• About

    • The Pernod Ricard Fellowship

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    Interior view of the Pernod Ricard Studio. Image: Aurélien Mole

    Pernod Ricard, Villa Vassilieff’s leading sponsor, has joined forces with Villa Vassilieff to create the Pernod Ricard Fellowship: a grant aimed at sup­porting four inter­na­tional artists, cura­tors and researchers in res­i­dence every year.

    ThePernod Ricard Fellowship is con­ceived as a plat­form for artistic research ded­i­cated to the exper­i­men­ta­tion of both non-linear models of cre­ation and knowl­edge dis­tri­bu­tion between researchers, con­tem­po­rary artists, cul­tural insti­tu­tions, non-profit orga­ni­za­tions and the gen­eral public.

    Selected by an inter­na­tional com­mittee con­sisting of ten mem­bers, the four Pernod Ricard Fellows are invited to spend three months in res­i­dency within a refur­bished his­tor­ical studio at the Villa Vassilieff. It is a unique oppor­tu­nity for these artists and researchers to enhance their vision and to focus on their own work or any other pro­jects. Reflecting the cos­mopolitan iden­tity and con­vivial atmo­sphere of the former studio of Marie Vassilieff, the Fellows will enjoy bespoke sup­port from researchers and art pro­fes­sionals, along with access to a rich net­work of insti­tu­tions in France and abroad, such as the Centre Pompidou (a long­standing partner of Pernod Ricard and Bétonsalon – Center for Art and Research) and the Fondation d’entreprise Ricard, a partner in the pro­ject.

    The Pernod Ricard Fellows will also ben­efit from numerous research pro­grams focusing on unex­plored resources, devel­oped by Villa Vassilieff in col­lab­o­ra­tion with museums, public and pri­vate archives, as well as uni­ver­si­ties and art schools. Lastly, the Fellows will enjoy a dynamic events pro­gramme at Villa Vassilieff, offering var­ious options for con­ducting new inves­ti­ga­tions and col­lecting mul­tiple nar­ra­tives of our glob­al­ized world.

    Download the September 2019 press kit here
    Download the December 2018 press kit here
    Download the December 2017 press kit here
    Download the February 2016 press kit here.
    Download the December 2016 press kit here.

    Pernod Ricard Fellows 2020

    Jumana Emil Abboud(artist, Palestine - Canada)
    Jimena Croceri(artist, Argentina)
    Christan Nyampeta(artist, researcher, curator, Rwanda - Netherlands)
    Iki Yos Piña Narváez et Jota Mombaça(artists, Venezuela & Brazil)

    Pernod Ricard Fellows 2019

    Patricia Belli (artist, Nicaragua)
    Mimi Cherono Ng’ok(artist & curator, Kenya)
    Ingela Ihrman (artist, Sweden)
    Michelle Wun Ting Wong (curator, Hong-Kong)

    Pernod Ricard Fellows 2018

    Newell Harry (artist, Australia)
    Mohamed Larbi et Yto Barrada (artists, Marocco)
    Beto Shwafaty (artiste, Brasil)
    Nikolay Smirnov (artiste, Russia)

    Pernod Ricard Fellows 2017

    Koki Tanaka (artist, Japan)
    Mercedes Azpilicueta(artist, Netherlands)
    Samit Das (artist and curator, India)
    Ndidi Dike (artist, Nigeria)

    Pernod Ricard Fellows 2016

    Andrea Ancira (curator and researcher, Mexico, Mexico)
    Zheng Bo (artist, Hong Kong / Beijing, China)
    Sojung Jun (artist, Seoul, South Korea)
    Ernesto Oroza (artist, Miami, USA / Havana, Cuba)

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    Mercedes Azpilicueta et Beto Shwafaty

    ARTISTIC COMMITTEE 2020

    Manuel Borja-Villel, Director, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain
    Patrick D. Flores, Professor, University of the Philippines Department of Art Studies and Curator, Vargas Museum, Quezon City, Philippines
    Bill Kouélany, Artist & Artistic Director, Les Ateliers Sahm, Brazzaville, Republic of the Congo
    Jochen Volz, Director, Pinacoteca de São Paulo, Brazil
    Colette Barbier, Director, Fondation d’Entreprise Ricard, Paris, France
    Bernard Blistène, Director, MNAM CCI – Centre Pompidou, Paris, France
    Mélanie Bouteloup, Director, Bétonsalon – Center for Art and Research & Villa Vassilie , Paris, France

    ARTISTIC COMMITTEE 2019

    Diana Campbell Betancourt, Artistic Director / Chief Curator, Dhaka Art Summitt, Dhaka, Bangladesh
    Maria Lind, Director, Tensta Konsthall, Stockholm, Sweden
    Miguel A. López, Co-director, TEOR/éTica, San Jose, Costa Rica
    Bernard Blistène, Director, MNAM CCI – Centre Pompidou, Paris, France
    Colette Barbier, Director (Fondation d’Entreprise Ricard, Paris, France)
    Mélanie Bouteloup, Director, Bétonsalon – Center for Art and Research & Villa Vassilieff, Paris, France

    ARTISTIC COMMITTEE 2018

    In 2018, the Pernod Ricard Fellowship Artistic Committee is com­posed of:

    Katie Dyer, Curator, Museum of Applied Arts & Sciences, Sydney, Australia
    Andrey Egorov, Head of Research Department & Curator, Moscow Museum of Modern Art, Moscow, Russia
    Abdellah Karroum, Artistic Director, L’apparte­ment 22, Rabat, Morocco & Director, Mathaf - Arab Museum of Modern Art, Doha, Qatar
    Victoria Noorthoorn, Director, Museo de Arte Moderno de Buenos Aires, Argentina
    Sumeshwar Sharma, Curator & co-Founder, the Clark House Initiative, Bombay, India
    Benjamin Seroussi, Director, Casa do Povo, Sao Paulo, Brazil
    Bernard Blistène, Director, MNAM CCI – Centre Pompidou, Paris, France
    Colette Barbier, Director, Fondation d’Entreprise Ricard, Paris, France
    Mélanie Bouteloup, Director, Bétonsalon – Center for Art and Research & Villa Vassilieff, Paris, France
    Virginie Bobin, Head of Programs, Villa Vassilieff, Paris, France

    ARTISTIC COMMITTEE 2017

    In 2017, the Artistic Committee of the Pernod Ricard Fellowship will be com­posed of:

    Yuko Hasegawa, Artistic Director, Tokyo Museum of Contemporary Art, Japan
    Sunjung Kim, Director, Art Sonje Center, Seoul, South Korea

    Victoria Noorthoorn, Director, Museo de Arte Moderno de Buenos Aires, Buenos Aires, Argentina

    Sumesh Sharma, Curator & Co-Founder of the Clark House Initiative, Bombay, India
    Benjamin Seroussi, Director, Casa do Povo, Sao Paulo, Brazil

    Bisi Silva, Director, CCA, Lagos, Nigeria

    Bernard Blistène, Director, National Museum of Modern Art, Paris, France

    Colette Barbier, Director, Fondation d’Entreprise Ricard, Paris, France

    Mélanie Bouteloup, Director, Bétonsalon – Center for Art and Research & Villa Vassilieff, Paris, France
    Virginie Bobin, Head of Programs, Villa Vassilieff, Paris, France

    ARTISTIC COMMITTEE 2016

    In 2016, the Artistic Committee of the Pernod Ricard Fellowship will be com­posed of:

    Nikita Yingqian Cai, Chief Curator of the Guangdong Times Museum, Guangzhou, China
    Antonio Eligio Fernández, Artist and Independent Curator, Cuba
    Sunjung Kim, Director, Samuso, Seoul, South Korea
    Osvaldo Sanchez, Director, inSite/Casa Gallina, Mexico City, Mexico
    Bernard Blistène, Director, MNAM CCI – Centre Pompidou, Paris, France
    Victoria Noorthoorn, Director, Museum de Arte Moderno de Buenos Aires, Buenos Aires, Argentina
    Bisi Silva, Director, CCA, Lagos, Nigeria
    Colette Barbier, Director, Ricard Corporate Foundation, Paris, France
    Mélanie Bouteloup, Director, Bétonsalon – Center for Art and Research and Villa Vassilieff, Paris, France
    Virginie Bobin, Head of Programs, Villa Vassilieff, Paris, France

    INTRODUCTION TO THE COMMITTEE MEMBERS

    Bernard Blistène

    Bernard Blistène is the director of the MNAM-CCI, Paris. In 1983, he was hired by Dominique Bozo at the Centre Pompidou, where he orga­nized his first exhi­bi­­tions – Christian Boltanski, François Morellet, Ed Ruscha, Cy Twombly and Andy Warhol ret­ro­spec­­tives. In 1990, he became the director of Musées de Marseille and cre­ated the city’s Contemporary Art Museum, which he co-directed until 1996. He orga­nized the first French ret­ro­spec­­tive ded­i­­cated to Basquiat, Ben, Chris Burden, Robert Smithson and Paul Thek. In 1997, he became the co-director of the Musée national d’art mod­­erne. In 2002, he was appointed gen­eral inspector of the artistic cre­a­tion at the Délégation des Arts Plastiques. In 2009, he joined again the Centre Pompidou, as the director of the cul­­tural devel­op­­ment depart­­ment and artistic director of the Nouveau Festival. Meanwhile, he pur­­sued his cura­­to­rial activ­i­ties, keen to redis­­­cover major artistic move­­ments: Fluxus in 2009 and 2010, Lettrisme in 2012…Besides, Bernard Blistène has written numerous books, amongst which Andy Warhol, cinéma (1990), Une his­­toire de l’art du XXème siècle (2011), and has con­tributed to numerous cat­a­­logues. He held the con­tem­po­rary art chair at Ecole du Louvre from 1985 to 2005.

    Diana Campbell Betancourt

    Diana Campbell Betancourt (b. 1984, Los Angeles) is cur­rently Artistic Director of Samdani Art Foundation and Chief Curator of Dhaka Art Summit, Dhaka, Bangladesh, a major research and exhi­bi­tion plat­form for art in South Asia. She is cur­rently devel­oping the Foundation’s forth­coming Srihatta- Samdani Sculpture Park and Art Centre opening in Sylhet at the end of 2018. In addi­tion, Betancourt is Artistic Director of Bellas Artes Projects, Bagac, Philippines and chairs the Mumbai Art Room board. She has col­lab­o­rated with sev­eral sculp­ture parks across the world on com­mis­sions of Indian sculp­ture and has curated numerous solo pro­jects with artists such as Haroon Mirza, Simryn Gill, Tino Sehgal, Lynda Benglis, Shilpa Gupta, Shahzia Sikander, Naeem Mohaiemen, Runa Islam, Shumon Ahmed, Pawel Althamer, Raqs Media Collective, among others. Betancourt has con­sulted with the Museum of Contemporary Art in Chicago, the New Museum, the FRONT Triennial in Cleveland, and Alserkal Avenue in Dubai on their inclu­sion of South Asia in their exhi­bi­tions pro­grams and has pre­sented her research as part of MoMA’s C-MAP ini­tia­tive. She has recently pub­lished a book with Mousse in Milan (co-edited with Katya Garcia Anton and Antonio Cataldo) on the Dhaka Art Summit and its Critical Writing Ensembles.

    Katie Dyer

    Katie Dyer is Curator Contemporary at the Museum of Applied Arts and Sciences, Sydney, where she leads cross-dis­ci­plinary con­tem­po­rary cura­to­rial pro­gram­ming. Prior to working at MAAS she has held posi­tions at the National Art School and The Museum of Contemporary Art, Sydney, and the Museum of Modern Art and The Drawing Center, New York. Katie has exten­sive expe­ri­ence working with Australian and inter­na­tional artists, social prac­tice and per­for­mance. Her research areas focus on cre­ative prac­tice as a response to our con­tem­po­rary con­di­tions, inter­dis­ci­plinary col­lab­o­ra­tion and the re-imag­ined museum. She is also exam­ining how art–science can gen­erate new modes of trans­dis­ci­plinary knowl­edge and unique forms of public engage­ment. Recent and cur­rent pro­jects include Curating Third Space: The value of art-science col­lab­o­ra­tion with the University of New South Wales, Sydney, and This is a Voice in part­ner­ship with the Wellcome Collection, London.

    Andrey Egorov

    Andrey Egorov is the Head of Research Department and Curator at the Moscow Museum of Modern Art (MMOMA). In 2006, he grad­u­ated from the History and Theory of Art Department of the Lomonosov Moscow State University. He is a Corresponding Member of the Russian Academy of Arts. Andrey Egorov co-curated numerous exhi­bi­tions at MMOMA, including “Dreams for Those Who Are Awake” (2013), “For­tune Museum” (2014-2015), and “One Within the Other. Art of New and Old Media in the Age of High-Speed Internet” (2015-2016), as well as pro­jects at the Manege Central Exhibition Hall and Mikhail Bulgakov Museum in Moscow.
    His interest range from the Late Medieval European visual cul­ture to con­tem­po­rary artistic prac­tices, with a focus on inter­dis­ci­plinary muse­ology, polit­ical iconog­raphy, icon­o­clasm and image theory.

    Antonio Eligio Fernández

    Tonel is an artist, art critic, and curator who shares his time in Canada and Cuba. He has worked exten­sively in Cuba, Latin America, Europe, Canada, and the United States. His texts on Cuban and Latin American con­tem­po­rary art have been pub­lished reg­u­larly in Cuba and else­where. His essay « Loss and Recovery of the City (In the Cinema) » was pub­lished in a bilin­gual edi­tion by White Wine Press and Pisueña Press (2010). Recent cura­to­rial pro­jects include, with Keith Wallace, The Spaces Between. Contemporary Art from Havana at the Morris and Helen Belkin Art Gallery, Vancouver, Canada and Bildmuseet, Umeå, Sweden (2014 – 2015). He has co-curated, with Concha Fontenla, Signos. Arte, indus­tria y vicev­ersa, which opened on October, 2015 at Factoría Habana, Havana, Cuba.

    Patrick D. Flores

    Patrick D. Flores is Professor of Art Studies at the Department of Art Studies at the University of the Philippines, which he chaired from 1997 to 2003, and Curator of the Vargas Museum in Manila. He was one of the cura­tors of Under Construction: New Dimensions in Asian Art in 2000 and the Gwangju Biennale (Position Papers) in 2008. He was a Visiting Fellow at the National Gallery of Art in Washington, D.C. in 1999 and an Asian Public Intellectuals Fellow in 2004. Among his pub­li­ca­tions are Painting History: Revisions in Philippine Colonial Art (1999); Remarkable Collection: Art, History, and the National Museum (2006); and Past Peripheral: Curation in Southeast Asia (2008). He was a grantee of the Asian Cultural Council (2010) and a member of the Advisory Board of the exhi­bi­tion The Global Contemporary: Art Worlds After 1989 (2011) orga­nized by the Center for Art and Media in Karlsruhe and member of the Guggenheim Museum’s Asian Art Council (2011 and 2014). He co-edited the Southeast Asian issue with Joan Kee for Third Text (2011). He con­vened in 2013 on behalf of the Clark Institute and the Department of Art Studies of the University of the Philippines the con­fer­ence “His­to­ries of Art History in Southeast Asia” in Manila. He was a Guest Scholar of the Getty Research Institute in Los Angeles in 2014. He curated an exhi­bi­tion of con­tem­po­rary art from Southeast Asia and Southeast Europe titled South by Southeast and the Philippine Pavilion at the Venice Biennale in 2015. He is the Artistic Director of Singapore Biennale 2019.

    Yuko Hasegawa

    Yuko Hasegawa is Artistic Director of the Museum of Contemporary Art, Tokyo (2016 - pre­sent) and Professor of Graduate School of Global Arts, Tokyo University of the Arts (2016-pre­sent). She was Chief Curator of the Museum of Contemporary Art, Tokyo (2006 – 2016), Chief Curator and Founding Artistic Director (1999 - 2006) of the 21st Century Museum of Contemporary Art, Kanazawa. She is Artistic Director of Inujima Art House Project (2011-pre­sent).

    She was Curator of 11th Sharjah Biennial (2013), Curator for Art Basel in Hong Kong Encounters (2012-2014), Artistic Advisor of 12th Venice Architectural Biennale (2010), Co-Curator of 29th São Paulo Biennial (2010), Commissioner of Japanese Pavilion of 50th Venice Biennale (2003), Co-Curator of the 4th Shanghai Biennale (2002) and Artistic Director of the 7th International Istanbul Biennial (2001). She was a member of the Asian Art Advisory Board at the Solomon R. Guggenheim Museum (2008 - 2012).
    Her recent exhi­bi­tions include GLOBALE: New Sensorium Exiting from Failures of Modernization at ZKM | Center for Art and Media Karlsruhe (2016).
    Her pub­li­ca­tions include ‘Modern Women: Women Artists at the Museum of Modern Art,’ Museum of Modern Art, 2010, pp334-351 and ‘Kazuyo Sejima + Ryue Nishizawa: SANAA,’ Phaidon Press, 2006.

    Abdellah Karroum

    Abdellah Karroum (born 1970, Morocco) is a researcher and curator. He is the Director of Mathaf: Arab Museum of Modern Art in Doha (Qatar) since 2013.

    Karroum is the founder and artistic director of sev­eral art pro­jects: ‘L’apparte­ment 22’(site), an exper­i­mental space for encoun­ters, exhi­bi­tions and artists’ res­i­den­cies founded in 2002 in Rabat, Morocco; the ‘Le Bout Du Monde’ art expe­di­tions to dif­ferent loca­tions under­taken since 2000 together with artists and cura­tors; and the ‘éditions hors’champs’ art pub­li­ca­tions that have been pub­lished since 1999 and Radioapartment22, an exper­i­mental online radio. 
He was Assistant Curator at the capc­Musée d’art con­tem­po­rain de Bordeaux (1993-1996) where he curated numerous exhi­bi­tions: Pensées bleues (1993) ; Jean-Paul Thibeau (1995) ; Urgences (1996). Karroum was Associate Curator for the 2006 DAK’ART Biennial for African Contemporary Art, co-curator for the "Position Papers" pro­gram in the Gwangju Bienniale 2008 and the Curator of the 3rd AiM International Biennale’s exhi­bi­tion 2009 in Marrakech. He was the curator of "Working for Change" pro­posal for a Moroccan Pavilion at the 54th Venice Biennale 2011. Karroum was Associate Curator of "Intense Proximity" for La Triennale of Paris 2012 and Artistic Director of the Biennale Benin 2012. He curated the multi stages pro­ject “Sous nos yeux” at La Kunsthalle de Mulhouse in 2013 and at MACBA-Barcelona in 2014.

    
He ini­ti­ated the lab­o­ra­tory "Art, Technology and Ecology" at ESAV-Marrakech (Film School), which have been run­ning monthly since March 2010. In 2010, he curated the exhi­bi­tion pro­ject "Sentences on the Banks and other activ­i­ties" for Darat Al-Funun in Amman. In 2007, Karroum served as a Member of the Golden Lion Jury in the Biennale of Venice. He is also Member of the Prince Pierre Monaco Foundation’s Artistic Council for its International Prize of Contemporary Art. And he is member of the acqui­si­tions comity of the FRAC PACA col­lec­tion in Marseille. 

    Karroum grad­u­ated from Bordeaux III Michel de Montaigne University. His research is funded in part by the Prince Claus Fund (Amsterdam), the Clark Art Institute (Williamstown, MA), and MoMA (NYC).

    Sunjung Kim

    Sunjung Kim is the director of the Art Sonje Center, Seoul, and curator of the REAL DMZ PROJECT, which engage issues sur­rounding the divi­sion of Korea and the border region near the demil­i­ta­rized zone.

    From 1993 to 2004, Kim was the chief curator at the Art Sonje Center, Seoul, and in 2005, was Commissioner of the Korean Pavilion at the 51st Venice Biennale. She has worked on numerous exhi­bi­tions of artists such as Martin Creed, Kim Beom, Haegue Yang, Shinro Otake, Lee Bul, Jewyo Rhii, Sung Hwan Kim, and Abraham Cruzvillegas at Art Sonje Center. Through Samuso, Kim estab­lished and curated Platform Seoul, an annual art fes­tival whose edi­tions include "Platform in KIMUSA: Void of Memory" (2009), and co-curated the "Your Bright Future: 12 Contemporary Artists From Korea" in 2009 at LACMA and MFAH. Kim has taken part in a wide range of pro­jects: Artistic Director of Media City Seoul (2010), Artistic Co-Director of Gwangju Biennale (2012), Agent for dOC­U­MENTA 13 (2013), and Artistic Director of ACC Research & Archive in Asian Culture Center in Gwangju (2014-2015). She was a pro­fessor in the Department of Art Theory at Korea National University of the Arts from 2006 to 2012, and has received sev­eral awards such as the Ministry of Culture and Tourism Award (2004) and been honored with the Chevalier de l’Ordre des Arts et des Lettres medal by the French Minister of Culture and Communications (2003).

    Maria Lind

    Maria Lind is a curator, writer and edu­cator based in Stockholm, cur­rently the director of Tensta kon­sthall. She was the artistic director of the 11th Gwangju Biennale, the director of the grad­uate pro­gram, Center for Curatorial Studies, Bard College (2008-2010) and director of Iaspis in Stockholm (2005-2007). From 2002-2004 she was the director of Kunstverein and in 1998, co-curator of Manifesta 2. She has taught widely since the early 1990s. Currently she is pro­fessor of artistic research at the Art Academy in Oslo. She has con­tributed widely to news­pa­pers, magazines, cat­a­logues and other pub­li­ca­tions. She is the 2009 recip­ient of the Walter Hopps Award for Curatorial Achievement. In the fall of 2010 Selected Maria Lind Writing was pub­lished by Sternberg Press.

    Miguel A. López

    Writer, researcher, and Co-Director and Chief Curator of TEOR/éTica in San José, Costa Rica. His work inves­ti­gates col­lab­o­ra­tive dynamics and fem­i­nist re-artic­u­la­tions of art and cul­ture in recent decades. He has pub­lished in peri­od­i­cals such as Afterall, ramona, E-flux Journal, Art in America, Art Journal, Manifesta Journal, Journal of Visual Culture, among others. He has recently curated “The Words of Others: León Ferrari and Rhetoric in Times of War” (with Ruth Estévez and Agustín Díez Fischer), Los Angeles, REDCAT,2017; “Bal­ance and col­lapse. Patricia Belli, Works 1986-2016” at TEOR/éTica and Fundación Ortiz Gurdian, 2016-2017; “Teresa Burga. Structures of Air” (with Agustín Pérez Rubio) at the MALBA, Buenos Aires, 2015; and the pro­ject “God is Queer” for the 31th Bienal de São Paulo (2014). In 2016 he was recip­ient of the Independent Vision Curatorial Award from ICI, New York.

    Victoria Noorthoorn

    Victoria Noorthoorn is the Director of the Museo de Arte Moderno de Buenos Aires since August 2013. She received an M. A. in Art History from the University of Buenos Aires and an M. A. in Curatorial Studies from the Center for Curatorial Studies in Bard College, New York. She has acted as Projects Coordinator of the International Program at MoMA, New York; Assistant Curator of Contemporary Exhibitions at The Drawing Center, New York; and Curator at Malba-Fundación Costantini in Buenos Aires.

    She has been inde­pen­dent between 2004 and 2013; during this time, she curated the 29th Pontevedra Art Biennial, in Pontevedra, Spain (2006); the 41 Salón Nacional de Artistas in Cali, Colombia (2008); the 7th Bienal do Mercosul in Porto Alegre, Brazil (2009); the 11ème Biennale de Lyon: A Terrible Beauty Is Born in France (2011); and The Circle Walked Casually, Deutsche Bank KunstHalle, Berlin (2013), among many other exhi­bi­tions. In 2011, she was nom­i­nated finalist for The Walter Hopps Award for Curatorial Excellence. In 2012, she was pre­sented with the honors of the Chevalier de l’Ordre des Arts et des Lettres by the French Ministry of Culture. In 2014, she was selected to attend the Global Museum Leaders Colloquium orga­nized by The Metropolitan Museum of Art in New York.

    Osvaldo Sanchez

    Osvaldo Sánchez (Havana, Cuba), is a curator and critic, lives in Mexico City. Obtained his MBA in Art History from the University of Havana. Sánchez was a pro­fessor at the Academia de arte San Alejandro (1988) and at the Instituto Superior de Arte (1990), in Havana. Artistic Director of inSITE_05 and Curator of Interventions, he also served as cocu­rator of inSITE2000-01, San Diego-Tijuana, California. Between 2000-01, Sánchez acted as Director of the Museo Tamayo Arte Contemporáneo and from 1997 to 2000 he was Director of the Museo de Arte Carrillo Gil, in Mexico City. He also served as Director of the IV and V International Forum of Contemporary Art Theory (FITAC, 1994-95). He has been also the Director of the Museo de Arte Moderno in Mexico City (2007-2012). He is cur­rently the Project Director of inSite/Casa Gallina.

    Benjamin Seroussi

    Benjamin Seroussi (1980, France) is based in São Paulo, Brazil where he works as curator, editor and cul­tural man­ager. He is cur­rently the director of Casa do Povo and curator at Vila Itororó, both pro­jects con­sist in devel­oping cul­tural insti­tu­tions in a close dia­logue with their respec­tive sur­round­ings and with wider urban issues, aiming to reach local and inter­na­tional rel­e­vance.

    Seroussi holds a Master in Sociology (Ecole Normale Supérieure and Ecole de Hautes Etudes en Sciences Sociales) and a Master in Cultural Management (Sciences-Po). He was deputy director at Centro da Cultura Judaica [Jewish Cultural Center], São Paulo, from 2009 to 2012; asso­ciate curator on the 31st Bienal de São Paulo, How To (...) Things That Don’t Exist, in 2014; and lec­tures reg­u­larly on curating and cul­tural man­age­ment.

    As editor and curator, Seroussi con­ceived and devel­oped pro­jects such as the pub­li­ca­tions Pop’Lab Guillaume-En-Egypte (2009, with Chris Marker, Annick Rivoire and Toffe), Revista 18 (2010-2012, with Michel Laub and Jaco Terron Reiners) and Nossa Voz [Our Voice] (2014-2015, with Mariana Lorenzi); the exhi­bi­tions Visões de Guerra: Lasar Segall (2012, with Jorge Schwartz and Marcelo Manzoni) and Singularities, Nira Pereg (2012, with Sergio Edelsztein); and the trans­dis­ci­plinary research-based pro­ject focusing on new reli­gious move­ments New Jerusalem (2011-ongoing, with Eyal Danon).

    Sumesh Sharma

    Sumesh Sharma is an artist, curator & writer. He co-founded the Clark House Initiative, Bombay in 2010 where he presently is the curator. His prac­tice is informed by alter­nate art his­to­ries that often include cul­tural per­spec­tives informed by socio-eco­nomics and pol­i­tics. Immigrant Culture in the Francophone, Vernacular Equalities of Modernism, Movements of Black Consciousness in Culture are his areas of interest. He co-founded the Clark House Initiative in 2010. He will curate an exhi­bi­tion at the Showroom, London in 2018 and the Centre George Pompidou in 2017. He was invited curator to the Biennale de Dakar, Dak’Art 2016 and Checkpoint Helsinki in 2015. He has curated exhi­bi­tions at the Irish Museum of Modern Art, Dublin, Metropolitan Museum, New York, Kadist Art Foundation, Paris, Para Site Hong Kong, Villa Vassilieff, Paris, Stedelijk Museum Bureau, Amsterdam, ISCP New York, Insert 2014, New Delhi among others. He has been a res­i­dent at the Latvian Contemporary Art Centre, Riga, Manifesta Online Residency, San Art, Vietnam, Cites des Arts, Paris, and was the ICI fellow for Senegal in 2014 where he researched how the funding mech­a­nisms in cul­ture and insti­tu­tional sup­port of art insti­tu­tions utilise the power struc­tures put in place by colo­nial laws. His artist prac­tice seeks layers through polit­ical mate­ri­ality and art his­tor­ical & the­o­ret­ical fail­ures while dis­cussing the visual. His Masters in Research at the Universite Paul Cezanne (2008) was an Inquiry into Artist Careers.

    Bisi Silva

    Bisi Silva is an inde­pen­dent curator. She founded the Centre for Contemporary Art of Lagos in 2007, and has directed it ever since. She has been the the Artistic Director of the 2015 edi­tion of Rencontres de Bamako, African Photography Biennial. In 2012, she was co-curator of the exhi­bi­tion The Progress of Love, a col­lec­tive and transna­tional pro­duc­tion which took place in three dif­ferent exhi­bi­tion spaces in the United States and in Nigeria (oct. 2012 – jan. 2013). She was co-curator for J.D. Okhai Ojeikere: Moments of Beauty at Museum Kiasma, in Helsinki (april – nov. 2011). In September 2009, she was also co-curator of the second edi­tion of Thessalonique Biennial for con­tem­po­rary art in Greece : Praxis: Art in Times of Uncertainty ; and in 2006, Silva was one of the co-cura­tors of the Dakar Biennial in Senegal.

    Jochen Volz

    Jochen Volz is the General Director of the Pinacoteca de São Paulo. In 2017, he was the curator of the Brazilian Pavilion for the 53rd Venice Biennale. He was the curator of the 32nd Bienal de São Paulo in 2016 and served as Head of Programmes at the Serpentine Galleries in London (2012-2015); Artistic Director at Instituto Inhotim (2005-2012); and curator at Portikus in Frankfurt (2001-2004). Jochen was co-curator of the inter­na­tional exhi­bi­tion of the 53rd Venice Biennale (2009) and the 1st Aichi Triennial in Nagoya (2010) and guest curator of the 27th Bienal de São Paulo (2006), besides having con­tributed to other exhi­bi­tions throughout the world. He holds a Master’s in art his­tory, com­mu­ni­ca­tion and ped­a­gogy by the Humboldt University in Berlin (1998). Jochen lives in São Paulo

    Nikita Yingqian Cai

    Nikita Yingqian Cai lives and works in Guangzhou, where she is cur­rently Associate Director and Chief Curator at Guangdong Times Museum. She has curated such exhi­bi­tions as A Museum That is Not (2011), Jiang Zhi: If This is a Man (2012), You Can Only Think about Something if You Think of Something Else (2014), Roman Ondák: Storyboard (2015). She is also orga­nizing the para-cura­to­rial series at Guangdong Times Museum, which fea­tures an annual sem­inar, and related pub­li­ca­tion. These sem­i­nars have included No Ground Underneath: Curating on the Nexus of Changes (co-orga­nized with Carol Yinghua Lu, 2012), Active Withdrawal: Weak Institutionalism and the Institutionalization of Art Practice, (co-orga­nized with Biljana Ciric, 2013), Cultivate or Revolutionize? Life between Apartment and Farmland (co-orga­nized with Binna Choi, 2014), Between Knowing and Unknowing: Research in-and-through Art (2015). During the de Appel Curatorial Programme in 2009–10, she co-curated I’m Not Here. An Exhibition without Francis Alÿs, with the other par­tic­i­pants. Her writ­ings have appeared in a number of pub­li­ca­tions and magazines, and she is a con­tributing writer to LEAP, Artforum.com.cn, Arttime, and Yishu Journal of Contemporary Chinese Art.

    • Mercedes Azpilicueta et Beto Shwafaty
    • Interior view of the Pernod Ricard Studio. Image: Aurélien Mole