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Reading Committee

Reading committee

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Mathilde Arnoux studied art history at Universities of Paris I, Paris IV and at the Ecole du Louvre. She defended a PhD thesis in November 2003 entitled La Réception de la peinture germanique par les musées français entre 1871 et 1981. Between 2000 and 2002, she was assistant at the Jean Arp Foundation in Clamart and, from 2002 and 2003 she was researcher at German Forum for Art History, Paris, for the “Deutsch-französische Kunstvermittlung 1870-1940” project. She has supervised the critical edition of Henri Fantin-Latour and Otto Scholderer’s correspondence since 2004. She is nowadays Chief Scientific and head of the French-speaking publications department of the German Forum for Art History. The main research domains of Mathilde Arnoux focus on French and German Art of the 19th and 20th centuries, history of museums and history of the cultural transfers and reception. She is Principal Investigator of the project research “OwnReality – A chacun son réel. La notion de réel dans les arts plastiques en France, RFA, RDA et Pologne de 1960 à la fin des années 1980” since 2011 andfunded by a Starting Grant of the European Research Council (ERC).

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Paula Barreiro Lopez defended a PhD thesis at Complutense University of Madrid and is now working at the Centro de Ciencias Humanas y Sociales (Madrid). Her research areas deal with art criticism, cultural policies, European cultural exchanges during Cold War and Spain’s artistic trends of the 1950’s, 1960’s and 1970’s. Her latest publications focus on geometrical Abstraction in Spain (La Abstracción geométrica en España, CSIC, 2009) art criticism in Europe (“La Biennale di San Marino et le convegno di Rimini de 1963: Argan, Restany et Aguilera Cerni vers un art engagé”, in Le Demi-siècle de Pierre Restany, 2009) and cultural policies under Francoist Spain (“La invención de la vanguardia en la España franquista: estrategias políticas y realidades aparentes”, In Verdades cansadas, 2009). She is currently completing a book about Spanish art criticism of the 1960’s and the 1970’s and also a collective publication about critical discourses from Cold War to Globalization.

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Nathalie Boulouch is a lecturer and researcher in Contemporary Art history and Photography at the University of Rennes 2. Her researches deal with the issues of color (theories, aesthetic, absorption) especially in 19th and 20th centuries photography and also with the relationship between contemporary art and photography. She has written several publications about these questions including Le Ciel est bleu (2011). She is member of the reading committee of Etudes Photographiques and also of Critique d’art which she joined in 1999. Vice-President of the French Photographic Society, she is heading the Archives de la critique d’art.

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Baptiste Brun has been lecturer and researcher in Contemporary Art at the University of Rennes 2 since September 2015. His fields of research include the interactions between artistic creations, art history and anthropology during the second half of the 20th century and more specifically on publication and artworks related to Art brut and on the epistemology of art history through primitivism’s perspective.

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Sophie Cras is a lecturer and researcher at the University Paris I Panthéon-Sorbonne. Her works focus on creative and critical eye, contemporary artists take on economy. Her upcoming publication L’Economie à l’épreuve de l’art : art et capitalisme dans les années 1960 will be published shortly within Les Presses du réel. She is also completing an anthology of economical treaties written by artists and is training a seminar dedicated to the 1980’s, her new area of investigation.

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Elitza Dulguerova is Assistant professor in Theory and History of contemporary art at the Université de Paris I. Since 2016, she is on leave as scientific advisor at the Institut national d’histoire de l’art. Her research follows two main directions: the history of ideas & the social history of art in Russia/URSS, including the avant-garde period; the study of exhibitions as artistic and social challenge in 20th and 21st century art, including the issue of exhibition remakes. Her book Usages et utopies : l’exposition dans l’avant-garde russe prérévolutionnaire (Dijon: les Presses du reel, 2015) brings together these two fields by focusing on the role that group exhibitions played for artists in Russia in the first two decades of the 20th century. In 2010, she edited a special issue of the scholarly journal Intermédialités on “Exposer/Displaying”.

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Jean-Marc Huitorel is an art critic and curator. He lately published L'Art est un sport de combat (with Barbara Forest and Christine Mennesson, 2011) and contributed to the monographic publication, Les Frères Chapuisat (2012). He also wrote a monographic catalogue dedicated to Yves Bélorgey (with Jean-François-Chevrier) published within the MAMCO in 2012. He organized an exhibition in partnership with Catherine Elkar from the Frac of Brittany and Marcel Dinahet entitled Ulysses, l'autre mer.

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Hélène Jannière is a professor in Contemporary architecture history at the University of Rennes 2. After several publications about architecture journals, her latest researches deal with history of urban planning after 1945 and with architectural criticism of the 20th century, especially in France from the 1950’s to the 1970’s. Her last publications about this topic include Architectural Periodicals in the 1960s and the 1970 (Montréal, 2008) with F. Vanlaethem and A. Sornin. She also directed with Kenneth Frampton the issue 24/25 of Cahiers de la Recherche Architecturale et Urbaine, « La Critique en temps et lieux » (2009).

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Antje Kramer is a German professor in Contemporary Art history at the University of Rennes 2. She is particularly interested by the relations between the avant-gardes and the neo-avant-gardes and by the archives and the writings of 20th century artists. She recently published her PhD thesis, L’Aventure allemande du Nouveau Réalisme : réalités et fantasmes d’une néo-avant-garde européenne (1957-1963) and acommented anthology, Les Grands Manifestes de l’art des XIXe et XXe siècles (2011).

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Alexis Vaillant was in charge of the Project department of the capcMusée of Contemporary Art, Bordeaux, which gather the temporary exhibitions and the museum’s collection exhibitions, the cultural program and the museum archives. He holds degrees both in art history and philosophy. He recently curated the collective exhibitions BigMinis : fétiches de crise, Dystopia, Sociétés Secrètes, L'Œuvre et ses archives and the monographic exhibitions dedicated to Robert Breer, Johan Furaker, Michael Krebber and Jonathan Binet. He is also preparing the exhibitions One-Shots, L'Espèce de chose conceptuelle and is working with the artists Markus Schinwald, Apitchatpong Weerasetsakul, Hayan Kam Nakache, David Lieske, Raphael Hefti on solo projects, and also on a retrospective dedicated to Sylvia Sleigh. He published the writings of Peter Hutchinson and of Marc Camille Chaimowicz (2013) wrote several texts published in monographic catalogues and directed collective publications. He is a regular contributor to magazines such as Frieze and Mousse.

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Erik Verhagen is a lecturer and researcher in Contemporary Art history at the University of Valenciennes and is also an art critic. He is currently working on the research program about “practicable” art funded by the French National Agency for Research. His latest publications focused on Marc Desgrandchamps, François Morellet and Georg Baselitz.

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Tania Vladova is currently teaching at the School for Advanced Studies in the Social Sciences of Paris where she is training a seminar entitled “Image et texte, XVIIIe-XXIe siècles”. She used to be a Research Fellow at the German Forum for Art History, Paris as part of the project « Esthétique et histoire de l’art ». She is co-founder and member of the reading committee of the on line review Images Re-vues (http://imagesrevues.revues.org). Her research fields deal with the aesthetic of improvisation, the science of art and with the links between arts and literature.

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Elvan Zabunyan is a professor at the University of Rennes 2, an art critic and a curator. After a PhD thesis on African-American visual arts since the 1960’s published under the title Black Is A Color: une histoire de l’art contemporain africain américain, she is currently working on the relationships between art history, postcolonial and feminist theories in the United-States.

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David Zerbib is teaching philosophy at the Geneva School of Art and Design and coordinates the Research Unit of the Ecole Supérieure d’Art in Annecy. Fellow to the center Culture Esthétique and Philosophie de l’Art (CEPA) of the university Paris 1-Panthéon Sorbonne, his researches focus on contemporary philosophy of art, the question of artistic performance, experimentation and format. Member of AICA-France, he is collaborating to several reviews in a wide artistic and academic context, both in France and overseas. He lately edited In octavo : des formats de l’art (Presses du réel /ESAAA, 2015) and co-published  Performance Studies in Motion, International perspectives and practices (Bloomsbury, 2014).

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