Max Andrews and Mariana Cánepa Luna are curators based in Barcelona. In 2005 they cofounded Latitudes, a curatorial office that has worked internationally across contemporary art practices, encompassing more than 50 projects including exhibitions, public realm commissions, film screenings, pedagogical and discursive programs. Latitudes has commissioned and curated projects at the Centre d’Art Contemporani de Barcelona – Fabra i Coats (2018), CAPC musée d’art contemporain de Bordeaux (2017), Banff Centre for Arts and Creativity (2017), Museu d’Art Contemporani de Barcelona (2016), Barcelona Gallery Weekend (2015, 2016), Spring Workshop, Hong Kong (2013), Kunsthall Århus (2011), New Museum, New York (2010), Port of Rotterdam (2009), Fondazione Sandretto Re Rebaudengo, Turin (2008), amongst others. Latitudes current research focusses on material narratives, biographies of objects, and a world-ecological perspective on art histories. Since 2016 Latitudes has edited “Incidents (of Travel)”, an online series produced by KADIST documenting an offline day between curators and artists and mentor the Barcelona Producció visual arts grants awarded each year by the Barcelona City Council.

Last update: November 11th, 2019

Katia Roessel is currently developing her first feature film in France. Her work has been shown in festivals, galleries, collective projects and open-air events such as POINT IN THE ENDLESS UNIVERSE, Moscow (2014), Galerie Arnaud Lefebvre, Paris (2011), AVIFF Cannes (2014), OCAT Shanghai (2014), Collection VIDEO SALON, Galerija Duplex 100m2, Sarajevo, Bosnia and Herzegovina (2016), and PARISARTISTES # (2017) among others. Her GLEE video series focuses on the fundamental technology of artificial light and the evolving dominance of screen-based light and its implications. Natural light, screen light, and filmed light intertwine. Since within the installations different temporalities emerge and shun into another frame/art scale – the light of the screen has brought us ever more realistic simulations, including simulations of intelligence and of life, and draws us into its reality. This reality and natural reality are in an escalating competition for our “hearts and minds.”

Last update: November 11th,  2019

Vanina Saracino (she/they) is an independent curator, film programmer, writer, and lecturer.

Her work focuses on theories and art practices that explicitly question anthropocentric and binary worldviews from an intersectional perspective, with an emphasis on lens-based and time-based art. Her latest project, Other Minds, is the fourth edition of the Screen City Biennial (curated with Daniela Arriado), which took place at the astronomical observatory Archenhold Sternwarte and other venues in Berlin in 2022.

Since 2021, Saracino has been teaching at the Institute of Time-based Art – IZM, Universität der Künste (UdK) in Berlin, with Prof. Nina Fischer. She has collaborated with Kumu Art Museum and EKKM (Tallinn), Teatrino di Palazzo Grassi (Venice), TBA21 – Academy, Cinemateca Brasileira (São Paulo), Cinemateca do MAM (Rio de Janeiro), Palais de Tokyo (Paris), Salzburger Kunstverein (Salzburg), The EYE Film Institute (Amsterdam), and Centro Párraga (Murcia), among others. Saracino has realized residencies at ISCP (New York, 2023), Q21 – MuseumsQuartier (Vienna, 2021), Fire Station Artists’ Studios (Dublin, 2019), CPR – Curatorial Program for Research (Reykjavik, Tórshavn, Tromsø, Boden, Luleå, Hyrynsalmi, Helsinki, 2018), and GENERATOR – 40mcube/EESAB (Rennes, 2018). Graduated in Communication Sciences, Saracino holds an MA in Arts Management (GIOCA, Università di Bologna) and in Philosophy and Art Theory (UAB, Universidad Autónoma de Barcelona). She has been a member of IKT since 2015.

Last update: 17th November , 2023

Marlie Mul is an artist whose artwork manifests somewhere in between sculpture, painting, fashion, distribution, writing, experiments in branding, the social, and the virtual. She teaches in and co-coordinates the MFA WorkMaster at HEAD (Haute école d’art et de design) in Geneva, Switzerland.

With Harry Burke, she co-edits ground, a counter-institutional fanzine that sets out to look beyond institutions in their current form as dominant frameworks for artistic production, and embraces grassroots political and aesthetic perspectives. In 2018 she published the book CANCELLED, which revolves around her public cancellation of a solo exhibition at GoMa, an art institution in Scotland, in 2017.

Marlie Mul’s work has been shown in group exhibitions such as: The 33rd Biennial of Graphic Arts 2019, Ljubljana; ZHDK, Zurich; Istituto Svizzero, Rome; 49 Nord 6 Est–FRAC Lorraine, Metz; La Panacée, Montpellier; Kunsthalle Wien, Vienna; Kunsthalle Bern; Fridericianum, Kassel; 9th Berlin Biennial; 2014 Taipei Biennial; Swiss Institute, New York; Witte de With, Rotterdam; ICA/Institute of Contemporary Arts, London; Sculpture Center, New York, Ballroom Marfa, Texas.

Last update: November 11th, 2019