Curatorial Program for Research by CPR

C U R AT O R I A L P R O G R A M FOR RESEARCH DOSSIER

WELCOME It is with great pleasure that I introduce to you the Curatorial Program for Research (CPR). In our first two years, our young non-profit organization has conducted curatorial research programs around the globe. In our first five Core Programs we have already visited twenty cities in thirteen countries, giving full research fellowships to forty-two curators. As a groundbreaking organization, CPR has three goals: first, to enable a direct, in situ communication between international curators and local artists; secondly, to promote equal access to knowledge; and third, to act as a platform for promotion and practice for the participating curators and hosts.

Last day of CPR 2015: Eastern and Northern Europe. Helsinki Contemporary, Finland. Ph: Anna Virtanen

O U R M I S S I O N With fully-funded research programs and continuous elevating platforms, CPR creates a socially-conscious network of emerging curators that connect with art scenes in burgeoning cities around the globe.

OUR VISION To foster the next generation of curators that have equal access to knowledge in order to successfully network and collaborate with international art scenes.

While there are other curatorial research programs available, these programs lack the main objective that CPR has placed at the heart of our work: offering fully funded programs to emerging curators. Typically, curators incur debt, or sacrifice free time and vacations to pay program fees, airfare and accommodation. At CPR, we firmly believe that research is part of the curatorial process and therefore essential for enabling the success of future curators. There is no creation without inspiration, and the only way to genuinely develop one’s true professional-self is through the cultural feeding that only programs such as CPR can offer. As a self-made professional who juggled many jobs in the vast spectrum of the art world, I understand this professional struggle in a personal way. My success, and the success of CPR, comes out of experiencing different areas of the art world, from the formal education at universities, to independent research, and networking that commercial art fairs can offer.

CPR’s Core Programs enable this type of cultural feeding. They consist of 8 international curators, chosen through an open call, visiting cities with burgeoning art scenes that remain out of reach to programs focused on the established centers of contemporary art. The curators partake in a conceptually connected program of daily visits to artist studios and art institutions where they get an immersive introduction to the artistic practice, production, and dissemination in the host cities. Our job as an organization does not finish at the research level. After our Core Programs, we accompany our curators-in-residence forward, providing them a platform for professional development and international promotion. This ongoing platform serves in three functions: CPR Talks, where we conduct public presentations featuring the work of our curators-in-residence; the CPR Film Festival, where we invite CPR alumnae to curate and produce a series of video artworks to be featured at international art fairs; and lastly the CPR Exhibition Award, where we give an award of up to USD10,000 to one curator-in-resident per Core Program to curate a show in the city where they reside with artists culled from the visited art scenes. By offering our research programs to curators free of charge in under-recognized art scenes, we not only fulfill our goal of promoting equal access to knowledge, but we have occupied a much needed gap in an already established international art ecosystem. Ultimately, our vision is to become the most accessible and elevated curatorial organization forming nontraditional collaborations in the art world. Before closing, I would like to personally thank everyone who believed in this project. On behalf of all colleagues and collaborators that have been part of CPR, I want to thank all individuals, foundations and institutions that have supported us during our first two years. I look forward to continuing our work together for many years to come!

Carmen Ferreyra CPR Founder and Director

C P R / TA B L E O F C O N T E N T S

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About Us

Management

Program Description and General Structure Core Programs Talks Film Festival

Calendar

CPR Core Program Review 2015 : Eastern and Northern Europe 2016 : South America 2016 : Eastern Europe 2017 : Mexico 2017 : The Baltic Sea

ABOUT US

With a nomadic and intensive format, CPR promotes dialogue between international curators and local art scenes, with programming that was created by curators, for curators. Headquarted in Brooklyn, New York, and with offices in Madrid, Spain, CPR spans globally, with satellite locations in more than 15 cities around the world. Each satellite city develops its activities through partnerships with local institutions to work towards CPRâ&#x20AC;&#x2122;s mission and vision.

MEET THE CPR TEAM

CARMEN FERREYRA CPR FOUNDER and DIRECTOR cf@curatorialprogram.org

EMILY CRAIN DIRECTOR OF DEVELOPMENT ec@curatorialprogram.org

Carmen Ferreyra (Argentina, b. 1976) is an independent curator and art producer based in Brooklyn, NY and Buenos Aires, Argentina. She completed her MA in Critical and Curatorial Studies in Modern Art at Columbia University in 2013. Additionally, she earned a BA in Art History and French also from Columbia University in 2010. Ferreyra was the Director of Special Programs for the Bienal de las Fronteras in Matamoros, Mexico (2014-2015), and the Director of UNTITLED Art Fair in Miami Beach, Florida (2014). She was the manager of Pinta Art Show in London and New York (2007-2013), and acquisition advisor for Mundus Novus Latin American Art Collection (2010-2013). Furthermore, she served as editor at Interventions, Columbia University Curatorial Journal from 2012-2013, in those two years she co-organized two symposia: Homeland Security: Borders and the Global Contemporary, about contemporary art and globalization; and Calle Tomada, about the role of the street in contemporary Latin American art. Ferreyra has conducted research for several institutions, including the Study Center at the Museu dâ&#x20AC;&#x2122;Art Contemporani de Barcelona, the Solomon R. Guggenheim Museum in New York, the Whitney Museum of American Art, El Museo del Barrio and the ColecciĂłn Patricia Phelps de Cisneros in New York, among others.

Emily Crain Lopez (U.S., b. 1988) is a human rights activist and writer based out of Mexico City. She has a B.A. in Peace Studies and Sociology from Chapman University in Southern California, and an M.S. in International Development with a specialization in Gender from New York University. She is originally from California and has done human rights work and research around the globe in Europe, Asia, Africa and the Americas. Her work focuses on the intersection of feminism, gender politics and development. Emily is passionate about advancing opportunities for access to education, art, and culture on a global scale. She spent time working with non-profits in South Africa and Nicaragua, dedicating time with after school programs that promote art, music and leadership skills. She worked as a Program Manager at an International Labor Rights non-profit in New York City that implements an international human rights standard for the workplace. Crain is in charge of developing a sustainable, global fundraising structure.

MANAGEMENT / Meet the CPR Team HELENA SANTOS ELORRIAGA REGIONAL DIRECTOR / EUROPE hse@curatorialprogram.org Helena Santos Elorriaga (Spain, b. 1985) is an art producer, cultural manager and independent curator. She has an M.A. in History of Art from the University of Granada, Spain, and completed postgraduate studies on International Cooperation and Human Rights-Based Approach at the Pontificia Javeriana University of Bogota, Colombia. Santos Elorriaga worked as Cultural Manager for the Spanish Agency for International Cooperation in South Africa from 2013-2015. She returned to Spain in September 2015 where she has been part of the core team of Slowtrack, a contemporary art space in Madrid. Santos Elorriaga is currently developing an international platform in Madrid, linking different regions of Europe to the South African contemporary art scene, as well as developing independent curatorial projects. Santos Elorriaga key role is to expand CPR presence in Europe.

DANNY BAEZ PUBLIC RELATIONS db@curatorialprogram.org

Danny Baez (Dominican Republic, b. 1980) is a Cultural Curator and Arts & Crafts Professional originally from Quisqueya and now living and working in the greater New York Area. A former student of Advertising at UNAPEC and Printmaker at LeRoy Neiman Center for Print Studies (Columbia University), Mr. Baez has been dedicated to the Art business for the past seven years under the tutelage of renowned Thai Contemporary artist Rirkrit Tiravanija, and New York via London Art Dealer Gavin Brown, serving as a Studio/Art assistant for the former and currently as a Gallery assistant for the latter. Over the past two years, Mr. Baez has also represented Gavin Brown’s Enterprise at multiple art fairs around South and North America as a Sales Associate with emphasis on the Latin American Market, allowing him to create an extended network within the demanding and competitive art world while connecting different artists with collectors, galleries and projects. Additionally, Baez is the Co-Founder of the NYC-based Creative Hub known as DIP-STERS; a collaborator (and soon to be board member) of the ARTNOIR Collective; and a contributor for REMEZCLA, the leading English-language culture and lifestyle outlet for Latino millennials. Mr. Baez is an art enthusiast who strives to keep learning and share his knowledge with those who share his passion for the wonderful, and occasionally misunderstood, field of the Arts. His key role is to expand CPR’s overall presence to the public and in the media.

CECELIA THORNTON-ALSON ACADEMIC ADVISOR cf@curatorialprogram.org Cecelia Thornton-Alson (US, b. 1986) is a curator, editor, and designer originally from Berkeley, California, currently based in San Francisco. She holds an M.A. in Modern Art: Critical and Curatorial Studies (MODA) from Columbia University in the City of New York and an undergraduate degree in Architecture with a minor in Art History from the University of Pennsylvania. Her research interests include the intersection of art, urban/ spatial politics, and social change in New York, Europe, and Latin America. Cecelia is passionate about understanding the impact of art on global subjectivity and developing new platforms through which to ask these questions, and with an interdisciplinary academic background, she brings an empathic worldview to her research. At Columbia, she co-organized a panel on “Borders and the Global Contemporary,” and acted as a co-editor of MODA’s online journal, Interventions. In addition, she has organized workshops for MoMA PS1’s Summer School program and acted as a visiting critic at Hunter College’s MFA program. Thornton-Alson supervises the reading material and overall curricula of CPR Core Programs.

Program Description and General Structure

CPR CORE PROGRAMS

CPR programs are conducted in cities where occasions for curatorial access and research are less self-evident than in the world’s major art capitals. By creating opportunities to expose these specific cultural scenes from the inside-out, the scenes of these communities are able to elevate out of the periphery and foster healthy networks. CPR effectively brokers relationships between participating curators and art professionals on the ground, resulting in greater visibility for the city’s art scene worldwide. With our programs, we aim to create international opportunities for artists, organizations and curators, to enhance inter-cultural dialogue and mutual understanding. In order to accomplish this, CPR functions in four major ways: CPR Core Programs, CPR Talks, CPR Film Festival, and the Exhibition Award.

CPR Core Programs are the heart of our organization’s work. Fully funded, our nomadic residency programs provide an intensive, custom oriented research schedule, directed by a local CPR host – an expert in the local art scene dedicated to cultivating international collaborations. Both independent and institutional curators, our hosts prepare a program to receive our curators-in-residence with fully immersive program. Each program lasts up to six days per city, and encompasses 3 to 5 cities. Through an open-call for international curators, CPR choses 8 curators-in-residence per program. Merging academia with onsite research, each program includes readings and classes about local history, arts and culture, as well as visits to artist studios, local art institutions, and cultural endeavors. During the Core Program, curators-in-residence are required to present and discuss articles, papers, and essays related to their daily visits. CPR provides round-trip airfares, accommodation and local transport, unlike any other programs out there. Our Core Programs have developed throughout our first two years, implementing different formats to adapt to the demands of each group dynamic. Currently, our program consists of: morning readings and discussion sessions with guest scholars and local researchers; afternoon visits to artist studios and institutions; and evening activities to promote networking and ongoing collaboration. The success that CPR has already fostered can be witnessed through the return of previous curators-in-residence who have returned to CPR to become local hosts and to pass on the profound experience to the next generation of residents.

Program Description and General Structure C P R TA L K S CPR Talks are another piece of the continuous elevating platform for emerging curators. Presented at art fairs or art history symposiums or during our Core Programs, curators-in-residence give back to the community by featuring public presentations. During each program, curators-in-residence introduce their curatorial practice to locals at partner institutions. The objective is to produce content and to promote the work of our residents to local communities. Additionally, CPR Talks foster relationships for future local endeavors.

C P R F I L M F E S T I VA L CPR Film Festival is an opportunity for CPR curators-in-residence to expand the content they produce using different mediums for different communities. The CPR Film festival happens every year and consists of a series of film and video exhibitions around the world by curators who have participated in our programs. Featuring works by artists living in cities visited during our Core Programs, CPR Film Festival is one of the platforms that CPR provides for the professional development of our curators-in-residence.

Program Description and General Structure C P R E X H I B I T I O N AWA R D The Exhibition Award follows each CPR Core Program. All participants submit proposals for a curatorial project in his or her home city. CPR grants an award of up to $10,000 USD to one curator per program. The exhibition should highlight themes/and or artists culled from the curator-in-residence given itinerary, and should take place in his/her city of origin. Exhibitions must open within 24 months of the accepted submission. These exhibition awards allow curators-in-residence to create a meaningful show using the research and experience obtained during their Core Program. At CPR we believe that the opportunity to apply research to produce content is integral to fostering culturally inclusive emerging curators. With these initiatives, CPR aims to form the next generation of curators by offering them the necessary platforms to develop their curatorial practice and promote their work on a global scale. Furthermore, CPR will publish a catalogue to document the past two years in order to introduce our residentsâ&#x20AC;&#x2122; proposed projects, review outcomes of completed programs, and insights into networks built. Additionally, the CPR catalogue will promote future programs.

S O C I A L M E D I A A N D C O M M U N I C AT I O N CPR promotes all activities related to our programs on Facebook, Twitter and Instagram before, during and after each program. Connect with us here: #cpr2015 #cprtallinn #cprhelsinki #cpr2016 #cprsouthamerica #cpr2016 #cpreasterneurope #cpr2017 #cprbalticsea #cpr2017 #cprmexico

@curatorialprogram

@curatorialpr

CALENDAR

2015

2016

2017

2018

July 31

May 4-22

Feb. 6-21

May

CPR Worldwide Launch at Marbella, Spain

CPR 2016: SOUTH AMERICA Medellin and Bogota, Colombia; Santiago, Chile; Buenos Aires, Argentina

CPR 2017: MEXICO Mexico City, Guadalajara, Irapuato and Oaxaca, Mexico

CPR 2018: THE BLACK AND AEGEAN SEAS Kiev, Ukraine; Bucharest, Romania; Sofia, Bulgaria; Athens, Greece

O c t . 11 - 2 4

May 22

July 13

Sept.

CPR 2015: EASTERN AND NORTHERN EUROPE Tallinn and Tartu, Estonia; Helsinki, Finland

CPR FILM FESTIVAL: Closer to the Border, curated by Tainรก Azeredo arteBA Art Fair Buenos Aires, Argentina

CPR EXHIBITION AWARD: RETURN FLIGHT TICKET by Nerea Ubieto

CPR 2018: CENTRAL ASIA Bishkek, Kyrgyzstan; Dushanbe, Tajikistan; Tashkent, Uzbekistan

Dec. 1

Sept 5-21

Sept. 24-Oct. 18

N o v.

CPR FILM FESTIVAL: The Earthbound, curated by Niekolaas Johannes Lekkerkerk Art Basel Week Miami, Florida

CPR 2016: EASTERN EUROPE Kiev, Ukraine; Warsaw, Poland; Prague, Czech Republic

CPR 2017: THE BALTIC SEA Tallinn (Estonia), Stockholm and Malmรถ (Sweden), Oslo (Norway), Copenhagen (Denmark)

CPR 2018: SPAIN Madrid, Seville, San Sebastian

CPR Core Program Review

CPR 2015: EASTERN AND NORTHERN EUROPE

TA L L I N N TA R T U HELSINKI O C T O B E R 11 - 2 4 , 2 0 1 5 CPR 2015: Eastern and Northern Europe. Eero Yli-Vakkuri studio visit, Helsinki, Finland. Ph: Anna Virtanen

CPR 2015: Eastern And Northern Europe Our first Core Program, CPR 2015: Eastern and Northern Europe, took place in Tallinn, Tartu (Estonia), and Helsinki (Finland), and was organized in collaboration with the Estonian Contemporary Art Development Center, the Helsinki International Artist Programme, Checkpoint Helsinki, and the Finnish Cultural Institute for the Benelux. CPR management team, along with CPR local hosts, created an intense program of visits that curators embraced with all the energy that the first program offered. Starting with walking tours of each visited city, our daily activities begun at 9 am with discussions led by our residents, and finished by 10 pm after days filled with studio and institution visits. After the two weeks that included a ferry ride across the Baltic Sea, curators returned home. Two years later, we see concrete results that have come out of this program: most of our curators have incorporated artists from Estonia and Finland in their exhibitions, and some have even returned to further develop their research. It was the first test for our young organization, and we passed with honors!

I T I N E R A RY O c t . 11

Tr a v e l D a y

Oct. 12-14

Ta l l i n n

Oct. 15

Ta r t u

Oct. 16-18

Ta l l i n n

Oct. 19

Tr a v e l D a y

Oct. 20-25

Helsinki

S P O N S O R S A N D PA R T N E R S CPR 2015: Eastern and Northern Europe was possible thanks to the support and partnership of the following institutions: Estonian Contemporary Art Development Center Finnish Institute for the Benelux Helsinki International Artist Program Checkpoint Helsinki Instituto Iberoamericano de Finlandia

ESTONIA In October 2015, the art scene in Tallinn and Tartu was almost entirely represented by exhibits in non-profit spaces. With only one commercial gallery with international visibility, the market was in the midst of transition that began in the post-Soviet years up to capitalism, which impacted Estonia’s entry into the European Union. The training of artists and organizations is mostly related to the work carried out by the Estonian Contemporary Art Development Center, directed by Karin Laansoo and Kadri Laas, as an incubator for ideas of the local community. Curators visited the studios of Jaanus Samma, who represented Estonia at the 56th Venice Biennial, Tanja Muravskaja, Marge Monko, Krista Mölder, Jaan Toomik, Tönis Saadoja, Marko Mäetamm, Kristi Kongi, Timo Toots, Flo Kaserau, Mihkel Ilus, Paul Kuimet, Liina Siib and Anu Vahtra, and others. The program also featured discussions with local personalities such as Mart Kalm, rector of the Estonian Academy of Arts, Gregor Taul, director of the Kondas Art Center of Viljandi, Anders Härm director of the EKKM (Contemporary Art Museum Estonia), Kristel Raesaar the artistic director of Tallinn Photomonth, Kati Ilves and Eha Komissarov, curators of the KUMU Art Museum, Taaniel Raudsepp, director of the Tallinn Art Hall and curator Anneli Porri.

CPR 2015: Eastern and Northern Europe. Curators crossing the Baltic Sea. Ph: Taina Azeredo

CPR 2015: Eastern and Northern Europe. Bio-art society, Helsinki, Finland. Ph: Anna Virtanen

FINLAND In recent years, the Finnish contemporary art scene has gone through a profound renovation with new initiatives and projects for the future. Back in 2015, the Helsinki Art Museum (HAM) was on its way to be reopened after a complete renovation; the Amos Anderson Art Museum was fully dedicated to planning its new building located in the heart of the city, and the Solomon R. Guggenheim Foundation was developing the Guggenheim Helsinki. At the same time, artist initiatives and non-profit art spaces became active players to modernize the artistic arena and its structures. This made our time in Finland unique. Apart from focusing on artistic practices, CPR curators-in-residence studied the different systems of financial support offered by the country, such as salaries and subsidies allocated for artistic practices and exhibitions. Activities began with a presentation of the HIAP residency program and a tour around the island of Suomenlinna, a UNESCO World Heritage site. Curators visited local spaces and institutions such as SIC, Contemporary Art Space, Sorbus Galleria, Alkovi Galleria, the Finnish Society of Bio Art, Mustarinda artistic organization and Bio-research project, HAM (Helsinki Art Museum), and EMMA (Espoo Museum of Modern Art). They also visited local artist studios, such as: Jukka Lehtinen, Minna Långström, Eero YliVakkuri, and Jenna Sutela.

CPR HOSTS A N N A V I R TA N E N / H O S T FINLAND Anna Virtanen (Finland, b. 1980) is a curator living and working in Helsinki, Finland. She holds an MA in Art and Design from Aalto University, CuMMA Major program, and a Bachelor degree in film and animation from Turku Arts Academy. She has worked as an Assistant Curator for the Finnish Pavilion in Venice Biennale, and Coordinator at IHME Contemporary Art Festival and Galerie Anhava. Her curatorial projects include: The Museum of Instability, Helsinki University Museum (2013), Fasadi, HIAP gallery (2011). Additionally, she has been part of curatorial teams behind the non-profit art spaces B-galleria (Turku) and Napa Galleria (Helsinki).

KARIN LAANSOO / HOST ESTONIA

CPR HOSTS KADRI LAAS / HOST ESTONIA Kadri Laas (Estonia, b. 1985) is a cultural manager, art lawyer and freelance curator based in Tallinn. She graduated from the department of art history at the Estonian Academy of Arts (2012) and obtained an MA in law at the University of Tartu (2011). In addition, she has attended Art Business courses at New York University in 2013. She is currently working as a project manager at the Estonian Contemporary Art Development Center – which is focused on fostering international exposure for Estonian artists, as well as developing the contemporary art scene in Estonia. Functioning as an umbrella organization for Estonian partner institutions, the center is creating strategic international partnerships in the field of contemporary art. Among other tasks, Kadri consults Estonian galleries, schools art dealers and organizes art events. In 2013 she was part of the Tallinn Photomonth organizing team and helped to curate “Shadows of a Doubt“, a group exhibition at Tallinn Art Hall. This year, she is setting up a public program for Tallinn Photomonth Festival, and helps to coordinate an international group exhibition “Prosumer” at Estonian Contemporary Art Museum (EKKM).

Karin Laansoo (Estonia, b. 1976) is a curator and Director of the Estonian Contemporary Art Development Center (ECADC). Originally from Estonia, she has been based in New York City since 2006. After receiving her MA in Art History from the Estonian Academy of Arts in 2002, she has worked as a producer and Gallery Manager in Tallinn and New York. From 2008 to 2013 she was Director of PointB – an international artist residency and studio space in a former ironworks factory in Williamsburg, New York. She has curated numerous exhibitions and projects in the United States and in Europe. Her passions for creating platforms and audiences for new talents has lead Karin to publish the award-winning book 22+ Young Estonian Artists (2005) and launched a biennial multidisciplinary festival Bioest in New York in 2011. In 2013, the Estonian Ministry of Foreign Affairs honored Karin for her work introducing Estonian contemporary culture in New York. Since 2012 Karin has been the Director of ECADC, a nonprofit foundation focused both on fostering international exposure for artists from Estonia, and on developing the contemporary art scene in Estonia. Functioning as an umbrella organization for Estonian partner institutions, the center is creating strategic international partnerships in the field of contemporary art. Ph: Taina Azeredo

CPR 2015: Eastern and Northern Europe. Estonian Forest. Ph: Kadri Laas

C U R AT O R S - I N - R E S I D E N C E “CPR is a great initiative as it provides much needed curatorial development opportunities for emerging and established curators. There are very few courses available for working curators, or training opportunities that can fit within busy work schedules. I feel that the mix of networking and studying is innovative. On a personal note, I was very grateful that CPR supported me in taking my 6-months old son on the trip. The program and the possibility of joining it at a critical moment in my career at the end of my maternity leave was much appreciated.” Emily Butler, CPR 2015: Eastern And Northern Europe

E X H I B I T I O N AWA R D : R E T U R N F L I G H T T I C K E T, C U R AT E D B Y N E R E A U B I E T O The first CPR Exhibition Award will support the work of Nerea Ubieto (Spain), a participating curator in CPR 2015: Eastern and Northern Europe. Ubieto’s exhibition, Return Flight Ticket, will take place in 2017 in Madrid, Spain. The exhibition, selected by honorary juror Rirkrit Tiravanija, highlights artists from CPR 2015: Eastern and Northern Europe, including Jaan Toomik (Estonia), Flo Kasearu (Estonia), Nestori Syrjälä (Finland), and Anna Estarriola (Finland).

Tainá Azeredo (Brazil, 1983): graduated in Dance and Performing Arts (PUC-SP) and holds an MA in Art History, Curatorial and Critic Studies (FASM). In 2009, she founded Casa Tomada, an independent art space in São Paulo where she currently works as a director and curator.

Nico Anklam (Germany, 1981): studied art history, aesthetics and cultural sciences in London and Berlin. He also served as as a Fulbright scholar in New York. He taught 20th century art at the Berlin Perspectives programme of Humboldt University and is currently a guest lecturer in Art and Theory at UdK Berlin.

Nerea Ubieto (Spain, 1984): is an independent curator. She holds a MA in Art Market and Higher Studies in Curatorial Management and Art Criticism. Ubieto currently writes for Input Magazine and is developing her own artistic platform: The Art Link Maker.

Emily Butler (UK, 1982): is a curator, writer and translator. She currently works at the Whitechapel Gallery, London. Previously, she worked in the Visual Arts Department at the British Council on international touring exhibitions.

Qu Chang (China, 1988): is an independent curator, she graduated with an MA from La grande écloe des métiers de la culture et du marché de l’art (IESA) in Paris. Qu is also a long-term contributing writer for Art China Magazine and 99 Art.

Jonathan Lahey Dronsfield (UK, 1962): is an artist-philosopher. He has taught at the universities of London Southampton, Depaul Zürcher High School of Arts, and at the Royal College of Art – on academic board of forum for European philosophy at lse.

Kevser Guler Cinkaya (Turkey, 1983): is an independent curator. Her practice includes conceiving researches, exhibitions and texts specializing in contemporary art and its dialogue with philosophy and critical theory. Kevser worked at the Istanbul Biennial between 2007–2014.

Lia Zaaloff (U.S., 1982): is an independent curator. She is currently completing a graduate degree in the Liberal Studies Program at The Graduate Center in New York (CUNY). She served as Assistant Curator, Photography at the Rubin Museum of Art, and she worked as curator at the Bronx Museum of the Arts.

Niekolaas Johannes Lekkerkerk (The Netherlands, 1988): works as a curator and a writer. He holds a BA in Art History and Visual Culture from the University of Utrecht. In 2012, he founded The Office for Curating, based in Rotterdam. In 2014, he was awarded the Akbank Sanat International Curator Competition.

Dorota Michalska (Poland, 1988): is an independent curator, art critic and writer. She completed CuratorLab, a nine-month curatorial research fellowship at Konstfack University of Arts, Crafts and Design in Stockholm, Sweden led by Joanna Warsza.

Core Program Review

CPR 2016: SOUTH AMERICA

MEDELLIN B O G O TA SANTIAGO BUENOS AIRES

CPR 2016: SOUTH AMERICA

CPR 2016: South America / We are (not) one. Artists, Curators, Institutions and Diversity in Latin America, was organized in collaboration with El Museo de Arte Moderno de Medellín (MAMM), arteBA Fundación in Buenos Aires; and Centro de Documentación de Artes Visuales (CeDoc) and Fundación Artes Visuales Asociados in Santiago de Chile. This South American program was a 3 weeks long, that included visits to four cites. The program gave curators-in-residence a street-level introduction to the multifaceted trajectories occurring in Latin American artistic practice, production, and dissemination today. From institutions driving the recent transformation of the cultural scene in Medellín, to artists and curators generating alternative modes of collaboration in the absence of institutions in Buenos Aires, our curators-in-residence had an exceptional experience getting to know the unique art scenes of South America.

M AY 4 - 2 2 , 2 0 1 6 I T I N E R A RY

May 2-3

Tr a v e l D a y

May 4-6

Medellin

May 7

Tr a v e l D a y

May 8-9

Bogota

May 10

Tr a v e l D a y

M a y 11 - 1 5

Santiago

May 16

Tr a v e l D a y

May 17-22

Buenos Aires

S P O N S O R S A N D PA R T N E R S CPR 2016: South America was possible thanks to the support and partnership of the following institutions: Ministry of Culture of Argentina Ministry of Culture of Colombia Museo de Arte Moderno de Medellin Sokoloff & Associates Association of Art Galleries of Chile arteBA Arts and Theatre Institute of the Czech Republic

MEDELLIN

CPR 2016: South America. Getting ready to travel to Bogota, Medellin.

In Medellin, the program focused on institutions that guide the transformation of the arts and culture scene of the city. With a schedule produced by Emiliano Valdés, Chief Curator at the Medellín Museum of Modern Art, curators-in-residence kicked off the program with an introduction of their practice in a public presentation at the museum. During visits included the Antioquia Museum and the independent Casa Tres Patios, residents received an introduction to the emerging cultural scene and familiarized themselves with alternative art spaces, institutions and residency projects. A second part of the program was dedicated to studio visits of mid-career artists, like Fredy Alzate, Iván Hurtado and Susana Mejía. At the end of each day, the group visited the main commercial galleries that offered dinners allowing socializing and networking with local professionals.

B O G O TA The key aspect of research in Bogota was the role of the artist as a manager of start-up galleries and non-commercial spaces, evaluating different kinds of endeavors in relation to the production of contemporary art based on the sometimes-blurred roles of artists and curators. Guided by local artists Ana María Millán and Juan Sebastián Peláez rather than local curators as normally structured, mornings began with portfolio reviews and studio visits, and afternoons were to visit commercial galleries, institutions and independent spaces. Major discussions were centered on the blurring line of the biennial fair phenomenon, as well as the biennial ferialization, issues relevant to the ebullient social commitment where the market has changed the production landscape of Colombia’s capital.

CPR 2016: South America. Visit to Galeria de la Oficina, Medellin, Colombia.

SANTIAGO DE CHILE

The program in Santiago served as an immersive brainstorming session with artists, curators and young agents, who were creating innovative development strategies. The schedule included public presentations and workshops at independent spaces such as Milm2, NAVE and Temporary Circuit. It also included visits to more established institutions such as the Museum of Visual Arts MAVI, the Museum of Memory and Human Rights, Solidarity Museum and Gabriela Mistral Gallery. Portfolio reviews and artist studio visits such as Sebastiรกn Precee and Voluspa Jarpa were complemented by discussions of texts written by a new generation of local critics, historians and curators. Over the last twenty years, this community has been researching the Santiago art scene, with a special interest in documentary pieces that link the visual arts with the Chilean landscape, poetry and memory.

CPR 2016: South America. Curators visit the Museum of Memory, Buenos Aires, Argentina.

BUENOS AIRES In Buenos Aires, the last and longest stop of this program, curators-in-residence focused on identifying the influence of the academy in the local scene where self-taught artists and self-management rules are so rich in production but have little institutional support to finance projects. Guided by curator Marina Reyes Franco, the group got unique insight into the small market of the Argentine scene, a scene that is not guided by the formal doctrine of the academy and institutions, but rather susceptible to creative opportunities for professional development. This self-taught system is not considered a rebellion, but rather an exclusive position of exchange, collaboration and professionalism among artists and a social experience. Curators participated in a number of clinics, workshops and spaces for reflection in places such as: the Museum of Modern Art of Buenos Aires, Memory Park, Torcuato Di Tella University, PROA, and the Museum of Latin American Art of Buenos Aires. The schedule also included portfolio reviews and studio visits to artists such as Leandro Erlich and Ana Gallardo; self-managed spaces like Museo La Ene; and experimental galleries that sought not only to sell art, but above all to learn and socialize. The program closed with a public presentation at arteBA art fair.

CPR HOSTS

E M I L I A N O VA L D E S / H O S T COLOMBIA Emiliano Valdés (Guatemala, b. 1980) is Chief Curator at the Medellín Museum of Modern Art. He was recently Associate Curator for the 10th Gwangju Biennale (South Korea) and Co-Director of Proyectos Ultravioleta (Guatemala). Previously, he was Curator/Head of Visual Arts at the Centro Cultural de España en Guatemala – in his 5-years in this position developed an exhibition program that helped re-shape the artistic scene in the country. In addition, he worked for institutions such as dOCUMENTA(13) (Kassel), the Museo Nacional Centro de Arte Reina Sofía, (Madrid), and Contemporary Magazines, (London), amongst others. He has written for ArtNexus, Arte al Día, and FlashArt, amongst other international publications, as well as for numerous artist catalogs and books. He is interested in art as a form of knowledge, the production of public programs, and the relationship between art and culture, and natural environment.

“…these usually short research trips rarely allow time for in depth discussions, constructive moments of reflection or chance encounters. As such, the opportunity to spend three weeks meeting local artists, getting to know a variety of context specific institutional models that are unfamiliar to me, and engaging in discussions with other international curators would be truly exceptional and, I believe, invaluable to the development my curatorial practice and network for many years to come.” Robert Leckie, CPR 2016: South America.

MARINA REYES FRANCO / HOST ARGENTINA Marina Reyes Franco (US, b. 1984) is an independent curator, art historian and is co-founder and director of La Ene - Nuevo Museo Energía de Arte Contemporáneo. She has a BA in Art History, University of Puerto Rico and an MA in Argentine and Latin American Art History, IDAES-UNSAM, Argentina. Her recent curatorial projects include: Wordings, The Wooden Floor, California; Poesia desde a Seguridade Social, Phosphorus, São Paulo, Brazil (2013); Donde hay protesta hay negocio [Where there’s a protest there’s business to be made], Galería Agustina Ferreyra, San Juan, Puerto Rico; Mil pedazos [A thousand pieces], Centro Cultural Recoleta, Buenos Aires, Argentina; Trabaja por tu nombre [Earn your name], Urgente, Buenos Aires; Colección [Collection] at Castagnino+macro, Rosario, Argentina (2014); Sucursal: La Ene at MALBA, Museo de Arte Latinoamericano de Buenos Aires, Argentina and Calibán, Museo de Arte Contemporáneo, San Juan, PR. Since 2010, she has been working at La Ene, with co-founder Gala Berger as a critical intervention in the Buenos Aires art scene, and contributes regularly curating exhibitions. Her research interests include the work of Esteban Valdés, the alternative circulation strategies of graphic art, post-colonial theory, feminism, museum studies and new museology, autonomous art projects, and artistic and literary manifestations in the frontier of political action.

C U R AT O R S - I N - R E S I D E N C E

iLiana Fokianaki (Greece, b. 1980) is an art critic and curator based in Athens. In 2013 she founded State of Concept, a non-profit gallery based in Athens that promotes Greek and international artists through solo exhibitions. She has lectured on contemporary art locally and in Europe and is a member of IKT, the International Association of Curators of Contemporary Art. She is currently studying for a PhD on Performativity.

Karina Kottová (Czech Republic, b. 1984) is a contemporary art curator, currently working as a director of the Jindich Chalupecky Award as well as pursuing independent projects. Previously, she was a curator at the MeetFactory contemporary art center and head of education at DOX Centre for Contemporary Art and Kampa Museum. Kottova completed her PhD in theory and history of art in 2015.

Rose Jepkorir (Kenya, b. 1989) is an independent curator. In 2015 she participated in the 5th edition of Asiko International Art Programme: A History of Contemporary Art in Maputo in 4 weeks. Jepkorir has worked at Circle Art Agency, Nairobi where she has assisted in production of various art exhibitions and auctions.

Robert Leckie (UK, b. 1985) is curator at Gasworks, where he runs the exhibition and residency programs. He has also co-curated projects at Artissima in Turin, The Showroom in London and La Virreina Centre de la Imatge in Barcelona. Leckie is a visiting lecturer at the Ruskin School of Art in Oxford, and the Royal College of Art and the University of the Arts, both in London.

Pablo José Ramírez (Guatemala, b. 1982) is a curator and political theorist based in Guatemala. He was the Director and Curator at Ciudad de la Imaginación from 2010 to 2014 and worked as co-curator of the 19 Biennial de Arte Paiz in Guatemala. He is currently working on a research project about colonial and pre-Hispanic appropriations in contemporary art in Latin America. Nikita Yingqian Cai (China, b. 1978) is the Associate Director and Chief Curator at Guangdong Times Museum. In addition, she is organizing the para-curatorial series at Guangdong Times Museum. Her writings have appeared in a number of publications and magazines.

E X H I B I T I O N AWA R D : G E A N M O R E N O A N D PA B L O J O S E R A M I R E Z Fatoş Üstek (Turkey, b. 1980) is an independent curator and writer based in London. She is currently Art Fund Curator at fig-2, where she has recently curated 50 projects in 50 weeks at the ICA Studio, London. Üstek acted as associate curator for the 10th Gwangju Biennale in South Korea, and is a member of AICA Tr and a regular contributor to international art magazines and exhibition catalogues.

CPR 2016: South America curators-in-residence Gean Moreno and Pablo José Ramírez will receive the second CPR Exhibition Award. Their proposal for a Spanish/English bilingual book of essays on de-colonial thinking, with commissions from artists and writers, was proposed as part of the residency program that took place in Argentina, Chile and Colombia in May 2016.

Gean Moreno (US, b. 1972) is Curator of Public Programs at ICA Miami. He is currently on the Advisory Board of the 2017 Whitney Biennial. From 2014-2016, he was Artistic Director at Cannonball, a non-profit art organization in Miami, where he structured the pedagogical program, art.research.dialogue. In 2008, he founded [NAME] Publications, a non-profit press.

CPR Core Program Review

CPR 2016: EASTERN EUROPE KIEV LV I V WA R S AW PRAGUE

CPR 2016: EASTERN EUROPE PROGRAM

CPR 2016: Eastern Europe / Building Capitals, Finding Capital: Developing Projects worked in collaboration with Izolyatsia, Platform for Cultural Initiatives (Kiev), The ZachÄ&#x2122;ta National Gallery of Art (Warsaw), AIR Residencies (Warsaw), and the Foundation and Center for Contemporary Arts (Prague). This Core Program examined the landscape of funding for the arts within the context of a globalized art world, where artists must continuously reinvent their practices while also acknowledging available resources and the structures that make them accessible. The itinerary covered Kiev, Warsaw and Prague, cities that share historical and economic connections, as well as a Soviet past that inflects their contemporary experience of governance and capitalism. CPR 2016: Eastern Europe gave curators-in-residence an introduction to each city as vital cultural players in the construction of a new paradigm joining the post-Soviet experience with an integrated and complex European project.

SEPTEMBER 5 - 21, 2016 I T I N E R A RY

Sept. 3-4

Tr a v e l D a y

Sept. 5-9

Kiev

Sept. 10

Tr a v e l D a y

S e p t . 11 - 1 5

Wa r s a w

Sept. 16

Tr a v e l D a y

Sept. 17-21

Prague

Sept. 22

Tr a v e l D a y

S P O N S O R S A N D PA R T N E R S CPR 2016: Eastern Europe was possible thanks to the support and partnership of the following institutions: Izolyatsia Platform for Cultural Initiatives, Kiev Ministry of Foreign Affaires of Ukraine Center for Contemporary Arts Prague Ministry of Culture of the Czech Republic City of Prague Prague 7 The Emblem Hotel Prague Artist in Residence Laboratory, Warsaw City of Warsaw Centre for Contemporary Art Ujazdowski Castle, Warsaw Friends of the Museum of Modern Art of Warsaw Zachęta National Gallery of Art, Warsaw

KIEV Kiev offered a diverse and vibrant art scene with a scattered assortment of galleries ranging from official state enterprises to informal projects and event spaces. Guided by an independent curator, Kateryna Filyuk, supported and endorsed by Izolyatsia, an organization displaced from Russian-occupied Donetsk to Kiev, curators-in-residence were introduced to a nation undergoing political and economic changes, where funding for the arts has become increasingly limited. Kiev has many formats for engaging Ukrainian contemporary art, where artists and art institutions have found innovative ways to activate the city. Curators participated in workshops, seminars at Port Creative Hub, Garage, Pinchuk Art Centre, and the Open Archive of Ukrainian Media Art, as well as a public presentation to a packed auditorium at IZONE. In a twist that aimed to give them a full immersive experience, the program in Kiev closed with a train ride to Lviv to give them the “real” experience of crossing the border from Ukraine into the European Union.

CPR 2016: Eastern Europe. Visit to Park Brodnowski, Warsaw, Poland.

WA R S AW At the time of our visit, public art institutions and relatively young, yet dynamic private galleries defined the Warsaw art scene. This combination made it a vivid and interesting place where curators engaged with new initiatives such as BRUD and STROBOSKOP; as well as the three major art institutions: Zachęta National Gallery of Art, the Museum of Modern Art, and the National Museum of Art. Our days started with lectures and presentations at the Center for Contemporary Art, AIR Residence; followed by visits to artist studios and institutions in the afternoon. Additionally, we visited commercial galleries that focused on inviting international curators from different Polish cities to stimulate the timid local market. Guided by independent curator Stanislaw Welbel, residents studied the new local phenomenon of self-funded independent art spaces, often run by the artists – this made the city unique for our research. Curators also studied the conservative political situation where contemporary artists found independent places for exhibitions and alternative models of creation. Here they were producing works that were not only politically charged, but also experimental, ephemeral and noncollectible.

CPR HOSTS

PRAGUE

K AT E R Y N A F I LY U K / H O S T UKRAINE Kateryna Filyuk (Ukraine, b. 1986) is a curator and art critic. She holds an MA in Philosophy from Odessa I.I. Mechnikov National University. She has worked for the First Kyiv International Biennale of Contemporary Art ARSENALE 2012 as managing editor of the catalogue and coordinator of the discussion platform. In 2012, she took part in the 4th Gwangju Biennale International Curator Course, followed by the MMCA International Research Fellowship at the National Museum of Modern and Contemporary Art of Korea with a final essay on Korean New Media Art, in 2014. Filyuk has been involved in the organization of exhibitions in various galleries and institutions and has contributed to a number of Ukrainian magazines and online platforms such as Art Ukraine. Her recent curatorial projects include: Ignorance is power, Special project at the Art-Kyiv contemporary 2013, Kyiv, Ukraine; Fake Hikers, MMCA Changdong residency, Seoul, South Korea; and One day in the life, Multimedia Space for Contemporary Culture Nástupiste 1-12, Topol´cany, Slovakia. Currently she is a director of Dymchuk Gallery (Kyiv). She was admitted as a participant of the 21st course of De Appel Curatorial Programme (Amsterdam), which took place from August 2015 - June 2016.

In partnership with the Foundation and Center for Contemporary Art (FCCA), curators started each day with lectures led by established local scholars, including: Tomáš Pospiszyl and Pavlína Morganová. Guided by Ondrej Stupal, FCCA director, curators visited institutions such as the DOX Centre for Contemporary Art, the National Gallery and the Polansky Gallery. Visits to art galleries and independent spaces included Tranzitdisplay, Školská 28 Gallery, SPZ, Hunt Kastner Artworks and 35M2. Curators complemented these visits with portfolio reviews and visits to artist studios. The main subject of discussion in Prague focused on the current process of internationalization of the local arts with the FCCA at the center of the international support and promotion, which ranks among the longest operating independent art centers in the Czech Republic.

O N D R E J S T U PA L / H O S T CZECH REPUBLIC Ondrej Stupal (Czech Republic, b. 1978) is currently the executive director of the Center for Contemporary Arts Prague, Czech Republic. Previously, he was the director of the Center for Contemporary Art FUTURA and Karlin Studios, non-profit art centers in Prague (2014-11). Additionally, he was initiator and Co-founder of FUTURA New York Inc. (2009-2011); and in 2012 Stupal, co-founded Fair Art, a Prague based non-governmental and non-profit organization with the goal of providing legal support to artists and art-organizations. In 2012-13, Ondrej undertook a curatorial fellowship supported by Fulbright Scholar Program at Residency Unlimited and Triangle Arts Association in Brooklyn, New York. Stupal also was one of the organizers of the international project re-toling RESIDENCIES (2009) that aimed to foster cooperation and mutual support between art institutions from the East and West of the EU. Ondrej served as a member of several art juries (NARS Foundation and Apexart, both New York, USA; International Visegrad Fund, Bratislava, Slovakia; Arts Institute, Prague, the Czech Republic). In addition, Stupal was a board member of the Jindrich Chalupecky Society.

C U R AT O R S - I N - R E S I D E N C E

“I consider CPR Core Programs as an alternative to a Masters Degree” Emma Hazen, CPR 2016: Eastern Europe

S TA N I S L AW W E L B E L / HOST POLAND Stanisław Welbel (Poland, b. 1982) is a curator and art historian. Since 2009, he has worked in Zacheta - National Gallery of Art in Warsaw. He studied art history at Warsaw University, and Postgraduate Museum Curatorial Studies at the Jagiellonian University in Cracow. In 2012, he took part in The 4th Gwangju Biennale International Curator Course, and in 2013 he partook in both The Artis Curatorial Research Trip to Israel, and in the Suddenly Residency “Étoile Manquante” in Beauchery Saint-Martin, France. Presently, he is working on a PhD thesis about Marxism in postwar Polish art history methodology at The Institute of Art of the Polish Academy of Sciences. He curated several shows in Zacheta and other institutions such as: “Ain’t No Sorry” at the Museum of Modern Art in Warsaw (2008), “No sleep!” and “Plein-Air A Good and Risky Event” at the BWA Gallery in Zielona Góra (2010), “No, No I hardly Ever Miss a Show” (2012) and “Cosmos Calling! Art and Science in the Long Sixties” (2014), “John Lurie. I Am Trying to Think. Please Be Quiet” (2015) at Zacheta – National Gallery of Art. Curator of the festival - THE ARTISTS. Visual Artists’ concerts and sound projects (2013, 2014, 2015).

Melissa Aguilar (Colombia, b. 1983) is an independent researcher, curator and a university lecturer based in Medellín, Colombia. Formerly a curatorial assistant at the Museum of Modern Art of Medellín, she received the VIII Historical Curatorship National Award (2015, Fundación Gilberto Alzate Avendaño) and the Research Grant in Visual Arts (2016, Colombian Ministry of Culture).

Rosanna del Solar (Peru, b. 1979) is an independent curator and art producer working in Lima, Arequipa and Mexico City. In 2011 she was part of the project BULTO by the Museo de Arte de Lima - MALI in collaboration with the Mexico-based British artist Melanie Smith, part of the official selection of the 54th Venice Biennale for the Mexican Pavilion.

Susanne Ewerlöf (Sweden, b. 1981) is a curator based in Stockholm. Founding Director of Verkstad Konsthall in Norrköping, Sweden, Ewerlöf is currently the curator working with audience development at Fullersta Gård Art Centre in Huddinge, south of Stockholm, as well as the co-curator of the project IdentityLab, focusing on artistic exchange between Turkey and Sweden.

Joseph Gergel (U.S., b. 1986) is an independent curator and writer based in Lagos, Nigeria. He currently serves as a curatorial adviser to Art Twenty One and Arthouse Contemporary, two contemporary art organizations in Lagos, and as a creative consultant for Moon Moon Studios in London. Gergel was co-curator of three editions of LagosPhoto, and has written for publications including Aperture, British Journal of Photography and Art Africa.

Emma Hazen (U.S., b. 1991) is a curator and writer interested in networked effects and subjectivities. She is the co-director at the project space, Kimberly-Klark, in Queens, NY. Recent projects include an interview with Jacky Connolly for Rhizome, and the group exhibitions Gest’s Candle and MDCCLXXXIV at Kimberly-Klark, and 03: Opening_ to_The_Sighs at Interstate Projects in Brooklyn, NY.

Pedro Portellano (Spain, b. 1979) is a curator and cultural manager. He has collaborated with many institutions including Matadero Madrid, Reina Sofía National Museum, City Council of Madrid, La Fábrica, Palacio Cibeles, and the Spanish Art Promotion Program ARCO Madrid. Since 2010 he has been a regular contributor to El Estado Mental magazine. Portellano is currently developing the contemporary art platform stprojects.

Mariana Rodríguez Iglesias (Argentina, b. 1982) is an independent curator and freelance art writer based in Buenos Aires. She is a contributor to Ramona, an Argentina-based art magazine and has produced Bola de Nieve, the most complete artist database for Argentina. She has worked with the Association of Friends of the Museum of Latin American Art of Buenos Aires (MALBA) and the Faena Arts Center. Rodríguez Iglesias leads the Educational Department at the Museum of Contemporary Art of Buenos Aires.

Alessandra Troncone (Italy, b. 1984) is an art historian and curator. In 2015/16, she participated at the Curatorial Programme at de Appel Arts Centre in Amsterdam, where she co-curated the project “Rien ne va plus? Faites vos jeux!”. Troncone is a member of the Research Department of the Madre Museum in Naples, and a contributor to Flash Art and Luxflux. In 2014, she authored La smaterializzazione dell’arte in Italia 1967-1973 (The Dematerialization of Art in Italy 1967-1973), published by Postmedia Books.

E X H I B I T I O N AWA R D : ( L O N G I N G A N D BELONGING) by ROSANNA DEL SOLAR

Curator-in-residence Rosanna del Solar (Peru) will receive the third CPR Exhibition Award for (Longing and Belonging). Her project for a collective exhibition with works by Lina Romankha (Ukraine), Anna Sorokovaya (Ukraine), Nicolรกs Grospierre (Switzerland/Poland), Roman Stetina (Czech Republic) and Eva Kotatkova (Czech Republic) will take place in Lima, Peru, in 2018.

CPR Core Program Review

CPR 2017: MEXICO MEXICO CITY GUADALAJARA I R A P U AT O OAXACA F E B R U A RY 6 - 2 1 , 2 0 1 7

S P O N S O R S A N D PA R T N E R S

CPR 2017: MEXICO

CPR 2017: Mexico was possible thanks to the support and partnership of the following institutions:

In CPR 2017: Mexico / Production Processes from the Urban to the Rural, curators-in-residence investigated divergent forms of cultural production currently developing across Mexico. The facilitated research took curators to institutions in Mexico City, the established center of contemporary art in Mexico, and to regional sites of cultural transformation and experimentation in Guadalajara and Oaxaca. Mexico City and its most influential institutions like Colección JUMEX and the MACO Art Fair, are internationally recognized as the locus of contemporary art in Mexico. Curators-in-residence met with regional actors who were emerging across the country, who are also developing themselves in dialogue with Mexico City and simultaneously rooting themselves as autonomous sites of production. CPR: Mexico 2017 was an exploration of concurrent modes of production in sites across the country, from frenzied urban centers to intentionally remote retreats. This dynamic scene gave curators-in-residence access to artists, institutions, and the public that feeds Mexico’s growing reputation as an international center of contemporary art.

Secretaria de Cultura de México Fundación Calosa Mexican Cultural Institute of New York Danish Arts Foundation Colección Diéresis Galería Tiro al Blanco Iniciativa Curatorial Marso Maria Casado Galería Restaurant La Chicha

I T I N E R A RY Feb. 6

Arrival Day

Feb. 7-10

Mexico City

F e b . 11

Tr a v e l F e r r y

Feb. 12-15

Guadalajara

Feb. 16

Irapuato

Feb. 17

Tr a v e l D a y

Feb. 18-19

Oaxaca

Feb. 20-21

Tr a v e l D a y s Ph: Elías López

MEXICO CITY

GUADALAJARA

In the capital of the country, curators-inresidence were introduced to local art galleries and the emerging art scene. With a schedule that ran parallel to the public program offered by MACO and Material art fairs, curators visited the artist studios of Minerva Cuevas, Mauricio Limón and Melanie Smith, among others. Meetings with local endeavors such as Terromoto Magazine and Lodos gallery, both located at the Humboldt Building, were complemented by tours offered by curator Humberto Moro and fair director Brett Schultz. The program also included a curatorial workshop at Alumnos 47, and portfolio reviews.

The four-day stay in Guadalajara, the capital of the Northern State of Jalisco, focused on the traditional arts and colonial architecture. In partnership with Colección Diéresis, curators explored a city that in recent years has seen the emergence of a thriving contemporary art scene. The schedule included morning discussion sessions, lunches with local art galleries like Travesía 4, and afternoon visits to artist studios such as Isa Carrillo and José Dávila. In addition they visited non-profit spaces like Ladera Oeste, run by curator Geovana Ibarra and artist Jorge Méndez Blake. The schedule of visits concluded with a trip to Irapuato, where curators met with Fundación Calosa director, Paulina Asencio, who showed them where a new art center will break ground in 2018.

CPR 2017: Mexico. First day of the program, Mexico City, Mexico.

CPR 2017: Mexico. Visit to Taller Mexicano de Gobelinos, Guadalajara, Mexico.

OAXACA

CPR HOSTS

S U S A N A VA R G A S C E R VA N T E S

CPR 2017: Mexico. Visit to Casa San Agustin, Oaxaca. Ph: Marte Danielsen Jølbo

The focus of research in Oaxaca was the decentralization of cultural spaces that the city offers that generate experimental forms of artistic development. Curators travelled by bus from Mexico City, as a means to appreciate and understand the geographic isolation, which reflects a philosophical separation from the vortex of production of urban centers. The agenda included visits to Instituto de Artes Gráficas de Oaxaca, Casa de las Artes San Agustín y Centro Fotográfico Manuel Álvarez, and studio visits to Dr. Lakra, Bayrol Jiménez and Pauline Stork; and the trip closed with a meeting at La Comisión. Oaxaca provided CPR curators-in-residence an artistic retreat with a focus on collaboration and social commitment through the arts.

(Mexico, b. 1977) holds a PhD in Art History and Communication Studies from McGill University, Montreal, Canada. Her research focuses on the different cultural understandings in gender, sex, class and skin tonalities between Latin America and Anglo North America, and their intersection with visual culture. She is the author of the book Mujercitos (2014, Editorial RM). Most recently she co-curated the exhibition In Girum Imus Nocte et Consumimur Igni from the Júmex Collection and Stan Firm Inna Inglan: Black Diaspora in London, 1960-70s, Tate Britain.

“I got an in-sight into an art scene I knew little about, and met with many inspiring individuals who work on projects and in institutions I definitely will continue to follow.” Marte Danielsen Jølbo, CPR 2017: Mexico

C U R AT O R S - I N - R E S I D E N C E

Bermet Borubaeva (Kyrgyz Republic, b. 1988) is an independent curator, artist and urban policy scientist. In 2009 she finished Bishkek ArtEast School of Contemporary Art where she participated and organized varies art-events on local and international levels. She studied at First Moscow Curatorial Summer School and participated in Curatorial research residencies “ReDirecting East” at Centre for Contemporary Art Ujazdowski Castle, Warsaw. In 2012, with Oxana Kapishnikova and Ukhina Diana, she curated Education Program of representation in Bishkek Exhibition called “Lingua Franca/ Franc Tili from Central Asia Pavilion on 54th Venice Biennale, together with InsideOut and ArtEast Initiated Trash-Festivals. In 2014-2016, she organized exhibitions of “Artists-inResidence” CCI Fabrika (Moscow). In collaboration with Documentary movie “Eco Cap”, she organized performance “Café “Non-seller” concerned problem of wasting food (Moscow) and has had several publications in field of art, political science and urban environment. Alejandro Alonso Díaz (Spain, b. 1990) is a curator and researcher with a background in art history and philosophy. He holds an MA in Curating from the Whitechapel Gallery postgraduate program. In 2013 and 2014, Alonso-Díaz was awarded the Botín Foundation grant for curatorial studies. He currently directs the non-profit space fluent.

Nicole Bray (Australia, b. 1979) is an Independent Curator and Contemporary Art Consultant in New York City. Bray was awarded the Robert Rauschenberg Emerging Curator Fellowship in 2015, presenting a museum show with 13 mid-career and emerging artists from around the world, culminating in 2016. Currently, she writes a monthly column on the New York art scene for art|REAL online magazine, targeted at the high-end real estate market. Before starting her company, Mercer Contemporary in 2014, Bray worked at an auction house and continues to work with distinguished art collectors managing their collections. Pietro Della Giustina (Italy, b. 1989) is an independent curator and cultural manager based in Paris. In 2015 he founded Curate It Yourself, non-profit organization that aims to support emerging artists through the creation of a collection and the organization of exhibitions. In 2016 he launched FoDe, a design project that investigates the borders between work of art and design object. In addition, he worked as assistant curator of the Head of the Visual Arts Collection  at the Centre national des arts plastiques in Paris. He currently develops a research project  on artist collectives from the post-World War II to the beginning of 2000.

Julia Morandeira Arrizabalaga (Spain, b. 1986) is an independent curator and researcher based in Madrid, where she co-directs the forthcoming Informal School at the CA2M - Centro de Arte Dos de Mayo. Her practice deals with issues of geography and colonialism, production and exhibition apparatuses in art and culture, and their inscription as sites of knowledge production. Recent projects include the exhibitions: ATLAS OF the ruins OF EUROPE in CentroCentro Madrid and Canibalia at the Kadist Foundation in Paris, the publication Be careful with each other so we can be dangerous together produced at Beta Local in Puerto Rico, and the launching of Cannibal House at the Cultural Centre of Spain in Costa Rica.

Rachael Rakes (USA, b.1980) is an independent curator and critic, currently serving as an editor for the Brooklyn Rail, an editor at large for Verso Books, and programmer at large for the Film Society of Lincoln Center. She teaches a course at Harvard Summer School on Documentary Aesthetics in Contemporary Art, and, with Leo Goldsmith, is at work on a book on the collaborative radical practice of filmmaker Peter Watkins, which received a 2014 Creative Capital/Warhol Foundation Arts Writers Grant. In addition, Rakes has recently contributed criticism to ArtAgenda, Artforum, and Ocula.

Ceren Erdem (Turkey, b. 1979) is a curator based in New York and Istanbul. She has recently co-curated Istanbul. Passion, Joy, Fury at MAXXI (Rome, Italy), contemporary art and architecture exhibition from Turkey that questions issues of urban transformation, social movements, and migration. Other freelance curatorial projects include: Inverse Grayscale (2016, Pasinger Fabrik, Munich); The Water Knows All My Secrets (2015, Pratt Manhattan Gallery, New York), which takes water in its center both as a common under threat and a threatening force for bodies and lands disappearing in it; Private Matters (2014, apexart, New York) which puts forth the of surveillance and limits of the public and the private; How to Dream Otherwise (2012) at Seoul Art Space Geumcheon which focuses on the gentrification projects in Seoul; and Crosstime Stories: Global Subjectivities After 1989 (2012, Wallach Art Gallery, Columbia University, New York) a generational exhibition that brought artists together from Eastern Europe, the Middle East, Caucasus and China. Erdem worked in the Istanbul Biennial and the British Council. She received an M.A. in Modern Art: Critical and Curatorial Studies from Columbia University (2012) and an MFA in Visual Arts and Visual Communication Design from Sabanci University, Istanbul (2004).

Marte Danielsen Jølbo (Norway, b.1984) is an independent curator, writer and editor based in Copenhagen. She has specialised in textiles in contemporary art, sitespecificity, art in public spaces, installation art and performative practices. In 2012 she co-founded Another Space, a project space for art and architecture, together with Nicola Markhus. Jølbo is also co-founder and editor of the web journal Contemporary Art Stavanger. Additionally, she is the editor of several art publications and has contributed texts to publications by the Munch Museum, Norwegian Textile Artists, and the Norwegian Art Yearbook, amongst others. She has received project support and grants from numerous foundations including: Arts Council Norway, Danish Arts Foundation, Norwegian Crafts/Ministry of Foreign Affairs, Office of Contemporary Art Norway, and the Swiss Arts Council Pro Helvetia. She was also the recipient of the 2012 Curatorial Fellowship from Stavanger Municipality Culture Department. She holds an MA in Modern Culture and Cultural Communication from the University of Copenhagen, and a BA in Comparative Literature. Her recent projects include: Permanent Construction at Open Source Gallery, New York; (re) remember study Kansas City at Charlotte Street Foundation, Kansas City; Vertical Displacement at insitu, Berlin; and Unflatten at Prosjektrom Normanns, Stavanger.

CPR Core Program Review

C P R 2 0 1 7 : T H E B A LT I C S E A TA L L I N N STOCKHOLM OSLO MALMÖ COPENHAGEN SEPTEMBER 24 - OCTOBER 19, 2017

C P R 2 0 1 7 : T H E B A LT I C S E A / NORTHERN HORIZONS In CPR 2017: The Baltic Sea / Northern Horizons, curators-in-residence will visit five capitals connected by salt deprived cold seas: Tallinn, Stockholm, Oslo, Malmö and Copenhagen. It is a geographic area that could be described as a corner of Europe, and a region with a history of political and cultural extremes. During this program, CPR partners with the Estonian Contemporary Art Development Center, Outset Estonia, SixtyEight Art Institute, CRIS (Curatorial Residency in Stockholm), and the Danish Arts Foundation. Curatorial residents will be equipped with unique knowledge about the scarcely populated region where one can be surrounded by forest but also gaze far into the distance. Embracing the sea as the center of this program, curators will mainly travel by ferry, and visits will include the two major Nordic biennales: Momentum in Moss, Norway and GIBCA in Gothenburg, Sweden, as well as the young contemporary art biennial Photomonth in Tallinn. Considering the history and varying culture of the Baltic Sea, CPR 2017: The Baltic Sea will finish in Denmark, a country with an egalitarian society and a political system well organized. This program will attempt to evaluate how the visual arts are perceived in each of the visited cities, searching for traditional aesthetics that are transferred into contemporary art practices and modern expressions. It is a wide-ranging itinerary, with the objective of following an overview of different places of production around this Nordic Region.

S P O N S O R S A N D PA R T N E R S CPR 2017: The Baltic Sea is possible thanks to the support and partnership of the following institutions: City of Stockholm Curatorial Residency in Stockholm (CRIS) Danish Arts Council Embassy of Spain in Denmark Embassy of Spain in Estonia Embassy of Spain in Sweden Estonian Contemporary Art Development Center (ECADC) European Cultural Foundation Kultur Skånes Utvecklingsbidrag Nordisk Kulturfond Outset Estonia SixtyEight Art Institute The Czech Center The Nordic Art Association (se) NKF Nordiska konstförbundet (se)

C P R 2 0 1 7 : T H E B A LT I C S E A

TA L L I N N While Estonia is one of Europe’s greenest countries, it also has the continent’s highest number of startups per capita, the most successful and well-known being Skype. Linguistically the Estonian language is closely related to Finnish, as they both belong to the same Finno-Ugric language group. Yet historical events in the 20th century have more closely tied Estonia to its southern neighbors Latvia and Lithuania, who also lost their freedom to Russia in the 1940s, regained their independence in the 1990s, and joined the European Union in the 2000s.

I T I N E R A RY Sept. 24

Arrival Day

Sept. 25-29

Ta l l i n n

Sept. 30

Tr a v e l F e r r y

Oct. 1-5

Stockholm

Oct. 6

Tr a v e l D a y ( s t o p i n Gothenburg)

O c t . 7 - 11

Oslo

Oct. 12

Tr a v e l D a y, Arrival Malmö

Oct. 13-14

Malmö

Oct. 16-18

Copenhagen

Oct. 18-19

Departure

Tallinn has three major art institutions focused on contemporary art, as well as several nonprofit art spaces, initiatives, and galleries, which all help to create a compact but extremely vibrant art scene. Tallinn’s central position is supported by the Estonian Academy of Arts, which is currently in the process of building a new home in the northern part of the city. Because several of the major initiatives in the Estonian contemporary art world have been grassroots efforts for decades, the Estonian Contemporary Art Development Center (ECADC) has taken the initiative to fundraise for the construction of a shared work and programming space for key contemporary art organizations, festivals, and biennials in Estonia. The proposed venue in an old submarine factory on the Tallinn waterfront will open in the fall of

STOCKHOLM The political history and culture of the Scandinavian countries have many similarities, but Sweden often stands out in global estimations as one of the least conservative and religious countries in the world with the highest levels of tolerance and selfexpression. With some high profile names in the history of curating such as Pontus Hultén and Maria Lind the Swedish art scene is highly international. Curators of CPR will be introduced to influential art centres and a plethora of artistic practices, some of which address feminism, identity and others that work between art and science. We will see how the possibilities to produce art are linked to the political system and participants will become acquainted with the impact of cultural policies on artists, institutions and other artistic agents.

ÖRESUND BRIDGE Öresund is a strait that forms the Swedish - Danish border and separates the Danish Island Sjælland from Skåne, the most southern region of Sweden. Since 2000 the Öresund Bridge connects the cities Copenhagen and Malmö, forming a joint labour market and possibilities for exchange. During our visit the curators of CPR will meet some of the most prominent art institutions and artists on both sides of the strait and learn how these to cities exists in proximity to each other and to the rest of the European continent.

G O T H E N B U R G I N T E R N AT I O N A L B I E N N I A L O F C O N T E M P O R A RY A R T Curated by Nav Haq, GIBCA 2017 looks to address complex questions on the status of secularity today.

OSLO Norway has strong historical links to Sweden and Denmark, all speaking very similar language and having belonged to joint and separate territories throughout the centuries. Norway became independent in 1905 and difference to Sweden it was occupied during the Second World War. Today Norway is a non-EU country and one of the wealthiest nations in the world since oil deposits was found in the late 60’s. Appreciated for it’s spectacular nature Norway is the home of the world’s larges population of Sami, indigenous people likewise populating Northern Sweden, Finland and Russia. Oslo has a vibrant artist-run and also international art scene and in recent years seen a massive transformation with spectacular architecture like Snøhetta´s opera house.

COPENHAGEN Copenhagen -the capital of Denmark is the smallest of the Nordic countries- has also been nicknamed the capital of Scandinavia, battling with Stockholm for the touristic titling. The city is placed centrally in short proximity to other Scandinavian countries such as Sweden, Norway, but also Island, Faroe Island. The country consists of a peninsula, Jutland surround by no less than 443 named islands. Denmark is known for being a socially progressive culture as Denmark was the first country to introduce gay marriages and legalize pornography. The culture is very focused on equality both in term of the law and the social class systems. Denmark has a rich intellectual and artistic heritage. Today the art scene is characterized by new ambitions and international experiments from the city’s ‘kunsthalles’ and the artists run scene in parallel to the ironic and international status Louisiana Museum of Modern art. The visit to Copenhagen will include visits to non-art institutions to look at how the curatorial be embedded in historical sites and collections. The visit will also cover the artists run scene, where the independent curating takes place and look at ways in which this scene has flourished over time via self-organization. Curators-in-Residence will explore how the ideas that shape contemporary art practices today are formed and produced in this region before they move to larger cities for presentation and distribution. In concluding the program, Copenhagen will serve to evaluate its particular aesthetics and traditions in respect to the different visited cities. By choosing to finish in Denmark, a country with an egalitarian society and a political system well organized, CPR The Baltic Sea will attempt to evaluate how the visual arts are perceived in each of the visited cities, searching for traditional aesthetics that are transferred into contemporary art practices and modern expressions. It is a wide-ranging itinerary, with the objective of following an overview of different places of production around this Nordic Region.

THE NORDIC BIENNIAL OF C O N T E M P O R A RY A R T M O M E N T U M Besides visiting the Capital Oslo the curators will also be invited to the small city Moss, one hour south of the capital hosting the International Nordic biennial of contemporary art, Momentum. The 9th edition is curated by 5 Nordic curators and brings up the theme of alienation.

OUR TEAM

KARIN LAANSOO / CPR H O S T / TA L L I N N Karin Laansoo (Estonia, b. 1976) is a curator and Director of the Estonian Contemporary Art Development Center (ECADC). Originally from Estonia, she has been based in New York City since 2006. After receiving her MA in Art History from the Estonian Academy of Arts in 2002, she has worked as a producer and Gallery Manager in Tallinn and New York. From 2008 to 2013 she was Director of PointB – an international artist residency and studio space in a former ironworks factory in Williamsburg, New York. She has curated numerous exhibitions and projects in the United States and in Europe. Her passions for creating platforms and audiences for new talents has lead Karin to publish the award-winning book 22+ Young Estonian Artists (2005) and launched a biennial multidisciplinary festival Bioest in New York in 2011. In 2013, the Estonian Ministry of Foreign Affairs honored Karin for her work introducing Estonian contemporary culture in New York. Since 2012 Karin has been the Director of ECADC, a nonprofit foundation focused both on fostering international exposure for artists from Estonia, and on developing the contemporary art scene in Estonia. Functioning as an umbrella organization for Estonian partner institutions, the center is creating strategic international partnerships in the field of contemporary art.

IBEN BACH ELMSTRØM / CPR HOST / COPENHAGEN Iben Bach Elmstrøm (Denmark, b. 1983) is an independent curator, based in Copenhagen, Denmark. She holds an MFA in Curating from Goldsmiths University (2014). Iben is working with a range of contemporary art and curatorial projects, such as those concerned with the interplay between aesthetic dimensions, conceptual potentials and political imaginaries and questioning. Elmstrøm is also the director of SixtyEight Art Institute, an artistic and curatorial research organization looking to uncover, develop and further new exchanges between artists and curators. Recently she curated the exhibition ‘The emperor is Naked’ at Waiting Room in Minneapolis (2017) and ‘Exchanging Money for Workspace’ at SixtyEight Art Institute in Copenhagen (2017). Iben will be the curator of Ars Memoria, a large exhibition showing works by Danish artists Helene Nymann at ‘The Round Tower’ in Copenhagen - a historic star observatory from 1642. The exhibition is concerned with ancient mnemonics and cosmic speculations developed by philosopher Giordano Bruno. The exhibition combines contemporary artistic expression with ancient thoughts and ideas, by operating between past and future encyclopedic systems, body and brain, technology and science.

OUR TEAM

J O N ATA N H A B I B E N G Q V I S T / CPR HOST / STOCKHOLM (Sweden, b. 1973) is an independent curator and writer. Currently, he is co-curator of the process-based biennale Sinopale in Turkey and Survival Kit 9 in Latvia, organising New Småland in collaboration between 4 art institutions in southern Sweden and running the small-scale Curatorial Residency In Stockholm (CRIS). He was co-curator of the Momentum biennale 2015, project manager for visual art at Iaspis (2009-2014), curator of Reykjavík Arts Festival 2012, and has been employed as curator at Moderna Museet (2008-09). Has written for and edited books and journals, and is editor in mischief at tsnoK.se and teaches regularly at The Royal Institute of Fine Art in Stockholm.

SUSANNE EWERLÖF / CPR HOST / STOCKHOLM / PROGRAM MANAGER Susanne Ewerlöf (Sweden, b. 1981) is a curator based in Stockholm, currently working with audience development at Fullersta Gеrd Art Centre. She is the founder and board member of Verkstad Konsthall in Norköping, Sweden, where she was the Director until 2016. Previously, she was the Project Manager for the international Artist-in-Residence program Norköping Air (2013-2015) and an exhibition curator at Norköping Art Museum (2012-2014). She was the curator and producer of the Museum’s centennial exhibition Acting in the City (2013). Ewerlöf is an alumna of the CPR program (Eastern Europe 2016) as well as Residency Unlimited, NYC (2015). She has an MA degree in Culture and Media from Linköping University. Her recent independent project has a focus on Cultural Heritage and Identity and she has delved into these issues in the exhibition Becoming by Recalling (Linköping, Sweden 2015) and the projects IdentityLab (Sweden/Turkey 2016) and Exchanging Notes (Sweden/Turkey/Ukraine 2016).

C U R AT O R S - I N - R E S I D E N C E

Rachel Cook (USA, b. 1977) is a Curator at DiverseWorks in Houston, where she commissioned projects by Keren Cytter, Danielle Dean, Tony Feher, Oliver Herring, Chelsea Knight, Liz Magic Laser, Kristin Lucas, Pepe Mar, Heather and Ivan Morison, Sheila Pepe, Sondra Perry, Mark Tribe, and Wu Tsang. Cook previously worked for dOCUMENTA(13)’s publication team, and was a fellow for the International Studio & Curatorial Program in New York. She has an MA from the Center for Curatorial Studies at Bard College and a BFA from the San Francisco Art Institute. Last year she received a Curatorial Fellowship from The Andy Warhol Foundation for the Visual Arts to research a series of Walker Evans’ photographs from the African Negro Art exhibition at MoMA in 1935. Her recent projects include: What Shall We Do Next? by French artist Julien Prévieux, and The School for the Movement of the Technicolor People. Her writing has appeared in a number of art journals, including Modern Painters, Flash Art, and Prospect 3’s catalog. She is currently the Guest Editor of Art Lies for Gulf Coast, a journal of literature and fine arts.

Agata Chinowska (Poland, b. 1979) is a curator based between Warsaw and Bialystok, Eastern Poland. She has an MA in Art History and an MA in Hungarian Studies from the University of Warsaw, and completed Postgraduate Curatorial Studies at the Institute of Art History of the Jagiellonian University in Kraków. Chinowska has previously collaborated with private galleries in Warsaw, and since July 2014, she is in charge of the Program Department at The Arsenal Gallery in Bialystok, Eastern Poland. Chinowska has produced several exhibitions of Polish and international artists including The Pure Tongue, The Subjective Female Documentalists, Agnieszka Polska, Karolina Bregula, Ciprian Muresan solo presentations, amoung others. Samira Hashemi (Iran, b. 1982) is an artist, curator and educator based in Isfahan, Iran. She is currently a visiting lecturer at Sepehr Art University Isfahan. Hashemi is Co-founder and Codirector of Va Space and residency, an independent art space in Isfahan, Iran, which hosts national and international artists, critics and writers to engage with the local community. Additionally, she is Co-director of the Art space at CC Isfahan (Center for Contemporary Creation) in Iran, where she curated two interdisciplinary projects projects: Cafe Polina and Failure of Architecture. She received an MFA in New Genres from San Francisco Art Institute in California, and a BFA from Birmingham City University in the United Kingdom.

Inês Geraldes Cardoso (Brazil, b. 1990) is an independent curator and writer working between London and Lisbon. After her MA in Curating Contemporary Art at the Royal College of Art, Geraldes Cardoso worked as curator in residency at the Fondazione Sandretto Re Rebaudengo, Turin. She has previously collaborated with Kunsthalle Lissabon, the Peggy Guggenheim Collection, and Situations. Geraldes Cardoso’s practice draws on her background in Art History and Social Anthropology from the University of St. Andrews. Her work is currently concerned with fostering critical, crosscultural exchange in order to develop collaborative models that foreground artistic investigation. Her recent projects include: Sorry you missed me at the Royal College of Art and Planta, and Notes on Botanical Dissidence at Acme Project Space. Forthcoming projects include exhibitions at the Fondazione Sandretto Re Rebaudengo, Turin and at Galeria da Boavista, Lisbon, selected in the 2016 edition of EGEAC’s Young Curators Open Call.

C U R AT O R S - I N - R E S I D E N C E

Eva Riebová (Czech Republic, b. 1987) currently works as a curator at MeetFactory Center for Contemporary Art in Prague. Riebová has a BA in Art History from the Charles University and Academy of Arts, Architecture and Design in Prague, and completed postgraduate studies at New York University in New York City. She previously worked in Berlin and Prague in Art Business, focusing on Eastern European Art, and worked as a manager for international cultural projects such as Prague Quadrennial. During this time she also worked as a freelance curator, an art historian, and she was involved non-profit activities where she focused on site-specific projects within socio-cultural events and festivals such as Povaleč, Živé město/ Living City. Helena Santos Elorriaga (Spain, b. 1985) is an art producer, cultural manager and independent curator. She has an M.A. in History of Art from the University of Granada, Spain, and completed postgraduate studies on International Cooperation and Human Rights-Based Approach at the Pontificia Javeriana University of Bogota, Colombia. Santos Elorriaga worked as Cultural Manager for the Spanish Agency for International Cooperation in South Africa from 2013-2015. She returned to Spain in September 2015 where she has been part of the core team of Slowtrack, a contemporary art space in Madrid. Santos Elorriaga is currently developing an international platform in Madrid, linking different regions of Europe to the South African contemporary art scene, as well as developing independent curatorial projects.

Ainslie Roddick (United Kingdom, b. 1987) is a curator working in Scotland at the Centre for Contemporary Arts, Glasgow. She currently manages CCA’s open source program and international residencies, as well as curating exhibitions and public programs throughout the year. Recent projects include: The Sky is Falling, an exhibition and long-term event program examining the disposition and potential of urban space and cities, with works by Black Audio Film Collective, Laura Oldfield Ford, Clara Ianni, Dora Mejía and Carol Rhodes. In addition, Roddick is editor of 2HB – a journal for artists’ creative writing published by CCA, and is co-founder of Publication Studio Glasgow. She is currently taking part in the Curatorial / Knowledge Masters in Research program at Goldsmiths University, London. Wong Binghao (Singapore, b. 1991) is an independent curator and writer. His work explores the nuances, realities, and pitfalls around the concepts of ‘identity’ and ‘representation’. In particular, Wong is invested in researching and formulating new vocabularies that address the overlaps between transnational feminist and queer theory, critical transgender studies, de-colonial ethics, and contemporary art. His past curatorial projects include: WE ARE LOSING INERTIA (2014), Asymmetric Grief (2015), and Fault-lines: Disparate and desperate intimacies (2016). He has written for publications such as LEAP and Kaleidoscope. In 2015, he received his B.A. in History of Art from University College London, and was selected to participate in Para Site’s inaugural Workshops for Emerging Professionals.

C P R F I L M F E S T I VA L

CPR Film Festival is a series of film and video exhibitions around the world, by curators who have participated in our programs. Featuring works by artists living in cities visited during our Core Programs, the CPR Film Festival is one of the platforms that CPR provides for the professional development of our curators in residence.

T H E E A R T H B O U N D , C U R AT E D BY NIEKOLAAS JOHANNES LEKKERKERK DECEMBER 1-6, 2015 CANNONBALL N O R T H M I A M I AV E N U E MIAMI, FL The Earthbound was realized within the framework of the first CPR fundraising event, hosted by Cannonball, Miami, and coinciding with Art Basel Miami Beach. This Film Festival includes works by Merike Estna, David Ferrando Giraut, Tuomas A. Laitinen, Tanel Rander, Jenna Sutela, Jaan Toomik, Anna Zett. The Earthbound was curated by Niekolaas Johannes Lekkerkerk, resident of CPR 2015: Eastern and Northern Europe.

Ph: Still from The Powder of Sympathy, by Tuomas A. Laitinen

Installation view Cannonball Miami - December 2015

C P R F I L M F E S T I VA L

Ph: Still from La Figure de la Terre, by Axel Straschnoy

CLOSER TO THE BORDER, C U R AT E D B Y TA I N Á A Z E R E D O S U N D AY, M AY 2 2 , 2 0 1 6 A R T E B A A R T FA I R - O P E N F O R U M 2 7 0 4 AV E N I D A S A R M I E N T O BUENOS AIRES ARGENTINA A selection of six films address the limits by which structures, language, values, policies, stories, desires and traumas are defined. Azeredo, a resident in CPR 2015: Eastern and Northern Europe, was invited to curate this Film Festival for the 25th anniversary edition of arteBA. Artists: Jaan Toomik (Estonia); Axel Straschnoy (Finland / Argentina); Regina Parra (Brazil); Marge Monko (Estonia); Minna Långström (Finland). Presented by Carmen Ferreyra, CPR Director, with the support of Fundación Iberoamericana de Finlandia.

Ph: Still from 7.536 passos (por uma geografia da proximidade), by Regina Parra

Ph: Still from Red Dawn (Punane Koit), by Marge Monko

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