International Scientific Committee
Juan Vincente Aliaga is a Professor of Modern and Contemporary Art theory at the Universitat Politècnica of Valencia, Spain. His work involves the relations between art and feminism, gender and queer studies. He is the author of publications such as Orden fálico. Androcentrismo y violencia de género en las prácticas artísticas del siglo XX (Madrid, Akal, 2007) and of Arte y cuestiones de género (San Sebastián, Nerea, 2004). He also curated the following exhibitions: Akram Zaatari (2011); En todas partes. Políticas de la diversidad sexual en el arte / everywhere. Sexual Diversity Politics in Art (2009); Martha Rosler (2009); La Batalla de los géneros / Gender Battle (2007); Hannah Höch (2004); Pepe Espaliú (2003); Claude Cahun (2001).
Joerg Bader has practiced art criticism since 1996. In 2003, he was appointed director of the Centre of Photography Geneva where he curated 70 individual exhibitions and about 15 collective and thematic exhibitions. He also created the Triennal of Photography 50JPG and in 2007 he launched the Centre of Photography Publishings.From 2002 to 2016, he taught at La Haute Ecole d’Art of Perpignan and from 2004 to 2009 at the Geneva School of Art and Design. He has lived between Geneva and Belo Horizonte, Brazil since 2008. Joerg Bader is also a member of the International Association of Art Critics and of commissions for grants supports for photography in Geneva and in the National Centre for Visual Arts (CNAP). His works as an author and as a publisher brought him to contribute to 25 publications about artists and 10 collective books and catalogues.
Marek Bartelik is an art historian, an art critic and a poet. He has taught Modern and Contemporary Art at the Cooper Union for the Advancement of Science and Art in New York since 1996. He was also a Visiting Professor at Yale University and at the MIT. He is currently serving as Co-President for AICA United States and as Vice-President of AICA International. He lectures nationally and internationally, among other places, at the MoMA in New York, the Polish Academy of Science in Warsaw, the Municipal Museum in The Hague, the Mondrian House in Amersfoort, Holland, the Museo Nacional de Bellas Artes, Buenos Aires, Argentina and the Pinacoteca, São Paulo, Brazil. His articles appeared in, among other magazines and newspapers, Artforum, CAA Art Journal, Art in America. He also edited The Sculpture of Ursula von Rydingsvard (1996); To Invent a Garden: The Life and Art of Adja Yunkers (2000); Early Polish Modern Art: Unity in Multiplicity (2005); POZA: On the Polishness of Contemporary Polish Art (2008) and GDR/DDR: Contemporary German Painting from Portuguese Collections (2008).
Christian Besson is a member of the Archives de la critique d’art. He lives near Dijon, France, where he studied History of Art alongside Roland Recht, Serge Lemoine and Michel Frizot. He also studied philosophy in Grenoble. This double degree is reflecting in his doctoral thesis: Au Gai savoir de la critique, dealing with art history and semiotics, defended in 2001, in Rennes. This work has laid the foundations of his book Abductions. Nowadays, he is teaching at the Geneva School of Art and Design.
Christophe Domino is a French historian, art critic and art theoretician. He also works as a curator and as an author. He is a former member of the International scientific committee of Critique d’art from 2002 to 2011. Christophe Domino teaches at the Ecole Supérieure des Beaux-arts de Tours-Angers-Le Mans (ESBA TALM).
Robert Fleck is a curator responsible for the collections and for the exhibitions of the Kunstakademie of Düsseldorf where he also serves as Vice-President. Within this academy, he has taught the relation between art and the public sphere since 2012-13. After his studies at the universities of Vienna, Innsbruck and Paris from 1976 to 1987, he defended a PhD thesis in history entitled La Révolution de 1848 à Paris, le rôle des artistes et l’invention de l’Etat Providence. Appointed Officer of the Order of Arts and Letters in 2011 by the French Minister of Culture, he created the European Biennial of Contemporary Art Manifesta 2 (Luxembourg, 1998), the exhibition of the 100th anniversary of the Vienna Secession, the Biennial of Torino (2000) and the Austrian Pavilion at the 2007 Venice Biennial. He headed the Center for Contemporary Art – House of Photography Deichtorhallen of Hamburg from 2004 to 2008 and the Art and Exhibition Hall of the Federal Republic of Germany in Bonn, from 2009 to 2012.
Véronique Goudinoux is a Contemporary Art historian and theoretician. She defended a PhD thesis in 1996 about the issues and debates of Italian art after 1945. Her researches are now focusing on the studies of the artistic group practices (plastic and visual arts) in the 20th century and on the issues regarding the sexuation and the Contemporary Art practice. She cofounded the journal Critique d’art in 1993 and is a member of its reading committee since 2011.
Laura Iamurri is a Contemporary Art history professor and a member of the Doctoral School of Roma Tre University. She primarily works on the relations between the production of Contemporary Art and the rhetoric of history and art criticism. Her later researches have been focused on the visual culture and the artists’ networks, reviews, critics and galleries of the 20th century. She is also working on Modern Art historiography, feminism and the arts in Italy and on the memory of the Shoah and the anti-fascist resistance. Her last book is dedicated to Carla Lonzi (Un margine che sfugge. Carla Lonzi e l’arte in Italia, 1955-1970, (Quodlibet, Macerata 2016) for whom she already reissued Autoritratto, Milan 2010 and collected with L. Conte and V. Martini, the Scritti sull’arte, Milan 2012.
Christophe Kihm is an art critic, member of the editorial team of Art press, and professor at the Geneva School of Art and Design. He is also teaching at the Swiss Federal Institute of Technology in Lausanne and is an independant curator.
Elisabeth Lebovici is an art critic and chief editor of Pop’lab. She worked during 15 years at the Cultural service of Libération and was chief editor of Beaux-arts Magazine. She has taken part at several projects involving artists, publications (on Annette Messager, Georges Tony Stoll or Valérie Mréjen), seminars (“Something you should know “at the School for Advanced Studies in the Social Sciences since 2006), exhibitions and festivals but also more militant projects. She teaches and she writes critical chronicles in her blog “Le Beau Vice” and she is the author of referential works such as Femmes artistes, artistes femmes, la création à Paris au XXe siècle. Elisabeth Lebovici is one of the founding members of Critique d’art and co-hosted its reading committee from 1993 to 2011.
Jacques Leenhardt is a Director of studies at the School for Advanced Studies in the Social Science, Paris. He works on art and literature especially from Latin America. Art critic and curator, he has been dedicated to landscapes for many years. Among others publications, he is the author of Lecture politique du roman (1973), Lire la lecture (1982) Les Amériques latines en France (1992), Dans les Jardins de Roberto Burle Marx (1994), Villette-Amazone (1996), Michel Corajoud paysagiste, (2000), Conscience du paysage (2002), A Construção francesa do Brasil, (2008), Wifredo Lam, une monographie (2009).
Kim Levin is an art critic and a curator. She was a recurring correspondent of The Village Voice from 1983 to 2006. Since then, she has written in Art News on a regular basis. Kim Levin is the author of Beyond Modernism: Essays on Art from the ‘70s and ‘80s (1988). She taught at the Philadelphia College of Art, at Parsons the New School for Design, at the Claremont Graduate School and at The School of Visual Arts. She organized exhibitions in South Korea, in Denmark, in Germany, in Japan, in Norway, in Poland and in the United States. From 1996 to 2002, she was the President of AICA International of which she is now the Honorary President. She was awarded by the Art/World for Distinguished Newspaper Journalism in 1986 and by the San Francisco Museum of Modern Art for the SECA Fellowship for Criticism in 1993.
Henry Meyric Hughes is an independent curator, advisor and author in the art field. From 1968 to 1992, he worked for the British Council in Germany, in Peru, in France and in Italy where he served as Director of Visual Arts (1986-92) and as Director of Visiting Arts (1994-96). He was then Director of the Hayward Gallery and was also the British Commissioner for the Venice Biennale and the São Paulo Biennial between 1986 and 1992. He curated several exhibitions such as Blast to Freeze: British Art in the Twentieth Century in Wolfsburg and Toulouse (2002-03), the Cypriot Pavilion at the 2003 Venice Biennale and touring exhibitions of Contemporary Art in Oslo (2005-06). He co-curated the 30th Council of Europe exhibition for art and history, The Desire for Freedom: Art in Europe since 1945 in Berlin Deutsches Historisches Museum. Honorary President of AICA France, he also co-founded Manifesta in Amsterdam which he ran from 1996 to 2007. He ensured the functions of advisor for the UNESCO and for the Council of Europe and is now a member of les Archives de la critique d’art.
Maria Stavrinaki is a professor at the University Paris I Panthéon-Sorbonne where she is teaching Contemporary Art. Her researches focus on art temporalities and history conceptions and also on the relations between art and politics in the two last centuries. Her latest works involved the special issue « Préhistoire/Modernité » with Rémi Labrusse for Les Cahiers du MNAM (#127, Spring 2014) and also the publications Dada Presentism. An Essay on Art and History (Stanford University Press, 2016) and Contraindre à la liberté : Carl Einstein, les avant-gardes, l’histoire (German Forum for Art History, Paris, 2017).
Philippe Vergne serves as Director of the MoCA (Museum of Contemporary Art) of Los Angeles. He also ran the Museum of Contemporary Art of Marseille (MAC) from 1994 to 1997 before his nomination at the Walker Art Center of Minneapolis as a curator, function he ensured with an interruption in the 2000’s where he was hired by François Pinault to head the foundation that the businessman considered to establish at Île Seguin. Eventually, François Pinault’s decision to move to Venice, brought Philippe Vergne back to the Walker Art Center. He left the center in 2008 after a quite successful experience as co-curator in 2006 at the Whitney Museum Biennial. He is now at the head of the DIA Art Foundation of New York, the legendary institution created in 1974 by Philippa de Menil and Heiner Friedrich.