Ingrid Orman

Conference Report. December 2024
As a recipient of the CIMAM 2024 Travel Grant, I had the privilege of attending the 56th Annual Conference held in Los Angeles, which brought together museum professionals, curators, and artists from around the world to explore the theme of sustainability in contemporary art institutions. The conference, titled Sustainable Futures: How? When? For Whom?, was a collaboration between the Museum of Contemporary Art (MOCA), the Hammer Museum at UCLA, and the Los Angeles County Museum of Art (LACMA).
The event was structured around three core themes: the role of art museums in addressing the climate crisis, reimagining museum collections and architecture within urban and social frameworks, and integrating indigenous perspectives into sustainable practices. As the conference unfolded over three days, I found certain moments particularly impactful, especially those involving Zita Cobb, Ibrahim Mahama, Edgar Calel and Cecilia Winter. Their insights were integral in shaping my understanding of how we can play a more active role in advancing sustainability.
Day 1: The Contemporary Art Museum and Climate Crisis
The opening day at MOCA set the stage for urgent conversations about museums' role in addressing climate change. Mark Bradford’s keynote was powerful, calling for immediate action and more active engagement from museums in climate action initiatives.
On this day, Cecilia Winter, Project Specialist at the Getty Conservation Institute, shared her thought-provoking insights on how conservation practices intersect with sustainability goals. Winter emphasized that conservation must be understood not only as the preservation of art and artifacts but also as a crucial means by which museums can reduce their environmental impact. She discussed how conservation efforts—from material selection to climate control and exhibition design—can contribute to a more sustainable museum environment. By embracing best practices in conservation, museums can reduce their carbon footprint and make more responsible choices regarding the care and display of collections.
Day 2: Economies of Sustainability
The second day at the Hammer Museum featured the keynote by Zita Cobb, CEO of Shorefast. Cobb’s talk on sustainable economic models in the cultural sector was one of the most compelling parts of the conference. Her work with Shorefast, which focuses on creating community-led economic models, provided a refreshing vision for how art institutions could embrace more ethical, localized, and long-term funding structures. Cobb’s approach challenges traditional funding models and offers an inspiring alternative for cultural institutions to become more resilient in an ever- changing economic landscape.
Ibrahim Mahama’s conversation with Yesomi Umolu was another highlight of the day. As an artist whose work addresses themes of labor, history, and environmental impact, Mahama brought a unique, artist-centered perspective to the conversation on sustainability. His insights emphasized that sustainability in museums should not just address the environment but also consider the social and economic implications of cultural production and consumption. Mahama’s work and ideas urged attendees to think critically about how museums can become more engaged with and responsible to the communities they serve.
Day 3: Indigenous Perspectives and Worldviews
The final day at LACMA offered a deep dive into the integration of indigenous knowledge systems into sustainable museum practices. Candice Hopkins' keynote provided an important framework for understanding how indigenous worldviews can reshape the way we think about art, ecology, and community. Presentations by artists such as Edgar Calel and Taloi Havini demonstrated the profound ways in which indigenous perspectives inform sustainable futures. These talks reinforced the idea that sustainability is not only a modern challenge but one deeply connected to ancient wisdom and cultural heritage.
Reflections and Recommendations
Participating in the CIMAM 2024 Annual Conference was a transformative experience that broadened my understanding of sustainability within the context of contemporary art institutions. I was particularly inspired by the contributions of Zita Cobb, Ibrahim Mahama, Edgar Calel and Cecilia Winter. Their perspectives on sustainable economic models, ethical community engagement, and conservation practices were especially valuable and highlighted the need for a more holistic approach to sustainability that encompasses not only the environment but also social and economic factors.
However, I would have appreciated more opportunities for informal interactions and deeper conversations with other professionals. Given the richness of the topics discussed, additional break- out sessions or smaller group discussions could have facilitated more direct exchanges. These types of settings would allow for more nuanced conversations and provide a space for participants to explore ideas in greater detail. More time to engage with peers would have also enhanced the collaborative nature of the conference, fostering stronger connections and a deeper sense of community among attendees.
In closing, I am deeply grateful to CIMAM and the Travel Grant Program supporters for making this opportunity possible. The insights I gained from the conference—particularly around the intersections of art, sustainability, and indigenous knowledge—have already begun to shape my approach to the work I do. The conversations and connections made during this event will undoubtedly continue to influence my professional journey, and I look forward to applying the strategies discussed to advance sustainability within the arts.
Biography
Ingrid Orman (b. 1986) is a Finnish-Estonian curator and art historian based in Helsinki. As Chief Curator of Exhibitions at EMMA – Espoo Museum of Modern Art she leads the development of an ambitious, international exhibitions program and envisions museum practices that center environmental responsibility.
Throughout her career, Ingrid has primarily worked with contemporary artists and focused on the production of new commissions and experimental exhibition concepts that incorporate performance. Creative collaboration and generous dialogue remain at the core of her practice. She has worked in EMMA since 2016, where she has curated and led many exhibitions projects. Previously, Ingrid worked as a curator in the Exhibitions team and as a producer and curator in the Education team where she developed an audiences-oriented way of thinking and the ability to plan exhibitions for different audiences.
At EMMA, she has curated major group exhibitions including "In Search of the Present" (2022) and solo exhibitions of Tschabalala Self: "Around the Way" (2024), Hannaleena Heiska and Minna Tervamäki: "Metamorphosis" (2023), Leena and Kalle Nio: "Painting Machine" (2021) and Hesselholdt & Mejlvang: "The White Exhibition" (2021). At the moment, she is working on a few different projects for 2025, a group exhibition "Arte Povera - The New Chapter" and a solo exhibition by contemporary Finnish artist Antti Laitinen.
Ingrid holds a MA in Art History from the University of Turku and a MFA in Exhibition and Curatorial Studies from the University of the Arts Helsinki.
Ingrid Orman, Chief Curator of Exhibitions, EMMA - Espoo Museum of Modern Art, Espoo, Finland, has been awarded by the Saastamoinen Foundation, Helsinki.