Calendar Archive: Spring Term 2007
Tuesday 20 March 2007
2.30pm, Kenneth Clark Lecture Theatre
Looking East: Contemporary Art From Eastern Europe
(Screenings: 2.30 to 3pm & 6 to 6.30pm / Panel Debate: 3 to 6 pm)
Matei Bejenaru is an artist and initiator
of Periferic Biennial in
Iasi, Romania (www.periferic.org). Established in 1997 as a performance
festival, Periferic transformed into an international contemporary
art biennial defined as a platform for discussions on the historical,
socio-political and cultural context of Iasi. Together with a group of
artists and philosophers from Iasi, Matei Bejenaru founded in 2001 the Vector
Association, a contemporary art institution which supported the
local emerging art scene to become locally and internationally visible.
He is also member of the editorial staff of Vector – art and
culture in context magazine, a publication that mainly
analyses the regional artistic and cultural situation of the South East
European countries, in the process of transition, and the Middle East
region, subdued to the pressures of conflicts.
As an artist, he is socially engaged in analysing the way globalisation
affects postcommunist countries labour force and rapidly changes mentalities
and lifestyles. In 2003, for the second edition of the Tirana Biennial he
installed a water post in the centre of the city offering free water
distribution for Albanian inhabitants. In 2004, he initiated the cARTier
project, a socio-cultural project aiming to regenerate a workers district
from Iasi. In 2005, he published in Idea Magazine and later
exhibited at Thyssen-Bornemisza Contemporary Art in Vienna, a Travelling
Guide for Romanian illegal workers.
Tomasz Kitlinski holds his M. Phil. from the University of Paris 7 where
he prepared his thesis, supervised by Julia Kristeva. His PhD. dissertation, The
Stranger is in Ourselves, was published in 2001 and his book, co-authored
with Pawel Leszkowicz, Love and Democracy. Reflections on the Homosexual
Question in Poland in 2005. His texts on philosophy, visual arts
and literature were published in Prague, Paris, New York and Warsaw;
they include a contribution to Poland’s first gay and lesbian studies
volume The Queer Mixture and literary texts. He co-authored
an essay ‘Monica Dreyfus’ in a collection, Our Monica.
Ourselves. The Clinton Affair and the National Interest,
edited by Lauren Berlant and Lisa Duggan, New York University Press,
2001 (Sexual Cultures: New Directions from the Center for Lesbian and
Gay Studies). He delivered papers and presented sound installations at
conferences and performance art events. Together with Pawel Leszkowicz,
he participated in Poland’s gay art campaign Let Us Be Seen.
His new texts are forthcoming from Routledge and Prestel.
Art historian, curator and a lecturer specialising
in contemporary art/visual culture and sexuality studies. He is a lecturer at
the Department of Art History, Adam Mickiewicz University, and the
Department of Intermedia of the Academy of Fine Arts in Poznan, Poland.
He studied art history, gender studies and journalism at Adam Mickiewicz
University in Poznan, Courtauld Institute of Art in London; and he
was a Fulbright scholar at New School University in New York. He delivered
presentations at Centre Georges Pompidou, Henry Moore Centre, Universities
of Leeds, Manchester, New York and Vienna. He authored two books Helen Chadwick. The iconography
of subjectivity (Krakow 2001) and co-authored with Tomek Kitlinski Love
and Democracy. Reflections on the Homosexual Question in Poland (Kraków
2005) . He is a curator of the exhibition of contemporary
queer art Love and Democracy organised in 2005 and 2006 in Poland.
He a curator of GK Collection – the first exhibition of
the private art collection of Grażyna Kulczyk - the main private
collector of contemporary art in Poland.
Olga Malá’s professional work mainly lies within exhibition
services in relation to contemporary art, and is linked with his activities
at the prominent Czech cultural institution City Gallery Prague where
he is working as a curator of contemporary art. He has been
the curator of solo and group exhibitions: Czech artists of the generation
of the eighties and nineties (2001), Young Flesh (2002),
and Magdalena Jetelová (2001) and he introduced to the
Czech viewing public the work of a number of contemporary Italian artists,
including Mario Merz (l995) and Claudio Parmiggiani (l992).
He has also collaborated in international projects such as After the Wall (Moderna Museet, Stockholm (1999), Bovisa - Milano Europa, Czech and Polish section, Milano (2001), the 3rd Minos Beach Art Symposium 93 - Art in politics in Crete, and prepared the exhibition, Three Approaches of Contemporary Czech Photography, at the Riverside Studio in London in l997.
In l997 and 1999 he was appointed Commissioner
for the Pavilion of the Czech Republic at the Venice Biennale (1997:
Ivan Kafka, 1999: Veronika Bromová). Together with fellow curator,
Karel Srp, he established the Biennial of Young Czech Artists at the House of the Stone
Bell in Prague, the first three years of which have already taken place:
in 1994, 1996 and 1999 (Blue fire – Young Artists from
In 1998 he was chief curator of the international exhibition project: Close
Echoes , Public Body – Artificial Space (British, Czech
and Austrian Art in the ´90s) which took place first in
the City Library in Prague and than in Kunsthalle Krems in Austria.
Sarah Wilson is Head of the Modern Department and Reader in the History of Art at the Courtauld Institute of Art, University of London, where she directs research stemming fom her new MA, Towards contemporary Art. Postmodernism and postcommunism in Europe and beyond. She curated Pierre Klossowski and The Vicious Circle for the Whitechapel Art Gallery in 2006, the former travelling to the Ludwig Museum Cologne and the Centre Georges Pompidou, Paris where it opesn in April 2007. . In 2002, she was principal curator of Paris, Capital of the Arts, 1900-1968, which travelled to the Guggenheim, Bilbao. She was invited Professor at Paris-Sorbonne IV, from 2002-4. She has published extensively on twentieth-century European art, collaborating frequently with the Centre Pompidou and is currently preparing The Visual World of French Theory, volume 1: `Narrative Figuration’. She has edited and introduced three bilingual volumes juxtaposing French thinkers such as Lyotard, Foucault and Maurice Blanchot with the artists of their times. Special interests include women artists of the 1960s and 1970s and performance.