Born in 1979 in Kraków, Poland. Doctor of History, MA at Jagiellonian University, PhD at Adam Mickiewicz University in Poznań. Since 2004, independent curator of art events in Poland and the USA, especially performance festivals including Flowers of Evil – PGS in Sopot, Scores – National Museum of Szczecin, 2016, Anarchy and New Art. 100 years of Dadaism, Centre for Polish Sculpture in Orońsko, 2016, Imagine in the framework of the Triennial of Drawing at the National Museum of Wrocław, 2015, Performance Month at the City Art Gallery in Kalisz – 2014, Manuel Vason. RE: Performance at BWA “Sokoł” in Nowy Sącz – 2013, Ephemeral Fixed at the Wschodnia Gallery in Łódź – 2012, “Kesher” in Kraków and New York – 2004, 2005, 2006, 2008. Researcher and author of critical texts on art for newspapers and magazines such as Gazeta Wyborcza, spam.art.pl, Obieg, Exit, livinggallery, Opcje, Fragile, Art and Documentation, Artalk.cz, Artishock. Author of texts for catalogues of artists and performance art festivals. Since 2011 editor and translator of livinggallery, in 2012-2014 managing editor of the academic journal Art and Documentation. Co-editor of books, including: War and Peace. Street Art and Conflict in the Urban Space, Spaces. About independent art venues, Friends from the Sea, Visual Text as a Form of Meta-Art, as well as books about artists: Sławomir Lipnicki, Zbigniew Taszycki, and Hanna Nowicka-Grochal. Editor of the book Anarchy and New Art. 100 Years of Dadaism. Between 2006-2012 president of the Foundation for the Promotion of Performance Art “Kesher” in Kraków, member of the Art and Documentation Association and AICA. In 2014-2016 director of City Art Gallery in Kalisz. Between 2016-2017 director of the Library at the Academy of Art in Szczecin, assistant professor and Editor-in-Chief of the Publishing House in the Department of History and Theory of Art at the Faculty of Painting and New Media. Currently, an assistant professor at the University of National Education Commission in Kraków and Head of the Board of the Art Studies Discipline since 2022. Co-author of an MA program of studies “Contemporary art” for art critics and curators. She is also active in theory and documentation of performance art and has lectured in Brazil, Chile, the USA, South Korea, Israel, Taiwan, Spain, Italy, the Czech Republic, Hungary, and Poland. Between 2020-2024 vice-president of AICA Poland, 2021-2023 vice-president of AICA International, since 2024 President of AICA International.

Marc Partouche is an art critic, writer, curator, with extensive expertise in higher education in the fields of art, design and media education.
As university administrator, he is the former Director of the Ecole nationale supérieure des Arts Décoratifs (ENSAD) in Paris (until July 2018), of the Académie Royale des Beaux-Arts (ARBA-ESA) in Brussels, and of the École supérieure d’arts de Paris-Cergy.
As a civil servant at the French Ministry of Culture and Communication, he dedicated his career to contemporary art and artistic creation (notably as inspector for research, technological creation and the audiovisual sector, and as adviser to the Head of the Visual Arts Division of the Ministry).
In addition, he was head of research at the Cité du Design in Saint-Etienne, and adjunct to chief curator of the international exhibition Images 2004.
As an educator, he holds a PhD in Aesthetics and Art, and has taught art, culture, media history and theory (having held positions at the art school in Tours, the University of Provence Aix-Marseille, ENSCI-les Ateliers in Paris). He is President of the Centre international de recherche sur les pratiques de création (Brussels) and co-founder of the research chair in Creation and Creativity (Saint-Etienne, Paris, Brussels).
As a critic and art historian, he was a member of the executive board of AICA France, and has published over 300 articles and forewords, as well as the following books:
- Marcel Duchamp – sa vie, même (Al Dante) (translated and published in Korea by Hangilart)
- Alphonse Allais – Album Primoavrilesque (Al Dante, CO-OP)
- La Lignée oubliée – Bohèmes, avant-gardes et art contemporain de 1830 à nos jours (Hermann).
As a curator, he spearheads and produces numerous exhibition projects and conferences worldwide.
As a publisher and editor, he founded and published journals such as Sgraffite (1978-1982), Mars (1984-2000), and co-founded Le travail de l’art (1997), all devoted to the arts and artistic creation. He has also consistently founded and produced a number of art books, and book series.

J. Pedro Lorente is President of the Aragonese Association of Art Critics (AACA) and member of the Board of the Spanish Association of Art Critics (AECA), Professor of Art History at the University of Saragossa (Spain), where he leads the research group Observatorio Aragonés de Arte en la Esfera Pública. One of his lines of research is the history of art criticism, with publications such as the anthology Historia de la Crítica de Arte: Textos escogidos y comentados or Great Art Critics, 1750-2000. Besides, he is the author of influential books like The Museums of Contemporary Art. Notion and Development (available in English, Spanish, French and Turkish) or Public Art and Museums in Cultural Districts (published in Spanish by Trea Editorial and in English by Routledge).

Bachelor in Social Science from the University of São Paulo, Brazil. Master and PhD in Art Sociology from the same University. Full Professor at the Art and Communication School of USP. Guiding MA and PhD students in the arts area. Working in two postgraduate programs at USP: Postgraduate Program of Aesthetics of Art History, in the research segment of Fundamentals of Art Criticism, and the Postgraduate Program of Integration of Latin America, in the research segment of Communication and Culture. Currently presiding the Postgraduate Program of Integration of Latin America. Director of the Contemporary Art Museum of the University of São Paulo: from 1994 to 1998 and from 2006 to 2010. Has been for two terms the Vice-president of AICA – International Association of Art Critics – from 2007 to 2009 and from 2010 to 2012. Has also been President of ABCA – Brazilian Association of Art Critics – for 12 years: from 2000 to 2006; from 2009 to 2015.
Also organizing, for more than twenty years, exhibitions (curatorship) and participating as a Jury member in national and international commissions.
Published many books and articles in specialized magazines since 1975.
Among the main publications are: Rebolo (org. of the book and chronology). São Paulo. MWM publishing, 1986; Bonadei: Percurso de um Pintor. S.Paulo, Perspectiva/EDUSP/FAPESP Publishing, 1990; Sérgio Milliet, Crítico de Arte. São Paulo, Perspectiva / Edusp/ Fapesp Publishing, 1992; Rebolo 100 Anos (org.), São Paulo, Edusp, 2002; Entre Cenografias: O Museu e a Exposição de Arte no Século XX. São Paulo, Edusp/FAPESP, 2004. Proceedings XLI AICA Congress (org.). São Paulo, SESCSP Publishing, 2007; Aldo Bonadei: Percursos Estéticos. São Paulo, Edusp/IMESP Publishing, 2007; Arte Frágil, Resistências (org.). São Paulo, IMESP Publishing, 2009; Um mundo sem medidas (org.) São Paulo, MAC USP Publishing, 2010; Um mundo sem molduras (org.). São Paulo, MAC USP Publishing, 2010. Coordinates the Art Critic Collection of ABCA – Brazilian Association of Art Critics, to which she organized the books: Os lugares da Crítica de Arte. São Paulo, Imprensa Oficial / ABCA, 2005 (junto com Annateresa Fabris); Sergio Milliet 100 Anos – Trajetória, Crítica de Arte e Ação Cultural. São Paulo, Imprensa Oficial / ABCA, 2005; e Arte Brasileira no Século XX. São Paulo, Imprensa Oficial / ABCA, 2007. Aldo Bonadei, Edusp/IMESP, 2012; Aldo Bonadei, Brazilian Painters Collection, São Paulo, Folha de São Paulo Publishing, 2013.
Being a collaborator of Artnexus Magazine since 1994 and, currently, also corresponding editor.
Complete Resumé at National Research Council (Brazil): http://lattes.cnpq.br/2753819507135011.

Dr. Marek Bartelik is a Polish-born, New York-based art critic, art historian, and poet. He was the President of the International Association of Art Critics between 2011 and 2017. A former President of AICA USA (2007-2011). After initially training as a civil engineer at Columbia University, he earned a PhD in Art History from the City University of New York.
For over twenty years Bartelik taught modern and contemporary art at the Cooper Union for the Advancement of Sciences and Art in New York, and also was a Visiting Professor at Yale University and Massachusetts Institute of Technology. He was a Graduate Critic-in-Residence at the Maryland International College of Art in Baltimore (2004-12).
As a freelance critic, Bartelik has reviewed exhibitions from all over the world for Artforum International, and contributed to numerous journals, such as Art in America, Art News, American Art, CAA Art Journal and The Brooklyn Rail. His articles have appeared in newspapers and magazines in Poland, Sweden, Germany, Bangladesh, Taiwan, and elsewhere. His major publications include The Sculpture of Ursula von Rydingsvard (New York, 1996, with Dore Ashton and Matti Megged), Unity in Multiplicity: Early Polish Modern Art (Manchester, UK, 2005), and Mark Rothko: a Retrospective (Warsaw, National Museum of Art), in addition to volumes of poetry in Polish and English, and a collection of essays Łagodny deszcz (Gentle rain) in Polish.
Bartelik has lectured widely, both nationally and internationally, at MoMA, New York, the Polish Academy of Science in Warsaw, the Henry Moore Foundation in Leeds, and in museums and institutions as far afield as Argentina, Brazil, Peru, The Netherlands, Ukraine, Taiwan, and Korea. He is currently working on a book about his dog Toby.

Coming soon

Trained in philosophy and literature, Jacques Leenhardt is a doctor in sociology, researcher in the field of culture, art critic and organizer of exhibitions. Director of Studies, he taught his entire academic career at the École des Hautes Études en Sciences Sociales (Paris). He was a Fellow member (1979-1980) at the Institute for Advanced Study (Princeton) and has taught at several universities in North America (NYU, UCSD), Germany (Frankfurt, Konstanz, Bielefeld), México (Colegio de México) and Brazil (USP, PUC Rio, URGS). He is director of the journal Sociologie de l’art. For three decades (1963-1998), he was art critic in Paris for the Journal de Genève. He was president of AICA-France, (1980 to 1989) and president of AICA International (1990-1996), whose he is currently Honorary President. He is a founding member of the Archives of Art Critics (in Rennes since 1989) and President of the Association of Friends of Wifredo Lam since 1987 and Director of the online journal Artelogie, (Researches on arts, heritages and literatures in Latin America). Between 1987 and 2001 he founded and chaired the Crestet Art Center (Vaucluse, France) dedicated to the relationships between art, nature and the environment for the French Ministry of Culture. Among other exhibitions: Wifredo Lam, Œuvres de Cuba, Paris, (1989), Antoni Tàpies, Macão, (1995), Des Forêts et des Hommes, Muséum National d’Histoire Naturelle, (1996), Villette-Amazone, Manifesto for environment in the 21st century (Grande Halle de la Villette, Paris, (1996), Environment Pavilion of the Universal Exhibition HANOVER 2000, Arte Frágil, Resistências, MAC, São Paulo, (2009), Iberê Camargo, Os meandros da memoria, ( 2010), Iberê Camargo, Século XXI, (2014), Debret ea Missão Artística Francesa no Brasil, 200 anos, Museus Castro Maya, Rio de Janeiro, (2016); L’Atelier tropical, Jean-Baptiste Debret, French painter and writer scholars in Brazil, 1816–1850, Paris, (2016); Wifredo Lam and the poets, Beijing, Guandong (2016), Debret e a Missão Francesa, Instituto Ricardo Brennand, Recife, (2017), Seydou Keïta , um instante de dignidade, Instituto Moreira Salles, São Paulo and Rio de Janeiro, (2018). Director of The Green Square project, a 2,000 hectare park on the former Goitzsche coal mine in Bitterfeld (Germany) (1998-2001).

Among other publications: Lecture politique du roman (1973), Lire la lecture (1982 and 1999), La force des mots, The role of the intellectuals (1982), Au Jardin des Malentendus. The Franco-German trade in ideas (1990 and 1997), Latin America in France (1992), Dans les Jardins de Roberto Burle Marx (1994 and 2011), Villette-Amazone, Manifesto for the environment in the 21st century (1996), Michel Corajoud, landscaper (2000), Érico Veríssimo. O romance da História (JL org. 2001), Conscience du paysage, (2002), Reinventar o Brasil: Gilberto Freyre entre história e ficção, (JL org. 2006), Vertical gardens around the world, with Anna Lambertini, (2007 ), Le Fond et la Surface, with photographs by Fabienne Barre, (2008), A construção francesa do Brasil, (JL org. 2008), Wifredo Lam, a monography, (2009), L’Estuaire de la Seine; Reasons to act. (JL org. 2012), Jean-Baptiste Debret, Voyage pittoresque et historique au Brésil, (1835- 1839), New edition, notes and Introduction by JL (2014), L’odyssée transculturelle de Jean-Charles Pigeau, (2019) , Laura Lamiel, A personal history of contemporary art, (2019).

Kim Levin is an American art critic and curator. Levin was a regular contributor to The Village Voice from 1982 to 2006. Since 2007 she has contributed regularly to ArtNews. She was New York correspondent for Opus International from 1973 to 1977; from 1977 to 1980 she was a correspondent for Flash Art. She was a contributor to Arts Magazine from 1973 to 1982. Levin has also contributed to publications such as Parkett, Artstudio, Neue Bildende Kunst and Voir, amongst others. Her essays are in books and exhibition catalogues. She received a BA from Vassar College and an MA in Egyptian Archaeology from Columbia University, Department of Art and Archaeology, and continued PhD coursework at New York University Institute of Fine Arts.
Levin has lectured at Brown University, the Guggenheim Museum, the New School for Social Research, the Whitney Museum, the California Institute of the Arts, the São Paulo Biennale and other institutions internationally, and has been a visiting professor at School of Visual Arts, Claremont Graduate School of Art, and HISK in Antwerp.
Levin was treasurer of AICA-USA from 1982 to 1984, Vice President from 1984 to 1990, and President from 1990 to 1992, co-organising the 1991 AICA Congress with Merle Schipper. She became Vice-President of AICA International in 1991 and was elected President in 1996 for two terms, ending in 2002, and is now an Honorary President. In 2002, an installation of Levin’s preliminary exhibition notes written on press releases and gallery announcements appeared in the exhibition Notes and Itineraries at Delta Axis, Memphis, curated and installed by the artist John Salvest. The show was re-conceived at Ronald Feldman Gallery, New York (2006), and then traveled internationally to Haas & Mayer, Zurich (2006), Ludwig Museum, Budapest (2007), KIASMA, Helsinki (2008). It was included in the group show Retracing Exhibitions, curated by Kari Conte and Florence Ostende at the Royal College of Art, London (2009). Levin has also been guest curator of museum shows in Korea, Poland, Norway, Finland, Denmark, Sweden, Germany, and the U.S.A.

Henry Meyric Hughes is a freelance curator, consultant and writer on art. He is Honorary President of AICA and Chair of the International Awards for Art Criticism (IAAC). He was Director of Visual Arts for The British Council and commissioner for the Venice Biennale and São Paulo Bienal, 1986-92;  Director of the Hayward Gallery, 1992-96; co-founder (1993) and President (1996-2008) of Manifesta, the European Biennial of Contemporary Art, Amsterdam; and special adviser for Council of Europe Exhibitions, 2007-2015. Adviser to: Archives de la critique d’art and Critique d’art, Rennes; Dox, Prague; Iniva, London; and Matt’s, London. Exhibition projects incl. The Spirit of Romanticism in German Art, 1790-1990; Art and Power: Europe under the Dictators 1930-1945; and The Age of Modernism: Art in the Twentieth Century. Recent curatorial projects incl.Blast to Freeze: British Art in the Twentieth Century, Wolfsburg and Toulouse (2002-03); the Cypriot Pavilion, 2003 Venice Biennale; contemporary Norwegian art (2005-06); XXX Council of Europe exhibition, The Struggle for Freedom/Critique and Crisis: Art in Europe since 1945 for Berlin, Krakow, Tallinn and Milan (2012-2013), plus Thessaloniki, Sarajevo, Prague, Brussels (2014-2015). Recent, (co)-ed. books incl. AICA in the Age of Globalisation (2010); African Contemporary Art: Critical Concerns/Art Contemporain Africain: Regards Critiques (2011); John Moores Critics Awards (2013);Exhibtion Reviews Annual (2014-). He was contrib. editor for Tema Celeste; articles and reviews incl. Times Higher Education Supplement, The Burlington Magazine, Critique d’art, Art Press, Art in America. He was President of the jury for the Diploma examinations, Ecole Nationale des Beaux-Arts, Paris (2003-4); ExternalExaminer, MA in Contemporary Curation (2011-14) and visiting lecturer, Cross Schools course (2015-6), Royal College of Art, London.

He is Chair of the Archives and Living Memories Committee.

I began writing art-crit at Beaver Country Day in Massachusetts. In the seventies, I followed my husband to Alaska as he had been accepted into a law firm, enlarging because of the impending oil pipeline. I returned to college in Anchorage when my children were in high school and received a University of Alaska BFA, completing a project about the commerciality of the pelagic whaling trade. I left Alaska twice to pursue two MFA degrees, at the University of Chicago and The School of the Art Institute of Chicago. I recently completed a PhD, writing about Winston Churchill’s paintings and why he should be elevated into Post-modernism. I write a weekly art-crit column for the Anchorage Press.com and show art at Pleiades Gallery NYC, having served on their board as I did for Anchorage School District’s Art Curriculum Committee. I’m also an investor in the off-Broadway show Puffs, The Play.

Chauhsin Chen is an art critic, curator, architect, and Professor. He has taught modern and contemporary art, theory and history, architecture and landscape architecture in USA, Taiwan, and China. He was the founder of AICA Taiwan, the President of AICA Taiwan (2000 – 2004, 2006 – 2010) for 8 years, and was the Vice President, AICA International (2002 – 2005,

2014 – 2017), host the AICA World Congress in Taiwan 2004 and 2018. After initially training as an architect and a civil engineer at National Taiwan University, he switched subjects to PhD program in EBS at Wisconsin-Milwaukee, ending up with a PhD. in School of The Arts and Architecture, UCLA. USA.

As a critic writer and independent curator, Chen hashost exhibitions in the Asian Countries and the world,published books and articles for the Asian Art News, Asia-Pacific Sculpture News, and the numerous journals, such as the Culture Express, the Artist, the Chinese Contemporary Art News, and the Artco...etc. Chen has taught and lectured widely in universities and museums, both nationally and internationally. The major topics includeContemporary Art Theoriesandand History, Curating Practice and Theory, Art Critics, Public Arts, and the Cultural and Creative Industry, as well as Architecture, Urban Design, and Landscape Architecture,.

He got good credits in Arts Discourse writing and publications (the President of AGORA Press), fund raising, curating, international arts administration and cooperation. He is willing to have the contributions in the period of the Vice President of AICA international.

Art and cultural entrepreneur by profession, art critic by vocation, and a Punk-Goth at heart. I have been working as an art critic, curator and researcher and art producer/manager for more than two decades. My expertise crosses the fields occupied by arts and cultural management and production, the market for and contemporary art theory (specifically photography), as well as social criticism and participation, and epicure. As an art and cultural entrepreneur, I have found the cross-cultures festival Trienal, a festival that brings together all of those interests, and, from 2013 to 2017 I have led a programme of online exhibitions. As an art critic and curator I have wrote about and shown the work of Per Barclay, Wang Ningde, Rosângela Rennó, Jene & Louise Wilson, Kimono Yoshida, etc. and have collaborated in the commission and organisation of exhibitions of Robert Frank, Hermann Pitz, amongst others. My pertinent singular and analytical writings about art have been published both nationally and internationally in art magazines and newspapers, and I have contributed to books on art, participation, and democracy. I am an active member of AICA-UK, and have been contributing to the collective life of AICA International.

Fernando Farina (Rosario, Argentina, 1958) is Vice President of AICA and Vice President of AICA Argentina. He is professor of Sociology of the Arts at the Escuela de Bellas Artes of the Universidad Nacional de Rosario, professor of Cultural Management at the Universidad Nacional de Rosario and professor of the Master's in Art Curatorship at the Universidad Nacional de Tres de Febrero (Untref). He is part of the International Consultant Team and the Curatorial Team of Bienalsur (the International Biennial of Contemporary Art of the South), advisor of the Centro Cultural Borges in Buenos Aires and he works as an independent curator. He holds diplomas both on Fine Arts (specialized in Theory and Criticism of the Arts) and on Civil Engineer by the National University of Rosario. Between 1999 and 2007 he was director of the Museo Castagnino of Rosario. In 2004 he was responsible for the conformation of the largest collection of contemporary Argentine art and the creation of the museum holding such collection, the Museo de Arte Contemporáneo of Rosario (Macro). He was Director of Macro until 2007. He was the Secretary of Culture of the city of Rosario (2007-2009) and director of the Fondo Nacional de las Artes for Visual Arts, between 2007 and 2016. He has curated exhibitions in Argentina, Bolivia, Brazil, Chile, Ecuador, United States, France, Great Britain, Italy and Uruguay. He was a member of the organizing committee of the 54th AICA International Congress Valparaíso/Buenos Aires 2022.

Juan Carlos Flores Zúñiga (San José, b. 1958) is an art critic, curator, communication specialist, coach, and scholar. He has written and taught on visual arts, both modern and contemporary, theory, and history, in the US, Honduras, Guatemala, Colombia, and Costa Rica. He was the founder of AICA Costa Rica in 2021 and is the current president of AICA Costa Rica (2021-2023), has been a member of the international board of AICA and was elected vice president for the period 2022-2024.

He has written extensively on Latin American, European, and North American art in the last forty years, publishing four books, more than five hundred articles and twenty papers.

He studied communications at the University of Costa Rica, where he graduated in 1980, then continued his studies in culture at Lewis and Clark College, in Oregon, USA, in 1986, and completed his master's degree in communication and language at Portland State University in 1990. He has been a university professor and researcher at the Universities of Costa Rica (UCR), the National University of Heredia (UNA), the University of Science and Technology (ULACIT) and the Federated University of Costa Rica where he served as vice dean, among others.

As a critical writer, researcher, curator, and cultural manager, Flores Zúñiga has organized exhibitions in the Central American region, has published four books, and has published more than 500 articles for numerous magazines and media, while giving lectures at symposia in the United States, Spain, Mexico, Honduras, Guatemala, Bolivia, Brazil and Costa Rica on the history of art criticism, art criticism, modern and contemporary art, the art market, creativity and the cultural industry.

He founded Ars Kriterion E-Zine, which publishes weekly art reviews, interviews and research papers, and coordinates two channels of critical audiovisual productions on VIMEO and YouTube. In addition, he is the editorial coordinator of AICA Próxima that serves the national sections of the AICA Latin America and the Caribbean Regional.

He has obtained distinctions as a documentary filmmaker from the Costa Rican College of Communicators, has been distinguished with an award for freedom of expression, an award for scientific journalism, and has served as a jury inside and outside of Costa Rica.

Felicia Margarita Grullón Perera was born in San Pedro de Macorís, Dominican Republic. In 1990 she completed a Bachelor’s degree in Advertising at APEC University in Santo Domingo and in 2012, the Master’s Program "Management of Cultural and Creative Industries" at the Autónoma University of Santo Domingo. She is also graduate of the Diplomatic and Consular School of the Ministry of Foreign Affairs of the Dominican Republic.

As part of her training in the field of the Arts, she has received teaching on Cultural Management and Marketing, Management and Direction of Art Galleries, Theory and Museum practice, with Prof. Óscar Navarro Rojas of the Latin American Institute of Museums (ILAM), Museology and Museography; and curatorial work with Prof. Kevin Power, who was Deputy Director of Conservation, Research and Dissemination at the Reina Sofía Museum in Spain.

Later, she began writing for different print media on art issues, which led her to become a Member of the Dominican Association of Art Critics (ADCA) and her membership being accepted to belong to the International Association of Art Critics (AICA).  Since December 2023, she is Vice-president of AICA International.

She served as National and International Relations Officer at the Museum of Modern Art of the Dominican Republic (MAM) from 2005 to 2011. She was part of the organizing team for various national and international events such as: the National Biennial of Visual Arts, 2005, 2007 and 2009, the African-Pacific Caribbean Festival (ACP) 2006, and the 1st Caribbean International Triennial on "Art and Environmental Protection", 2010, among others.

Since 2011 she is living in the city of Cologne in Germany, where she has gained experience in the field of the Arts through Internships at the Morsbroich Museum in the city of Leverkusen and at the Lehmbruck Museum in Duisburg. These Internships focused on Research and Assistance for the work developed by the Curators.

She is currently President of Kunstverein K41 e.V., a non-profit cultural association based in the city of Cologne, Germany where art exhibitions are organized and research on cultural topics is carried out in addition to being an independent curator of artistic projects in Germany and the Dominican Republic and writer of articles on art and culture for different media and for Lindendoce Magazine.

Marja-Terttu Kivirinta is PhD, art critic, art historian and academic writer from Helsinki, Finland. She has made a career as the permanent staff writer of cultural section in the large daily newspaper Helsingin Sanomat (1978–2008). After that Kivirinta has worked as a researcher (University of Helsinki 2009–2013). She has worked as a teacher and lecturer of Art History and Art Criticism (University of Theater, University of Helsinki, University of Art and Design, 1978–). Kivirinta has published academic articles and essays, as well as academic and popular books concerning the history of art and contemporary art. She has worked as a co-editor and in an editorial board, as well as a curator and co-curator in some exhibitions. She has had several positions of trust. Kivirinta is the member of AICA since 1981 and currently the member of the board (AICA Finland 2010–, AICA International 2011–.) She has worked in the AICA commission EMC since 2013.

Danièle Perrier is a Swiss art historian and art critic based in Germany. She studied art history, archaeology, philosophy, and Romance languages at the universities of Basel and Vienna. After completing her PhD, she was a researcher at the Austrian Academy of Science in Vienna and an expert for sculpture at an auction house in Zurich. 1991 she became founding director of the Ludwig Museum in Koblenz, which is devoted to French Art after 1945, and served as visiting lecturer of modern and contemporary art at the University of Koblenz-Landau. She was art advisor at the Institute for Media-Communication (IMK), Fraunhofer Gesellschaft, Germany. Until 2012, she has been director of the artist Residency Schloss Balmoral in Bad Ems. She has edited all the publications of both the Ludwig Museum (1992 – 1996) and the art residency Schloss Balmoral (1999 - 2012). She publishes regularly in diverse print media from Germany and Austria. She is an active member of AICA Germany since 2008 and was President from 2016 to 2023. She is now endowed as representative of AICA Germany for AICA International. From 2014-2023 she has been Chair of AICA International’s Fellowship Fund Committee and remains an active member. She is also member of the Censorship Committee, the Congress Committee and since 2023 of the EMC. Since the last GA in December 2023, she is Vice-president of AICA International. https://perrier.at

Susana Sulic is a writer, researcher and independent curator (computer arts, history and practise, sciences, contemporary and Latin American Art).

As independent curator, she created and organized several events concerning the intersection of arts and sciences since the eighties.
The Latin American Biennial devoted to arts, ecology and technology held at the Arche de La Défense, La Défense; and a series of exhibitions, writings and events titled since the nineties up to now.

She participated at the Educational Program in Latin America and the Caribbean of the BID in Washington DC for the prize Numeracy and Literacy : An Equal start.

She obtained the diploma of New Doctorate in Aesthetics, sciences and technologies of the image,Paris VIII, University ; DEA in history of contemporary art, Paris IV, Sorbonne ; Graphics Arts at the Kunstakademy, Dusseldorf ; Professor in Fine Arts and Masters in Sociology at the University of Buenos Aires. Susana Sulic has been publishing and participating in events in Europe, Egypt, Hong Kong, Japan, North and South America, the Caribbean, Taiwan, and conferences during AICA congress around the world.

Member AICA International since the eighties.

I began writing art-crit at Beaver Country Day in Massachusetts. In the seventies, I followed my husband to Alaska as he had been accepted into a law firm, enlarging because of the impending oil pipeline.  I returned to college in Anchorage when my children were in high school and received a University of Alaska BFA, completing a project about the commerciality of the pelagic whaling trade. I left Alaska twice to pursue two MFA degrees, at the University of Chicago and The School of the Art Institute of Chicago. I recently completed a PhD, writing about Winston Churchill’s paintings and why he should be elevated into Post-modernism. I write a weekly art-crit column for the Anchorage Press.com and show art at Pleiades Gallery NYC, having served on their board as I did for Anchorage School District’s Art Curriculum Committee. I’m also an investor in the off-Broadway show Puffs, The Play.

Dr Liam Kelly is Emeritus Professor of Irish Visual Culture at Ulster Universiy, Belfast. He holds a BA (Hons) degree in the History of European Art from the Courtauld Institute of Art, University of London, and a PhD from Trinity College, Dublin.
His publications (selected) include The City as Art: Interrogating the Polis, 1994; Thinking Long, Contemporary Art in the North of Ireland, 1996; Miquel Navarro 1973-96 (co-ed.) 1996; Liam Gillick - Big Conference Centre (co-ed), 1997; Art and the Disembodied Eye, 2007; The School of Art and Design, Belfast 1960-2009, 2009 and Brian O’Doherty - Collected Essays, (ed.), University of California Press, California, 2018.
He was Director of The Orpheus Gallery, Belfast, 1986-92 and The Orchard Gallery, Derry 1996-99. From 1981-86 he was a member of the Visual Arts Committee of the Arts Council of Northern Ireland; member of the Executive Committee, Association of Art Historians (UK) 1990-93 and co-convener of their conference ‘Contestations’ in Belfast, 2007; member of the BBC N.I. Audience Council 2007-2010; board member Ormeau Baths Gallery, Belfast (2008-12). He is a former Vice-President of The International Association of Art Critics (AICA), organising their annual congress “Art and Centres of Conflict: Outer and Inner Realities’ in 1997 and was the inaugural Chair of the AICA Commission on Censorship and Freedom of Expression.

LIN Chi-Ming is now a distinguished professor at The National Taipei University of Education. His primary fields of interest include the theory of image, aesthetics, French contemporary thoughts, contemporary photography, geopolitics, Anthropocene, and artificial Intelligence and Art. He is active as an art critic, serving as a juror and nominator for the Taishin Arts Award for several years. He has been the President of AICA Taiwan (2016-2018), a Vice President of AICA International (2019-2021), an International Board member of AICA International (2022), and the Acting Chair of the Financial Committee of AICA since 2024. His academic posts also include Adjunct Professor at National Taiwan University and Visiting Professor at Paris-7 Diderot University. He has curated several exhibitions including Taiwan Avant-Garde Documenta, The Future Museum of NPM at the National Palace Museum, which won 2009 MUSE Silver Awards, The Digital Hand at the National Taiwan Museum of Fine Arts (2010), and HSIEH Chun-Te’s “Le Festin de Chun-te” at the 2011 Venice Biennale (both co-curated with Dominique Païni). He has been the chairperson of the Department of Arts and Design of NTUE and has curated the Grand Opening of MoNTUE. He has translated the works of numerous contemporary European philosophers, including Foucault, Baudrillard, Benjamin, Bourdieu, and François Jullien.  He has served as Director of the National Taiwan Museum of Fine Art (2018-2020).

Born in 1950 at Toulouse, France, from Catalan Refugees parents
Art critic and free lance curator
Doctor in History of Contemporary Art
President of the French AICA Section (1989/1996), General Secretary (1997/2009) and Vice-President (1994/1996 -2015/2019) of the NGO AICA/International Association of Art Critics
Member of the French National Commission for UNESCO (1990/2010)
Founder Member of Archives de la Critique d’Art, Rennes (1990/2014)

Worked for the DAP, French Ministry of Culture, Paris (1982/89); Director of the Hôtel des Arts/FNAGP, Paris (1990/94); Director of the MA for Curatorial Studies and Galerie Art et Essai, University of Rennes, Britanny (1995/2001); Commissioned for Special Projects by the French Ministry of Foreign Affairs (2003/2008).

Curated numerous exhibitions including: Art Espagnol Actuel, (Toulouse, Nice, Strasbourg) 1984/85; Affected Machines, (Les Sables d’Olonnes, Chicago, New York) 1986/87; Terrae Motus, (Grand-Palais, Paris) 1987;Amérique Latine : art contemporain, (Fondation Rothshild, Paris) 1993; Pierre Restany et l’Italie, (Rennes) 1999; Le XX° siècle dans l’art algérien, (Château Borely, Marseille et Orangeries du Sénat, Paris) 2003; No Borders, just N.E.W.S., (Bruxelles, Dublin, Thessaloniki, Valencia) 2008/09; Paillettes, Prothèses, Poubelles, (Anita Molinero, Nina Childress, Emmanuelle Villard), (Castellon de la Plana) 2011; Bruel L’Ancien, (Toulouse) 2013.

Among writings and editings : L’Action artistique de la France dans le Monde,1998 ; 50 ans d’histoires de l’AICA, 2002 ; L’art et les expositions dans l’Espagne franquiste, 2005 ; L’art a toujours 20 ans, 2009 ; AICA in the Age of Globalisation, 2010 ; African Contemporary Art / Critical Concerns, 2011 ; Mohamed Khadda : Les deux faces du tableau, du “local” au “global”, 2011 ; Jacques Yves Bruel/Bruel L’Ancien, 2013 ; Les riches métiers de l’exposition, (to be published).

Karachi based , Niilofur Farrukh is an art interventionist whose seminal initiatives have expanded the space for art publication, curation and public art in Pakistan. Primarily motivated by issues of decolonization and the convergences between political ideology and visual narrative, her writing has focused on excavating the interdisciplinary connections that keep getting lost in Pakistan’s tangled cultural and political matrix.

Her first book, Pioneering Perspectives gave visibility to the resistance of women artists during the dictatorship of Zia-ul-Haq. She is one of the editors of ‘Pakistan’s Radioactive Decade: An Informal Cultural History  of the 1970s’ (OUP). Her latest book A Beautiful Despair is on the eminent artist Meher Afroz. 

Niilofur has contributed to numerous catalogs and publications, includingIntersections of Contemporary Art, Anthropology and Art History in South Asia: Decoding Visual Worlds, ( Palgrave Macmillan , 2019) and the ‘Visual Arts’ section of Encyclopedia Pakistan ( OUP Pakistan). 

Niilofur co- founded NuktaArt and was its editor for the ten years. She writes a monthly column for the online critical platform The Karachi Collective. 

Niilofur is one of the founders of the Karachi Biennale Trust and serves as the CEO of  the Karachi Biennale. She is currently is a member of FFC and Chair of the Censorship Committee. In the past she has served two terms as V President of Aica Int . 

Karen von Veh is Professor Emeritus at the University of Johannesburg in South Africa.

She is an art historian and has published widely in academic journals and chapters in books on art history, specialising in Gender theory and post-colonialism. She has written and co-written 3 books on South African artist Diane Victor and has edited a book on artist Paul Emmanuel (for which she also wrote a chapter). She has also curated 5 exhibitions, most recently on Diane Victor held in Slovakia in 2022, and the largest being the special exhibition of South African art at the Beijing Biennale in 2015 which she co-curated with two colleagues.  She regularly presents conference papers, is an active member of several international associations (including 4 terms as AICA international board member) and has worked on the editorial board of the South African art history journal, De Arte, for 12 years.

A cultural entrepreneur working at the intersection of contemporary art, the verse and mass media culture, Alfredo Cramerotti is Director of Mostyn contemporary art museum in the UK, President of IKT international Association of Curators of Contemporary Art, and Adviser to the UK Government Art Collection, the British Council Visual Arts Acquisition Committee and the Italian Ministry of Culture for its 2022-24 programme. He also works as independent curator in digital, crypto and AI art, co-directing IAM-Infinity Art Museum (launching March 2023), a collecting and commissioning contemporary art museum on the blockchain, and Multiplicity / XXNFT, a publishing and curatorial platform focusing on the work and value of diversity in art and society.

Over the last two decades, he curated major exhibitions for biennials and institutions such as four national & collateral pavilions at the Venice Biennale (Wales 2013; Maldives 2013; Mauritius 2015; Pera Fauna Flora–Malaysia 2022); the ongoing exhibition project Ideal- Types (Amsterdam 2018, Venice 2019); Sean Scully: Standing on the Edge of the World (Hong Kong Arts Centre 2018); Shezad Dawood: Leviathan (Fondazione Querini Stampalia in conjunction with the 57th Venice Biennale 2017); EXPO VIDEO (Chicago 2015); and the biennials Sequences VII in Reykjavik, Iceland (2015) and Manifesta 8, Region of Murcia, Spain (2010). He also curated web projects, radio and television programs for institutions in the Netherlands, Germany and Denmark.

He holds a PhD in Communication Design and Photography and has had over 200 texts published on art, media and curatorial practice, contributing to a large number of books, catalogues, monographs and journals. Alfredo is Editor-in-Chief of the Critical Photography book series (Intellect Books) and his own publications include the books The Haptic Visual: Imaging as Life-Shaping (forth. 2023), Curating the Image: Notebook for a Visual Journey (2020); Forewords: Hyperimages and Hyperimaging (2018); Unmapping the City: Perspectives of Flatness (2010); and Aesthetic Journalism: How to Inform without Informing (2009).

@CuratorView

Dominican visual artist, art critic and curator. Professor at the Faculty of Social Sciences, Humanities and Arts of the Pontificia Universidad Católica Madre y Maestra and at the Altos de Chavón School of Design.
He is currently Director of the Centro de la Imagen de Santo Domingo, a position he has held since 2011, he is also Artistic Director and Curator of the International Festival of Photography and Video PHOTOIMAGEN, since 2007.
Past Vice President of the International Association of Art Critics (AICA)(2016-2019) (2011-2014), past President of the Congress Committee of the International Association of Art Critics (AICA) (2015-2018), past President of the Dominican Association of Art Critics (ADCA/AICA) (2012-2015). Member of the International Council of Museums (ICOM) and of the Organizing Committee of the National Biennial of Visual Arts of Santo Domingo. Guest Curator of the Karachi Biennial, Pakistan in 2017.
He has published several books, essays, multiple texts for catalogs, newspapers and specialized magazines, receiving awards for his curatorial work repeatedly.
He chairs the Statutes and Regulations Committee of AICA since 2021. He received the Award for Excellence granted by the International Association of Art Critics (AICA) at the XLIX Congress, Havana, Cuba 2016.

Coming soon

Brazilian visual artist by education, comparatist researcher by destiny, teacher and critic by heart, traveler and wondering wanderer.

Ana Lúcia has a Phd in Literature Studies, with a Master in Art History, Theory and Critique as well as a major in drawing all by the Federal University of Rio Grande do Sul (UFRGS), Brazil. She has been a lecturer in Art History, acting in undergrad and grad courses in Art, since 2020 in the Federal University of Goiás (UFG), after a long experience teaching at universities such as USAC Florianopolis, UDESC Florianopolis and ULBRA Canoas. Ana Lúcia is member at AICA International and the Brazilian Art Critique Association (ABCA) being currently the vice-president for the Centro-Oeste region in Brazil. Member also at the European Society of Comparative Literature (ESCL) and to the Brazilian National Association of Art Researchers (ANPAP), Ana Lúcia has been publishing in international journals such as the Slovenian Comparative Literature Journal, the Canadian Review of Comparative Literature as well as Arte e Crítica, the ABCA journal, among other Brazilian journals, books and scientific congresses publications. Her main research interest is the relation between art and literature which has enabled her to investigate the production of artists such as Brazilian José Leonilson and the French-American Louise Bourgeois. In such regard, we must address the publication of “Voilà món Cœur: it’s been to hell and back! José Leonilson’s and Louise Bourgeois’ poetic images on longing and belonging” in “(Re)Writing Without Borders – Contemporary Intermedial Perspectives on Literature and the Visual Arts”, organized by Nina Schiel and Briguitte Le Juez, by Common Ground Publishing in 2018.

Many of her publications can be downloaded at her edu.com page: https://ufg.academia.edu/AnaBeck

Critique d’art, Muséologue, Commissaire d’expositions et professeur.

Diplômée Magna Cum Laude en Littérature à l’Universidad Central de Venezuela. Master avec Mention d’Honneur en Littérature Latino-américaine à l’Universidad Simón Bolívar.

Depuis 1990, responsable éditoriale de la revue internationale ArtNexus à Caracas.

Commissaire d’expositions aux musées du Vénézuéla de 1978 à 2009. Chargée d’expositions du Centro de Artes Integradas depuis 2010 et de galeries d’art et institutions indépendantes. Professeur d’Histoire d’art moderne à l’Universidad Metropolitana et d’Appréciation visuelle au Centro de Artes Integradas.

Collaboratrice pour différents magazines et diverses publications d’art et auteur de plusieurs livres dont: Educación artística (2009); Carteles del Museo de Bellas Artes (2004, Prix National du Livre CENAL) ; Urbi et orbi. La ciudad-universo de Iván Petrovszky (1999); Vicente Huidobro y el cubismo (1993 Prix Municipal en Recherche littéraire, 1993; livre électronique, 2014), entre d’autres.

Rédactrice et animatrice de l’émission de radio et podcast Un minuto con las artes. (Prix AICA- Venezuela 2022)

Depuis 1990, membre d’AICA section Vénézuéla.

Media International Broadcast: MIRACLES DECODED – HISTORY CHANNEL (2018) Interview about the psychographic work by metaphysical medium painter GERMANO REHDER. In contact with Great Master Painters the psychographic painter Germando Rehder materializes, in a small period of time, an image performed by a Great Master Painter such a Claude Monet’s “Water Lilies Garden”. Germano Rehder is a medium painter. The work was painted using the technique acrylic on canvas. Expert analysis on the authenticity by Prof. Sandra Daige Antunes Corrêa Hitner, PhD, with EXPERT REPORT – Transmission for the Endemol Agency producing for History Channel the second season of the program “Miracles Decoded”, a series of documentaries for all Latin America http://seuhistory.com/ Miracles Decoded.

Vice-President of the Museu de Arte Moderna de Campinas (MAM – Museum of Modern Art of Campinas). Has written two expert catalogs on the engravings of German artist Albrecht Dürer, part of the Brazilian collection of Fundação Biblioteca Nacional do Rio de Janeiro (National Library Foundation of Rio de Janeiro), and one expert catalog on the oil painting of Flemish Primitive Hieronymus Bosch, part of the collection of Museu de Arte de São Paulo Assis Chateaubriand (MASP – São Paulo Museum of Art). The expert catalogs on the engravings of German artist Albrecht Dürer may be found at Dürers Haus, in Nuremberg, Germany, and the expert catalog on the painting of Hieronymus Bosch may be found at Institut Royal du Patrimoine Artistique (IRPA) of Centre National de la Recherche “Primitifs Flamands”, in Brussels, Belgium. The catalogs haven’t been edited in Brazil yet.

A curator, cultural manager and art researcher based in Bucharest and educated in Paris, Nancy, Selestat, Strasbourg, London, Bucharest and Târgovişte. The founding director of the design and art organization, Atelierul de Creaţie Association, with the project Revista Atelierul (Atelierul Magazine) and co- founder of the projects The White Night of Creators and Designers, Creative Night Talks, #StayHomeCreativ all projects being cofounded by public fundings.

Professeur d'État en Philosophie Université du Chili, Professeur en Histoire et Géographie UMCE, Licence en Esthétique PUC. D.E.A. Diplôme d’études approfondies en Histoire et Civilisation. E.H.E.S.S. et Doctorat du Nouveau Régime en Histoire et Civilisation. E.H.E.S.S. École des Hautes Études en Sciences Sociales, Paris. Postdoc en études critiques, New York University, New York. Professeur universitaire depuis 1986 dans les principales universités du Chili, d'Amérique latine, des États-Unis et d'Europe. Auteur de 25 livres sur l'art latino-américain, les études culturelles et les études critiques. Il a également publié 40 articles dans Revues indexées. Il s'intéresse actuellement à l'étude des relations entre l'art et le pouvoir et aussi entre le corps et l'art. 

Robert-Jan Muller is an art historian based in Amsterdam and works as an art critic and publicist on modern and contemporary art and design. His reviews and articles (print and on-line) are published in the widely read Dutch art magazine Museumtijdschrift. He has publicized in Artforum and his filmed artist’s interviews from the last ten years are to be seen on Vimeo. From 2007-2011 he was the editor of the AICA NL website. He worked as an art and design consultant for several companies, in particular Dutch telecom/post KPN. In 2021 he was one of the initiators and organizers of the international webinar ‘Ruptured Histories’ as a member of the AICA Fellowship Fund Committee. He is involved in the Dutch Radboud University Medical Centre art scheme and is due to write a book for a broader audience on Dutch modern art.

Coming soon

1953, born in Berlin (West) 1953. After family moved to Cologne in Western Germany, went to school there, 1959-71. Edited the school newspaper at High School, 1969-71

Return to Berlin, University 1971-80, studying Economics and Political Science and afterwards Art History at the Free University.

Assistant to curatorial team for exhibition project, „Tendenzen der Zwanziger Jahre“ in 1977. From then on, worked as Co-Curator for various exhibition projects at Akademie der Künste, Gropius-Bau and other venues, among them „Ich und die Stadt“ in 1987 for the 750thAnniversary of the City of Berlin

Started art criticism in 1982 for local newspapers and magazines, from 1983 as arts correspondent for Handelsblatt (Düsseldorf) and Die Zeit (Hamburg), from 1984 for Der Tagesspiegel (Berlin)

1987-2020, co-editor of Cultural Pages, Der Tagesspiegel,
writes about art, architecure, cultural politics, and history.
In addition, editor of Political Book Section, 2016-2020

2007-2013 writes for Speech architectural magazine (Moscow)

2011-2019 writes for The Art Newspaper  (London)

2013-2018 writes for The German Times /Atlantic Times

from 1999 author, from 2020 co-editor of Kunstzeitung and  Informationsdienst Kunst (both Berlin) until end of publication in late 2023

1999-present, author for Bauwelt architectural magazine (Berlin)

2020 Chief editor of bb2070, Magazine for Architecture and Urban Planning (Berlin, ceased publication due to the pandemic)

1989-1999 lecturer at various Berlin Universities in Economics of Culture, Cultural Institutions, Cultural History of Post-War Germany

Member of various Jurys, member of Advisory Board for Fine Arts, Berlin Senate

Member of AICA, German Section, 1986, Vice President 2011-2018

2020-present, writes free-lance on art, architecture, and cultural politics for various papers and magazines. Numerous essays in anthologies and catalogues, 1983-present