Sandra Terdjman co-founded Council in 2013, an art organisation that researches, produces and supports artists and projects that renew the representation of societal issues. Council develops long-term inquiries that address political, social and environmental issues and are composed of different knowledges – from the arts, the sciences and the civic society. The inquiries generate a variety of programmes: artists’ commissions, exhibitions, workshops, conversations, and publications. Council also grants fellowships in support of individuals working in the arts and culture whose initiatives effects sustainable social change. From 2006 to 2012, as founding director of the Kadist Art Foundation (Paris), she developed a residency program for international artists and curators, overseeing the production of a series of works, films, performances and exhibitions. Presently, she serves as advisor for the Kadist on collection acquisition, production and dissemination. Sandra Terdjman has also been an advisor and guest lecturer in different fields of expertise, such as ‘collection and art market’, ‘art and social responsibility’, ‘art and institution building’ . She holds a degree in Art History (Sorbonne, Paris), a Master in Curating (Goldsmiths College, London) and has been a fellow of the art and politics program (Science Po – Institute of Political Studies, Paris).

Last update July 27th, 2018

Hans Op de Beeck (Turnhout, 1969) lives and works in Brussels and Gooik, Belgium. He has shown his work extensively in solo and group exhibitions around the world.
He produces large installations, sculptures, films, drawings, paintings, photographs and texts. His work is a reflection on our complex society and the universal questions of meaning and mortality that resonate within it. He regards the man as a being who stages the world around him in a tragi-comic way. Op de Beeck is keen to stimulate the viewers’ senses and invite them to really experience the image. He seeks to create a form of visual fiction that delivers a moment of wonder, silence and introspection.

Curator Barbara London is the author of Video/Art, the First Fifty Years, published by Phaidon and available January 14, 2020. Recently she organized Seeing Sound, an exhibition that places its audience in immersive encounters with sound as art, and challenges the private quality of our contemporary sonic experience. Featuring the work of eight international artists, the show will circulate through Independent Curators International, 2020-2025. Ms. London founded the video exhibition and collection programs at The Museum of Modern Art, where she worked between 1973 and 2013. During her tenure, she oversaw the acquisition of more than 1000 media art works, including installations, single-channel videotapes, and music videos. Among the over 200 exhibitions she organized include one-person shows featuring early audiovisual mavericks Nam June Paik, Bill Viola, Steina Vasulka, Joan Jonas, Shigeko Kubota, Catalina Parra, Peter Campus, Gary Hill, VALIE EXPORT, Steve McQueen, and Laurie Anderson. She was the first curator in the United States to showcase the careers of Asia-based media artists Zhang Peili, Song Dong, Teiji Furuhashi, Feng Mengbo, and Yang Fudong. Similarly, she was the first to research and showcase media from Latin America. Her thematic projects have included Video from Tokyo to Fukui and Kyoto; New Video from China; Anime!, Stillness (Michael Snow and Sam Taylor-Wood), Automatic Update; Looking at Music, parts 1-3; Through the Weeping Glass: On Consolations of Life Everlasting (Limbos & Afterbreezes in the Mütter Museum) with the Quay Brothers; Music Video: the Industry and Its Fringes; and Soundings: A Contemporary Score at MoMA. She is an adjunct professor at Yale University and is a consultant with the Kadist Foundation, San Francisco and Paris.

Last update 23rd October 2019

Carolina Ciuti is a contemporary art curator and researcher in the fields of visual and performing arts. She holds a BA in History and Preservation of the Artistic Heritage from the University of Florence (2009-2012) and an MA in Contemporary Art from the Sotheby’s Institute of Art in London (2013-2015). During her university training, she collaborated with the Collezione Gori: Fattoria di Celle (Pistoia) and the artists residency Villa Lena (Pisa), being respectively in charge of the educational proposals, the guided tours and the assistance to the director. She currently serves as artistic director of the LOOP video art festival in Barcelona, ​​where she started working in 2015 as a curator. At LOOP, she has produced exhibitions, film programmes and performances by internationally recognised artists such as: Regina de Miguel, Agnes Meyer-Brandis, Aleksandra Mir, Muntadas, Steina and Woody Vasulka and Anton Vidokle. She curated the group exhibitions And If Seeing Was Fire (Filmoteca de Catalunya, Barcelona, 2020), One Day I Stumbled Upon A Meteorite (Fabra i Coats – Contemporary Art Centre of Barcelona, 2019), PRODUCE, PRODUCE, PRODUCED (Real Cercle Artístic, Barcelona, 2018), the projects Francesca Banchelli: Before The Name (MACBA, Barcelona, 2016) and TRANSEUROPE EXPRESS (OfficeCafè, Pistoia, 2015), as well as the video programmes presented by LOOP at Cinéphèmère-FIAC Paris (editions 2017, 2018, 2019). She edited the publications One Day I Stumbled Upon a Meteorite (exhibition catalogue, stuffinabook, 2020), I Have A Friend Who Knows Someone Who Bought a Video, Once (LOOP Barcelona, ​​Mousse Publishing, 2016) and Before The Name: a book on an itinerant performance project. (RAM Editions, 2018). Ciuti is a permanent collaborator of the magazine of contemporary culture La Maleta de Portbou and she frequently contributes to the art catalogues of the publishing house Istituto Italiano Edizioni ATLAS. In 2017, she co-founded the art collective CRiB to create hybrid projects straddling the visual arts, theatre and performance. Whether through writing, curating, or research, all of Carolina’s projects denote a deep interest in the notion of ‘time’ in all its facets, its representation in the philosophical and cultural sphere, and its influence on the construction of identities.

Last update 3rd October 2020