- BARNABY DRABBLE
- JOHAN GRIMONPREZ
- CHUS MARTÍNEZ
- FEDERICA MARTINI
- GAVIN WADE
Dr. Barnaby Drabble is a curator, writer and researcher with a focus on contemporary art and particularly experimental and avant-garde exhibition history and curatorial theory. Since 2009, he is a part of the faculty of the MAPS Master Program at ECAV. He has curated numerous independent projects including exhibitions, screenings, discursive events and events in the public space. In 2010 he was awarded a PhD by the visual and cultural studies department of the Edinburgh College of Art for his research into participatory exhibitions. His thesis analyses specific features of exhibition-making in the 1990’s and 2000’s, and develops one of the few existing methodologies for exhibition analysis. His pioneering work as curator of contemporary art at the National Maritime Museum (1999 – 2003), where he commissioned works from leading UK artists, is seen as an important contribution to the debate on programming contemporary art in historical museums. The research and archiving project, Curating Degree Zero, co-initiated with Dorothee Richter in 1998 - 2008 has attracted attention for its role in assisting research into alternative approaches to exhibition making of the past 15 years. The archive they built consists of documentation of over 1000 key exhibitions focuses on critical and experimental practice in the field. Since 2009 Drabble is managing editor of the Journal for Artistic Research, the first peer-reviewed journal for the identification, publication and dissemination of artistic
Johan Grimonprez’s critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of theviewer. Informed by an archaeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalization. It questions our contemporary sublime, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasizes a multiplicity of histories and realties.
Grimonprez’s curatorial projects have been exhibited at museums worldwide, including the Hammer Museum, Los Angeles; the Pinakothek der Moderne, Munich; and MoMA. His works are in the collections of Centre Georges Pompidou, Paris; the 21st Century Museum of Contemporary Art, Kanazawa; andTate Modern, London. His feature films include dial H-I-S-T-O-R-Y (1997) and Double Take (2009). Traveling the main festival circuit from the Berlinale to Sundance, they garnered several Best Directorawards, the 2005 ZKM International Media Award, a Spirit Award and the 2009Black Pearl Award at the Abu Dhabi Film Festival, and were also acquired by NBC Universal, ARTE, and BBC/FILM 4.
In 2011 Hatje Cantz Verlag published a reader on his work titled Johan Grimonprez: It’s a Poor Sort of Memory that Only Works Backwards, with contributions by Jodi Dean, Thomas Elsaesser, Tom McCarthy, Hans Ulrich Obrist, and Slavoj Žižek. Grimonprez currently divides his time between Brussels and New York, where he participated in the Whitney Museum Independent Study Program. His current film project (with author Andrew Feinstein), Shadow World: Inside the Global Arms Trade, was awarded a production grant from the Sundance Institute and will premiere in April 2016 at the Tribeca International Filmfestival in New York.
His distributors are Soda Pictures and Kino Lorber International, and his artwork is represented by the Sean Kelly Gallery, New York, and the gallerie kamel mennour, Paris.
Born in Spain, Chus Martínez has a background in philosophy and art history. Currently she is the Head of the Institute of Art of the FHNW Academy of Arts and Design in Basel, Switzerland. Before she was the Chief Curator at El Museo del Barrio, New York, and dOCUMENTA (13) Head of Department and Member of Core Agent Group. Previously she was Chief Curator at MACBA, Barcelona (2008–11), Director of the Frankfurter Kunstverein (2005–08), and Artistic Director of Sala Rekalde, Bilbao (2002–05). For the 51st Biennale di Venezia (2005), Martínez curated the National Pavilion of Cyprus, and in 2008 she served as a Curatorial Advisor for the Carnegie International and in 2010 for the 29th Bienal de São Paulo. During her tenure as Director of the Frankfurter Kunstverein she curated solo exhibitions of Wilhelm Sasnal among others; and a series of group exhibitions including Pensée Sauvage and The Great Game To Come. She was also the founder of the Deutsche Börse Residency Program for international artists, art writers, and curators.
While at MACBA Martínez curated the Thomas Bayrle retrospective, an Otolith Group monographic show, and an exhibition devoted to television, Are you ready for TV? In 2008, Martínez was the curator of the Deimantas Narkevicius retrospective exhibition, The Unanimous Life, at the Museo de Arte Reina Sofia, Madrid, which traveled to major European museums. Martínez lectures and writes regularly including numerous catalogue texts and critical essays, and is a regular contributor to Artforum among other international art journals.
Dr. Federica Martini is a curator, art historian and, since 2009, Head of the Masters Programme at ECAV. Since 2002 she has collaborated with the curatorial departments of several contemporary art museums, including the Castello di Rivoli Museo d’Arte Contemporanea, Rivoli (IT), the Musée Jenisch Vevey (CH), the Musée Cantonale des Beaux-Arts/Lausanne (CH), and non-contemporary art museums, such as the Musée d’ethnographie de Genève (CH) and the Musée d’histoire d’Yverdon-les-Bains (CH). Martini has explored crossovers between visual arts and literature in modern and contemporary art, with a focus in the creation of fictional collections and the American experience of Marcel Duchamp. She has published on the topicality of the artists’ museums and on the relationship between museum architecture and collections. She has also worked extensively on the analysis of specific contemporary art collections, their reception and institutionalisation. Between 2002 and 2007 she conducted a doctoral research in exhibition history, with a particular focus on the relationship between the Venice Biennale and the Documenta’s attempt to create, on a periodical basis, a temporary museum of the present. Based on her PhD thesis, Martini has published and lectured internationally on these issues and furthered her research in this field at ECAV since 2009. Since 2012 Martini is member of the board of the Swiss Artistic Research Network, in which context she has organized and chaired panel discussions on publishing and knowledge production in artistic research.
Gavin Wade is an artist-curator, Director of Eastside Projects, Senior Research Fellow at Birmingham City University, and an enthusiastic tweeter @eprjcts. His curated solo exhibitions include Samara Scott, Susan Philipsz, Bill Drummond, Cao Fei, Mike Nelson, William Pope.L, Dan Graham, Nathan Coley and Bas Jan Ader. Curated exhibitions include: ‘Production Show’ (2016-2018), ‘Display Show’ (2015-16), Temple Bar Gallery/Eastside Projects/Stroom den Haag; ‘Painting Show’ (2011-12), ‘This Is The Gallery And The Gallery Is Many Things’, (2008), Eastside Projects; ‘Public Structures’ (2005), Guang Zhou Triennial, China; ‘Strategic Questions: 40 projects in 40 publications’ (started in 2002, ongoing). His books include ‘Upcycle This Book’ (forthcoming, 2016) Book Works/Stroom den Haag; ‘The Artist and The Engineer’ (with James Langdon & Peter Nencini) (2013) Eastside Projects; ‘Has Man A Function In Universe’, Book Works (2008); ‘The Interruptors: A Non-Simultaneous Novel’, Article Press (2005); ‘STRIKE’ (adjusted by Liam Gillick), Alberta Press London (2002); ‘In The Midst Of Things’ August Media (2000); and ‘Curating In The 21st Century’, (2000).