Jochen Volz

Academic and Professional Background

Jochen Volz is the Director of the Pinacoteca de São Paulo. In 2017, he was the curator of the Brazilian Pavilion for the 57th Biennale di Venezia, presenting Cinthia Marcelle – Hunting Ground. Volz was the curator of Incerteza Viva (Live Uncertainty), the 32nd Bienal de São Paulo in 2016. Prior he has served as Head of Programmes at the Serpentine Galleries in London between 2012 and 2015. He was a curator of the Instituto Inhotim, Minas Gerais, Brazil, between 2004 and 2013, where he was General Director between 2005 and 2007 and Artistic Director between 2007 and 2012.

Volz was alongside Daniel Birnbaum the co-curator of Fare Mondi, the international exhibition of the 53rd Biennale di Venezia in 2009 and guest curator of the 27th Bienal de São Paulo in 2006. Furthermore, he has contributed to many exhibitions throughout the world, including Terra Comunal – Marina Abramovic, SESC Pompeia in São Paulo (2015) Planos de fuga, Centro Cultural Banco do Brasil in São Paulo (2012), Olafur Eliasson – Your body of work as part of the 17th International Festival of Contemporary Art – SESC_Videobrasil in São Paulo (2011), The Spiral and the Square at Bonniers Konsthall, Stockholm (2011), the Aichi Triennale in Nagoya (2010) and Cinthia Marcelle at the Biennale de Lyon (2007). Between 2001 and 2004, he was curator of Portikus Frankfurt am Main. Volz has been awarded with the Agnes Gund Curatorial Award 2017 by Independent Curators International, New York.

Motivation statement explaining what encourages you to join the Board of CIMAM

My motivation stems from a deep belief in the transformative power of modern and contemporary art and the vital role that museums play as agents of social change, critical reflection, and cultural dialogue. At a time when institutions are being called upon to reimagine their practices and deepen their engagement with diverse publics, I am committed to contributing actively to CIMAM's mission of fostering international exchange, ethical leadership, and inclusive professional development in the museum field.

With extensive experience in curating, institution-building, and working across cultural contexts, I bring a perspective that is both grounded in practice and open to experimentation. I believe in museums as dynamic, plural, and participatory spaces — places that must constantly interrogate their own structures while amplifying underrepresented voices and knowledges.

Explain how you see the role of CIMAM in advancing contemporary art museums globally

CIMAM is a global platform for critical reflection, solidarity, and ethical leadership in the field of contemporary art museums. This is extremely valid especially today, when we increasingly see our institutions under pressure. CIMAM is a platform that helps sharing knowledge and best practices. It helps strengthen museum's resilience in moments of funding cuts, political pressures, and censorship. CIMAM fosters transnational dialogue, encouraging more equitable representation in curatorial practices, governance, and leadership across the museum field. CIMAM advocates for the role of museums as public, civic institutions and supports professionals through conferences, research, fellowships, and policy development — helping build a stronger, more informed sector.

How would you help CIMAM advocate for museums in areas such as funding, membership engagement, and strategic initiatives to achieve its mission?

With my experience as a curator, writer, and current director of the Pinacoteca de São Paulo, I feel that I bring a strong combination of intellectual leadership, institutional vision, and international perspective that would be invaluable to CIMAM's mission. Over the years, I have built a significant track record of steering institutions through economic and political shifts in Brazil — a context that demands creative, resilient funding strategies. I believe I could advocate for diverse and sustainable funding models, including public-private partnerships and community-supported initiatives. I also hope to support CIMAM in developing tools and frameworks that help museums articulate their social impact, strengthening their case to donors and policymakers. Additionally, I hope to be help facilitate dialogues between institutions in the Global South and international funders to promote more equitable cultural investment.

If elected as a Board Member, what would be your main objectives or areas of action for the next three years for CIMAM to contribute to the sustainable development of the modern and contemporary art museum sector?

My commitment to inclusivity and dialogue could enrich CIMAM’s membership engagement, fostering deeper connections across geographies, languages, and institutional scales. Strategically, I could help CIMAM in embedding ethics of care, decolonial thinking, and climate responsibility into its core agenda—ensuring the organization remains a leading voice in reimagining museums as inclusive, resilient, and transformative public spaces.