curator of documenta 14, which will take place in Kassel and Athens in 2017.
Hendrik Folkerts is curator of documenta 14, which will take place in Kassel and Athens in 2017. He studied Art History at the University of Amsterdam, specializing in contemporary art and theory, feminist art history and performance practices.
From 2010 until 2015 he was Curator of Performance, Film & Discursive Programs at the Stedelijk Museum in Amsterdam. Folkerts curated the Public Program of The Temporary Stedelijk at the Stedelijk Museum, a special interim program that was presented from August 2010 until October 2011, as well as Temporary Stedelijk 3: Stedelijk @ (TS3) from October 2011 until September 2012. Developed in close collaboration with various partner institutions and executed at their locations throughout Amsterdam, the innovate program of TS3 featured performances, exhibitions, lectures and public interviews, symposia, film screenings, and concerts. Following the grand reopening of the Stedelijk Museum in September 2012, Folkerts continued the Performance, Film & Discursive Programs in the museum, working with such artists as Alexandra Bachzetsis, Pablo Bronstein, VALIE EXPORT, Dominique Gonzalez-Foerster, Sharon Hayes & Brooke O'Harra, Matthew Lutz-Kinoy, Ulrike Rosenbach, Emily Roysdon, Hito Steyerl and Wu Tsang.
Prior to his position at the Stedelijk Museum, Folkerts was co-ordinator of the Curatorial Program at De Appel arts centre in Amsterdam from 2009 until 2011.
He frequently publishes in journals and on platforms such as Artforum, The Exhibitionist, Metropolis M, The Journal for Art and Public Space, Afterall Online, and for exhibition catalogues. Folkerts is co-editor of Shadowfiles: Curatorial Education (Amsterdam: de Appel arts centre, 2013) (with Ann Demeester) and Facing Forward: Art & Theory from a Future Perspective (Amsterdam: AUP, 2015) (with Christoph Lindner and Margriet Schavemaker). He is one of the founding editors of the peer-reviewed journal Stedelijk Studies, and together with Sophie Berrebi edited the third issue of the journal on ‘Performance’ (Amsterdam: Stedelijk Museum, 2015).
Curator and art-critic, she lives and works in Bourges (F).
After studying Art History, Human Science and Communication in Belgium and Spain, Hilde Teerlinck started her career as artistic coordinator of the Mies Van der Rohe Pavilion in Barcelona, where she invited renowned artists such as Jeff Wall, Panamarenko, Thomas Ruff, Hiroshi Sugimoto as well as younger artists like Dominique Gonzalez-Foerster to realize site-specific interventions creating a dialogue with this landmark building.
Afterwards she moved to Perpignan, France, where she founded a “kunsthalle” linked to the local art academy. As curator she invited several young artists from The Netherlands, Switzerland, Spain, France, Greece, Great Britain or Denmark in this context for exhibitions, talks, film screenings and workshops.
In 2002 she became the director of the Centre Rhénan d’Art Contemporain (CRAC Alsace) in Altkirch (on the border with Switzerland), where she developed an innovating project aiming at opening this place, isolated in the countryside, to the widest public, but attached to a strict and demanding international policy. This enabled her to present the work of promising young artists like Andro Wekua, Roy Villevoye, Jeremy Deller or Harmony Korine (most of them showing for the first time in France) as well as well-known artists like On Kawara, Shirin Neshat, Doug Aitken, Cindy Sherman, Ai Weiwei, Dan Graham or Rineke Dijkstra. At the same time she remained active as an art-critic and a free-lance curator.
Teerlinck has been the director and chief curator of the FRAC (Fonds Regional d’Art Contemporain) Nord-Pas de Calais in Dunkirk from 2006 till 2014. This Museum has one of the most prestigious public collections of international art and design in France, containing emblematic works of minimal and conceptual art, Arte Povera, Fluxus, as well as contemporary art and design, photography, video and film. With an essentially nomadic approach to cultural heritage and unique tools of transmission, the Frac Nord- Pas de Calais has progressively become a decisive actor in the cultural development policies of the city, the region and the country, aiming to reduce geographic, social, and cultural disparities and facilitate the discovery of contemporary art by an increasingly diverse public. Convinced of the need to create discussion and exchange, the Frac elaborated an innovating program of activities consisting of concerts, talks, visits, film screenings and performances.
The Frac also organized in recent years important travelling exhibitions and co-productions, developing a strong international network. The acquisitions of the Frac focus on cutting-edge artists: Latifa Ekchach, Javier Tellez, Gabriel Kuri, Isa Genzken, Ahmet Ogüt, Danh Vo, Tord Boontje, Barbara Visser, Deimantas Narkevicius, Erik van Lieshout, Christodolous Panayiotou, Haris Epimaminonda, L.A. Raeven, Manon de Boer, ….
Since her arrival in 2006 she also worked on the new strategic plan and the relocation of the Frac Nord-Pas de Calais : the emblematic building called “AP2”, a former shipyard, a site of 9000 square meters, located in the harbour of Dunkerque, was completely renovated by the architects Lacaton & Vassal (Paris) in order to host both the collection and a space dedicated to innovating temporary exhibitions. To give the building an own identity she developed a number of site-specific productions by Angela Bulloch, Lang and Baumann, Matthew Darbyshire, Otto Berchem and Scott King.
At the moment she is mainly working for the Han Nefkens Foundation in Barcelona where she develops together with its founder (a writer and collector) an international strategic plan for his foundation. The Han Nefkens Foundation supports emerging and mid-career artists by financing production and providing them with an international platform. They do this through a divers program of awards, exhibitions, scholarships and residencies in multidisciplinary areas including the visual arts, fashion and literature. The Han Nefkens Foundation works through a worldwide network of experts and scouts.
She was part of the curatorial team of the Fifth edition of the Beaufort Biennale (Belgium) and is organizing a retrospective exhibition of the Belgian artist Leo Copers in the Ludwig Forum -Aachen/Smak – Gent/M UHKA – Antwerp/ Bozar – Brussels. She also collaborates in a research project with Het Nieuwe Instituut – Rotterdam (an analysis of the impact of the Russian Revolution on the avant garde of today).
In 2015 she made –as curator at large- a show for the Palais de Tokyo/Fondation Bergé (Paris) within the context of the Biennale of Lyon. As guest-curator for the Magasin (Grenoble) she made a retrospective exhibition of Dan Perjovschi. And in the MACBA Barcelona she presented the work of the Egyptian artist Iman Issa.
She’s also an executive member of the Board of ArtAids (for whom she made an exhibition entitled ‘Perfect Lovers’ including artists like General idea, Felix Gonzalez-Torres, Keren Cytter, Derek Jarman, Nan Goldin or Robert Gober). In Bangkok she made for them a show entitled ‘Access for all’ with Shirin Neshat, Shirana Shahbazi, Lawrence Weiner, Leandro Ehrlich and Rirkrit Tiravanija).
She is member of the Board of the SMAK Museum in Gent (Belgium), consultant of the Open Air Museum Middelheim Antwerpen (Belgium), member of the board of the CNAP (National Centre for Contemporary Art, Paris) and FNAC ( National Collection of Contemporary Art, Paris), board member of the Foundation Roi Baudoin (Brussels). As curator she is guest teacher at the workshops of the HISK in Gent (Belgium).
In 2013 she received from the Ministry of Culture of France the prestigious reward as “Chevalier dans l’Ordre des Arts et des Lettres”.
Nathalie Boseul SHIN
chief curator of Total Museum of Contemporary Art, Seoul
Nathalie Boseul SHIN is chief curator of Total Museum of Contemporary Art, Seoul. She studied philosophy at Ewha Woman’s University and aesthetics at Hongik University (M.A). Currently, she is a Ph.D candidate in Hongik University. Since 1997, she started her curatorial career in Korea, engaging various exhibition planning and art projects. In 2000, she began as a curator with an expertise of media art after working for art center nabi. Further, she developed her experience at Seoul International Media Art Biennale 2004, leading exhibition team as manager. She has been working at Total Museum of Contemporary Art since 2007. She curated Muntadas: Asian Protocols, News after the News (Dan Perjovschi), Postcapical Archive: 1989-2001 (Daniel G. Andujar), Danish Video Art Exhibition Subtle Whispering, etc. Since 2010, she has been organizing various annual international projects such as Roadshow, Playground in island (Kota Kinabalu, Malaysia), the show must go on.
Pichaya Aime Suphavanij
Head of Exhibitions at BACC
Studied in museum planning and conceptual design in the US and Italy, her practice and working experience in the US from led to crossed discipline of works through planning and designing various types of museums from 1994-2004. Assuming position as a Head of Exhibitions at BACC since 2008 to present, her curation focuses on works in media and visual arts through multidisciplinary approach to present new territory of thinking. Her recent curated projects include Hear Here, sound installation exhibition, Bangkok (2012), Media Art Kitchen, Japan / Southeast Asia media art project (2013), Proximity, media and contemporary art, Poland (2014), Kuandu Biennale (2014), Taiwan. Drift, experimental sound project, Bangkok (2015), Urban Media: Live the City project, Bangkok (2015), Omnivoyeur, sound and visual exhibition and electrical walks of Christina Kubisch, Bangkok (2016). Recently, she has received the grant from Berliner Künstlerprogramm des DAAD (Curators-in-Berlin Program of the German Academic Exchange) to research on sound arts in connection with contemporary arts. Currently, she lives and works in Bangkok.
Curator at the Institute of Contemporary Arts Singapore, LASALLE College of the Arts, and the co-founder of the curatorial platform Lowave.
Silke Schmickl is a curator at the Institute of Contemporary Arts Singapore, LASALLE College of the Arts, and the co-founder of the curatorial platform Lowave. She studied Art History, French Literature and International Communications in Munich and Paris where she graduated from Panthéon-Sorbonne University. A specialist in contemporary photography and video art, she has been a researcher at the German Art History Center for 15 years and has published over 60 art DVDs for Lowave. She has initiated and directed various research projects dedicated to emerging art scenes including the Middle East, Africa, India, Turkey and Singapore. Since 2008, she has curated contemporary art exhibitions in partnerships with museums and biennials in Singapore, Paris, Guangzhou, Beirut and Düsseldorf. In parallel to her curatorial activities, Silke Schmickl occasionally teaches in universities and art schools and writes articles on cinema and contemporary art.
Vera Mey is currently an independent curator. She was part of the founding team of the NTU Centre for Contemporary Art Singapore led by Prof. Ute Meta Bauer, a contemporary art research centre of Nanyang Technological University (NTU) as Curator, Residencies. Since it’s inauguration in January 2014, the Residencies Programme has brought together artists, curators and writers in a research driven residency with particular emphasis on artists from Singapore and Southeast Asia alongside artists from the rest of the world. She was Assistant Director of AUT University’s ST PAUL St Gallery in Auckland, New Zealand from 2011 to 2014. Her last project there was co curated with Erin Gleeson from Sa Sa Bassac, Phnom Penh called FIELDS: an itinerant inquiry across the Kingdom of Cambodia (2013). The project involved a group of 17 artists, curators and researchers traveling across 20 days together, questioning the intersection between contemporaneity, archaeology, history, trauma and fields of mutual unknowing within the context of contemporary Cambodia. For 2013 she was curator in residence at Arts Initiative Tokyo, Japan as well as convener of the AUT University Master of Arts Management Curatorial Strategy program. Curatorial projects include: The Disappearance (2014), NTU CCA Singapore; Invisible Energy and In Spite of Ourselves: Approaching Documentary (2012) at ST PAUL St Gallery and The Dowse Art Museum, Wellington. She is co-founder of the scholarly journal SOUTHEAST OF NOW: Directions in Contemporary and Modern Art. In 2015-16 she joins Ambitious Alignments: New Histories of Southeast Asian Art, a research initiative of the Getty Foundation. She is currently on the curatorial team of SEA Project an exhibition due to open in July 2017 at the Mori Art Museum Japan and National Art Centre Tokyo. She will undertake a PhD at SOAS, University of London commencing in September 2016.
served as the founding director of the Kadist Art Foundation’s Asia Programs, Paris and San Francisco
Xiaoyu Weng served as the founding director of the Kadist Art Foundation’s Asia Programs, Paris and San Francisco. There, she launched the Kadist Curatorial Collaboration, which organizes exhibitions that stimulate cultural exchange, and she also oversaw artist residencies and the building of the contemporary Asian art collection. Previously, she worked as program director of the Asian Contemporary Art Consortium in San Francisco and as a curator at the Wattis Institute for Contemporary Arts at the California College of the Arts (CCA). Educated at the Central Academy of Fine Arts (CAFA) in Beijing and the CCA in San Francisco, she has organized exhibitions and public programs for venues including the Asian Art Museum of San Francisco; CAFA Art Museum, Beijing; Guangdong Times Museum, Guangzhou; Minsheng Art Museum, Shanghai; University of California, Berkeley Art Museum and Pacific Film Archive; Witte de With Center for Contemporary Art, Rotterdam; and Yerba Buena Center for the Arts, San Francisco. She is a contributing editor of Leap, a bilingual magazine dedicated to contemporary Chinese art. Her essay “Working with Archive” won the Artforum Critical Writing Award in 2011. Her writing also appears in prominent art periodicals, books, and exhibition catalogues, including those published for the 2012 Gwangju Biennial, 2012 Shenzhen Sculpture Biennial, and 2013 Auckland Triennial. Appointed the Robert H. N. Ho Family Foundation Associate Curator of Chinese Art in 2015, charged with implementing the project, Weng is based at the Guggenheim Museum, New York.