National and International Cultural and Human Rights Organizations Denounce Trump’s Executive Order on Immigration

New York, NY, 2/7/2017 – Today, more than thirty cultural institutions and human rights organizations around the world, including international arts, curators’ and critics’ associations, organizations protecting free speech rights, as well as U.S. based performance, arts and creative freedom organizations and alliances, issued a joint statement opposing United States President Donald J. Trump’s immigration ban. Read the full statement below.

On Friday, January 27th, President Trump signed an Executive Order to temporarily block citizens of seven predominantly Muslim countries from entering the United States. This order bars citizens of Iran, Iraq, Libya, Somalia, Sudan, Syria, and Yemen from entering the United States for 90 days. It also suspends the entry of all refugees for 120 days and bars Syrian refugees indefinitely.

The organizations express grave concern that the Executive Order will have a broad and far-reaching impact on artists’ freedom of movement and, as a result, will seriously inhibit creative freedom, collaboration, and the free flow of ideas. U.S. border regulations, the organizations argue, must only be issued after a process of deliberation which takes into account the impact such regulations would have on the core values of the country, on its cultural leadership, and on the world as a whole.

Representatives of several of the participating organizations issued additional statements on the immigration ban and its impact on writers and artists:

Helge Lunde, Executive Director of ICORN, said, “Freedom of movement is a fundamental right. Curtailing this puts vulnerable people, people at risk and those who speak out against dictators and aggressors, at an even greater risk.”

Svetlana Mintcheva, Director of Programs at the U.S. National Coalition Against Censorship (NCAC), said, “In a troubled and divided world, we need more understanding, not greater divisions. It is the voices of artists that help us understand, empathize, and see the common humanity underlying the separations of political and religious differences. Silencing these voices is not likely to make us any safer.”

Suzanne Nossel, Executive Director of PEN America, said, “The immigration ban is interfering with the ability of artists and creators to pursue their work and exercise their right to free expression. In keeping with its mission to defend open expression and foster the free flow of ideas between cultures and across borders, PEN America vows to fight on behalf of the artists affected by this Executive Order.”

Diana Ramarohetra, Project Manager of Arterial Network, said, “A limit on mobility and limits on freedom of expression has the reverse effect – to spur hate and ignorance. Artists from Somalia and Sudan play a crucial role in spreading the message to their peers about human rights, often putting themselves at great risk in countries affected by ongoing conflict. Denying them safety is to fail them in our obligation to protect and defend their rights.”

Ole Reitov, Executive Director of Freemuse, said, “This is a de-facto cultural boycott, not only preventing great artists from performing, but even negatively affecting the U.S. cultural economy and its citizens rights to access important diversity of artistic expressions.”

Shawn Van Sluys, Director of Musagetes and ArtsEverywhere, said, “Musagetes/ArtsEverywhere stands in solidarity with all who protect artist rights and the freedom of mobility. It is time for bold collective actions to defend free and open inquiry around the world.”

A growing number of organizations continue to sign the statement.

The National Coalition Against Censorship (NCAC) is an alliance of 56 national non-profit organizations dedicated to defending freedom of thought, inquiry and expression.
Contact: Jas Chana, NCAC Communications Director, 212-807-6222 ext.107

Joint Statement Regarding the Impact of the U.S. Immigration Ban on Artistic Freedom

February 7, 2017

Freedom of artistic expression is fundamental to a free and open society. Uninhibited creative expression catalyzes social and political engagement, stimulates the exchange of ideas and opinions, and encourages cross-cultural understanding. It fosters empathy between individuals and communities, and challenges us to confront difficult realities with compassion.

Restricting creative freedom and the free flow of ideas strikes at the heart of the core values of an open society. By inhibiting artists’ ability to move freely in the performance, exhibition, or distribution of their work, United States President Trump’s January 27 Executive Order, blocking immigration from seven countries to the United States and refusing entry to all refugees, jettisons voices which contribute to the vibrancy, quality, and diversity of US cultural wealth and promote global understanding.

The Executive Order threatens the United States safe havens for artists who are at risk in their home countries, in many cases for daring to challenge repressive regimes. It will deprive those artists of crucial platforms for expression and thus deprive all of us of our best hopes for creating mutual understanding in a divided world. It will also damage global cultural economies, including the cultural economy of the United States.

Art has the power to transcend historical divisions and socio-cultural differences. It conveys essential, alternative perspectives on the world. The voices of cultural workers coming from every part of the world – writers, visual artists, musicians, filmmakers, and performers – are more vital than ever today, at a time when we must listen to others in the search for unity and global understanding, when we need, more than anything else, to imagine creative solutions to the crises of our time.

As cultural or human rights organizations, we urge the United States government to take into consideration all these serious concerns and to adopt any regulations of United States borders only after a process of deliberation, which takes into account the impact such regulations would have on the core values of the country, on its cultural leadership, as well as on the world as a whole.

African Arts Institute (South Africa) Aide aux Musiques Innovatrices (AMI) (France)
Alliance for Inclusion in the Arts (USA)
Arterial (Africa)
Artistic Freedom Initiative (USA)
ArtsEverywhere (Canada) Association of Art Museum Curators and Association of Art Museum Curators Foundation
Association Racines (Morocco)
Bamboo Curtain Studio (Taiwan)
Cartoonists Rights Network International
Cedilla & Co. (USA)
Culture Resource – Al Mawred Al Thaqafy (Lebanon)
International Committee for Museums and Collections of Modern Art (CIMAM)
College Art Association (USA)
European Composer and Songwriter Alliance (ECSA)
European Council of Artists Freemuse: Freedom of Expression for Musicians
Index on Censorship: Defending Free Expression Worldwide
Independent Curators International International Arts Critics Association
International Network for Contemporary Performing Arts
The International Cities of Refuge Network (ICORN)
Levy Delval Gallery (Belgium)
Geneva Ethnography Museum (Switzerland)
National Coalition Against Censorship (USA)
New School for Drama Arts Integrity Initiative (USA)
Observatoire de la Liberté de Création (France)
On the Move | Cultural Mobility Information Network PEN America (USA)
Roberto Cimetta Fund
San Francisco Art Institute (USA)
Stage Directors and Choreographers Society (SDC) (USA)
Tamizdat (USA)
Vera List Center for Art and Politics, New School (USA)

Watch the 2016 Annual Conference sessions at CIMAM TV

18–20 November 2016
Barcelona, Spain

→ Watch all videos at CIMAM TV

CIMAM Barcelona 2016, Day 1: Keynote speech 01 and Q&A from CIMAM on Vimeo.

Day 1: “Responsibility for the Community, Citizens and Society”
Keynote Speech 01 – Marina Garcés followed by Q&A, Philosopher and Professor, University of Zaragoza, Spain. “The Force of Hunger. The Radicality of Cultural Commitment”
Presented by Ferran Barenblit, Director, MACBA, Museum of Contemporary Art of Barcelona.
MACBA, Barcelona, 18 November 2016


CIMAM Barcelona 2016, Day 1: Perspective 01 from CIMAM on Vimeo.

Day 1: “Responsibility for the Community, Citizens and Society”
Perspective 01– Calin Dan, General Director, National Museum Contemporary Art– MNAC Bucharest, Rumania. “Donkey’s Dilema”
MACBA, Barcelona, 18 November 2016


CIMAM Barcelona 2016, Day 1: Perspective 02 from CIMAM on Vimeo.

Day 1: “Responsibility for the Community, Citizens and Society”
Perspective 02– Alistair Hudson and Miguel Amado
Alistair Hudson, Director, Middlesbrough Institute of Modern Art, Teesside University, Middlesbrough, United Kingdom
Miguel Amado, Senior Curator, Middelsbrough Institute of Modern Art, Teesside University, Middlesbrough, United Kingdom


CIMAM Barcelona 2016, Day 2: Keynote speech and Q&A from CIMAM on Vimeo.

Day 2: “Curators and Artists: New Parameters and New Responses”
Keynote speech 01–Carolyn Christov-Bakargiev, Director, Castello di Rivoli, Museum of Contemporary Art–GAM, Galleria Civica d’Arte Moderna e Contemporanea, Turin. “The circus mistress and mastering the ceremony–A lectura”
Presented by Elizabeth Ann MacGregor, Director, Museum of Contemporary Art, Sydney, Australia
CaixaForum, Barcelona, 20 November 2016

→ Watch all videos at CIMAM TV

CIMAM asks American University to refrain from censorship

The Board of CIMAM has sent a letter to the president of the American University in Washington, urging the University not to censor a commissioned art work by the artist Rigo 23 representing the Native American activist Leonard Peltier. It did so in response to a statement published by the University, and following correspondence with the artist concerning the sculpture´s removal from the grounds of the University and the Katzan Art Center on 1 January 2017.

The CIMAM board asks Neil Kerwin, as president of American University, to reinstate the sculpture and for it to remain in place until 30th of April as originally agreed with the artist.‎

The sculpture, nine feet tall and made of redwood and steel, is based on a self-portrait by Leonard Peltier, the imprisoned Native American activist who was convicted for the 1975 shootings of two FBI agents at the Pine Ridge Indian Reservation in South Dakota, during the unrests that were part of the American Indian Movement activism in that period.

Peltier´s trial has been labeled unfair by Amnesty International. There has been a long lasting demand to reverse his conviction, supported by politicians and personalities ranging from Mikhail Gorbachev and Nelson Mandela, to Robert Redford and Carlos Santana, and involvement of the European Parliament. At the end of the Clinton presidency, there was a campaign to grant Peltier presidential clemency, a campaign that continues in the present day.

CIMAM has reviewed the arguments of American University, which include concerns that the University might be perceived as assuming an advocacy position of clemency for Mr. Peltier, and possible threats to security. These concerns should have been discussed with the artist and means to address them sought, such as the issuing of a disclaimer regarding the content, which is common practice. Threats to the work and to public safety should be dealt with by the police. The artist has stated publicly he was not consulted on these issues.
The Board of CIMAM hopes that American University will reverse its decision to remove the work and will honor its declared commitment to ‘support thought-provoking art that informs and educates’.

It’s time to renew your membership 2017–2019!

As museums of modern and contemporary art proliferate around the world, so do the issues faced by museum professionals, both ethical and practical. CIMAM, the affiliated committee of ICOM for Museums and Collections of Modern and Contemporary Art provides an important forum for debate both online and at its Annual Conference. Creating a strong professional group is vital as CIMAM looks to develop a global leadership role. Membership also provides free access to museums and biennales around the world.

All CIMAM memberships expired in December 2016. Because your commitment helps us to develop the projects that constitute the fundamental motivations of CIMAM’s existence, we invite all CIMAM members to renew its membership for the triennial 2017–2019.

→ Renew for 2017–2019
→ Benefits
→ Membership rates
→ Free Admission Program

You have until 31 March 2017 to renew your membership for the present triennial. After that date your online member access will be deactivated and you will need to regularize your membership to login to

Not a CIMAM Member? Apply today!

CIMAM Members are museum directors and curators of Modern and Contemporary Art. Institutions such as museums and collections with a museological nature and a demonstrable governance structure can join as Institutional Members and benefit from interesting rates. Independent curators of Modern and Contemporary Art are also welcome to join CIMAM.

→ Apply today
→ CIMAM’s membership criteria
→ About CIMAM

Barcelona 2016 Report and Videos Online!

Fundació Antoni Tàpies, Barcelona

We are happy to share the CIMAM 2016 Conference Report with information about the delegates, the budget, the travel grantees’ reports, the press clipping, the result of the evaluation survey and a selection of photos. You can also watch the conference sessions at CIMAM TV.
→ CIMAM 2016 Conference Report

President’s report

I am delighted to present this report after my election as President of CIMAM following the Annual General Assembly at the end of the CIMAM 2016 Annual Conference in Barcelona, where 230 museum professionals from nearly 60 countries gathered to discuss the topic The Museum and its Responsibilities. Each day commenced with a stimulating keynote: On day one, Marina Garcés made a forceful case for the museum’s social responsibility in a time of disruption for the world of culture; arguing that culture adds meaning to the collective life on ethical and political as well as aesthetic grounds – a highly appropriate rationale for the intrinsic need for museums in society – culture having the ‘force of hunger”. This was followed by perspectives from Bucharest, (Călin Dan), Middlesbrough (Alistair Hudson and Miguel Amado) and Gothenburg (Dave Beech).

Day two focused on curators and artists, opening with Carolyn Christov-Bakargiev’s keynote which argued for art institutions as safe havens for intellectual discourse and museums as ‘trampolines for social change’. She referenced the complexities of the public/private debate outlining two areas where the public can challenge the private: with collections (that for the most part are kept for eternity) and in self critique. The perspectives came from France (artist Sylvie Blocher), Paraguay (Ticio Escobar) and Australia (Michael Dagostino).Day 3 on archives began with Mari Carmen Ramirez challenging of the necessity of archives as physical entities with an overview of the role of the digital archive Documents of 20th Century Latin American and Latino Art which is playing such an important role in addressing the lack of knowledge of Latin American art. She used this to make an argument for archives as being a force to resist the drive towards museums providing entertainment for the masses. The perspectives came from Taiwan (Kuan-Hsing Chen), London (artist Marysia Lewandowska) and Kazakhstan (Yuliya Sorokina). Three of the perspective presentations were selected from submissions made as a result of an open call to the membership for papers.The conference agenda allowed plenty of time to visit a range of organisations in Barcelona including MACBA Museu d’Art Contemporani de Barcelona, CaixaForum. Cultural Center of ”la Caixa” Foundation, the Fundació Joan Miró, the Fundació Antoni Tàpies, Hangar, Fabra i Coats Barcelona Center of Contemporary Art, the Mies van der Rohe Pavilion, the MNAC, La Virreina Image Centre, the Blue Project Foundation and the Foto Colectania Foundation.The after trip began in San Sebastian, where a highlight was the visit to enchanting Museum Chillida-Leku, where we had a tour and a delicious lunch with Luis, son of Chillida – a very special opportunity as the museum is now sadly shut to the public. Bilbao and Santander had a strong architectural focus with the Guggenheim and the new Fundación Botín building by Renzo Piano (under construction). This was complemented by fascinating exhibitions by Francis Bacon and artists who inspired him in Bilbao and Joan Jonas in Santander.
The conference also saw the election of a new board for the triennial 2017 – 2019 and we are all very much looking forward to leading CIMAM into a new era. There are many challenges ahead and I hope that CIMAM will continue to develop its leadership role as a thought leader in museum practice as well as a promoter of museum professionals and principles.

I look forward to working with all of you and developing a productive working relationship with our members from around the world as we expand to become a truly global organisation.

Wishing you a prosperous and successful New Year!

Elizabeth Ann Macgregor OBE
President of CIMAM
Director, Museum of Contemporary Art, Sydney, Australil

Asia Art Archive seeks a Head of Research

(full-time, Hong Kong-based)

The Head of Research is responsible for articulating and strengthening AAA’s role as a platform for new research, knowledge, and ideas. The Head of Research works with the Director to set research and content priorities in line with AAA’s vision and the wider context of the field, while driving projects against this framework. The individual builds AAA’s networks, engages leading professionals, and expands and sustains institutional partnerships. As a key voice within the arts community, the Head of Research takes a macro view of the field and develops innovative approaches to strengthen ‘research infrastructures’, including research grants and tools. In addition, the Head of Research helps the Executive Director to develop long-term organisational strategies, including budgeting, to strengthen the team and institution.

The Head of Research manages AAA’s team of Researchers in offices in Hong Kong, Shanghai, and New Delhi. The Research team collects, creates, and shares material aligned with AAA content priorities and generates propositions through writing and participation in workshops and symposia.

Qualifications of the Ideal candidate:
• Minimum 8 years experience working in academia in art history, or other relevant disciplines, and/or conducting research in a cultural institution;
• Post-graduate degree or equivalent;
• Experienced in presenting to external audiences;
• Strong networks in art history academia and cultural institutions;
• Experienced in managing a team, timelines, and budgeting;
• Fluency in English and ideally one other Asian language;
• Excellent verbal and written communication skills;
• Ability to lead a team and multi-task;
• Shares knowledge and research generously.

About Asia Art Archive
Art is knowledge. Asia Art Archive is a catalyst for new ideas that enrich our understanding of the world through the collection, creation, and sharing of knowledge around recent art in Asia.

Asia Art Archive is an independent non-profit organisation initiated in 2000 in response to the urgent need to document and make accessible the multiple recent histories of art in the region. With one of the most valuable collections of material on art freely available from its website and onsite library, AAA builds tools and communities to collectively expand knowledge through research, residency, and educational programmes.

→ Full Job Description
→ To apply, please send before 31 March 2017 a CV, cover letter including expected salary, and two writing samples to Only shortlisted candidates will be contacted for an interview.

Elizabeth Ann Macgregor is the new President of CIMAM 2017–2019

At the end of a very successful Annual Conference in Barcelona I was very honoured to be voted President by the Members of the Board. I am delighted that Mami Kataoka was elected as Secretary-Treasurer for the triennial 2017–2019. I would like to pay tribute to‎ the Members of the outgoing Board Kian Chow Kwok, Madeleine Grynsztejn and Marcela Römer and Philipp Kaiser. And pay tribute especially to Bartomeu Marí and Patricia Sloane for all their work in establishing CIMAM as an Affiliated Organization rather than a Committee of ICOM. We are now in a good position to develop CIMAM further as a dynamic organization representing the interests of professionals working in modern and contemporary art museums. Despite the challenging circumstances for many museums there are also good reasons to be optimistic.

We would very much like to hear from the membership about how we can develop CIMAM in productive ways that respond to the needs of our members.

We are already working on the next Annual Conference that will be hosted by the National Gallery Singapore in November 2017 and we would like welcome feedback on this year’s conference and thoughts on what we might address in Singapore.

Please email me or any other Members of the Board with your thoughts.

I look forward to working with you.

Elizabeth Ann Macgregor OBE
President of CIMAM
Director, Museum of Contemporary Art, Sydney, Australia

New CIMAM Board 2017–2019


The CIMAM 2017–2019 President and Secretary-Treasurer will be announced later today following a special meeting attended by the incoming and outgoing CIMAM Board members present in Barcelona.

In support of Enrico Lunghi

We artists, curators, collectors, galleries and friends of the arts would like to publicly express our sympathy to Enrico Lunghi. For many years he has been harrassed by his critics in Luxembourg, who could not stomach his generous and unconditional support of contemporary art and begrudged his international recognition. Today he is resigning from his position as director of MUDAM. Everywhere we turn, people who are fighting for free and ambitious art are coming under increasing pressure. The circumstances leading to Enrico Lunghi’s resignation are a threat to all of us – not least because they are anti-democratic.

Nous artistes, curateur-ices, collectionneur-ses, galeristes, ami-es des arts, témoignons toute notre sympathie à Enrico Lunghi. Ses détracteurs luxembourgeois le harcelaient depuis des années. Son engagement généreux et sans concession pour l’art contemporain agaçait et sa réussite internationale dérangeait. Enrico Lunghi démissionne du MUDAM. artout les pressions contre ceux qui défendent un art contemporain libre et ambitieux s’accentuent. Les conditions qui ont poussé Enrico Lunghi à démissionner sont un mauvais coup porté à nous tous. Elles sont aussi anti-démocratiques.

1 Sylvie Blocher, Artiste
2 Marie-Claude Beaud, Directrice du Nouveau Musée National de Monaco
3 Julia Draganovic, Director Kunsthalle Osnabrück. President IKT, International Association for Curators of Contemporary Art, Osnabruck
4 Sir Nicholas Serota, Director, Tate, London
5 Thomas Hirschhorn, Artiste
6 Kathy Halbreich,associate Director,and Laurenz foundation curator at MoMA, New York
7 Jean de Loisy, Président du Palais de Tokyo, Paris
8 Hans Ulrich Obrist, Artistic Director, Serpentine Galleries, London
9 Su-Mei Tse, Artiste
10 Rudolf Frieling, Curator, San Francisco Museum of Modern Art, San Francisco
11 Manuel Borja-Villel, Directeur Museo Centro de Arte Reina Sofia, Madrid
12 Emma Lavigne, Directrice Centre Pompidou Metz
13 Bernard Blistène, Directeur du Musée National d’Art Moderne, Centre Pompidou, Paris
14 Wim Delvoye, Artiste
15 Hou Hanru, Artistic Director, MAXXI, National Museum of 21st Century Arts, Rome
16 Evelyne Jouanno, Director, Ars Citizen, San Francisco
17 Marja Sakari, Chief Curator, Museum of Contemporary Art Kiasma, Helsinki
18 Kati Kivinen, Curator, Museum of Contemporary Art Kiasma, Helsinki. Vice-president for IKT
19 Nicolas Bourriaud, Directeur de projet du centre d’art Montpellier Métropole et directeur de La Panacée
20 Ulrike Groos, Director Stiftung Kunstmuseum Stuttgart
21 Noëlle Tissier, Directrice CRAC Languedoc Roussillon, Sète
22 Jimena Blazquez Abasacal, NMAC Foundation
23 Seamus Farrell, Artiste
24 Björn Dahlström, Directeur des musées, fondation Jardin Majorelle, Marrakech
25 Anne Marie Jugnet et Alain Clairet, Artistes
26 Anne-Françoise Lesuisse, Commissaire indépendante. Directrice artistique de BIP/Biennale de l’Image Possible
27 Stephanie et Patrick Majerus, Collectionneurs
28 Calin Dan, General Director National Museum of Contemporary Art Bucharest, Bucharest
29 Simone Decker, Artiste
30 Jean-Lou Majerus, Artiste
31 Hélène Guenin, Directrice du MAMAC. Musée d’Art Moderne et d’Art Contemporain de Nice
32 Jean-Marc Bustamante, Directeur de l’Ecole Nationale Supérieure des Beaux Arts de Paris
33 Robert Fleck, Professeur Kunstakademie Düsseldorf
34 Jens Hauser, Department of Arts and Cultural Studies University of Copenhagen
35 Damien Deroubaix, Artiste
36 Serge Le Borgne, Marina Abramovic Institute
37 Kevin Muhlen, Directeur artistique Casino Luxembourg – Forum d’art contemporain
38 Jacques et Miriam Salomon, Collectionneurs
39 Dirk Snauwaert, Director-Curator, Wiels, Centre d’Art Contemporain, Bruxelles
40 Elisabeth Lebovici, POP LAB
41 Marion Laval-Jeantet, AOO/Art Orienté Objet
42 Peter Blum, Peter Blum Gallery New York
43 David Blum, Peter Blum Gallery New York
44 Bruno Peinado Artiste
45 Estelle PIETRZYK, Conservatrice en Chef du Patrimoine. Direction de la Culture. Service des musées MAMCS
46 Cécile Bourne-Farrell, curator London
47 Jo Kox, Président du Fonds culturel national, Luxembourg
48 Renaud Auguste-Dormeuil, Artiste
49 Alain Declercq, Artiste
50 Sylvain Lizon, Directeur de l’Ecole Nationale Supérieure d’Arts de Paris Cergy
51 Christine Walentiny, Casino Luxembourg – Forum d’art contemporain, Luxembourg
52 Fabienne Bernardini, Casino Luxembourg – Forum d’art contemporain, Luxembourg
53 Stéphanie Majerus, Casino Luxembourg – Forum d’art contemporain, Luxembourg
54 Stilbé Schroeder, Casino Luxembourg – Forum d’art contemporain, Luxembourg
55 Bettina Heldenstein, Casino Luxembourg – Forum d’art contemporain, Luxembourg
56 Laure Faber, Casino Luxembourg – Forum d’art contemporain, Luxembourg
57 Benjamin Laugier, Responsable du service des Publics Nouveau Musée National de Monaco Olivier Lazare,
58 Olivier Lazare Jet Lag K. Exhibitions
59 Claudia Löffelholz, LaRete Art Projects
60 Eric Mangion, Directeur Centre d’art de la Villa Arson, Nice
61 Pierre-Olivier Rollin, Directeur B.P.S.22
62 Nancy Casielles, BPS22
63 Elodie Stroecken, Chargée des expositions Centre de création contemporaine Olivier Debré, Tours
64 Marlène Rigler, Directrice centre culturel franco-allemand, Karlsruhe
65 Evariste Richter, Artiste
66 Anna Recker, Artiste
67 Natasa Petresin-Bachelez, Art critic and independent curator, Paris
68 Jacques Charlier, Artiste
69 Serge Basso de March, Directeur Kulturfabrik asbl, Esch
70 René Penning, Directeur administratif, Kulturfabrik, Esch
71 Christian Pantzer, Architecte et artiste, Frankfurt
72 Odile Redolfi, OVNi, Objectif Vidéo Nice
73 Sofia Eliza Bouratsis, Post-doc CELAT. Université du Québec À Montréal
74 Claudia Jolles, Kunstbulletin-Die meistgelesene Kunstzeitschrift der Schweiz, Zürich
75 Elena Forin, Independent curator
76 François Daune, Campement Urbain Paris
77 Arnaud Dejeammes, Artiste, théoricien et commissaire d’exposition
78 Tasca Closener, Meubles d’Exception, Bettborn-Preizerdaul
79 Stephane Ackermann, artistic director, Angus Montgomery arts
80 Louise Déry, Directrice Galerie de l’UQAM Montréal
81 Philippe Schmit, Architecte
82 Patricia Homan, Luxembourg
83 Danielle Ignity, Directrice Centre culturel régional opderschmelz
84 Marianne Brausch, AICA Luxembourg
85 Vincent Crapon, London
86 Christian Debize, Directeur Ecole Nationale Supérieure d’art et design de Nancy
87 Dorothée Duvivier, curatrice
88 Zoé Gray, Senior Curator, Wiels
89 Ainhoa Achutegui, Directrice Générale Neimenster Luxembourg
90 Carole Closener, Luxembourg
91 Michèle Rollé, Wiels, Centre d’Art Contemporain, Bruxelles
92 Amanda Love, Loveart Sydney
93 Jean Back, écrivain, Luxembourg
94 Ombretta Agro, freelance curator Miami
95 Caroline Hancock, Commissaire d’exposition et critique d’art indépendante basée à Paris
96 Jochen Gerner, Artiste
97 Claude Neu, Luxembourg
98 Claudine et Jean-Marc Salomon, Fondation pour l’Art Contemporain Claudine et Jean-Marc Salomon, Annecy
99 Louma Salame, Boghossian foundation, Bruxelles
100 Jocelyn Wolf, Galerie Wolf, Paris
101 Filip Markiewicz, artist
102 Fabienne Leclerc, Galerie in Situ, Paris
103 Antoine LAURENT, Galerie in Situ, Paris
104 André Magnin, MAGNIN-A, Paris
105 Lony Hoffmann, Basel
106 Olivier Gabet, Directeur des Arts Décoratifs, Paris
107 Alexandra Arapinis, AD Gallery, Athens
108 Cristiano Raimondi développement et projets internationaux NMNM Monaco
109 Elizabeth Ann Macgregor, Director, Museum of Contemporary Art Sydney, Australia
110 Frances Morris, Director, Tate Modern, London, United Kingdom
111 Marcela Römer, Director, Castagnino+macro Museum, Rosario, Argentina
112 Jaroslaw Suchan, Director, Muzeum Sztuki Lodz, Lodz, Poland
113 Mami Kataoka, Chief Curator, Mori Art Museum, Tokyo, Japan
114 Bartomeu Marí, President of CIMAM, Director, National Museum of Modern and Contemporary Art, Seoul, South Korea
115 Sabine Schaschl, Director Museum Haus Konstruktiv, Zürich
116 Helen Hirsch, Director and Chief Curator, Kunstmuseum Thun, Thun, Switzerland
117 Agustín Pérez Rubio, Artistic Director, Malba, Museo de Arte Latinoamericano de Buenos Aires, Buenos Aires, Argentina
118 Teresa Millet, Curator, IVAM, Centre Julio González, Valencia, Spain
119 Stijn Huijts, Director, Bonnefantenmuseum, Maastricht, Netherlands
120 L’équipe du MAMCO, Musée d’art moderne et contemporain, Genève
121 Ferran Barenblit, Director, MACBA Museu d’Art Contemporani de Barcelona, Spain
122 Saskia Bos, Independent curator, Amsterdam, Netherlands
123 Benjamin Weil, Artistic Director, Centro Botín, Santander, Spain
124 Roland Wetzel, Director, Museum Tinguely, Basel
125 Carolina Grau, Independent curator, Barcelona, Spain
126 Britta Schmitz, Curator, Berlin, Germany
127 Stella Rollig, Artistic Director Lentos Kunstmuseum Linz

Booklet is now online!

CIMAM’s conference registration reached its full capacity and a total of 230 delegates from nearly 60 countries will be attending the CIMAM 2016 Annual Conference in Barcelona next week.

The conference booklet contains an overview of the speakers’ abstracts, biographies, who is who at CIMAM 2016 Annual Conference, information about the exhibitions that delegates will be visiting and practical information. Delegates will receive a printed copy of the conference booklet upon registration, along with a special edition tote bag.

→ Download booklet

Practical information

Registration Desk
Thursday 17 November
15:30 – 19:00
Lobby street level Hotel H10 Metropolitan

Friday 18 November
09:00 – 13:00
MACBA Museu d’Art Contemporani de Barcelona

Saturday 19 November
09:30 – 13:00
CaixaForum, Cultural Center of “la Caixa” Foundation

CIMAM Board Election Results and Farewell Reception
Names of the CIMAM 2017–2019 President and Secretary-Treasurer will be announced.
Sunday 20 November
20:00 – 21:30
Fundació Antoni Tàpies

→ Please RSVP your attendance to the reception offered by the Han Nefkens Foundation before Tuesday 15 November here.

Conference Transportation and Morning Pick-up
Friday 18 and Sunday 20 November
08:30 – 09:00 Walking itinerary from Hotels to MACBA. Departure point: Ronda Universitat corner with Plaça Catalunya. In front of the Barça shop.

Saturday 19 November
09:00 – 09:30 Coach from Hotels H10 Metropolitan. Departure point: Ronda Universitat corner with Plaça Catalunya. In front of the Barça shop and Hotel H10 Urquinaona.

Post-conference Tour
Monday 21 November
05:00 Coach departs to the Airport from Hotel H10 Metropolitan. Departure point: Ronda Universitat corner with Plaça Catalunya. In front of the Barça shop.

Safe travels and see you in Barcelona!