TCA Phnom Penh
Die TransCuratorial Academy (TCA) ist eine Initiative der KfW Stiftung mit dem Ziel, den internationalen Wissenstransfer sowie die Vernetzung und den Ausbau des transkulturellen und transdisziplinären kuratorischen Diskurses in Theorie und Praxis zu fördern. Die Leitung haben Beatrice von Bismarck und Benjamin Meyer-Krahmer inne. Die TCA ist in drei Kapiteln zu jeweils einem Schlüsselbegriff ('Keyword') aufgebaut (Berlin, Mumbai, Phnom Penh).
Das Keyword der TCA Phnom Penh, die in Zusammenarbeit mit dem unabhängigen Kunstraum Sa Sa Art Projects realisiert wird, ist 'Untranslatability'. Mit der Einladung von Emily Apter als Festrednerin folgt die TCA dem konzeptuellen Ansatz, Schlüsselbegriffe anderer Disziplinen in den kuratorischen Diskurs einzubringen. Das Programm besteht neben Workshops mit Vuth Lyno und Gridthiya Gaweewong aus Präsentationen der teilnehmenden Kuratoren und Exkursionen zu lokalen Ausstellungsinstitutionen. Alumni der TCA Mumbai werden an ausgewählten Programmpunkten teilnehmen.
Sa Sa Art Projects / Phnom Penh, 1-6. Oktober 2018
Sa Sa Art Projects ist ein unabhängiger Kunstraum in Phnom Penh, Kambodscha, der sich experimentellen und kritischen zeitgenössischen Kunstpraktiken widmet.
Wong Bing Hao
Đỗ Tường Linh
Roshan Kumar Mogali
Maria Alicia Sarmiento
Emily Apter, Professorin für Französische Literatur und Komparatistik, New York University (NYU)
Vuth Lyno, Künstler, Kurator und Künstlerischer Leiter von Sa Sa Art Projects, Phnom Penh
Gridthiya Gaweewong, unabhängige Kuratorin und Künstlerische Leiterin des Jim Thompson House, Bangkok
Alumna der TCA Mumbai:
Regioning Differences: Translation and Transcuration
Festvortrag von Emily Apter
The remapping of cartographies of knowledge and the reorientation of genealogies of comparison, all have been fully underway for quite some time in critical and curatorial practice. But it may be time to focus in an even more pointed way on translational issues as they affect the designation of regional entities and identities and in turn, define how geotopic regionalisms -. Europe/non-Europe, intra-Asia, North/South, South-South, tricontinentalism, zones of settlement and unsettlement – are negotiated by artists in their work or by curators designing exhibitions with a “global” remit. We will begin with a consideration of Gayatri Chakravorty Spivak’s concept of “global criticality,” loosely ascribed to differential multiplicities across regions, and to differences that are resistant to dominant categories of world division and partition, including epistemological siloes and the methodological niches of area studies. Spivak focuses on the particular anxieties issuing from the global circulation of knowledge – the crisis of what qualifies as expertise in the humanities; the problem of cross-cultural literacy across enormous linguistic divides, and the fallout of commercialized life, packaged art and branded art and culture typical of biennials and “world lit” or “world arts and culture” anthologies. Rather than wallow in the futility of pedagogical exercises fated to dumb down specialized material, or worse, reproduce the violence of forced analogy and Europe-centered genealogies of comparison, Spivak enjoins us to imagine a “global criticality”that navigates the pitfalls of mapping, both cognitive and political.
Taking off from this notion, I will propose a model of regioning differences that focuses on the politics of cartographic denomination – specifically the translation or untranslatability of names for continental relation, orientation, and entanglement. We will ground this theoretical problem in a discussion of several paradigmatic exhibitions (starting with the Global Conceptualism show) and conclude by examining recent work that deals with regional “entanglement” by the artist Naeem Mohaiemen.
Emily Apter is Silver Professor of French and Comparative Literature and Chair of Comparative Literature at New York University. Her most recent books include: Unexceptional Politics: On Obstruction, Impasse and the Impolitic (Verso, 2018), Against World Literature: On The Politics of Untranslatability (2013), Dictionary of Untranslatables: A Philosophical Lexicon (co-edited with Barbara Cassin, Jacques Lezra and Michael Wood) (2014), and The Translation Zone: A New Comparative Literature (2006). She is currently working on a book dealing with translation and justice, and hopes to complete it while a fellow at the American Academy in Berlin in spring 2019. Her published articles include essays in October, Art Journal and Artforum. She has served on the faculty of the Whitney Independent Study Program and lectured widely on translation theory, politics and aesthetics, and critical archiving. In 2017-18 she served as President of the American Comparative Literature Association. In fall 2014 she was a Humanities Council Fellow at Princeton University. In 2003-2004 she was a Guggenheim Fellowship recipient.
1. Oktober 2018
Sa Sa Art Projects
Street 350, Beoung Keng Kong 3, St 350
Phnom Penh, Kambodscha
Kathleen Ditzig, Singapore
Untranslatable? The Politics of Deliberate Mistranslation
Taking up the term ‘untranslatability’ as a question, I will present two ongoing research projects that review attempts of ‘translation’ as part of the configuration project of cross-cultural exchange. I am particularly interested in deliberate acts of ‘mistranslation’ or flattening of meaning. The first project is a survey of MoMA exhibitions that travelled to Southeast Asia during the Cold War as part of the MoMA’s international programme. These exhibitions were ‘translated’ onto local contexts and at times co-opted into non-Western discourses and modernities by the local actors that intervened and presented the exhibitions. The second project is an investigation into the relationship of film as a modern Western technology and the resistive modernities of Southeast Asia that arise out of the translation of alternative systems of knowledge related to the supernatural and the folklore onto the screen through the making of Horror Films in Southeast Asia (1950s-2000s). Both projects suggest that the ‘untranslatable’ can be deliberate acts of mistranslation, so as to occlude, resist and ultimately retain (if not create) specific forms of agency against hegemonic and universalising global infrastructures.
Kathleen Ditzig is currently pursuing her PhD at NTU ADM (Nanyang Technological University Singapore, School of Art, Design and Media) on exhibition histories of regionalism and cultural exchange as part of the Cold War in Southeast Asia (1947-1974). She is also the co-founder of offshoreart.co, a contemporary art research collective that studies the offshore as the defining paradigm of contemporary globalisation. With a background in writing and administering cultural policy, her research and practice is committed to untangling the complex histories of internationalism in relation to power, nationalism and art.
Nguyễn-Hoàng Quyên, Hanoi
My presentation grapples with issues of translation that unfold around the power and currency of globalised English, the necessity of persistent resistance against this dominant ‘global’ tongue and the potential of remixing English into new languages, dialects and codes. How might we decolonise the seeming irresistible presence of English? How might we keep languages decentered and unoppressed? Could and should every other concept be translated smoothly into neat and correct English? To address these questions, I will be discussing my curatorial work around two collectives in Hanoi, one poetic and the other artistic, and sharing questions on the politics of translation and the potential of (occasionally deliberate) untranslatability from my personal experience of curating and writing in Vietnam.
Nguyễn-Hoàng Quyên (b. 1993) graduated with a Bachelor of Arts (Honors & Distinction) from Stanford University in 2017 and is currently a contributing writer-translator at AJAR Press and assistant curator at San Art in Vietnam. Her writings have appeared in the Boston Review, Cha, Voice & Verse, Yamagata Film Criticism Collective and various exhibition catalogues and independent publications.
Yean Reaksmey, Hanoi
Curatorial Writing as a Process of Translation
‘Untranslatability’ is an interesting phenomenon. It is neither truly an impossibility nor inability. It is indeed a difficulty, whereby the question of representation, accuracy, transference, naturalness, authenticity, and sacredness comes into play. However, this challenge creates a possibility of interpretation, creation, comprehension, construction, and deconstruction. In my experience translating English to Khmer, or the vice versa, I found this concept of ‘untranslatability’ a motto, or a reminder, for my curatorial practice, especially with interpretation and writing. It is a reminder that there is always a unique characteristic and specificity of a language, may it be written, visual, or performative language, as they come with their own cultural and social life. Thus, to remind that translation is a contextualization, not a substitution to the original. In this talk I will present one aspect of my curatorial practice, which is the crafting of the curatorial essay/text to accompany the show. I will present how the concept of ‘untranslatability’ plays a role in this writing process. Two past exhibitions will be mentioned, Drunk Nude by Heng Ravuth, and Influence: The New Ages by Leang Seckon as case studies. Within curatorial writing as translation as contextualization, I became conscious in assigning and selecting the kind of text for the exhibition, with an intention that it should not be the replacement to the presentation of an artwork, which is the original text that needs to be understood and interacted with. The translation text is thus a complement.
Born in Battambang/Cambodia, Yean Reaksmey is an art advocate, curator, researcher, and writer. In 2014, he pursued a Postgraduate Diploma in Asian Art at SOAS, University of London (Alphawood Scholarship). In 2017, he was an exchange scholar at the Institute of Southeast Asian Affairs, Chiang Mai University, Thailand. He is presently pursuing an MA in Asian Art Histories at LASALLE College of the Arts, Singapore (SEAsia Scholars Award, Asian Cultural Council's Graduate Scholarship; Dr. Karen Mcleod Adair’s Fund). Among other commitments, Yean has been a curator for creative programs at Java Creative Café, Phnom Penh.
Roshan Kumar Mogali, Pune
Is The Contemporary Here Yet?
In its fall 2009 issue, MIT Press’s October journal carried an article titled “Questionnaire on ‘The Contemporary’”. Written by Hal Foster on behalf of the editors, this questionnaire was sent to 70 critics and curators the editors identified as being particularly interested in the contemporary. Of these, 32 (including Okwui Enwezor, Miwon Kwon, Terry Smith) replied with essay-length responses. Framing her response around contemporary art history, Kwon’s reply included further inquiries: “For instance, what is the status of contemporary Chinese art history? What is the time frame for such a history? How closely should it be linked to Chinese art, cultural, or political history? How coordinated should it be with Western art history or aesthetic discourse? Is contemporary Chinese art history a subfield of contemporary art history? Or are they comparable categories, with the presumption that the unnamed territory of contemporary art history is Western-American?” Kwon’s questions, for me, hang in the air, and crystallise my struggles with understanding the nature of the contemporary. There have been some wonderful efforts in the recent past to understand the contemporary condition, including The Contemporary Condition research project at Aarhus University and the Contemporary Research Intensive it organised in collaboration with other university programmes at the 57th Venice Biennale; Stanford University’s The Contemporary; and BAK’s Former West initiative, which have been very inspiring. It is important that South Asia stakes its claim in this exploration of the contemporary, and my project — an online research and publishing platform titled Is The Contemporary Here Yet?(ITCHY) — seeks to examine the condition of contemporaneity with a focus on South Asian contemporary art and allied fields of architecture, design, dance, film, photography, among others.
Roshan Kumar Mogali is a journalist, writer and editor from Pune, India. He has written about contemporary art and curatorial practices for art magazines and journals including Artforum International, Flash Art International, Afterall, BOMB, Art Papers, and Art India. His forthcoming project will be online soon on www.isthecontemporaryhereyet.com.
Carolina Rito, Nottingham
‘Not Going Anywhere’, Translation as a Site of Inhabitation
Translation is the process of decoding words or text from one language into another; the conversion or transformation of something to its seeming equivalent. ‘Not Going Anywhere’ explores the possibilities of eroding both edges of this transition (the original and its derivative) by sitting in the qualities of the transition itself. What would translation look like if it abandons the two edges of its journey, the here and there? In order to explore these possibilities, this presentation proposes two main articulations to think about translation: a) translation as site of erasure (exploring the cultural and political violence that arise in processes of translation – in language and beyond), and b) translation as a site of inhabitation (a liminal space marked by mistranslation, confusion, and hesitance).
My current curatorial project On Translations – in collaboration with Nottingham Contemporary, the University of Nottingham and Nottingham Trent University – sets its horizon in the space of translation as a site of knowledge production. Through a series of events, publishing practices and collaborative research projects, On Translations explores the space of translation – one of not knowing, of feeling confused, and of mismatching – as the ground from where to define and map transnational dialogues of knowledge production and cultural networks.
Carolina Rito is Head of Public Programmes and Research at Nottingham Contemporary (UK) and Research Fellow at Nova University of Lisbon (Portugal). She is a researcher and curator with a PhD in Curatorial/Knowledge, Goldsmiths, University of London. She lectures internationally on ‘the curatorial’, as an inter-disciplinary and aesthetic investigative practice, that is able to open up the field of exhibition-making to a new arena of knowledge production. Carolina is the chief editor of The Contemporary Journal, publishes in international journals (e.g. Kings Review, Mousse, and Wrong Wrong Magazine), and supervises doctoral studies.
Farid Rakun, Jakarta
Re-, de-, post-, pas? Rethinking “Biennale” in, and of, Jakarta
Using Jakarta Biennale to reflect (2009-2017) and speculate (2019-onwards), in this presentation I wish to share the challenges and opportunities of artist-run biennales with an off-center art geographies gaze, such as Jakarta. Starting from the titles: ‘SIASAT’ (2013), ‘Maju Kena Mundur Kena’ (2015) and ‘JIWA’ (2017), it’s clear that we are not comfortable in translating sensibilities and concepts (especially when they are intangibles) to other languages besides Bahasa Indonesia. They were all conscious decisions, with serious despite unsuccessful attempts in rendering what we meant by those very different trajectories into English in the background. Through this attempt, I am seeking to clarify the process for myself and provoke feedbacks from my audience regarding this ongoing process we are going through back home.
Trained as an architect, Farid Rakun is an artist and member of the Jakarta-based artists’ collective ruangrupa. He curated Sonsbeek’16: TRANSaction (Arnhem, NL) and has participated in group shows, held by numerous institutions worldwide. He is also a lecturer in Architecture Department in University of Indonesia and just recently appointed to be the Executive Director for Jakarta Biennale.
Wong Bing Hao, Singapore
Ontologies of the ‘Queer’ Self in Southeast Asia
My recent curatorial and academic research asks how burgeoning queer and transgender representation, mainly experienced in North America, translates (if at all) in other geopolitical and social contexts. I focus specifically on manifestations of gender and sexual difference in Southeast Asia. I aim to do this through three means. First, a comprehensive study and theoretical analysis of local vernacular languages that gender non-conforming people in Southeast Asia use to describe and identify themselves. How do they write, speak, or think themselves into being? Further, do widely used English terminologies like ‘queer’ or ‘transgender’ apply in this regional context? Second, I look at everyday social formations of gender non-conforming people in Southeast Asia and ask how their organising and kinship practices (or lack thereof) reflect how they see themselves and their gender and sexual identities. Finally, I examine how regional ideas and conceptions of gender non-conformity present themselves in modern and contemporary visual art and curatorial practice. As with previous work, I adopt a non-binary approach/methodology of gender to articulate the complexities and nuances of lived realities. I speculate that an ontology of the ‘queer’ self in Southeast Asia is reflexively untranslatable and opaque, and explore ways that curatorial gestures can embody its intrinsic contingency.
Wong Bing Hao is a writer and curator from Singapore. They research gender and sexuality in theory, art, and everyday realities. Recent projects include Indifferent Idols, the first in a new series of curatorial research publications. Currently, they are Research Assistant at the National Gallery Singapore and an MA candidate in Southeast Asian Studies at the National University of Singapore, where they research gender in Southeast Asian art history.
Đỗ Tường Linh, Hanoi
The Untranslatability of a Single Language
It is often taken for granted that cultural (mis)translation only happened between different languages, cultures, and contexts. However, with a complex and distorted historical, political and cultural context in Vietnam the situation of being displaced, disconnected and misrepresented could happen right within a single language. Constantly struggling to construct and reconstruct a cohesive national and cultural identity against the historical background of Chinese territorial aggression, French colonialism, and the influence of the Eastern bloc during the Cold war, Vietnam could be viewed rather as a contested terminology rather than a fixed locality or geographical site. Hence the notion of ‘untranslatability’ in the context of art and cultural practice and production offers a case study full of contradiction and complexity. I would like to use this reading of ‘untranslatability’ to question the construction of the cultural and political identity of a nation. I will use examples for analysis from the curatorial process and the controversial response around the current show I co-curated No War, No Vietnam at Kunstverein Tiergarten in Berlin, Germany.
Đỗ Tường Linh pursued her BA in Art History and Art Criticism at Vietnam University of Fine Art and her MA in Contemporary Art and Art Theory of Asia and Africa at SOAS, University of London. Her research and curatorial practice range from art and politics, conceptualism and postcolonial studies. She has engaged in the art, cultural and civil society scene in Vietnam, Southeast Asia and international since 2005 collaborating with various art spaces, galleries and institutions in different roles including writing, researching, curating, teaching and translating. Currently she is working as a researcher for Site and Space in Southeast Asia, a research initiative run by Power Institute (University of Sydney, Australia) www.siteandspace.org.
Gökcan Demirkazık, Beirut
You Know It’s Coming: Anticipatory Melancholy
By its very nature, anticipatory melancholy is elusive. It surfaces when the advent of a disaster is imperceptibly prolonged—even against (mostly sporadic) preventive counter-currents. Can the anticipation of a catastrophe in the long-term change one’s identity or mode of being in the world? In the age of rising neo-imperialisms, pessimism remains too weak a word, and the temperament of a certain kind of melancholia catches on like wildfire on a day-to-day basis. Forget critical negation and leave your intellectual baggage at the door: “the Sick Man of Europe” is back again for an extended family visit. At this early phase, this project around anticipatory melancholy is seeking to understand its grounding (or groundlessness) in world history, a limited number of its manifestations in contemporary art, and, generally, how anxieties around the imaginary of an impending yet unforeseeable disaster may mold our bodies and shape us. Perhaps they already have.
After receiving his BA in History of Art and Architecture from Harvard College, Gökcan Demirkazık undertook various curatorial and editorial roles at Alt Art Space (Istanbul) and SALT (Istanbul & Ankara). In July 2018, Gökcan completed the Ashkal Alwan Home Workspace Program as a Writer-in-Residence, and his writing has previously appeared in ArtAsiaPacific, Artforum, Art Unlimited, Even, Frieze, and m-est.org. He lives and works in Beirut.
Agnieszka Roguski, Berlin
Traversing the Visual. Curatorial Settings in Different Perspectives
Among shifting technologies and within a multilayered process of globalisation, questions of (new) subjectivities and transmediality arise by inhabiting digital cultures. How does the curatorial as such affect, create and translate (subjective) perspectives into different settings? Notions of display, networks and a global public are at stake here – and a specific type of un/translatable view, reflecting on the performativity of curatorial practice.
Just this performative approach on the curatorial serves as the core concept here. Understanding every exhibition as a curatorial act that gathers different relations, voices and views, an exhibition cannot be reduced to a representative statement, but a presentation in flux: It evolves with different perspectives acting on it and is articulated through various media. This moment of inherent transformation according to a subject’s perspective is what questions an exhibition’s potential of being translated into a globally standardised format.
Following these arguments, the transdisciplinary collective A.R.practice (Ann Richter and Agnieszka Roguski) merges methodologies of graphic design and curation. It focuses on formats of visual display and critically explores their ways of becoming public, traversing different media and, thus, staging different views. In 2015, A.R. practice realised the project “ON VIEW – interferences of digital and physical re-/presentations”, an interlinkage between online exhibition and the material exhibition space at KV–Kunstverein Leipzig. Their current project “SUBJECTIVE SCENERIES” (tbp) focuses on the question of subjectivity in relation to the supposedly objective exhibition documentation. The book publication represents the next step in the process of transferring the medium of the exhibition into different spaces – now occupying the space of a book – and examining the question of format in terms of its visual performance.
Agnieszka Roguski is a Berlin-based curator (Kunstverein Leipzig, Torrance Shipman Gallery New York City, WATTIS Institute San Francisco, PRAXES Center of Contemporary Art Berlin) and writer (Texte zur Kunst, Spike Art Magazine, Camera Austria, Eikon, Springerin). She is a PhD candidate at Freie University Berlin and was an associate member of the PhD programme “The Photographic Dispositif” at Braunschweig University of Art, focusing on self-display as curatorial gesture among shifting technologies.
Maria Alicia Sarmiento, Manila
To Speak for the State: Presidential Communications and Operating in the Age of the Algorithmic Social Body
In March 2017, Mocha Uson, a blogger known for spinning propaganda in favor of Rodrigo Duterte’s administration, was banned from twitter for her attempt to make a hashtag trend. The hashtag, #NoToYellowShit, was widely reported by twitter users. While Uson was eventually removed for her use of the term “shit”; to Uson and her followers however, the real offense was in the use of the word “yellow.” Over the years since the fall of the dictator, Ferdinand Marcos, and the triumph of his successor Corazon Aquino, the color yellow has gone from being saddled with meaning and mythologies about the triumph of democracy, only to be distilled to a narrative of good vs evil. My proposal involves these terms and images deeply specific to recent political campaigns in the Philippines, campaigns that can be recognized as propaganda in favor of a populist demagogue. Along with the shift in the understanding of the color yellow came a rhetoric of “discipline”, of “change”, of “heroism.” It is in their untranslatability that we now see the roots of a growing rift, complicated further by the media channels used to propagate consumption: through memes and blogs, through content made to go viral. In this age where one’s knowledge of the social world is heavily subjected to the algorithms set through social media, how does this relentless consumption of information, as images and texts, go on to make a world we are (in this case) doomed to share? For future curators and educators in visual culture, especially those studying the Philippines, how do we begin to make sense of this profusion of data produced for and arising from sustaining and maintaining the popularity of the Duterte administration? How can we begin to catalog and archive it?
Alice Sarmiento is an independent curator, writer, founder of feminist collective Grrrl Gang Manila, and lecturer at the University of the Philippines. She would like to take this time to reflect not so much on her own practice but on the time in which she is practicing, and how as a curator, she feels concern for a broader landscape of the visual.
Abhijan Gupta, Kolkata
My current practice uses the space of the curatorial to question the organisation of knowledge, and the production of disciplinarity, preferring an approach that is in- and anti-disciplinary, to produce new structures for the production and dissemination of knowledge. In this presentation, I will discuss two current projects and the methods employed therein: TheExhaustion Project and The Forest Curriculum: The Exhaustion Project attempts to address the urgent need to develop new mass choreographies which are able to code exhaustion into the process of collective bodily becoming, challenging the unitarity of the body – ie, proposing a body that is not one, thus also inserting into the process of democratic action an alternative cosmological imagination. The project The Forest Curriculum also explores the possibility of navigating multiple ontological positions. The Forest Curriculum addresses the need for a located cosmopolitical imagination of our current ecological era, rejecting the planetarity of the Anthropocene project, and proposing instead to think with the cosmological systems of zomia. This itinerant system of pedagogy proposes to work with academics, film-makers, artists, musicians, activists, students and local stakeholders to produce systems of sharing located knowledges, organised around the issues of a particular location and field of operation. In the moment of the crisis of the liberal university, under attack from fascist and neo-liberal forces, the Curriculum proposes a model of nomadic, para(sitic) institutionality that works through furthering entanglement and creating situations of mutual stakeholding of knowledge. Structured around a lexicon and a bestiary, whose denizens haunt, navigate and interfere in the choreographies of knowledges that the project composes, the Curriculum exists and grows through each iteration and deployment, by orchestrating situations of mutual co-learning. Each iteration oozes into the project, and entangles it into every successive deployment, creating transversal networks across zomian fields.
Abhijan Gupta is an independent curator and writer, and with Pujita Guha, the co-director of The Forest Curriculum. His practice examines the construction and production of knowledge in different contexts, and uses the spaces of the curatorial to produce modes of indisciplinary thought. Previously, he has worked with the Dhaka Art Summit and the Samdani Art Foundation; Bellas Artes Projects, Manila; Council, Paris; the Majlis Cultural Centre, Mumbai, and the Asia Art Archive. He is currently a fellow of the Forecast Platform at the Haus der Kulturen der Welt, Berlin.
Florencia Portocarrero, Lima
Editing as Translating: Notes on Videos from This Woman: Performance Documentation 1997-2010
Taking as a point of departure her editorial work in the publication "Videos from This Woman: Performance Documentation 1997-2010", throughout her presentation Florencia Portocarrero will reflect on the process of editing as an act of translation. Videos from This Woman: Performance Documentation 1997-2010 is the first critical and long-overdue revision of the work of the artist Elena Tejada-Herrera and results from the exhibition of the same name that took place at Proyecto AMIL (Lima, Peru, 2016). The book compiles, for the first time, the work of Tejada-Herrera through an extensive portfolio specially created by the artist and includes unpublished essays by Florencia Portocarrero, the artist Armando Andrade Tudela, and the curator Miguel A. López. The book also presents a dossier of texts by the artist (originally circulated as an independent edition in 1999) and a conversation between Tejada-Herrera, the visual anthropologist Karen Bernedo, the artist Claudia Coca, and the performer, teacher and cultural promoter, Lorena Peña. Portocarrero’s presentation will be accompanied by a two-minute-video intervention by Elena Tejada-Herrera herself, in which the artist will also share some ideas about the translation process that implies bringing together the work on video produced during a life time in the format of a book.
Florencia Portocarrero is a researcher, writer, and curator based in Lima. From 2012-13 she participated in the De Appel Curatorial Programme in Amsterdam and in 2015 completed an MA in contemporary art theory at Goldsmiths, University of London. From 2017-18 she held a grant of KfW Stiftung for the curator-in-residence programme “Curating Connections” in collaboration with DAAD Artists-in-Berlin programme. Her writings on art and culture appear in contemporary art magazines such as Atlántica Journal, Artishock, and Terremoto. In Lima she works as a public programme curator at Proyecto AMIL, and is a co-founder of the independent art space Bisagra.
Carolina Cerón (Alumna TCA Mumbai 2017, “Hospitality”), Bogotá
Carolina Cerón works and lives in Bogotá, Colombia. She holds a BFA from the art programme of the Universidad de los Andes in Bogotá, a postgraduate diploma in design of exhibition formats of the Elisava School, Pompeu Fabra University in Barcelona and a MA in Culture Industry from Goldsmiths College, London University. She is currently assistant professor at the Universidad de los Andes and has been associate professor in the cultural management department at Universidad EAN in Bogotá. She is interested in initiatives on experimental ephemera and alternative sites for curatorial discourse. She also performs, from an eminently self-reflexive position, the task of organising, exposing, interpreting, curating, reading and writing about art.