited publications include: Hwayeon Nam, Time-Mechanics, Arko (Seoul 2017); Nina Canell, Satin Ion, BomDia (Berlin 2015); Chung Seoyoung, The Speed of the Large, the Small, and the Wide, Hyunsil Books (Seoul 2012); Gao Shiqiang, The Other There, Timezone8 (Beijing 2009); Jewyo Rhii, Samuso (Seoul 2008); Haegue Yang, Sadong 30, Wien Verlag (Berlin 2007); Dolores Zinny and Juan Maidagan, Sala Rekalde (Bilbao 2007). Kim was a member of program advisory for Haus der Kulturen der Welt, Berlin (2014-2016) and a jury member for DAAD artist residency, Berlin (2017-2018).
For more information about KADIST’s Curatorial Collaborations, visit the International Collaborations page.