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.

Samuel Hernández Dominicis (Havana, Cuba, 1987): Graduated in Art History from the University of Havana (2011) and master’s in art studies from the Ibero-American University of Mexico (2019). Researcher, teacher, curator, and art critic. Worked as ArteSur magazine editor at Sello Arte Cubano Ediciones and was part of the team that started the Institutional Collection of the Consejo Nacional de las Artes Plásticas (CNAP). Also, as Centro de Desarrollo de las Artes Visuales (CDAV) technical deputy director and Visual Arts Advisor in the National Directorate of the Hermanos Saíz Association (AHS). In recent years, his research work has focused on reflecting on the construction of the people and the enemy as discursive categories of populist and totalitarian processes. Member of the Latin American Studies Association (LASA) and executive staff of its Cuba Section, of the Union of Writers and Artists of Cuba (UNEAC), of the Group of Studies on Public Art in Latin America (GEAP Latin America) and coordinates the Cuban homologous group. PhD candidate in the Modern Literature program at the Ibero-American University of Mexico, where he works on male homosexual subjectivity in fictional works belonging to Cuban literature. At the same time, he teaches at Instituto de Cultura Superior (ICS) and Centro de Estudios Visuales (CEVI). He was recently elected President of the Cuban Chapter of AICA.

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.

Comin 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 Goias (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 Midwest. She is also a member at the European Society of Comparative Literature (ESCL), the Brazilian Art History Committee (CBHA) and to the Brazilian National Association of Art Researchers (ANPAP).

Ana Lúcia has been primarily teaching and researching Contemporary Art. Her main interest is the relation between art and literature and the creative process which led to the investigation 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.

Furthermore, Ana Lúcia has published articles in Brazilian and foreign Journals, chapters in books on Brazilian Art, while occasionally dedicating herself to small curatorial projects.

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

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.

Karen von Veh is an Emeritus Professor at the University of Johannesburg and was previously full Professor and HOD of the Visual Art Department at UJ.  She is the current Chair of the AICA Fellowship Fund Committee and has served on the committee since 2019.  She has also served on the International Board of AICA for 4 terms.  Her research interests include contemporary South African Art, the transgressive use of religious iconography, postcolonial studies and gender studies.  She has written and published over 17 book chapters, and 28 academic articles on these subjects, as well as two monographs on South African artist Diane Victor:  Diane Victor: Burning the Candle at Both Ends, 2012 and Taxi 13: Diane Victor, 2008 (co-written with Prof. Elizabeth Rankin from Auckland University).  Karen is also a past president and long-term membership secretary of the South African Visual Arts Historians Association and has served on the board of directors of ACASA (USA based Arts Council of the African Studies Association). 

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.

Esra Yıldız received her bachelor degree in Environmental Engineering and Sociology and master’s degrees in Art History from İstanbul Technical University. She pursued her postdoctoral studies at the Humboldt University of Berlin and EHESS (Paris). She is an Associate Professor at İstanbul Bilgi University, Director of Cultural Management MA Program and the President of AICA Turkey. She has been publishing articles in the journals and publication houses such as African Arts, Critical Arts, International Journal Of Arts Management – IJAM, Art in Translations, Routledge and Intellect Books. She is also film director, her latest documentary film Stateless screened national and international festivals, and was awarded a special mention at the 17th Boston Turkish Festival Documentary & Short Film Competition.

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

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.

Historian, curator, and art critic. Studied at Trnava University and at Charles University in Prague. He has worked as chief curator at Nitra Gallery and Bratislava City Gallery, lectured in the Department of Art Theory and History at the Academy of Art in Banská Bystrica, and served as an independent expert on questions concerning galleries at the Ministry of Culture of the Slovak Republic. He has curated more than fifty exhibitions at home and abroad, and has written reviews and essays. Founder of the journals Dart (1999) and Jazdec (2009), he iniciated the stipendium for young curators (2003) and is also the creator of the web-archive www.artdispecing.sk, the greatest source of visual art oral history in Slovakia. Former president of the Council of Slovak Galleries, as the vice-president of the Slovak Section of the International Association of Art Critics (AICA) he was co-author and co-organizer of the XLVI AICA International Congress in Slovakia in 2013. He regularly participates in conferences and seminars, has lectured in Slovakia, Czech Republic, Austria, China, Hungary, Croatia, South Korea, Chile, South Africa, UK, Poland, Italy and the USA, and has had stipendiary stays in the USA, Austria, UK, Denmark, Germany, Poland, Italy and Israel. In 2008, on his initiative, the Cyprián Majerník Gallery in Bratislava (originally founded in 1957) was re-established (existed till 2014). His book Haberernová´s Eye. Post-Informal Figuration in Slovak Visual Art of 1960s was published in 2013. In 2014 he worked as appointed director and till 2016 chief curator at Dom umenia/Kunsthalle Bratislava. In 2015 he organized the international conference Could We Speak of Bratislava Conceptualism? (Textbook published in 2022). In years 2016-2021 he was PhD candidate at Trnava University. In 2017 he received the fellowship at Clark Art Institute, Williamstown (MA, USA). After one year curatorial appointment in Regional Gallery of Fine Arts in Zlín (Czech Republic) he serves for the second term as director of The Peter Michal Bohúň Gallery in Liptov Region (Liptovský Mikuláš, Slovakia) since 2019.

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

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.

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.

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.

Tessel Janse is an art historian, art critic and researcher based in the Netherlands. She studied Art History (BA) at Utrecht University and Postcolonial Culture and Global Policy (MA) at Goldsmiths, University of London, where she is now finalising her PhD in the Media, Communications and Cultural Studies department. Throughout her studies, her research has focused on the intersections between art and post- and decoloniality. Her PhD considers contemporary forms of colonialism that work through, and upon, relations of interdependence between humans and animals. Writing on (were)tigers and collective memory, forced reindeer culls as instrument of settler colonialism in the North, and listening to whales in the wake of imperialism, she looks towards art as a method for developing decolonial interspecies ecologies. More broadly, she is interested in the role of artistic expression in environmental justice, repair in the face of ongoing colonialism and climate crisis, and in memory studies, decolonising knowledge production and questions of the more-than-human. Tessel has taught in the fields of Media Studies, Postcolonial Studies and Comparative Literature at Utrecht University and at Goldsmiths, and has experience working in museum education and the cultural funding sector. Her writing has been published in Third Text, the edited volume Interspecies Performance, Metropolis M and Kunstlicht, and her studies have been supported by amongst others the Cultuurfonds and VSBfonds. She has presented her work at conferences such as the London Conference in Critical Thought, and at workshops hosted by universities in the UK, the Netherlands and Norway. 

Rumena Kalcheva had her PhD in Art History (2014) at the National Academy of Arts in Sofia, Bulgaria with the topic “Emergence, development and institutional dimensions of alternative exhibition spaces in Bulgaria from the late 20th to the early 21st century”. She is a freelance art critic with a research area of ​​contemporary art, art in alternative and public spaces, art communications and art management.

From 2008 to 2019 she is an author of the blog for art critics called Artologica and in 2020 she founded the independent platform for art critic Kritikar, within which she has also led an internship mentoring program for young critics since 2024.

Over the years, she has published hundreds of articles in various periodicals and specialized newspapers and magazines about art, also in the Bulletin of the Union of Bulgarian Artists, Critics newspaper and others. A curator of many exhibitions held in different galleries in Sofia, author of catalogs and communication strategies about galleries and individual artists.

She is a member of the Union of Bulgarian Journalists (2011) and the Union of Bulgarian Artists (2012) where she has been a secretary of the Department for History of Art and Art Critic since 2015. She became a member of the Bulgarian section of AICA in 2019.

In 2011 she won the award for art critic from the competition for young artists, critics and curators of the "St. Cyril and Methodius" Foundation.

Rosemary M. O’Neill, Ph.D., is Professor Emerita at Parsons School of Design – The New School in New York City.  An art historian, scholar, writer, and critic, she has authored publications on European and American art of the Twentieth and Twenty-first Century including books, book chapters, peer reviewed journal articles, and art and book reviews nationally and internationally.  O’Neill has held leadership positions in academia and professional art organizations including the CAA-Getty International Program, the International Committee of the College Art Association, and she currently serves on the Board of a New York City not-for profit gallery and educational foundation.  O’Neill’s currently projects include publications focusing on French art of the late 1960s and 1970s and a study of artist foundations and private cultural venues in the south of. France. 

Natali Rajchinovska-Pavleska (Republic of North Macedoina) holds a PhD in science – art and media and is an assistant professor of art history and theory, a member of the Quality Council of the Faculty of Fine Arts, at the University “Ss. Cyril and Methodius”, Skopje. Author of monographic works, art books, and curated exhibitions, she is a critic and researcher in contemporary art practices, art criticism, and theory. She publishes scientific papers in international journals, actively follows the local and the international art scene and publishes reviews in the daily press. She has been a member of the curatorial team of the project No Man's Land for the 15th Architecture Biennale in Venice, 2016 and a lecturer at a European seminar for curators Art Galleries and their Work with Local Artists, 2019. She curated the project Confutatis – what are heroes made of? by V. Zernovski, on the European Nomadic Biennial – Manifesta 14, Prishtina, 2022. She is a member of the Macedonian section of AICA and the Macedonian National Committee of the International Council of Museums (ICOM), recently awarded for museum project – printed monographic work: Time-script (Compendium or reality prefiguration), 2023. Her research experience, based on the humanities and philosophy, includes a transdisciplinary approach, transposing and crossing current theoretical currents and liiterary reference systems, historical presence and contemporary artistic practice, exploring and questioning social dynamics and institutional contexts. She actively follows the art scene and publishes critical reviews and reviews in the first printed daily newspaper. As coordinator of the annual symposium of the Macedonian section of AICA, she conceived the theme: Surrendered or (sur)round(ed) table? / A Quest for the Model: Tableau vivant or the Voice of Criticism? She is a member of the Commission for the Evaluation of Projects of National Interest of the Ministry of Culture and Tourism, for the 2025 Venice Biennale of Architecture. Her narrower field of interest is based on the scientific-research study of the conceptual relationships between historical avant-garde artistic practices and their extension through the new contemporary media. Her historical and theoretical research encompasses a wide range of intersecting epistemes, reference systems, and scientific disciplines in analyzing and formulating the notions of dialectics of expressive forms, conceptual narratology, and the concepts of articulated artistic language and virtual event. Her works offer an extensive overview in the field of experimental art practices and scientific disciplines such as semiology, narratology, sociology, media intertextuality theory, genre convergences, inter-media, remediation, theory of happening and performance arts, theory of historical avant-gardes and neo- avant-gardes, theory of conceptual art and contemporary art practices, theory of video art and installation, film theory and documentary theory, structuralism and post-formalism, reception theory, information theory, communication theory, philosophy of art.

Ph.D. in Humanities. Director of the Fundación Sala Mendoza and Research Professor at the Communication and Information Research Institute (IDICI) of the Universidad Católica Andrés Bello. He is a contemporary art curator, critic, and a member of the International Association of Art Critics (AICA) and the Ibero-American Observatory of Digital and Electronic Arts (OIADE). He is a regular contributor to ArtNexus and Papel Literario (the literary supplement of El Nacionalnewspaper). His most recent books include Postnaturaleza: Lo humano en expansión; Juvenal Ravelo: fragmentación de la luz y el color; Filosofía cyborg: Primeros apuntes; Nex: Imaginar el postpresente; and La movilidad del presente: Estética, espacio y tiempo en la contemporaneidad.

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

Faye Tzanetoulakou is an Art Historian / Art Critic / Exhibition Curator.

She holds a PhD with Honours in the History of Contemporary Art from the Department of History, Philosophy School, Aristotle University of Thessaloniki, 2019, and is currently conducting post-doctoral research at the School of Architecture, University of Thessaly. Her academic subject of interest is Contemporary Sublime. She studied History of Art at the University of Glasgow, integrated MA Honours, 1996, and was accepted and attended MPhil courses at Goldsmiths College, University of London, 2001-2002.

She teaches Social Function of Art, and Art and Materiality at the University of Western Attica, while being a University Scholar at the School of Architecture, University of Thessaly. In 2020-2021 she was a scholarship holder for a subsidized research project on "Digital Art in Greece", Aristotle University of Thessaloniki. In 2020 she was a fellow of the NEON Curatorial Exchange program, London, Whitechapel Gallery. She participated as one of the judges in the National Student Competition organized by the School of Architecture, University of Thessaly, 2021. She was a member of the artist selection committee for the DESTE Award 2013. She was Commissioner of Greece at the 7th Baltic Biennale in Poland, 2007. She was elected and served as the Secretary General of the Board of the Greek Section of the International Association of Art Critics AICA (2014-2024) and has co-curated the biennial exhibition-institution of contemporary Greek art "THEORIMATA", as well as the biennial event of AICA Hellas Artistic Contribution Award, while she has participated with the Board of AICA Hellas in the Selection Committee for the Greek participation at the Venice Biennale 2017/ 2019/ 2022/ 2024.

Coming soon

Jovanka Popova (1980, Skopje) is a curator at the Museum of Contemporary Art - Skopje and Press to Exit Project Space, an organization for contemporary art and curatorial practices. She has curated exhibitions in the contemporary art field in North Macedonia and worked on international curatorial projects. She was curator of the North Macedonian Pavilion at 58 Venice Biennale in 2019, and curator and coordinator for 14 Manifesta Biennale Prishtina Parallel Program in MoCA Skopje. She was executive director of the Jadro Association of the Independent Cultural Scene, North Macedonia, and president of the Macedonian Section of AICA International Association of Art Critics.