We are thrilled to reveal the names of the 6 participants
to ACROSS’s second session.
We would like to warmly thank the jury for their continued support during the selection process: Bénédicte Le Pimpec (art critic and curator), Paul Maheke (artist) and Mathilde Roman (Phd in Arts and Sciences of Art, art critic (AICA France), and teacher at Pavillon Bosio – Monaco).
Rosa Lleó (Spain) > Nov./December 2016
Radoslav Ištok (Slovakia) > January 2017
Marie Cantos (France) > February 2017
Emily Butler (UK) > March 2017
Camille Paulhan (France) > April 2017
Julia Geerlings (The Netherlands) > July 2017
Rosa Lleó (1980 – Spain) is a writer and independent curator based in Barcelona.
She is founder and director of the non-profit space The Green Parrot. Since its opening in April 2014 the space has hosted exhibitions, a program of talks and events, and started a series of publications that bring together artists and other practitioners from the local and international scene such as Marc Camille Chaimowicz, Lúa Coderch, Diogo Evangelista, June Crespo, among others.
Lleó regularly writes for international art magazines and also teaches Contemporary Art at the Department of Media Studies at the Pompeu Fabra University of Barcelona. Lleó has curated exhibitions and events at MACBA (Barcelona, 2014), Fundació Antoni Tàpies (Barcelona, 2013), La Casa Encendida (Madrid, 2010) and 176 Project Space (London, 2009).
She did an MFA in Curating at Goldsmiths, University of London (London, 2007-2009) and took part on the Curatorlab program at Konstfack University College of Arts, Crafts and Design (Stockholm, 2012).
Radoslav Ištok (1989 – Slovakia) studied Curating Art at Stockholm University and Art History at Charles University in Prague.
As a governmental scholar he conducted research at the University of Copenhagen (2012-2013). In 2014 he participated in a curatorial course at The Salzburg International Summer Academy of Fine Arts supported by the Erste Foundation through the tranzit network.
His graduation project Knowledge Unbound (2015) in collaboration with Yvonique Wellen consisted of a strand of events concentrated around the issues of decolonising knowledge, self-organised art education as well as racialised structures of inequalities in higher education; and included i.a. artists Grada Kilomba, Dmitry Vilensky and Apichaya Wanthiang.
Recent projects include editorial work on the Decolonising Archives (2016) ePub by L’Internationale Online and exhibitions In the Sky When On the Floor (2016, with Iliane Kiefer) at the Gallery Mejan, Stockholm, and Finding Neverland (2015, with Tereza Jindrová) at the Entrance Gallery, Prague.
As an intern he worked at Tensta konsthall, Stockholm (2015); SALT, Istanbul (2015); and at the moment as a curatorial and production assistant at the Van Abbemuseum, Eindhoven.
Marie Cantos (1981 – France) is a freelance author of texts, exhibitions and performed-lectures. She is a member of the AICA (international association of art critics) and of C-E-A (« associated curators »).
Art historian, for 10 years she has been writing about contemporary art, mainly for artists, exhibitions and group/solo show catalogues. Her critical approach is furthered in the exhibitions she curates and in the performed-lectures she imagines: spatial, historical and literary ramblings, in words, in images and in gestures, in the institutions that invite her (The Pavillon of Pantin, The ISELP in Brussels, the Mac/Val in Vitry-sur-Seine, the BILD in Digne, etc.).
Before working as an independent curator, she worked in the creation and coordination of artistic and pedagogical projects. Since, she brings her projects in France and abroad for galleries, associations, art centers and institutions, inside and sometimes outside the white cube (NuN in Berlin, The Cyclop at Milly-la-Forêt, Udensgabali festival in Riga, The Papillon at ESBA of Nîmes, la Tôlerie in Clermont-Ferrand, etc.) She regularly collaborates with Art schools (lectures, workshops, curatings).
Since 2015, Marie Cantos is also art critic and associated curator for PA | Platform of contemporary creation.
Emily Butler (1982 – UK) is a curator, writer and translator.
Currently Curator at the Whitechapel Gallery.
She has worked on survey exhibitions such as Electronic Superhighway, 2016, on exhibitions drawn from the collections, on commissions by artists such as Rachel Whiteread, 2012 and Kader Attia, 2013-2014, and major solo presentations by John Stezaker, Wilhelm Sasnal, 2011 and Hannah Höch, 2014. She also curates the Artists’ Film International presentation. Previously, she worked in the Visual Arts Department at the British Council on international touring exhibitions including Tracey Emin at the British Pavilion, Venice Biennale, 2007; Jeremy Deller and Alan Kane’s Folk Archive, Palais de Tokyo, Paris, 2009 and Flicker, Damascus, 2009.
She also edits and contributes to exhibition catalogues and art publications. Independent projects include Reel Portraits screening at the ICA, London, 2013 and Language Slips, Open Source visual arts festival, London, 2015.
Her area of research is in the issue of language and translation. Butler is particularly interested in artists who reveal the idiosyncrasies or gaps between languages.
Camille Paulhan (1986 – France) is an art historian and critic, who lives and works between Paris and Bayonne.
She studied Art history at the Sorbonne where she defended in 2014 a PhD on the perishable in the art of the 1960s-1970s.
She is a member of AICA France and has published articles in specialized periodicals such as art press, Facettes, Marges, Esse, Talweg or La Belle Revue; she is also a correspondant for the Hippocampe magazine, based in Lyon. For several years, she was a member of the platform Portraits, which aims at promoting young artists through analytic texts. She also regularly writes for exhibition catalogues: for the ENSBA, for instance, on the school’s young graduates, or for the FRAC Bretagne.
She was recently a curator for the “Paperolles” exhibition at the galery 22,48m² in Paris.
She was a reporter for individual help to creation at the DRAC Île-de-France, and currently teaches at the Bayonne art school, and the Rocailles higher art school in Biarritz.
She has started in early 2016 a series on thankyouforcoming about artists’ workshops.
Julia Geerlings (1985 – The Netherlands) is a freelance curator and writer based in Amsterdam and Paris.
She studied Art History at the Vrije Universiteit Amsterdam and the Freie Universität Berlin. Geerlings writes regularly for Metropolis M, Tubelight, Museumtijdschrift and recently Frieze about the Dutch and French art scenes and she contributed to several publications: like the Rijksakademie voor Beeldende Kunsten catalogue and Kunsthuis SYB biennial catalogue.
Geerlings became specialized in presenting contemporary art at unusual locations like a medieval church, a brutalist church, a canal house and a fortress a.o. In her curatorial practice, she has been influenced by the notions of ‘context responsive curating’, where the location and context (social, economic and political aspects) are included in the development of the project.
She is currently curator of Nachtelijke Dwalingen (Night Dwellings), the performance program at Oude Kerk Amsterdam, guest curator at Kunstfort in Vijfhuizen, tutor at Hogeschool voor de Kunsten Utrecht (school of Fine Arts Utrecht) and committee member at CBK Rotterdam Research & Development subsidy for artists.
From October 2016 to April 2017, she will be in New York for a residency at ISCP for six months.