CIMAM NEWS                                                                                                    


CIMAM 2012 Annual Conference, Museums Beyond the Crises, hosted by SALT, Istanbul 12-14, November 2012

Registration to attend CIMAM 2012 Annual Conference closes September 30th. For those contemporary art professionals and members of CIMAM who wish to attend the Conference register online as soon as possible as there are few free spots left!

Registration to participate in the post-conference tour to Beirut on November 15th closes on September 25th. Register now if you want to attend. Last 5 places left!

For detailed information and rates on CIMAM´s 2012 Annual Conference and post-conference tour, registration forms and agenda please follow the link below:


CIMAM would like to remind you that Turkish Airlines is the official airline of the 2012 CIMAM Annual Conference, Museums Beyond the Crises, hosted by SALT in Istanbul, 12-14 November 2012 and offers a special discounted rate for the international participants: Up to 20% on Business Class; Up to 15% on Economy Class.

Please show the invitation letter to the event to the Sales Office of Turkish Airlines in your country if you plan to attend the 2012 CIMAM Annual Conference via Turkish Airlines. The event code is 058TKM12. For a list of Turkish Airlines offices please follow the link:

Looking forward to seeing you in Istanbul!


CIMAM thanks the biennales that have agreed to offer free admission to card carrying CIMAM members. CIMAM continues developing a program to obtain free admission during the professional preview days and throughout the whole exhibition for CIMAM members to the following biennials:

9th Gwangju Biennale. (September 7 – November 11, 2012) Co-Artistic Directors: Sunjung Kim, Mami Kataoka, Carol Yinghua Lu, Nancy Adajania, Wassan Al-Khudhairi, Alia Swastika. Free admission to the Biennale from September 7 to November 11, 2012. No need to register in advance. You will be required to show your CIMAM membership card upon entrance. For more information, please visit Gwangju Biennale´s website:

30th São Paulo International Biennial. (September 07 – December, 09 2012) Chief curator: Luis Pérez-Oramas. Associated curators: Tobi Maier and André Severo. Assistant curator: Isabela Villanueva. CIMAM members are welcome during the Biennale preview on Tuesday 04, September, 2012 and during the Biennale. To add your name to the guest list, please send an email to including your name, surname, position, institution, postal address and CIMAM membership username. For more information on the program and venues, please visit the Biennial´s website:

Find the updated list of biennials and institutions allowing free entry to CIMAM members HERE.


The 1st World Biennial Forum is an international convention, the first of its kind for biennale organizers and related professionals, that will take place in Gwangju, South Korea coinciding with the 9th Gwangju Biennale. The 1st World Biennial Forum serves as a forum for exchange, providing an opportunity for critical reflection upon the fact that over 150 biennials for art and related disciplines are currently being organized all over the world: a world with many cultural centers that are characterized by rapidly changing socio-economic and political situations.

This reality creates new challenges in the field of producing and curating contemporary art while it has affected various societies across the globe. The 1st World Biennial Forum will dedicate special attention to Asia as its context and as a continent.

The 1st World Biennial Forum is aimed for all those who are involved with them: curating, organizing, and supporting international biennials. Conceived as an informal meeting point, the 1st World Biennial Forum will present talks by well-known speakers from a wide range of backgrounds and fields, and also offer workshops and smaller specialized sessions in order to address day-to-day matters that concern those who engage with biennials on a professional level, including those who represent and fund them.

The World Biennial Forum is an initiative of Biennial Foundation, a non-profit organization facilitating links between organizations and practitioners operating within the international biennial community by providing an open platform for exchange, collaboration, and research.

The premiere of the World Biennial Forum is organized by Biennial Foundation, IFA, and Gwangju Biennale Foundation. The hosting of the first edition of the WBF reflects Gwangju Biennale Foundation’s ongoing pro-active, innovative, and discourse-stimulating role. Gwangju Biennale Foundation was founded in 1995 in memory of the 1980 civil uprising and the Gwangju Democratization Movement. The Gwangju Biennale is Asia’s oldest and most prestigious biennial of contemporary art.

The 1st World Biennial Forum offers opportunity to visit three Korean biennials: ROUNDTABLE: 9th Gwangju Biennale (7 September–11 November); GARDEN OF LEARNING: Busan Biennale 2012 (22 September–24 November); and SPELL ON YOU: 7th Mediacity Seoul (11 September–4 November).

Co-Directors Ute Meta Bauer and Hou Hanru will jointly provide a set of topics, serving as a point of departure for the discussions.

Ute Meta Bauer is the Dean of Fine Art at the Royal College of Art. She served as the Director of the Visual Arts Program and as Founding Director of the Program in Art, Culture and Technology at the Massachusetts Institute of Technology. Bauer was co-curator of documenta 11, artistic director of the 3rd Berlin Biennale (2004), and was the Founding Director of the Office for Contemporary Art Norway (OCA).

Hou Hanru is an art critic and curator. He worked at San Francisco Art Institute as Director of Exhibitions and Public Program and Chair of Exhibition and Museum Studies (2006–2012). He has curated numerous exhibitions including the Biennials of Johannesburg, Shanghai, Gwangju, Guangzhou, Tirana, Venice (French Pavilion, 1999, Chinese Pavilion, 2007), Istanbul, and Lyon. Hou is currently curating the 5th Auckland Triennial.

A limited number of travel grants for biennial professionals from emerging and developing countries are available, supported by the Prince Claus Fund. For criteria and to apply:
For more information:

Gwangju Biennale Foundation
Harian Cho:

Biennial Foundation
Olga Hatzidaki:

Supported by the Gwangju Metropolitan City Government and by the Asia-Europe Foundation (ASEF) and Arts Network Asia (ANA) as part of the programme Creative Encounters: Cultural Partnerships between Asia and Europe.


MARCO, Museo de Arte Contemporánea de Vigo and 49 Nord 6 Est – FRAC Lorraine, Metz (Fonds régional d’art contemporain de Lorraine) organize the MARCO/Frac Lorraine Award for Young Exhibition Curators. This award gives participants the opprtunity to submit a topic of research and reflection which is of personal interest, and the possibility to bring it to fruition in the exhibition venues at MARCO (first-floor gallery) and at FRAC Lorraine.
The originality of the proposed thesis and the pertinence of the suggested references will be key in the selection of the award winner.
The winning project will result either in a single exhibition shown first at MARCO (Vigo, Spain) and then at FRAC Lorraine (Metz, France), or as a dual exhibition mounted simultaneously at both locations. The requisite theme of the exhibition is at the heart of the work. The final version of the winning project, as well as the list of selected works, will be developed and finalized in close collaboration with the directors of MARCO and of FRAC Lorraine in the course of two working residencies. The goal is to have the exhibition take into account the architectural specificities of each location and local contexts of each venue.
The proposal must be within the field of contemporary thought and may incorporate any creative forms. Works proposed by the exhibition projects may include those already in the Collection of FRAC Lorraine: At least two artists must be included in the proposal. The exhibition may be accompanied or constituted by a program of activities in order to open a new space of reflection regarding the treated topic.
The winning project will have a maximum budget of 25,000 € for each venue. The exhibition will open in September 2013: either first at MARCO (Vigo, Spain), followed by FRAC Lorraine (Metz, France), or in both locations simultaneously.

CONDITIONS FOR PARTICIPATION: All curators born in 1972 and later are eligible to enter the competition. If the entry is a group project, one person will be chosen from that group to represent it and act as a mediator. Curators will not be allowed to participate as artists in the projects. No more than one project per entrant will be accepted. Entries must be previously unpublished and must provide for the participation of two or more artists.

Administrative details:
- Name, address, phone number, and email
- A short Curriculum Vitae
- A photocopy of an ID or passport
- Art project (5 pp. max.)
- Title
- Detailed outline of the project (1 to 3 pp.)
- List of artists (including their nationality and date of birth) or of the proposed works
Maps of the MARCO first-floor and FRAC Lorraine exhibition rooms are available for download on the
respective websites of both institutions and available upon request at and
A budget with a maximum amount of 25,000 € (including costs of transport and all taxes) will be allocated to each of the two parts of the exhibition. This fiscal framework must be taken into account by the curator in designing the project.
The budget of each exhibition MUST provide for:
- The expenses incurred by the production of the works and artist’s fees
- The insurance and transport of works and materials
- Travel and/or hotel expenses of the participating artists
- The costs of installation or organization of the gallery
The budget WILL NOT provide for:
- The cost of designing and printing publicity or promotional material for the press
- Technical staff needed for the installation of the exhibition
- Audiovisual material
- Accommodation expenses for the curator of the winning project during his/her stay in Metz and in Vigo
Friday October 19, 2012 at 7PM.
Dossiers received after this date will not be accepted.
Entries must be submitted in PDF format to the following two email addresses: and, with the subject: “Award for Young Curators.” Dossiers received at only one address will not be accepted. It is preferable that projects be written in English, although applications in Spanish, French, or Galician will be accepted. Submissions must be exclusive to FRAC and MARCO.
The jury will select the winning project and two finalists in November 2012. The jury’s decision is final. The jury may declare the award void should they consider this necessary. The criteria for evaluating the entries will be based on the quality and the originality of the research project.
The jury’s decision will be made public in November 2012, and all participants will be notified by email.
The award must be accepted in writing within 10 business days of notification. Once that period has elapsed, the award will pass on to the runner-up.
The curator of the winning project will sign a contract with the Fundación MARCO and FRAC Lorraine, agreeing to respect all the obligations inherent to the functions of curating an exhibition specified therein, and comprising, among others, the specific fullfilment of the exhibition concept, the selection and localization of the works, the design of the exhibition, the supervision of the relations between the artists and the loaners and of the production, participation in writing press material and, where appropriate, the selection of activities surrounding the exhibition and the editorial direction of a catalogue (writing at least one text).
The curator and the directors of MARCO and FRAC Lorraine will take the winning project as foundation so that the final projects exhibited in Vigo and Metz will be the result of this exchange. With that purpose in mind, the winning curator must do two working residencies, in Metz and in Vigo, prior to the installation of the exhibitions. The winning curator will be invited to reside in Metz for a minimum of one month between January and March 2013, and in Vigo for a minimum of two weeks between February and April 2013, on dates specified depending on his or her availability and in agreement with both institutions.
The curator of the winning project will receive the sum of 5,000 €, tax included, as an honorarium.
It will be paid in three installments: 40% at the moment of signing the exhibition contract, 30% after the exhibition’s opening at MARCO, and 30% after the exhibition’s opening at FRAC Lorraine.
The Fundación MARCO and FRAC Lorraine will reimburse the curator’s travel expenses, upon presentation of appropriate supporting documents, up to 2,000 €, including taxes. Accommodations in Vigo and in Metz will be covered directly by the respective institutions.
Entry into this competition implies the complete acceptance of its terms and conditions.
The organizers reserve the right to settle any situation unforeseen by these terms and conditions as they see fit.



The Banff Centre is looking for a dynamic Director, Visual Arts and Walter Phillips Gallery to envision, lead and manage the implementation of all Visual Arts programming at The Banff Centre, including the studio residency program, Walter Phillips Gallery and the Banff International Curatorial Institute.

Position Objectives
    • Leads the Visual Arts department, envisioning a compelling future for programs that meets the ambitions laid out in the overall strategic plan of the Centre
    • Develops new programming of a high artistic caliber that meets the needs of Canadian and international artists in the 21st century and increases the reach of our nationally and internationally renowned programs
    • Creates an environment where artists can experiment and push creative boundaries to build on existing artistic knowledge and facilitate personal growth and development
    • Oversees a group of onsite staff with expertise in studio facilitation across artistic disciplines, curatorial research, exhibit preparation and production, publications, and collections management
    • Draws on his/her own network of contacts within the visual arts community to form a roster of exceptional sessional creative faculty
    • Ensures the Walter Phillips Gallery’s reputation is enhanced as an institution of artistic excellence so that it is positioned at the forefront of contemporary art
    • Responsible for the Banff International Curatorial Institute, which supports research and professional development opportunities in the curatorial field
    • Has excellent knowledge of current art practice and a comprehensive understanding of art education and professional development at the post-secondary level
    • Displays familiarity with funding sources to identify and support the application for grant opportunities
    • Possesses at minimum a master’s degree in Art History, Curatorial Studies, Fine Arts or a related field
    • Has worked at least 5 years in a leadership role in a visual arts context
    • Demonstrates knowledge of and has at least 5 years’ experience with all aspects of collections management
Special Requirements
    • Candidates offered a position with the Centre, in this capacity, will be required to obtain a criminal record check through the local R.C.M.P. detachment, verifying a clear record before a final job offer can be made
    • This position requires flexibility in schedule, working occasional weekends and evenings
    • Travel is required
Employment Terms & Benefits
    • This is a permanent salaried Management/ PSP position, subject to a 12 month probationary period, based on 37.5 hours per week
    • Salary commensurate with level of education and experience
    • The Banff Centre offers a competitive and comprehensive benefits package to all of its full time salaried employees. For more information please visit our benefits page.
Application Process
If this opportunity matches your interest and experience, please submit your application online via The Banff Centre careers website before September 10, 2012.


The partners of A.i.R. Dubai – The Dubai Arts & Culture Authority, Delfina Foundation, Art Dubai and Tashkeel – in collaboration with ArtAsiaPacific are inviting international curators to apply for its 2013 residency programme, scheduled to run from January 7 to March 31, 2013.
Applications are open to curators interested in pursuing research, curatorial and critical writing opportunities in the Gulf. The curator will be in residence alongside three international artists and three Emirati artists, selected by the partners and a guest juror. Each international artist will be commissioned to produce new work for Art Dubai Projects, the fair’s not-for-profit programme of activities, while all artists are expected to showcase new work (or ideas-in-progress) in the residency house for an open studio programme, with the guidance and support of the curator-in-residence, in association with SIKKA Art Fair.
The selected curator will be an upcoming/mid-career curator from anywhere in the world, either working with an established institution (and able to take a sabbatical) or freelance. The jury will be seeking applicants who have demonstrated interest in the UAE/Gulf/Middle East with the capacity for in-depth research and writing. It is expected that the curator will use the opportunity to further develop links within and knowledge of the Gulf, with a view to working with artists based in, or ideas developed within, this region in the future. During the residency, the curator will be expected to:
    • conduct studio/gallery visits
    • provide curatorial support to A.i.R. Dubai’s resident artists and their respective commissions
    • work with partners to develop / curate A.i.R. Dubai’s open studios, which might include a written contribution to exhibition materials
    • participate in an educational programme around A.i.R. Dubai and its partners (such as Tashkeel, Art Dubai’s Education Programme and Sikka Art Fair)
The selected curator will receive:
    • A 12-week residency in Dubai, including one economy return flight, a bursary for per diems, a local travel allowance, and accommodation in A.i.R. Dubai’s residency house provided by The Dubai Culture & Arts Authority
    • A fee of £1,000 or 6,000 UAE Dirhams
    • Support in accessing artist studios, galleries and institutions in the UAE
    • An opportunity to be involved in developing research and discussion with the project partners
    • An opportunity to shape A.i.R. Dubai’s open studios education and exhibition programme
Application process:
The curatorial residency for A.i.R. Dubai is an application-based process. The recipient will be chosen by a jury comprising of representatives from each partner and ArtAsiaPacific.
Applicants are expected to submit:
    • The completed application form
    • Recent CV/resume
    • A minimum of three writing samples (at least one must be a published work/article)
    • Two references

Please submit only electronic copies of the above in ONE email to: In the subject line of your email, please specify: A.i.R. DUBAI CURATORIAL RESIDENCY.
Closing date for applications: 30th September 2012, 17:00 GMT
All applicants will be notified of the panel’s decision by 20th October 2012.

University of Nebraska President James B. Milliken has announced the appointment of renowned scholar, curator and author Jonathan Fineberg as NU’s next Visiting Presidential Professor. Fineberg’s appointment will span the 2012-13 academic year and will include four weeklong visits, beginning this September, to the University of Nebraska. During each visit Fineberg will present public lectures, to be published as a book following his professorship, and participate in other activities with the university and Lincoln and Omaha communities.
Fineberg is the Gutgsell Professor of Art History Emeritus at the University of Illinois at Urbana-Champaign and adjunct curator of the Parrish Art Museum in Southampton, N.Y. His work, Art Since 1940: Strategies of Being, 3rd Edition, is used extensively as a textbook for modern art history classes in universities around the country. He joins former U.S. Poet Laureate Ted Kooser, who has served as NU Presidential Professor since 2005, and internationally known artist Enrique Martinez Celaya, who served as Visiting Presidential Professor from 2007 to 2010.
“Presidential Professors serve as public scholars who enrich the cultural and educational life of the university and the state,” Milliken said. “We are extraordinarily fortunate to have a scholar of Jonathan Fineberg’s caliber partner with the University of Nebraska for the coming year. His visits to our campuses and communities will create unique educational, research and creative opportunities for our students, faculty and Nebraskans. I look forward to an exciting and productive venture.”
Fineberg will visit the university twice during the fall semester and twice in the spring. In addition to his illustrated public lectures in Lincoln and Omaha, his visits will include lectures in advanced-level seminars in art history at the University of Nebraska-Lincoln. He also will spend time in the studio with art students at UNL and potentially at the University of Nebraska at Omaha. Given his interest in psychoanalysis, Fineberg also is exploring opportunities to work with researchers at the University of Nebraska Medical Center to test hypotheses he has proposed about the relationship between art and the brain.
Following his professorship, Fineberg will write his formal lectures as a book, which will be published as the University of Nebraska Presidential Lectures.
Fineberg said, “With this visiting professorship at the University of Nebraska, President Milliken has given me the opportunity to find my feet between the chairs of several disciplines and write something I’ve long wanted to write about why a society needs works of art and how visual thinking affects our creativity and perhaps the very structure of our minds. I’m excited to be able to investigate the problems and build a sustained argument over four lectures and I look forward, in the process, to learning from students and faculty at the University in art, art history and in neuroscience.”
In addition to his positions at Illinois and The Parrish Art Museum, Fineberg is a trustee emeritus of The Phillips Collection in Washington, D.C., where he was founding director of the Center for the Study of Modern Art. With the former chancellor of the University of Illinois, Richard Herman, Fineberg established Illinois at the Phillips, a “study abroad” program for graduate and undergraduate students at Illinois with a full load of credit coursework in art history and museum studies in the Center.
He earned his B.A. and Ph.D. from Harvard University, an M.A. from the Courtauld Institute in London, and studied psychoanalysis at the Boston and Western New England Psychoanalytic Institutes. He has taught at Yale, Harvard and Columbia universities and his awards include: the Pulitzer Fellowship in Critical Writing, the NEA Art Critic’s Fellowship, Senior Fellowships from the Dedalus Foundation and the Japan Foundation, and the College Art Association’s Award for Distinguished Teaching in the History of Art.
Fineberg’s other books include Christo and Jeanne-Claude: On the Way to the Gates (Yale University Press/Metropolitan Museum of Art); The Innocent Eye: Children's Art and the Modern Artist (Princeton University Press); Imagining America: Icons of 20th Century American Art (with John Carlin, a Yale book and a two-hour PBS television documentary which he created with John Carlin); and When We Were Young: New Perspectives on the Art of the Child (University of California Press). A TroubIesome Subject: The Art of Robert Arneson is forthcoming from University of California Press in 2013; his exhibition catalogue Alice Aycock: Drawings will accompany an exhibition that opens in two parts at the Parrish and the Gray Art Gallery at NYU in 2013; and, with Professor Gary Xu, he is currently writing a monograph on the contemporary Chinese painter Zhang Xiaogang.
As he states on his website, “My central interest is in creativity, interweaving four lifelong threads in my thinking: The first is an interest in psychoanalysis as a means of understanding the dynamics of creative work (and more recently neuroaesthetics which looks at aesthetic judgment in the brain from a neuroscience perspective). The second is art history and criticism from the point of view of the way in which both society and individuals (artists and viewers) use the art of their own times to bring coherence and insight to their experience. The third is an interest in child art and childhood as a way into the psychodynamics of aesthetic experience. And lastly, my own persevering creative practice, first in sculpture and then in film but above all in my writing.”
Melissa Lee / Communications Manager
University of Nebraska
Office: (402) 472-7127
Cell: (402) 580-3297


The Biennale of Sydney has announced the appointment of Juliana Engberg as the Artistic Director of the 19th Biennale of Sydney (2014).
"Juliana Engberg has worked with many of the leading international artists of the last decades and has a history of curating intelligent and distinctive exhibitions and programs," says Marah Braye, Chief Executive Officer. "Juliana’s curatorial wit and incisive perspective on presenting exhibitions in unique buildings and spaces will no doubt surprise and delight audiences in 2014. We are extremely pleased that Juliana has accepted the invitation to become the Artistic Director of the 19th Biennale of Sydney."
A curator, writer, publisher, and designer, Juliana Engberg is currently the Artistic Director of ACCA (Australian Centre for Contemporary Art, Melbourne, Australia), where she has curated numerous exhibitions including: We Are All Flesh (Berlinde de Bruyckere), I Packed the Postcard in My Suitcase (Pipilotti Rist), TRILOGY (Yael Bartana), Appearances (Nathan Coley), ‘(Waiting for –) Texts for Nothing’ Samuel Beckett in Play (Joseph Kosuth), The Dwelling, Gestures and Procedures, Cinema Paradise, The Water Hole (Gerda Steiner and Jörg Lenzlinger), and Eight Miles High (Jim Lambie).
Engberg was Curator of the Melbourne Festival Visual Arts Program for seven years (2000–06), during which time she curated new projects by Tacita Dean, Martin Creed, Daniele Puppi, Callum Morton, Fiona Tan, and Van Sowerine. In 2007, Engberg was the senior curatorial advisor for the Australian presentations at the Venice Biennale and recently inaugurated the ACCA POP-UP PROGRAM in Venice to coincide with the 54th Venice Biennale (2011). Engberg received the coveted Herald ‘ANGEL’ award for the visual arts programs she developed for The Edinburgh International Arts Festival 2009.
Engberg was the inaugural curatorial resident at Spike Island Artspace, UK (2000–01), a Visiting Critic at the Glasgow School of Art, Scotland and a visiting juror for the Rijksacademie, Amsterdam. Prior to this, she was Artistic Director of the internationally acclaimed Melbourne International Biennial 1999 Signs of Life and Senior Curator of the Art & Industry Biennale, Christchurch, New Zealand in 2002. Engberg has worked as Senior Curator at the Heide Museum of Modern Art, Melbourne and was Assistant Director of the Monash University Gallery, and Director of the formative contemporary art space, the Ewing and George Paton Galleries, The University of Melbourne.

Luca Belgiorno-Nettis, Chairman, says: "The Biennale of Sydney has a proud history of attracting and working with independent Artistic Directors of international standing. Juliana is one of Australia’s most accomplished curators and the Biennale is very pleased to be able to work with her."
Juliana Engberg says: "The Biennale of Sydney, as one of the most established and certainly one of the largest of the world’s biennales, provides an exciting and challenging opportunity for curatorial development. There is a great artistic history to reflect and build upon, and take forward. My curatorial quest is to further invigorate the Biennale with works that excite the imagination of the audience and answer their desire to discover new artists, different ideas and emotionally charged and intellectually stimulating art. I hope to provide memorable encounters that linger in the minds of the audience. I am for the celebration of artistic imagination. I believe works that encourage exuberance, joy, exalted states and transcendence are valuable to the human psyche. And I am for the power of artistic observation. Art that elevates the commonplace by bestowing upon it extraordinary concentration, that helps us see our world as remarkable, essential and fragile. I am for art that probes certainties, whether they be historical or contemporary. I’m looking forward to creating a Biennale that provides opportunities for artists and audience in a mutual quest of discovery and participation."

Copyright © 2012 CIMAM - International Committee for Museums and Collections of Modern Art, All rights reserved.
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