YOUNG CURATORS WORKSHOP Post-contemporary Art In conjunction with the 9th Berlin ...

YOUNG CURATORS WORKSHOP Post-contemporary Art In conjunction with the 9th Berlin Biennale for Contemporary Art WORKSHOP READER

CONTENT Concept of the Young Curators Workshop Post-contemporary Art Program of the Young Curators Workshop Biographies of the Young Curators Biographies of the Speakers Suggested Readings Further Readings Contacts

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Concept of the Young Curators Workshop: Post-contemporary Art Given our entry into what is best described as postdemocratic financial feudalism, art’s role and function in society – and of future possibilities - are increasingly in need of reconstruction. Contemporary art offers no solutions because of the strong alliance it has built with the politico-economic reality of neoliberal capitalism over the past decades. Contemporary art is now prevalently a booming decorative-cognitive art industry contributing to the new postcapitalist artistic economy by its aesthetically stylized fabrication or manufacturing, immaterial and cognitive production, the destruction of waged labor, etc. The short-term work contracts of event-based art fairs and biennials are prototypical of socially precarious neoliberal employment practices. On the other hand, there are serious attempts for a non-aesthetic, non-sensory based approach that require abstraction: a cognitive mapping of the new global infrastructures and transformations. Now that the (denunciatory) gesture of critique has itself become institutionalized and stabilizing of extant political and economical systems, a younger generation of artists and curators increasingly accepts art as first and foremost an economy, exploring the institutionally transformative potential of artworks (or indeed art itself) for being a brand. Instead of exposing or critiquing institutional mechanisms, their focus is on mobilizing these mechanisms and testing the limits of their progressive tendencies. The questions that are now emerging ask: can biennials and similar platforms also function as launch pads for less self-effacing institutions and openly strategic infrastructure-building? How can the capital flows currently overcoming older forms of sovereignty – the nation-state that was particularly relevant for the organization of the biennial format – be channeled in more politically progressive directions? Given the increasing lack of stable employment and adequate financial compensations for Young Emerging Curators, the ten days of workshops and its various activities – seminars, studio- and exhibition-visits, meetings with established artists and curators – do not simply aim to enhance the individual professional networks of the participants. They will also and instead work towards establishing a curatorial ethos and concrete projects that provide alternatives to the limited exhibition format. The Young Curators Workshop will therefore be used as a launch pad to build new durable infrastructures. Contemporary art has been the art of its time, bound to the capitalist present in which it took place. In today’s postcontemporary condition — which is being constructed by financial capitalism as well as social media, the military, artificial intelligence, big data etc. — the present is operationalized as risk or contingency; that is, by a relation to the future. The ambition now, under these conditions, must be to regain futural traction on the present that the historical avant-gardes and modernism proposed while learning from their mistake of being completely sidelined under the reign of the (neoliberal) contemporary. The focus now is on postcontemporary institutional configurations for a future art and society. There is a future to be constructed. Armen Avanessian, Conception Young Curators Workshop Post-contemporary art

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PARTICIPANTS •

Vivek Chockalingam, lives and works in Bangalore, IN

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Rachel Dedman, lives and works in Beirut, LB

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Kris Dittel, lives and works in Amsterdam, NL

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Marina Reyes Franco, lives and works in San Juan, PR

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Chabib Duta Hapsoro, lives and works in Bandung, IND

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Patricia Margarita Hernandez, lives and works in New York, US

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Sonia Kazovsky, lives and works in Amsterdam, NL

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João Filipe Rebosa Laia, lives and works in London, GB

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Sophie Lapalu, lives and works in Paris, FR

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Kabelo Malatsie, lives and works in Johannesburg, SA

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Dan Meththananda, lives and works in London, GB

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Mahan Moalemi, lives and works in Tehran, IR

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Natalia Sielewicz, lives and works in Warsaw, PL

WORKSHOP ORGANIZERS

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Armen Avanessian, lives and works in Berlin, DE

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Maurin Dietrich, lives and works in Berlin, DE

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Krisztina Hunya, lives and works in Berlin and Leipzig, DE

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Valerie Amend, lives and works in New York, US

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WORKSHOP PROGRAM WEDNESDAY, SEPTEMBER 7, 2016 All Day

Arrival of Participants

7–9 pm

Welcome Dinner at Clärchen’s Ballhaus Auguststr. 24, 10117 Berlin

THURSDAY, SEPTEMBER 8, 2016 11 am–12 pm

Welcome with Armen Avanessian Studiolo, KW Institute for Contemporary Art, Auguststraße 69, 10117 Berlin

12–2:00 pm

Visit the 9. Berlin Biennale KW Institute for Contemporary Art, Auguststraße 69, 10117 Berlin

2:00–3:00 pm

Group Lunch break

4–6:00 pm

Boat Ride of the 9. Berlin Biennale Fischerinsel, Märkisches Ufer 34, 10179 Berlin

6:00 pm

ARCH+ Displays (optional): Opening and Summer Party in the Courtyard of KW Institute for Contemporary Art, Auguststr. 69, 10117 Berlin

7 pm

Kunstsaele Berlin Opening (optional): To lie in the cheese, to smile in the butter Bülowstraße 90, 10783 Berlin Curated by Maurin Dietrich and Kate Brown You can join us for a trip to the exhibition. 9. Berlin Biennale Event (optional): Salafi Aesthetics Lecture by Saud Al-Zaid Akademie der Künste, Pariser Platz 4, 10117 Berlin

FRIDAY, SEPTEMBER 9, 2016 10:30

Meeting Point: Hotel Lobby Take Bus 100, TXL, 200 from Alexanderplatz to Branderburger Tor

11 am

Visit the 9. Berlin Biennale Akademie der Künste, Pariser Platz 4, 10117 Berlin

12 pm

Meet Marco Roso (DIS) Akademie der Künste

3 pm

Visit the 9. Berlin Biennale (venues: ESMT, Feuerle collection) 5

SATURDAY, SEPTEMBER 10, 2016 10 am– 12.30 pm

“Practice Block” with Suhail Malik, Victoria Ivanova, Tirdad Zolghadr joined by Kathleen Ditzig Studiolo, KW Institute for Contemporary Art, Auguststraße 69, 10117 Berlin The contemporary art system is firmly integrated into hegemonic power systems, which are at once globally distributed and specific to regional contexts. How can this integration be deployed as a strategic advantage in achieving progressive transformations at various scales? Suhail Malik: Contemporary art (CA) typically espouses that art is irreducible to its institutional conditions even if it is almost wholly dependent on them. Result: CA sanctifies itself against the increasingly autocratic power formation in which it is deeply immersed and this self-infantilising relation to its power nexus serves to perpetuate that formation. We will cut this knot of CA’s debilitating ambivalence, specifying what art must instead be to make maximum use of its extant institutional power for progressive ends.

12.45–2.00 pm Group Lunch at CAFÉ BRAVO 2.00 – 5.30 pm

“Make an argument 1” Studiolo, KW Institute for Contemporary Art, Auguststraße 69, 10117 Berlin

7 pm

Public Event: “Post-contemporary Art” Panel discussion with Suhail Malik, Victoria Ivanova, Tirdad Zolghadr Moderated by Armen Avanessian Studiolo, KW Institute for Contemporary Art, Auguststraße 69, 10117 Berlin

9 pm

Group Dinner

SUNDAY, SEPTEMBER 11, 2016 10.00 am–12 pm “Practice Block 2” with Suhail Malik, Victoria Ivanova, Tirdad Zolghadr joined by Kathleen Ditzig Studiolo, KW Institute for Contemporary Art, Auguststraße 69, 10117 Berlin Victoria Ivanova’s session will interrogate the confluences, failures and affordances of human rights and contemporary art as mediation regimes of larger global political projects. It will be proposed that one of the avenues for their progressive aspects to be carried over, revised and applied is by using the contemporary art space to prototype speculative institutional forms and systems. The session will function as a means of testing the posthuman rights vision that the proposal involves by looking at specific case studies and coming up with a potential strategy.

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12:30–1:30 pm Group Lunch at Yarok Torstraße 195, 10115 Berlin 1:30–5:30 pm

“Make an Argument 2” Studiolo, KW Institute for Contemporary Art, Auguststraße 69, 10117 Berlin

7pm

Book Launch with Tirdad Zolghadr (optional) CAFÉ BRAVO Auguststraße 69, 10117 Berlin

MONDAY, SEPTEMBER 12, 2016 10.00 am–12 pm “Practice Block 3” with Suhail Malik, Victoria Ivanova, Tirdad Zolghadr joined by Kathleen Ditzig Studiolo, KW Institute for Contemporary Art, Auguststraße 69, 10117 Berlin Tirdad Zolghadr’s workshop will attempt to locate the BB9 Curatorial Workshop within the moral economy of Contemporary Art. Participants will discuss a short list of working parameters underlying curatorial practice as we presently know it. This in order to clarify the really-existing advantages of Contemporary Art today. With any luck, the exercise will also point to more promising ways of making use of those advantages, both politically speaking and otherwise. 12:30–1:30 pm Group Lunch at Chipperfield Kantine Joachimstraße 11, 10119 Berlin 1:30–4 pm

“Make an Argument 3” Studiolo, KW Institute for Contemporary Art, Auguststraße 69, 10117 Berlin

5 pm

Public Event, “Future Institutions” Panel discussion with Chris Dercon and Krist Gruijthuijsen Moderated by Armen Avanessian Akademie der Künste, Pariser Platz 4, 10117 A conversation on the current role of contemporary art, new institutional configurations for a future art and the specific challenges and advantages of using Berlin as a playground for experimental models. The questions we would like to discuss with the heterogeneous participants coming from the field of institutions and theatres is not about the content of their program during the upcoming years, but how they develop a different approach to the present.

7pm

Reception (by invitation only) at the French Embassy Pariser Platz 5, 10117 Berlin Celebrating 20 years of the Bureau des arts plastiques (Bureau for visual arts) of the Institut français Germany and the collaboration with the 'Young Curators Workshop' of the Berlin Biennale. 7

TUESDAY, SEPTEMBER 13, 2016 10 am – 2 pm

Free

2:00–4:00 pm

Georgia Sagri Presentation Artist Georgia Sagri will present on her recent work for Manifesta 11. Studiolo, KW Institute for Contemporary Art, Auguststraße 69, 10117 Berlin

5–7 pm

Meet with Adam Szymczyk & Georgia Sagri Large scale biennial meets project space: documenta 14 and ΥΛΗ[matter]HYLE Studiolo, KW Institute for Contemporary Art, Auguststraße 69, 10117 Berlin

WEDNESDAY, SEPTEMBER 14, 2016 11:30

Meeting Point: Hotel Lobby

12–2 pm

Spike Art Quarterly Rosa-Luxemburg-Straße 45, 10178 Berlin Spike is a bilingual German/English contemporary art magazine aimed at sustaining a vigorous, independent, and meaningful art criticism. At the heart of each issue are feature essays by leading critics and curators on artists making work that plays a significant role in current debates. Spike’s renowned pool of contributing writers, artists, collectors and gallerists observe and reflect on contemporary art and analyse international developments in contemporary culture, offering its readers both intimacy and immediacy through an unusually open editorial approach that is not afraid of controversy and provocation. Spike Art Daily will provide a platform on their website for the participants of the Young Curators Workshop to publish fictional or existing project proposals after the workshop.

3 – 4 pm

DISCREET Presentation by Armen Avanessian and Christopher Roth 4th floor, Akademie der Künste, Pariser Platz 4, 10117

12 pm–12 am

9th Berlin Biennale Event (optional) 12 hours Event Detailed information will be published on the Berlin Biennale homepage.

7 pm

Art Openings + Events in Berlin (optional) Artist Films at Kino International Organized by haubrok foundation Hosted at kino international, Karl-Marx-Allee 33, 10178 Berlin Hamburger Bahnhof Exhibition of Preis der Nationalgalerie (National Gallery Prize) 2015 Invalidenstraße 50-51, 10557 Berlin Neuer Berliner Kunstverein (New Berlin Art Society) Exhibition of Halil Altindere + Natasha Sadr Haghighian Chausseestraße 128-129, 10115 Berlin 8

THURSDAY, SEPTEMBER 15, 2016 9:30 am

Meeting Hotel Lobby Take Bus 100 from Alexanderplatz to Haus der Kulturen der Welt

10–1 pm

Visit Haus de Kulturen der Welt (House of World Cultures) with Bernd M. Scherer, Anselm Franke and Christoph Rosol John-Foster-Dulles-Allee 10, 10557 HKW is a place for international contemporary arts and a forum for current developments and discourse. Located in the capital city of Berlin, it presents artistic productions from around the world, with a special focus on non-European cultures and societies. Visual arts, music, literature, performing arts, film, academic discussions and digital media are all linked in an interdisciplinary programme that is unique in Europe. In a time when local and national issues are inextricably tied to international developments, the Haus enables the voices of the world to be heard in their great diversity and gives them a productive place in the inner-societal dialogue. In cooperation with artists and experts, it offers visitors opportunities to grapple with the conflicts, challenges and questions of our time: How do our respective living conditions impinge upon each other? What kind of a future do we want to live in?

1–2 pm

Lunch Break

3–4 pm

Visit SAVVY Contemporary Plantagenstraße 31, 13347 Berlin SAVVY Contemporary – The laboratory of form-ideas is a lab of conceptual, intellectual, artistic and cultural development and exchange; an atelier in which ideas are transformed to forms and forms to ideas, or gain cognition in their status quo. This is achieved with respect to conception, implementation and contestation of ideas with/in time and space.

4:30–6pm

Visit uqbar with Antje Weitzel Schwedenstraße 16, 13357 Berlin The project space uqbar was founded in the spring of 2007 in BerlinWedding by Dorothee Bienert, Dortje Drechsel, Marina Sorbello and Antje Weitzel as a logical consequence from practising as independent curators and cultural producers, providing self-organisation and self-empowerment. uqbar is a flexible, interdisciplinary platform for experiments and an experimental space. The program focuses on long-term partnerships and process oriented approaches with artists and cultural producers. A thread connecting the exhibited works (differing strongly in both form and media) is the focus on socio-political questions and phenomena. The spectrum comprises such heterogeneous topics as: the politics of history; constructions of identities and cultural memory, discourses on migration and mobility; or the production of space at the intersection of architecture and the city. 9

7 pm

Art Openings + Events in Berlin (optional) Martin-Gropius-Bau Exhibition of Pina Bausch and the Dance Theatre Niederkirchnerstraße 7, 10963 Berlin abc Art Fair Station Berlin, Luckenwalder Strasse 4-6, 10963 Berlin Positions Art Fair Postbahnhof, Str. der Pariser Kommune 8, 10243 Berlin

FRIDAY, SEPTEMBER 16, 2016 9:30

Meeting Point Hotel Lobby

10 am–1 pm

ifa + Presentation of the Partners Elke aus dem Moore (ifa) and Alya Sebti (ifa), Thomas Girst (BMW Group), Michael Thoss (Allianz Cultural Foundation) Linienstraße 139/140, D-10115 Berlin ifa (Institut für Auslandsbeziehungen) is one of the leading organisations in the area of international art exchange. It is dedicated to promoting the peaceful and enriching coexistence of people and cultures worldwide. As a competence centre for foreign cultural and educational policy, it facilitates links among civil society, cultural practice, art, media and research. View their current exhibition here.

1–2 pm

Travel to ABC Art Fair

2–4 pm

ABC Art Fair with Maike Cruse Station Berlin, Luckenwalder Strasse 4-6, 10963 Berlin The abc Art Fair is an association of Berlin gallerists with a common interest in promoting Berlin as an art market and bringing its protagonists together. The association organises Gallery Weekend in the beginning of May and abc art berlin contemporary in September. Responsibility for the association is with the board of Berlin gallerists supported by the Honorary Advisory Board.

7 pm

Event by invitation: “Past Young Curators Workshops” with Bassam El Baroni, Gabriele Horn, Joanna Warsza Studiolo, KW Institute for Contemporary Art, Auguststraße 69, 10117 Berlin In the spirit of the Young Curators’ visit and the history of the workshop format, we have invited former participants, organizers and founder Gaby Horn to talk about the format of the workshop.

9 pm

Group Dinner with Speakers Buchholz, Joachimstrasse 20, 10119 Berlin Mitte 10

SATURDAY, SEPTEMBER 17, 2016 10 am–2 pm

032c workshop Studiolo, KW Institute for Contemporary Art, Auguststraße 69, 10117 Berlin Making a magazine is a lot like curating. Or curating is a lot like making a magazine. You could say the base unit of an exhibition is an artwork, whereas the base unit of a magazine is an interview. All interviews normally have an ulterior motive, or a goal one is trying to accomplish that might not be known to everyone involved. People are often loath to say the most interesting things about themselves, which is why a lot of really good interviews read like a series of provocations as opposed to a series of explanations. Playing dumb. Being polite. Having no filter. Feeling offended. It’s about imagining an answer you want and sculpting it out conversation (both before and after the fact). Editor Thomas Bettridge invites the workshop participants to conduct an interview with someone who you believe is involved in a “postcontemporary” line of work or practice, and speak with them about their occupation: whether they be artists, financiers, sanitation workers, brand consultants, fashion photographers, baristas, dilettantes, etc. Part of this process involves deciding what post-contemporary is, and then following that intuition to its furthest extent even if it proves itself wrong. The editing and framing processes after the fact are helpful for alleviating this. And the final result could end up being the opposite of what you intended. The goal of this workshop is to turn your story into an interview that will be published on 032c.com, or used however you like in another context.

2–3 pm

Lunch Break

3–5 pm

Final Discussion with Armen Avanessian and Victoria Ivanova Studiolo, KW Institute for Contemporary Art, Auguststraße 69, 10117 Berlin

6 pm

Farewell Dinner Buchholz, Joachimstrasse 20, 10119 Berlin Mitte

10 pm

9th Berlin Biennale Closing Party Kühlhaus Berlin Luckenwalderstr. 3, 10963 Berlin

SUNDAY, SEPTEMBER 18, 2016 All Day

Departure of Participants

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BIOGRAPHIES OF THE YOUNG CURATORS VIVEK CHOCKALINGAM Born in 1986 in Bangalore, India. Lives and works in Bangalore. Vivek Chockalingam is an artist/curator currently residing in Bangalore, India. After completing his undergraduate degree in product design from Srishti school of Art, Design and Technology (Bangalore, India) in 2008, he started practicing art. His work began growing in physical size and in 2014 he attended an architecture course from Sci-Arc, LA, USA (scholarship). He has participated a handful of residencies, ‘Usable Sculpture’ Yorkshire, UK 2009 (sponsored), ‘CeRCCA’ Llorenc del Penedes, Spain 2011 (partly sponsored), ‘ShopArt/ArtShop’ Bir, Himachalpradesh, India 2013 (sponsored). More recently he has been playing the role of a curator. Over the last year and a half his home has organically transformed into an artist residency/gallery space – Walkin Studios. In 2016, Kochi Muziris Biennale (India) awarded him a fellowship as a ‘Young Curator’. This is a yearlong process of active training-cum-curatorial position that will culminate in the Student Biennale 2016/17. RACHEL DEDMAN Born in 1989 in London, England. Lives and works in Beirut. Rachel Dedman is an independent curator and writer based in Beirut, Lebanon. Rachel is the curator of At the Seams: a Political History of Palestinian Embroidery, the inaugural satellite exhibition of the Palestinian Museum (West Bank), and in 2016 is curating exhibitions for the Transart Triennale (Berlin); Beirut Art Center (Lebanon) and Dar el-Nimer (Lebanon). Rachel is the co-founder of collective Polycephaly, currently working on a research forum funded by the Arab Fund for Arts and Culture. Her writing has been commissioned and published by Ibraaz, The Mosaic Rooms, Culture+Conflict, IAAC and the Journal of Art Historiography, and she has received scholarships from Independent Curators International and the Getty Foundation. Rachel holds a First-class degree in the History of Art from St. John's College, Oxford, and was the Von Clemm Postgraduate Fellow at Harvard University, specialising in art from the Middle-East. In 2013-14 she was a participant of Ashkal Alwan's Home Workspace Program, Beirut. KRIS DITTEL Born in 1983 in Slovakia. Lives and works in the Netherlands. Kris Dittel is an independent curator living and working in the Netherlands. Currently she is associated with the project space and art book publisher, Onomatopee in Eindhoven, NL. Dittel is also one half of the research duo The Translation Trip, investigating translation as practice, philosophical notion and curatorial device.

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Her curatorial work is informed by an interest in performativity in relation to body and language, forms of communication, and projects involving editorial engagement and textrelated work. Currently she is working on the group exhibition and publication The Economy is Spinning, dealing with the language of economics and finance, taking place at Onomatopee, Eindhoven. Prior to her studies of Art and Heritage at the Maastricht University she graduated in Economics and Social Sciences at the Masaryk University in Brno, CZ. In 2013/14 Kris Dittel participated de Appel Curatorial Programme in Amsterdam followed by a curatorial fellowship in 2015 at Pool Projects in Zürich. MARINA REYES FRANCO Born in 1984 in San Juan, Puerto Rico. Lives and works in San Juan. Marina Reyes Franco is an art historian and independent curator. She received a BA in Art History from the University of Puerto Rico and an MA in Argentine and Latin American Art History from IDAES-UNSAM, Argentina. Her research interests include the work of concrete poet Esteban Valdés, artistic and literary manifestations in the frontier of political action that spill over into popular culture, tourism, post military spaces, and how to make sense of postcolonial theory living in a 21st Century colony. Her curatorial work takes a hands on approach to museum studies and exhibition making, with a focus on the importance of agency and community. She is also a co-founder and former director of La Ene, a contemporary art museum and residency program that acts as a critical intervention in the Buenos Aires art scene. CHABIB DUTA HAPSORO Born in 1986 in Salatiga, Indonesia. Lives and works in Bandung. Chabib Duta Hapsoro is a curator and writer, working with Selasar Sunaryo Art Space (SSAS) as well as on independent projects. He attained his master’s degree from Bandung Institute of Technology (2011 – 2014). His research focuses on the aesthetic practice of the DECENTA artists' group that related to Indonesian modern art identity, and their relationship to the State agenda in cultural propaganda in the 1970s. Chabib has curated the following exhibitions: Historia Docet, Historia Vitae Magistra, D Gallerie, Jakarta (2016); Temporal, National Gas Building, Bandung (2015); Sehat Walafiat, Ruang Mes 56, Yogyakarta (2015); Apin: Sang Petualang dari Gelanggang, SSAS (2014); E - Prilla Tania Solo Exhibition, SSAS (2013); Unload/Reload, Nadi Gallery (2012); Bandung New Emergence vol. 4, SSAS (2012). Chabib also has presented papers in symposiums and discussions such as Equator Symposium: The One and The Many: Ethic and Aesthetic Practices in Our 21st Century Democracy, by Biennale Yogya Foundation, Yogyakarta (2014) and The Essence of Social Politics in Arts in the New Order Period: The Good and the Doomed, ORDE BARU OK. Video – Indonesia Media Arts Festival, Indonesia National Gallery, Jakarta (2015).

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PATRICIA MARGARITA HERNANDEZ Born in 1983 in the United States. Lives and works in New York. Patricia Margarita Hernandez is an independent curator, researcher, and artist. Hernandez works across disciplines including new media, sound, performance, and exhibition making. Committed to furthering developing the field of contemporary arts and culture in Miami, she is currently working on digitally archiving the events and projects that were produced under end/SPRING BREAK (2010-2015), a nomadic transdisciplinary platform. As co-founder and director of the end/SPRING BREAK, Hernandez has produced over 300 events in over 40 locations throughout South Florida communities, ranging from film screenings, online broadcasts, to lectures and exhibitions. As an artist she has exhibited extensively in Miami, including MOCA North Miami (2015) and Bass Museum of Art | Miami Beach (2014) Bas Fisher Invitational (2013) and Kulturpark, Berlin, Germany [2012]. Recent exhibitions include,Spooky Action at Center for Curatorial Studies, Bard College; Esto no es un Museo at the Centro Cultural de España; TUNE IN at the Fort Lauderdale Museum of Art; ELECTRIC LUNCH at Window Project DDA; Four minutes, thirty-three seconds at Legal Art; and DCG Open at David Castillo Gallery, all in Miami. Hernandez received her M.A. at the Center for Curatorial Studies, Bard College in May 2016. She is interested in the effects of technological design and some of her recent projects have taken up topics including immaterial labor, techno-animism, and city development within a neoliberal schema.

SONIA KAZOVSKY Born in 1989 in Moscow, Russia. Lives and works in Amsterdam. Sonia Kazovsky was born in Moscow (former USSR) and grew up in Jerusalem, Israel. Mentored by the artist and photographer Ilit Azulay, Sonia started her artistic education in Jerusalem, where she participated in student movements that worked to change the financing for the cultural landscape of Jerusalem. In 2014 Sonia completed her BFA at the Gerrit Rietveld Academy in Amsterdam, The Netherlands. As an artist, she has exhibited in international exhibitions as well as participated in a collaborative Honours program with the Rietveld Academy. In her practice and its broader ramifications, Sonia has found her urgency in activating knowledge rather then selfexpression and has devoted herself to creating the political context in which she would like to participate. She is busy with critical work to raise class-consciousness within the strange formation of Contemporary Art, for which she grounds her efforts in different collaborations with an international group of artists, which she activates as units. Working between economic theories, speculative realism and political science, Sonia is engaged in the effort of creating new forms of theory and knowledge dissemination. At the moment Sonia is completing her MA in Art praxis at the Dutch Art Institute, where she was awarded the special talent grant from the Dutch government. 14

SOPHIE LAPALU Born in 1985 in France. Lives and works in Paris. Art critic and curator Sophie Lapalu studied at the Ecole du Louvre (Paris) and the School of the Magasin (Grenoble). She is a PhD candidate supervised by Jean-Philippe Antoine at the University Paris 8, where she also teaches. Lapalu acts as a coordinator of the ENSAPC exhibition space of YGREC (Paris). She is a member of the editorial committee of the University Revue Marges, a correspondent for *DUUU radio, publishes regularly in the Quotidien de l'art, and frequently proposes performance and exhibition programming. JOÃO LAIA Born in 1981 in Lisbon, Portugal. Lives and works in London. João Laia is a writer and curator with a background in social sciences, film theory and contemporary art. He has published in magazines and newspapers such as frieze, Mousse, Spike Art Quarterly, Flash Art, Terremoto and Público. Recent projects were held at Videoex in Zürich, Parque Lage in Rio de Janeiro, Moderna Museet in Stockholm, MNAC - National Museum of Contemporary in Lisbon, and Delfina Foundation, South London Gallery, Cell Project Space, DRAF - David Roberts Art Foundation, The Mews and Whitechapel Gallery in London. In 2014 he was in residency at the Fondazione Sandretto Re Rebaudengo in Turin and in Barcelona co-founded The Green Parrot, co-directing it until 2016. Currently he is curator of strategic projects for the V Moscow Biennial of Young Art with an exhibition at MMOMA - Moscow Museum of Modern Art and member of the curatorial teams of the inaugural exhibition of MAAT - Museum for Art, Architecture and Technology in Lisbon and of Videobrasil a biannual contemporary art festival at SESC Pompeia, São Paulo. KABELO MALATSIE Born in 1987 in Giyani, South Africa. Lives and works in Johannesburg. Kabelo Malatsie lives and works in Johannesburg. She is an Associate at Stevenson Gallery and has an Honours in Curatorship from University of Cape Town. Her undergraduate degree is in BCOM Marketing Management from the University of Johannesburg. She is currently pursuing a master’s degree in Art History at the University of Witwatersrand. Her research interest aligns with other funding and institutional models that are rooted in their viability within the South African context. She has curated exhibitions in Johannesburg and Cape Town as well as conducted interviews with artists.

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DAN METHTHANANDA Born in 1985 in Margate, United Kingdom. Lives and works in Kent. Dan Meththananda has worked in various capacities both within and outside of the (post-)contemporary art context. Studying Mathematics at University College London as an undergraduate, followed by a MA in Behavioral Economics at Columbia University, he worked in diverse fields from derivatives finance, media research, technology to teaching. His first entry into the contemporary art context “Apprendre a Oser” in 2009, was conceived as a comedic experiment to become an artist in French business school, HEC. He went on to study at Ecole des Beaux-Arts from 2010-12. This performative practice evolved into to working in curatorial projects at the Living Art Museum, Reykjavik and Berlin Art Prize and then more recent editorial roles. He is currently interested how art methodologies might be used to infiltrate and divert other domains on thinking and developing sustainable means for collaboration, as well as speculating on the future of humor, metaphor and art practice given the rise of machine learning and artificial intelligence. MAHAN MOALEMI Born in 1992 in Iran. Lives and works in Tehran. Mahan Moalemi is an art writer and researcher currently living in Tehran, where he completed a BSc in Architecture in 2015. He will join the Curatorial/Knowledge program at Goldsmiths College, University of London in September 2016. Mahan recently started posting on runovers.wordpress.com.

NATALIA SIELEWICZ Born in 1985 in Warsaw, Poland. Lives and works in Warsaw. Natalia Sielewicz is an art historian and curator currently working at the Museum of Modern Art in Warsaw. Most recently she curated “Private Settings. Art after the Internet,” one of the first global surveys tackling the impact of communication technologies and datasphere on contemporary art and identity politics and “Bread and Roses. Artists and the Class Division” (with Łukasz Ronduda), exploring the ways through which artists define their status and position in the realm of an ever-widening economic gap. She also curates experimental film, discursive events and performance for the museum, such as the performances by Adam Linder, Manuel Pelmus and Alexandra Pirici, Korakrit Arunanondchai, DIS, Jesse Darling, Grace Ndiritu, C. Spencer Yeh, Haroon Mirza and Richards Sides, Ramona Nagabczyńska and Marta Ziółek.

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BIOGRAPHIES OF SPEAKERS Elke aus dem Moore is the head of Visual Arts Department at ifa (Institute for international cultural relations) since 2008. She is responsible for the strategic and programmatic development of the international exhibition programs, of the ifa-galleries in Berlin and Stuttgart as well as the funding programs. Her curatorial approach follows the principle of encounter, exchange and dialogue. Prior to her current position, she was Artistic Director of the Künstlerhaus Stuttgart and Curator at the Shedhalle in Zurich. Elke aus dem Moore is the publisher of numerous catalogues, two online magazines – Nafas and Contemporary and (C&) – Platform for international art from African perspectives – and is the author of articles in professional journals. Elke aus dem Moore is member of numerous advisory boards and juries and one of the founding board members of IBA (International Biennial Association). Maike Cruse is director of the art fair abc – art berlin contemporary since 2012 and since 2014 director of the Gallery Weekend Berlin. Before she was Head of Communications of Art Basel and Art Basel Miami Beach between 2008–2011. In Berlin she was Head of Press for KW Institute for Contemporary Art and the Berlin Biennale for Contemporary Art until 2008 as well as co-initiated the Galerie im Regierungsviertel, a mobile exhibition module, and the Forgotten Bar project in Berlin Kreuzberg. Chris Dercon is an art historian, documentary filmmaker and cultural producer. In 2015 he was named as the future Intendant of Volksbühne Berlin from September 2017. He was previously Director of Tate Modern in London, Haus der Kunst in Munich, the Museum Boijmans Van Beuningen in Rotterdam and Witte de With – Center for Contemporary Art in Rotterdam, as well as Program Director of PS1 Museum in New York. He curated and cocurated, amongst others, exhibitions of André Cadere, Dan Graham, Konstantin Grcic, Hans Haacke, Carlo Mollino, Helio Oiticica, Paul Thek, Ai Weiwei, Franz West and Bhupen Khakhar. He has published, contributed to and edited many catalogues, art publications, lectures and interviews worldwide. His current interest lies particularly with the development of the future museum. He has made extensive cultural research and co operations with cultural producers in Brazil as of (1988), North Africa – Levant as of (1992), Japan as of (1993), China as of (1999), India as of (2005), and most recently in West Africa, The Gulf and Saudi Arabia. Kathleen Ditzig is an independent curator based in Singapore and a co-founder of offshoreart.co, a research platform that produces exhibitions, panels and events to investigate the offshore as an operating paradigm of contemporary finance, globalism and cultural practice. With experience in cultural policy, she is interested in the relationship between art, globalism and power. Her research spans contemporary and modern art with regards to emergent markets, global infrastructure, cultural capital and political posturing. Bassam El Baroni is a curator from Alexandria, Egypt and a member of the faculty at the Dutch Art Institute in Arnhem. He was co-curator of Manifesta 8, 2010, Murcia, Spain and director of Alexandria Contemporary Arts Forum, 2005 – 2012. In 2015, he curated ‘What Hope Looks like after Hope (On Constructive Alienation)’ at HOME WORKS 7, Beirut. Projects include Eva International - Ireland’s Biennial, Limerick, 2014; ‘When it Stops 17

Dripping from the Ceiling (An Exhibition That Thinks About Edification)’ at the Kadist Art Foundation, Paris, 2012; and most recently ‘Nemocentric’ at Charim Galerie, Vienna, 2016. Anselm Franke is a curator and writer based in Berlin. Since 2013 he has been Head of Visual Art and Film at the Haus der Kulturen der Welt in Berlin. Recently, he was curator of the 10th Shanghai Biennale 2015 and in 2012, he curated the Taipei Biennial, Modern Monsters / Death and Life of Fiction. His project Animism was presented in different versions in Antwerp, Bern, Vienna, Berlin, New York, Shenzhen, Seoul and Beirut in various collaborations from 2010 to 2014. At the Haus der Kulturen der Welt, he curated Forensis (2014) with Eyal Weizman, The Whole Earth. California and the Disappearance of the Outside (2013) with Diedrich Diederichsen, and After Year Zero. Geographies of Collaboration (2013) with Annett Busch. Franke has edited numerous publications and regularly contributes to art periodicals. Krist Gruijthuijsen was appointed director of KW Institute for Contemporary Art starting July 2016. Between 2012 and 2016 he was artistic director of the Grazer Kunstverein and since 2011 course director of the MA fine arts department at the Sandberg Instituut in Amsterdam. He is the co-founding director of Kunstverein in Amsterdam and has organized over the past decade a numerous amount of exhibitions and projects at amongst others Manifesta 7 (Italy), Platform Garanti (Istanbul), Artistsspace (New York), Museum of Contemporary Art (Belgrade), Swiss Institute (New York), Galeria Vermelho (Sao Paulo), Stedelijk Museum (Amsterdam), Van Abbemuseum (Eindhoven), Arnolfini (Bristol), Project Art Centre (Dublin), Utah Museum of Contemporary Art (Salt Lake City) and Institute of Modern Art (Brisbane). Gruijthuijsen has produced, edited and published extensively in close collaboration with JRP|Ringier, Sternberg Press, Mousse Publishing Printed Matter Inc. Verlag Walther König and Kunstverein Publishing. Gabriele Horn studied art history, history, and sociology at the Freie Universität in Berlin. From 1985 until 1993 she was Assistant Director of the Staatliche Kunsthalle Berlin, then Head of the Department for Cultural Affairs in the Senate Department for Science, Research and Culture in Berlin. Since 2004, she is the Director of KW Institute for Contemporary Art and of the Berlin Biennale for Contemporary Art. She was curator of several exhibition projects, among them Michal Helfman: Running out of History (2016), Helen Mirra: Gehend (Field Recordings 1–3) (2011/12), Sigalit Landau: The Dining Hall (2007/08), and History Will Repeat Itself (2007/08, in cooperation with Inke Arns/Hartware MedienKunstVerein Dortmund) at KW Institute for Contemporary Art. Victoria Ivanova is a curator (currently Assistant Curator for Public Programmes at Tate, London). Having previously worked in the human rights field, in 2010, she co- founded a multidisciplinary cultural platform in Donetsk, Ukraine, which critically explored the intersection between activism, education and artistic research. Ivanova is also one of the founding members of Real Flow—a research and development platform for socialising finance. Her practice is largely informed by systems analysis and her interest in infrastructures as mechanisms for shaping and (re)producing socio-economic and political realities. Ivanova's recent publications include 'Art’s Values: A Détente, a Grand Plié' in Parse 2: The Value of Contemporary Art (2015), ‘Novelty Intermediation and the Future of 18

Accelerationist Politics’ in Reinventing Horizons (2016), ‘Fractured Mediations’ in Der Zeitkomplex. Postcontemporary (2016), and ‘Contemporary Art and Collateral Financialisation’ in Finance and Society (II(i), 2016). Katrin Klingan is a literary scholar, curator, and producer of arts and culture projects. Between 2003 and 2010 she was artistic director of "relations", an international arts and culture program initiated by the German Federal Cultural Foundation. She was dramaturge at the Vienna Festival from 1998–2001, co-curating various projects across theory, performance, visual arts and film. Since 2011 she is head of the Department Humanities and Literature at Haus der Kulturen der Welt, Berlin. There she was curator of „The Anthropocene Project“ (2013-2014), co-curated the Research Project „Global Prayers“ (2011-2013) as well as the Symposia „ A Journey of Ideas Across. In Dialog with Edward Said” (2013). Currently she is curator of the project “100 Years of Now” (2015-2018). Publications (selection): Textures of the Anthropocene, Grain Vapor Ray, (ed Katrin Klingan, Ashkan Sepahvand, Christoph Rosol, Bernd Scherer), The MIT Press, 2015; Global Prayers, Contemporary Manifestations of the Religious in the City, (ed Jochen Becker, Katrin Klingan, a.o.), Zürich, Lars Müller Publishers, 2013; Sounds. Radio – Kunst – Neue Musik., (ed Marius Babias, Katrin Klingan), Cologne, Verlag der Buchhandlung Walther König 2010. Suhail Malik is Co-Director of the MFA Fine Art, Goldsmiths, London, where he holds a Readership in Critical Studies, and formerly 2012-15 Visiting Faculty at CCS Bard, New York. Recent publications include: On the Necessity of Art's Exit From Contemporary Art (Urbanomic, forthcoming 2016); co-editor of The Flood of Rights (CCS/Sternberg, 2016), The Time-Complex. Postcontemporary (DiS/Name, 2016), 'Art and Finance' Special Issue of Finance and Society (2016) Genealogies of Speculation (2015), Realism Materialism Art (CCS/Sternberg, 2015). Essays include "The Ruling Elite Have Feelings Too" in The New Reader (forthcoming); "The Ontology of Finance" in Collapse 8: Casino Real (2014); "The Value of Everything" in Texte zur Kunst (2014); "Ape Says No" in Red Hook Journal (2013); "The Politics of Neutrality: Constructing a Global Civility" in The Human Snapshot (2013): "Tainted Love: Art’s Ethos and Capitalization” (with Andrea Phillips) in Art and Its Commercial Markets (2012); “Why Art? The Primacy of Audience” at Global Art Forum, Dubai (2011); “The Wrong of Contemporary Art: Aesthetics and Political Indeterminacy” (with Andrea Phillips) in Reading Rancière (2011); “Educations Sentimental and Unsentimental: Repositioning the Politics of Art and Education” in Red Hook Journal (2011); “Screw (Down) The Debt: Neoliberalism and the Politics of Austerity” in Mute (2010); “You Are Here” for Manifesta 8 (2010). Georgia Sagri is a Greek artist based in New York and Athens. At the center of her practice lies the exploration of performance as an ever-evolving field within social and visual life, interconnected, though distinct from the dialectics of representation in theatre, music and dance. She runs a semipublic, semipersonal space in the center of Athens at Omonoia sq. that aims to bring together art, politics and sciences as if their coexistence is a new undisciplined field of thought, action and living, without knowing yet its name. 'Υλη[matter]HYLE is not supported by any private institution, state organization or the municipality of the city of Athens. Ύλη[matter]HYLE is an independent organism of people, animals, machines and ideas.

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Bernd M. Scherer is Director of Haus der Kulturen der Welt since 2006. He holds a Ph.D. in Philosophy from the Universität des Saarlandes, Saarbrücken. Philosopher and author of several publications focusing on aesthetics and international cultural exchange, Scherer came to the HKW from the Goethe-Institut. From 1987-1989, he served as lecturer at the Goethe-Institut Düsseldorf, while from 1989-1994 he was Director of the Goethe-Institute Karachi and Lahore, and from 1999- 2000 he directed the Goethe-Institut Mexico City, subsequently acting as Director of the Arts Department at the Goethe-Institut main office in Munich from 2004-2005. Previous positions at the HKW include Head of the Department of Humanities and Culture from 1994-1996 and Deputy Director from 1996-1999. Since January 2011, he teaches as Honorary Professor at the Institute for European Ethnology, HumboldtUniversität zu Berlin. He curated and directed major art and cultural projects such as “Das weiße Meer”, “Rethinking Europe”, “Water-agua” (in Mexico), and “Über-Lebenkunst”. He is the co-editor of books such as “Das Marco-Polo-Syndrom”, neue bildende Kunst (1995); “Alexander von Humboldt-Aufbruch in die Moderne” (2001); a.o. Alya Sebti is director at ifa-Galerie, Berlin. She has curated several exhibitions in Europe and North Africa and was the artistic director for the 5th edition of the Marrakech Biennale (2014). Her recently curated exhibitions include :“Caverne” Solo show of Hicham Berrada (Wentrup Gallery, Berlin, 2015), “Carrefour / Treffpunkt” (Institut für Auslandsbezihungen ifagallery Stuttgart, Berlin, 2015. From 2012 to 2014, she created a cycle of online exhibitions and publications on contemporary art in Morocco, Algeria, and Tunisia with Arte East. Co-editor of the book “Pas de Deux” following the program of residency she curated at Villa Romana (Florence, 2014). She has written and lectured extensively on art and the public sphere and is a board member of the International Biennale Association. Adam Szymczyk is Artistic Director of documenta 14. He was a co-founder of the Foksal Gallery Foundation in Warsaw, at which he worked as Curator from 1997 till 2003, when he assumed his new post as Director at Kunsthalle Basel, Switzerland. In Basel, he organized exhibitions including Piotr Uklanski: Earth, Wind and Fire (2004); Tomma Abts (2005); Gustav Metzger: In Memoriam and Lee Lozano: Win First Don't Last Win Last Don't Care (both 2006); Micol Assaël: Chizhevsky Lessons (2007); Danh Vo: Where the Lions Are (2009); Moyra Davey: Speaker Receiver (2010); Sung Hwan Kim: Line Wall (2011); Paul Sietsema and Adriana Lara: S.S.O.R. (both 2012), as well as group shows including Strange Comfort (Afforded by the Profession) (with Salvatore Lacagnina, 2010), How to Work/How to Work (More for) Less (both in 2011); Michel Auder: Stories, Myths, Ironies, and Other Songs: Conceived, Directed, Edited, and Produced by M. Auder (2013) and Naeem Mohaiemen: Prisoners of Shothik Itihash (2014). In 2008 he co-curated with Elena Filipovic the 5th Berlin Biennial for Contemporary Art under the title When Things Cast No Shadow and in 2012 he curated Olinka, or Where Movement Is Created at Museo Tamayo in Mexico City. He is a Member of the Board of the Museum of Modern Art in Warsaw. In 2011, he was recipient of the Walter Hopps Award for Curatorial Achievement at the Menil Foundation in Houston. Joanna Warsza is curator, researcher, writer in the fields of visual and performing arts and architecture. She was the associate curator to Artur Żmijewski at the 7th Berlin Biennale. Recently she curated Finnish Landscape at Checkpoint Helsinki (2016), the Public Program 20

of Manifesta 10 in St. Petersburg (2014), and the Georgian Pavilion at the 55th Venice Biennale (2013). Joanna works predominantly in the public realm, with time-based and social and political projects. Currently Joanna is a Head of the curatorial research program CuratorLab at Konstfack University in Stockholm. She is based in Berlin. Antje Weitzel is freelance cutor and project manager, living and working in Berlin since 1990. She studied art at the Kunstakademie in Kassel and UdK Berlin (Master Art in Context). Since 2007 she is organizer of the project space uqbar. Since 2012 she works at the Artistic Office of the Berlin Biennale, since 2014 project manager of the Berlin Biennale. Selection of Projects: Berliner Herbstsalon, Maxim Gorki Theater, Berlin, 2015; Post-Soviet Cassandras, Galerie im Körnerpark, Berlin, 2015; Tagore's Post Office, nGbK, Berlin, 2014; Kritik und Krise – Spectres of the Future, Collegium Hungaricum Berlin, 2013, Von Wunderglauben und rätselhaften Erscheinungen, Galerie im Körnerpark, 2013, Right-To-Left. Iranian and Arab Visual Cultures, Studio 1, Kunstquartier Bethanien, Berlin, 2012 (www.right-to-left.net); Desertmed, NGBK, Berlin, 2012; Transient Spaces – The Tourist Syndrome, NGBK and Kunstraum Kreuzberg/Bethanien, Berlin; Cairoscape. Images, Imaginary and Imagination of a contemporary Mega City, 2008, Kunstraum Kreuzberg Bethanien, Berlin (www.cairoscape.org). Tirdad Zolghadr is a curator and writer. He teaches at the Dutch Art Institute in Arnhem. Curatorial work includes a number of discreet durational projects and several biennial settings, while his writing includes novels as well as criticism. Zolghadr is associate curator at the KW Berlin, and director of the Summer Academy Paul Klee in Berne.

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BIOGRAPHIES OF THE WORKSHOP CURATOR AND COORDINATORS Armen Avanessian studied philosophy and political science in Vienna and Paris. After completing his dissertation in literature, he worked at the Freie Universität Berlin from 2007 to 2014. He has previously been a Visiting Fellow in the German Department at Columbia University and in the German Department at Yale University and visiting professor at various art academies in Europe and the US. He is editor in chief at Merve Verlag Berlin. In 2012, he founded a bilingual research platform on Speculative Poetics, including a series of events, translations, and publications. Maurin Dietrich studied art history and comparative literature at Free University Berlin. Besides working as a project assistant for schir – art concepts, a residency located in Tel Aviv, IL, Maurin Dietrich has also worked as curatorial assistant in KW’s artistic office on group and solo exhibitions, publications, and on her own projects, such as SALON OF HYBRID THINGS (together with Nina Mende, 2015). She is currently working on the Young Curators Workshop Post-contemporary art within the 9th Berlin Biennale for Contemporary Art and is Assistant Curator and Project Manager at KW Institute for Contemporary Art. Krisztina Hunya is a freelance curator and project manager, co-organizer of the Young Curators Workshop Post-contemporary Art. She has an MA degree in Art History from the Freie Universität Berlin and is currently enrolled in the postgraduate study program Cultures of the Curatorial at the HGB Academy of Visual Arts in Leipzig. She is Assistant Curator of Contour Biennale 8 (Mechelen, 2017) curated by Natasha Ginwala, who she has been working with on various projects such as the upcoming second edition of The Museum of Rhythm at Museum Sztucki in Lodz (2016–2017). In 2014, she was project coordinator of the Conference and 1st General Assembly of the International Biennial Association organized by the Berlin Biennale for Contemporary Art. She initiated various independent curatorial projects and since 2014, she runs the project space ZÖNOTÉKA in Berlin Neukölln. Valerie Amend is an independent researcher, curator, and associate coordinator of the Young Curators Workshop. She is currently a Curatorial Fellow at the School of Visual Arts in New York, earning her master’s in Curatorial Practice. She has worked within non-profit organizations for 10 years and is currently a curatorial research assistant at Dia Art Foundation. Recent projects include The Artist, The Curator & The Educator: A Conversation with Shuddabrata Sengupta of Raqs Media Collective, Irreality at CP Projects Space, and curatorial support for Occasions and other occurrences by Isabel Lewis at Dia Art Foundation.

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SUGGESTED READINGS Armen Avanessian, Suhail Malik: The Time-Complex. Postcontemporary, DIS Magazine and Fear of Content Berlin Biennale for Contemporary Art, 2016. DIS: The Present in Drag, Fear of Content, Berlin Biennale for Contemporary Art, 2016. Victoria Ivanova: Fractured Mediations, The Time-Complex. Postcontemporary, Armen Avanessian, Suhail Malik (ed.), 2016. Suhail Malik: When is Contemporary Art? Preprint from Boris Buden, Maria Hlavajova, and Simon Sheikh (ed.), FORMER WEST: Art and the Contemporary after 1989, 2016. Suhail Malik, Armen Avanessian: Introduction to the Time Compelx. Postcontemporary, DIS Magazine, 2016. Suhail Malik: The Ruling Elite Have Feelings Too, 2012.

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FURTHER READINGS 100 Years of Now, online journal accompanying the HKW project, http://journal.hkw.de/en/ Chris Dercon: The New! Museum?, Fundacion Arte y Mecenazgo, 2011. Georgia Sagri: The existence of the iconomsts – A Manifesto, Texte zur Kunst, Issue No. 102 “FASHION”, June 2016. Giorgio Agamben: What Is the Contemporary?, What Is an Apparatus and Other Essays, Stanford University 2009. Joanna Warsza: Doing Things With Art, 7th Berlin Biennale for Contemporary Art Statement, 2012. Maike Cruse on the developing art scene around Berlin’s Gleisdreieck Park, Freunde von Freunden, 26.04.2016. Open Letter from Concerned Cultural Actors about Recent Discussions Surrounding the Directorship of Volksbühne in Berlin, 23.06.2016. Suhail Malik: Forever Young: A Short Guide to Some Paradoxes of Contemporary Art, Art Review, January/February 2016. Suhail Malik: Reason to Destroy Contemporary Art. 21st Century Theory, Spike Art Daily, #37 Autumn 2013. Quinn Latimer, Adam Szymczyk: Editor’s Letter, South as a State of Mind, Documenta 14 Issue 1, Fall/Winter 2015. Quinn Latimer, Adam Szymczyk: Editor’s Letter, South as a State of Mind, Documenta 14, Issue 2, Spring/Summer 2016. For further writings and other projects form the Berlin Biennale visit Fear of Content.

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CONTACT 9th Berlin Biennale for Contemporary Art 4.6.–18.9.2014 KW Institute for Contemporary Art Auguststraße 69 10117 Berlin www.kw-berlin.de www.berlinbiennale.de

Concept Armen Avanessian M: +49 179 818 7843 [email protected]

Coordination Maurin Dietrich Phone +49 160 9342 4365 [email protected]

Coordination Krisztina Hunya Phone +49 163 734 1915 [email protected]

Assistant Coordinator Valerie Amend Phone +49 152 1861 8946 [email protected]

COOPERATION PARTNERS The Young Curators Workshop Post-contemporary Art is organized by the 9th Berlin Biennale in collaboration with Allianz Cultural Foundation, BMW Group, and ifa (Institut für Auslandsbeziehungen).

The participation of one young French curator is made possible by the program Jeunes Commissaires des Bureau des arts plastiques of the Institut français Germany.

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