Natalie Urquhart is the Director and Chief Curator of the National Gallery of the Cayman Islands. She holds a BA in Art History (University of Glasgow), an MA in Arts Management (University of London) and has seventeen years experience in the cultural sector where she specializes in developing creative strategies, programming and exhibitions for public sector arts organizations and heritage sites. Urquhart is a leading authority on Caymanian art and has published regular papers on the subject and well as the book Art of the Cayman Islands, the islands’ first formal art history (Scala Fine Art Publishers Ltd., Fall 2016). She has served as President of the Museums Association of the Caribbean since 2017, representing the museum sector regional and internationally; a core committee member of Tilting Axis network; and as a member of the Cayman Islands National Cultural Policy Committee, where she represents the Visual Arts, Fashion and Creative Industries sectors. She is passionate about connecting diverse stakeholders through innovative public/private partnerships and increasing opportunities for Caribbean creative sector, locally and abroad.
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Khristina Godfrey is a practicing visual artist and the Programme Manager at New Local Space (NLS), a contemporary art organization that presents programming including local and international exhibitions, provides art residencies and internships, hosts a podcast series, and facilitates artist lectures. Through her work at NLS Godfrey engages with partners and artists to organize these programs while providing curatorial, critical and production assistance for the NLS podcast In, which was started in 2012 and has produced 31 episodes archived on Itunes and YouTube featuring international artists, curators, writers, and aesthetic practitioners whose work spans multiple disciplines in and outside of art. Godfrey is a graduate of the Edna Manley College of the Visual and Performing Arts where she graduated in 2015 in Painting.
Jordan Harrison was born in Kingston, Jamaica, in 1994. He has recently graduated from Edna Manley College of the Visual and Performing Arts and holds a Bachelor of Fine arts in painting. His works are geared mostly towards social, economic and political issues that are often avoided by members of society. A current topic that he addresses is the rape of males and the psychological implications that emerge from the traumatic event. While his explorations tackle the trauma of male raped victims in today’s society, he manages to make a connection also between past psychological trauma through the use of historical infrastructure and iconography.
Curator and researcher of contemporary art. He holds a Master’s Degree in History of Architecture and Urbanism from FAU - USP, for which he is also a graduate. He is the adjunct curator of the 34th São Paulo Biennial (2020) and the chief curator of the Tomie Ohtake Institute, where he coordinates the Research and Curation Center, as well as co-coordinating the course programme of the Escola Entrópica, where he teaches.
Matilde dos Santos is a historian, with interest in oral history and life stories. She is a doctoral student in the sociology of art at the University of Antilles, dealing with memory and transmission in performance art in the Caribbean. Since 2013 she has been working as an independent curator and art critic and have also provided the School of Art of Martinique with lectures on the history of modern and contemporary Brazilian art
Christelle Lozère est maître de conférences en histoire de l’art à l’Université des Antilles (UMR 8053 LC2S). Sa thèse a été récompensée par le Prix du Musée d’Orsay 2011. Actuellement, ses travaux de recherches portent sur l’histoire de l’art antillais en contexte colonial XIXe-XXe siècles, les réseaux d’artistes et la circulation des imaginaires. Manager du programme « Acteurs, images et pensées en réseaux Europe/Caraïbe» de la FMSH-CNRS, elle sera également chercheuse invitée de l’INHA 2020.
Berette Macaulay is an artist, curator, and writer of multicultural lineage, born in Sierra Leone of West African/French-Dominican/German-Czech descent, raised in Jamaica and the UK before moving to the US. Her work engages (dis)connections of transcultural identities. Work spaces include Baxter St, ICP, Taller Boricua Gallery, NYC; Seattle Storefronts at Amazon, HQ; Photoville LA at Annenberg Space with MFON Women; NPG London; Of Note magazine; UNESCO Courier; and the National Gallery of Jamaica. She is pursuing her MA in Cultural Studies with a research focus on ‘Global Blackness’ at the University of Washington, and has been awarded an Artist Residency Grant for Vermont Studio Center, Summer 2019.
Tobias Ostrander has served as the Chief Curator and Deputy Director for Curatorial Affairs at the Pérez Art Museum Miami since 2011. Since the opening of the museum’s Herzog and De Mueron new building in 2013, he has developed a diverse program of exhibitions, commissions and projects. His most recent exhibitions include Beatriz González: A Retrospective andEbony G. Patterson… while the dew is still on the roses… Other relevant exhibitions include Edouard Duval-Carrié: Imagined Landscapes and Poetics of Relation, an exhibition inspired by the writings of Édouard Glissant, presenting works by Tony Capellàn, Hurvin Anderson, Yto Barrada, Zarina Bhimji, Ledelle Moe and Xaviera Simmons. He has been a core team member of Tilting Axis since 2014.
Jerry Philogene is Associate Professor in the American Studies and Africana Studies Departments at Dickinson College. She received her doctorate from New York University in American Studies. In addition to exploring the intersections of race, ethnicity, class, and gender as articulated in contemporary visual arts, her research and teaching interests include interdisciplinary American cultural and art history, Caribbean art history and visual arts, (with an emphasis on the Francophone Caribbean), black cultural politics, and theories of the African diaspora. Her articles have appeared in Small Axe: A Caribbean Journal of Criticism, BOMB Magazine, Contemporary French and Francophone Studies, Radical History Review, MELUS: Multi-Ethnic Literature of the United States, and the Journal of Haitian Studies. She has published numerous art exhibition catalogue essays. She was a co-editor of a special issue of Small Axe (March 2017) that focused exclusively on the work of women artists from the Caribbean and diaspora. In the academic year 2017-2018 she was a Humanities Writ Large Visiting Faculty Fellow at Duke University where she worked on her book manuscript, The Socially Dead and Improbable Citizen: Theorizing Visual Transformations of Haitian Citizenship, which provides a rich textured analysis of the power of visual arts and its complex relationship between violence, domination, and liberation through an exploration of painting, photography, and film. In summer 2019, she will be an Ailsa Mellon Bruce Visiting Senior Fellow at the National Gallery of Art, Center for the Advanced Studies of the Visual Arts.
Erin Christovale is a Los Angeles-based curator and programmer who is the co-founder of Black Radical Imagination and who currently works as an assistant curator at the Hammer Museum at the University of California, Los Angeles. Together with Hammer Museum Senior Curator Anne Ellegood, Christovale curated the museum’s fourth Made in L.A. biennial in Summer 2018.
Carlos Motta (b. 1978, Bogotá) is a New York-based artist and educator whose interdisciplinary work documents the social conditions and political struggles of sexual, gender, and ethnic minority communities in order to challenge dominant and normative discourses through visibility and self-representation.
In 2018, Motta’s work was the subject of a career survey exhibition at the Museo de Arte Moderno de Medellín, Colombia and Matucana 100, Santiago, Chile. His solo exhibitions include Stedelijk Museum, Amsterdam (2017); Pérez Art Museum, Miami (2016); Museo de Arte Latinoamericano de Buenos Aires (2016); PinchukArtCentre, Kiev (2015); Sala de Arte Público Siqueiros, Mexico City (2013); New Museum, New York (2012); MoMA PS1, New York (2009); and Institute of Contemporary Art, Philadelphia (2009). Motta participated in 32 Bienal de São Paulo (2016); X Gwangju Biennale (2014); and X Lyon Biennale (2010). His films have been screened at the Rotterdam Film Festival (2016, 2010); Toronto International Film Festival (2013); and Internationale Kurzfilmtage Winterthur (2016); among others.
His work is represented in the permanent collections of the The Metropolitan Museum of Art, New York; The Museum of Modern Art, New York; Guggenheim Museum, New York; Museo Nacional Centro de Arte Reina Sofia, Madrid; Museo de Arte Contemporaneo de Barcelona; and Museo de Arte de Banco de la República, Bogotá, among others. Motta has been awarded the Vilcek Foundation's Prize for Creative Promise (2017); the PinchukArtCentre's Future Generation Art Prize (2014); and a Guggenheim Fellowship (2008).
Charles Campbell is a Jamaican-born multidisciplinary artist, writer and curator. He uses performance, sculpture, installation and collaborative practices to investigate non-linear concepts of time and the possible future imaginaries of those living in the wake of colonization. Upcoming exhibitions include The Other Side of Now at the Perez Art Museum Miami and The Ground Above Us at the University of Victoria Legacy Art Galleries. Campbell lives and works in Victoria British Columbia.
Johanna Auguiac-Célénice is the founder of the JM'Arts Gallery (2002-2012) and Scientific/Artistic Advisor on Caribbean contemporary art for Kréyol Factory Exhibition, Paris, La Villette, among many others.
She is an independent Exhibition Curator and has been Co-curating for the Festival Tout-Monde, Miami; for the Memorial Act, Turning Tide, Guadeloupe; for the Festival Les Météores, France; Les Francophonies, France; Maditierra, Cuba;
She participated at Momentum (Edinburgh), Tilting Axis 2 (Miami) and the C-MAP/MOMA (New-York).
She is the initiator and director of the BIAC Martinique. Today she is the director of the Foundation Aimé Césaire in Martinique.
Mireille Ho-Sack-Wa/Badamie, est Guyanaise et appartient à la famille Johannes-Kayamaré, Membre de la nation Kali’na-Tilewuyu. Chercheure Doctorante, Enseignante de Lettres-Histoire, Chargée de Cours à l’Université de Guyane en diversité des langues culture amérindienne et des arts en Amazonie, ses travaux portent sur une étude comparative des Arts en Perlerie Amérindienne. Elle a présenté des conférences en Guyane et Canada. Parmi ses publications, Arts de Guyane, Résilience généalogique prénoms kali’na, Narration amérindienne poétique sur Damas.
Laurella Rinçon is National Curator for Museums and Heritage. She specialized in African collections and Creoles cultures. Art historian, she graduated from Ecole du Louvre, Sorbonne University and Institut national du patrimoine in Paris. Since 1998, she has worked on curatorial and research programs within several international institutions (Smithsonian Institution, Brooklyn museum, Museum for African Art NY, Världkulturmuseet, Göteborg, Rijksmuseum voor Volkenkunde, Leiden, World Intellectual Property Organization, Iziko Museum, Musée du quai Branly, UNESCO, etc.).
Laurella Rinçon est conservatrice du patrimoine, spécialiste des collections africaines et des cultures créoles. Historienne de l’art, elle est diplômée de l’Ecole du Louvre, de l’Université de la Sorbonne et de l’Institut national du patrimoine. Depuis 1998, elle a collaboré avec de nombreuses institutions nationales et internationales (Smithsonian Institution, Brooklyn museum, Museum for African Art NY, Världkulturmuseet de Göteborg, Rijksmuseum voor Volkenkunde de Leyde, World Intellectual Property Organization, Iziko Museum, musée du quai Branly, UNESCO, etc.).
Après avoir abandonné la psychologie pour la photographie, j’étudie l’art en Sorbonne. La découverte des arts d’Afrique subsaharienne me mènera au Sénégal pour un voyage de fin d’études. Depuis 1992, j’enseigne en Guadeloupe. Naître et vivre dans le contexte d’une île des Caraïbes constitue un point focal diffractant le regard sur le monde. Mon travail porte sur les conditions d'émergence de l’art dans un environnement coercitif marqué par la violence extrême de l’univers plantationnaire.
Florence Alexis has produced major travelling exhibitions as “African Encounters”, “Haïti /500 Years”, “The Battle of Little Big Horn” (Ousmane Sow) and African participations to Jo'burg and Venice biennales, Havana, Dak’Art, S. Paulo and Kassel Documenta with O. Enwezor. She headed Permanent Slavery Memorial* international competition in NY U.N., the National Committee for History of Slavery programs until 2017 and built the slavery database of artworks, archives and artefacts in French public museums: Histoire & Héritages de l'Esclavage*.
Edouard Duval Carriéis a contemporary artist and curator based in Miami, Florida. Born and raised in Haiti, Duval Carrié fled the regime of “Papa Doc” Duvalier as a teen ager and subsequently resided in locales as diverse as Puerto Rico, New York, Montreal, Paris and Miami. Parallels thus emerge between the artist’s cosmopolitan lifestyle and his artistic sensitivity toward the multifaceted identities that form his native Haiti. At heart, Duval Carrié is an educator: he challenges the viewer to make meaning of dense iconography derived from Caribbean history, politics, and religion. His mixed media works and installations present migrations and transformations, often human and spiritual. Recently the conceptual layering of Duval Carrié’s works has been further emphasized in his materials and through consistent attention to translucent and reflective mediums, such as glitter, glass, and resin. The introspective effects of these mediums transform his works into spatial interventions that implicate the viewer in their historicity. At their most fundamental, Duval Carrié’s works ask the viewer to complicate the Western Canon, to consider how Africa has shaped the Americas, and how the Caribbean has shaped the modern world.
The editor-in-chief and co-founder of Hyperallergic, Hrag Vartanian is an editor, art critic, curator, and lecturer on contemporary art with an expertise on the intersection of art and politics. Breaking news, award-winning reporting, informed opinions, and quality conversations about art have helped Hyperallergic reach over a million readers a month.
He started podcasting regularly in 2016, and last year he launched a weekly audio magazine, Art Movements. In 2017, he began a 10-year project that will look at the contemporary legacy of Ottoman studio photography.
Photo caption: Hajji portrait of Hrag Vartanian by Maya Shanlikian of Photo Havana in Ramallah, Palestine
Diplômée de l’Ecole Supérieure de Journalisme (Paris) et titulaire d’un DEA Les Armes Miraculeuses d’Aimé Césaire et Les Armes Enchantées de Wifredo Lam ou le Dialogue du Scriptural et du Figural, Dominique Brebion, ancien conseiller pour les arts plastiques du Ministère de la culture, est aujourd’hui commissaire indépendant et présidente de la section Aica Caraïbe du Sud de l’Association internationale des critiques d’art. Initiatrice d’une collection de web vidéos trilingues, L’œil du lézard, sur les artistes de la Caraïbe