CIMAM 2023. Day 2: The Role of Museums in Communities, Education, and Accessibility
The Role of Museums in Communities, Education, and Accessibility
The museum can be an active agent in understanding art partly as a vehicle for the construction of knowledge. What is the role of the arts and artists in education as a whole, and what is the role of education as endorsed by the museum? How can the museum become a catalyst for new notions of education? How can museums foster co-creative relationships with and among artists and the local communities of situated contexts? Over the course of Day 2, we access the experiences and philosophies of specialists in education, accessibility, and mental health as they weave the arts into their own practices of education, care, and healing.
- Luis Camnitzer Artist, Great Neck, USA
- Teresa Cisneros Senior Practice Manager, Culture Equity Diversity Inclusion, Wellcome Trust, London, UK
- Marie Hélène Pereira, Senior Curator (Performative Practices), Haus der Kulturen der Welt (House of World Cultures) (HWK), Berlin, Germany.
- Ana Gallardo Artist, Mexico City, Mexico
Luis Camnitzer, Artist, Great Neck, USA
Luis Camnitzer (Lübeck, 1937) is a Uruguayan artist who has lived in New York City since 1964. He is Emeritus Professor at State University of New York College at Old Westbury. Studied art at the School of Fine Arts Institute, Universidad de la República, Uruguay, and architecture at the same University’s Faculty of Architecture. A Guggenheim Fellow in both 1961 and 1982, he represented Uruguay at the 43rd Venice Biennial in 1988 and has exhibited at several biennials, including several iterations of the Havana Biennial, the Whitney Biennial in 2000 and Documenta 11 in 2002. In 2018, a retrospective of his oeuvre was presented at the Reina Sofía Museum. His works are present in the collection of over 45 museums, and he is represented by Alexander Gray Associates of New York City. He was the Pedagogical Curator of 6th Mercosul Biennial (2007), Porto Alegre; and Curator of the Viewing Program, the Drawing Center, New York City. In 1999, he co-organized the exhibition Global Conceptualism: Points of Origin, 1950s–1980s at the Queens Museum, New York City, together with Jane Farver and Rachel Weiss. Among his books are New Art of Cuba (1994), Conceptualism in Latin American Art: Didactics of Liberation (2007), and On Art, Artists, Latin America, and Other Utopias (2010), all published by University of Texas Press, De la Coca-Cola al Arte Boludo (2009), published by Metales Pesados, and One Number is Worth One Word (2020) in the e-flux journal series, published by Sternberg Press.
Teresa Cisneros, Senior Practice Manager, Culture Equity Diversity Inclusion, Wellcome Trust, London, UK
Teresa Cisneros is a Chicana Londoner from the Mexico–Texas border – ‘La Frontera’. She practises where she is from, not where she is at. A ‘curandera’ and recovering colonial administrator, she is currently the Senior Culture Equity Diversity Inclusion Practice Manager at the Wellcome Trust. However, she prefers the title ‘Curator of People’. She has recently been working with the Wellcome Collection, where she has conceptualised, instigated and created the framework for their mandatory Social Justice Curriculum. Cisneros received a grant to deliver ‘Object Positions’ at the Showroom Gallery in 2016, exploring cultural equity, decolonial processes and colonial administration. She has worked with numerous institutions, including Nottingham Contemporary, Goldsmiths and University College London, in the fields of care, policy-making, learning, colonial infrastructures, institutional/behavioural change and rethinking institutional power dynamics. In 2018, she published Document 0, a publication exploring our inability to ‘diversify’ the arts and her own complicity in it. She is interested in reconstructing systems and institutions to work towards transformational and institutional justice by creating the systems to hold staff accountable for their bad behaviours. Cisneros centres her life and work practice in collaboration, care relations and collectivity.
Marie Hélène Pereira
Marie Hélène Pereira, Curatorial Advisor, RAW Material Company, Senior Curator (Performative Practices), Haus der Kulturen der Welt
Marie Hélène Pereira (Dakar, 1986) is a curator and cultural practitioner from Dakar, Senegal. She is Senior Curator for Performative Practices at Haus der Kulturen der Welt (HKW), Berlin, Germany. Pereira has been a member of RAW Material Company since its inception in 2011 and was previously its Director of Programmes (2019–2022). She has organized exhibitions and related discursive programmes, including: RAW’s participation in We Face Forward: Art from West Africa Today at the Whitworth Art Gallery, Manchester; the Independent Curators International (ICI) Curatorial Hub at TEMP, New York; the 9th Shanghai Biennale, Shanghai (2013). She co-curated Scattered Seeds in Cali, Colombia (2015–2017), and curated Battling to Normalize Freedom at Clark House Initiative in Mumbai, India (2017). Pereira was co-curator of a section of the 13th edition of Dak’Art, the Dakar Biennale of Contemporary African Art (2018), part of the artistic team of Still Present!, the 12th Berlin Biennale for Contemporary Art (2022), was the recipient of an ICI Curatorial Research Fellowship (2021): the Marian Goodman Gallery initiative in honour of the late Okwui Enwezor, conceived by artist Steve McQueen.
Pereira is profoundly interested in the politics of identity as well as histories of migration.
Ana Gallardo, Artist, Mexico City, Mexico
Ana Gallardo (1958) is an Argentinian artist born in Rosario, Santa Fe Province and currently living in Mexico. The intricacies of her private life are an integral part of her search as an artist. Her art practice deals with different planes of violence, currently focusing on the violence of growing old. She participated in the 29th São Paulo Biennial in 2010, the 56th Venice Biennale in 2015, the 12th Mercosul Biennial in 2020 and others. Her solo exhibitions include Un lugar para vivir cuando seamos viejos [A Place to Live When We Get Old], Museo Jumex, Mexico City (2018), and Museo de Arte Moderno de Buenos Aires (2015), and Escuela de envejecer [School of Aging], Parque de la Memoria, Buenos Aires (2022). For several years, she has been organising independent spaces like ‘Periférica’ [Peripheral], the first art fair for spaces self-managed by artists, or ‘Espacio Forest’ [Forest Space]. She currently teaches at the SOMA Art School and runs the IMÁN and La Verdi centres in Mexico City.