A symposium on the use and influence of arts writing today.

Wednesday 28 November 2012, 4-9 PM
Witte de With Center for Contemporary Art, Rotterdam

Thursday 29 November 2012, 4-7 PM
Prijs voor de Jonge Kunstkritiek Award Ceremony, 7.30 – 9 PM
Stedelijk Museum Amsterdam

A writer’s toughest critic is her or himself. Even though this adage is often repeated, an understanding of its character is usually reduced to a sequence of private conjectures in the individual writer: have I covered all the details accurately; why this word, or form, and not another; have I made an argument, and if not, why not, and most fundamentally, why am I writing this at all? In order to give a public voice to these questions and to question how value systems and related criteria must be constructed and communicated in order to answer them, Witte de With Center for Contemporary Art (Rotterdam) and the Stedelijk Museum Amsterdam co-host the symposiumI AM FOR AN ART CRITICISM THAT…  On two successive afternoons and evenings—one at each site respectively—an international roster of art writers are brought together – with a focus on the Dutch context and how it translates to an international one. The symposium is organized on the occasion of the 2012 Prijs voor de Jonge Kunstkritiek (Young Art Critic’s Prize), an initiative of de Appel Arts Centre, the Mondriaan Fund and Witte de With Center for Contemporary Art. The prize is meant to stimulate young art critics and increase the media attention for art criticism and journalism of high qualitative standards. In 2012, the biannual prize is awarded for the third time. The year’s winners are announced during a ceremony at the Stedelijk Museum Amsterdam on Thursday 29 November 2012, from7.30 to 9 pm, following the second day of the symposium taking place from 4 to 7 pm.

Where criticism is concerned, symposia organized in the field of the visual arts tend to focus on essayistic and academic style. Yet, little attention is given to the wider field of journalism, its relationship with art, and its general influence on shaping public perspective. As a point of comparison, ‘art criticism’ and ‘art journalism’ are by no means homogenous or definitive terms—and yet the two implied practices can be seen to be merging into a singular field where the reporting style is increasingly prioritizing ‘catchy headlines’ over relevant content. Expanding out from this pole, long form arts coverage itself is being reduced to “editor’s picks”, coded rating systems, and short summary reviews, with little space in which to substantiate their claims.  And while blogs, user-generated content, and citizen journalism have carved out new “independent” forums, their very nature forces each to live or die by tweets, re-tweets, likes, and faves.

As more and more debates are being framed by these formats, and are shaped by these social pressures in turn, now is the time to ask if quick reviews allow opinion to be given without evidence, and if social affirmation can lead to the promotion of posturing over thought.  Likewise, when it comes to the cultural sphere, should objective neutrality be secured and maintained to counter the forces of publicity? Similarly to journalism, also known as the “fourth estate” – most commonly referring to news media or the press at large – should the arts have its own “estate” to hold conflicting interests at bay—be they social or commercial—and if so, what would its standards be? In any case, the issues at stake are larger than they may seem at first.

Considering that  artistic creation —and any form of analyses—requires the development of a strong critical facility, how can these activities advance without a healthy exchange of frequent and well-formed feedback? That is, how are the tools of critical reflection necessary, and how are they taught to us all so as to not only accurately describe a knowledge of things as such, but perhaps more importantly, to cultivate alternative formations of what could be?

This symposium’s title takes inspiration from artist Claes Oldenburg’s 1961 manifesto “I Am for an Art” and similarly to an art manifesto, a statement intended to shock, inspire or offend, I AM FOR AN ART CRITCISM THAT…, is a symposium that stages various live discussions with the aim to cover, and uncover, the fertile ground between the arts and journalism.

This symposium is conceived by Defne Ayas (Director, Witte de With) and Adam Kleinman (Chief Editor, WDWReview) and organized by Associate Curator Amira Gad with assistance from Renée Staal (Curatorial Intern), and is presented in collaboration with the Stedelijk Museum Amsterdam in the context of the Prijs voor de Jonge Kunstkritiek 2012 which is an initiative of de Appel Arts Centre (Amsterdam), the Mondriaan Fund and Witte de With Center for Contemporary Art.

Watch the video recordings here:

Day 1/1 at Witte de With

Day 1/2 at Witte de With

Day 2 at Stedelijk Museum



Ali Akay (Curator and Critic, Istanbul); Ahu Antmen (Critic, Istanbul); Defne Ayas (Director, Witte de With, Rotterdam); Ingrid Commandeur (Art critic and researcher, Rotterdam); Birgit Donker (Director, Mondriaan Foundation, Amsterdam); Maarten Doorman (Professor of Criticism of Arts and Culture, University of Amsterdam); Anthony Downey (Director of Contemporary Art, Sotheby’s Institute of Art and Editor of Ibraaz, London); Hendrik Folkerts (Curator of Public Program, Stedelijk Museum Amsterdam); Amira Gad (Associate Curator, Witte de With, Rotterdam); Jörg Heiser (Art critic and co-editor of Frieze Magazine, Berlin); Adam Kleinman (Writer, Online Publications, Witte de With, New York / Rotterdam); Quinn Latimer (Poet and critic, Basel); Aimee Lin (Independent writer & Former editorial director and founding editor of Leap Magazine, Beijing); Carol Yinghua Lu (Curator, Beijing); Sven Lütticken (Art critic and historian, Amsterdam); Vivian Sky Rehberg (Art historian, critic and Course Director of the Master of Fine Art at the Piet Zwart Institute, Paris/Rotterdam); Peter de Ruiter (Assistant Professor Modern and Contemporary Art, Rijksuniversiteit Groningen); Domeniek Ruyters (Editor in chief, Metropolis M, Utrecht); Marc Ruyters (Editor in chief, H ART, Antwerp); Anna Tilroe (Professor and Honorary Chair for Art and Culture, Radboud University, Nijmegen); Hrag Vartanian (Editor of Hyperallergic, New York); Barbara Visser (Artist, Amsterdam); Brian Kuan Wood (Writer, editor and co-founder of e-flux journal, New York).



Day 1: Wednesday 28 November 2012, 4-9 pm
Witte de With Center for Contemporary Art, Rotterdam

4 PM: Introduction by Defne Ayas & Amira Gad
Reading of Claes Oldenburg’s “I am for an Art” by Adam Kleinman

4.15 PM: Keynote lecture by Jörg Heiser / Respondent: Adam Kleinman
From Assange to Zuckerberg and back again: Criticism at times of the super-nerd

Two of the most influential and notorious protagonists of online publicity – Julian Assange of Wikileaks and Mark Zuckerberg of Facebook – have, I would argue, been following similar aims in regard to three issues, despite opposing political and economic agendas: confidentiality; intellectual copyright; and critical judgment. This development is symptomatic for a paradigm shift the effects of which in regard to criticism in general, and art criticism in particular, we only just begin to see.


This panel discusses, using specific cases, the positioning of art criticism from an international perspective, how it could be translated into a Dutch context and vice versa, questioning the influence of art writing and its universality.

With: Carol Yinghua Lu, Anthony Downey, Ali Akay, Anna Tilroe / Moderator: Amira Gad


This panel explores the mediums (from newspapers to blogs) and registers used in writing about art, the impact it has on its readers and the role of education it has towards the reader.

With: Hrag Vartanian, Barbara Visser, Quinn Latimer, Maarten Doorman, Marc Ruyters, Ingrid Commandeur / Moderator: Vivian Sky Rehberg

7 PM: Brief introduction by Adam Kleinman & Audio Screening of The Economics of Film Criticism: A Debate, Jean-Luc Godard & Pauline Kael (1981)

7.15 PM: BREAK (with soup for sale in the Consensus Bar)

7.45 PM: Statement by Defne Ayas (Director, Witte de With)

This panel addresses issues of funding in art journalism, the place of art writing within the art field, also addressing the matter of the loss of independent professional platforms and the strategies adopted by journals and magazines in the content selection.

With: Brian Kuan Wood, Domeniek Ruyters, Aimee Lin,  Sven Lütticken, Ahu Antmen / Moderator: Hrag Vartanian

8.45 PM:  Closing – Reading of Dan Fox’s response to Claes Oldenburg’s “I am for an Art” by Adam Kleinman / Q & A with the public moderated by Adam Kleinman

9 – 9.30 PM: Drinks in the Consensus Bar


DAY 2: Thursday 29 November 2012, 4-9pm
Stedelijk Museum Amsterdam

4 PM: Welcome by Hendrik Folkerts

4.15 PM: Keynote lecture by Peter de Ruiter

Don’t burn after reading. Some thoughts on the state of Dutch art criticism in the 20th century.

Art criticism in the Netherlands has had a somewhat ‘invisible’ position over the last decades. This lecture reflects on its position and on the predominance of art journalism after the seventies. How to explain this status quo? Can we point out a beginning and how does it impact on the current situation of art criticism?


This round-table conversation gathers different perspectives and approaches in discussing the uses and influences of art writing today, also addressing questions of (self-) reflectivity and criticality.

With: Birgit Donker, Carol Yinghua Lu, Ali Akay, Anthony Downey/ Moderators: Hendrik Folkerts & Amira Gad

6.15 – 7.30 PM: BREAK (Stedelijk Museum Café)

7.30 – 9 PM: Award Ceremony PJKK 2012


Practical information

Date: Wednesday 28 November 2012, 4-9 PM
Location: Witte de With Center for Contemporary Art
Witte de Withstraat 50, Rotterdam
Admission Price: € 10

Date: Thursday 29 November 2012, 4-9 PM
Location: Stedelijk Museum Amsterdam
Museumplein 10, Amsterdam
Admission Price: € 15 museum entrance ticket.
Free for Museumjaarkaart (MJK) holders.


I AM FOR AN ART CRITICISM THAT… is partly supported by SAHA Association – Supporting Contemporary Art from Turkey


About the participants
Akay, Ali Ali Akay is professor and head of the sociology department at Mimar Sinan Fine Arts University in Istanbul, Turkey as well as a visiting professor at Humboldt University in Berlin, and University of Paris VIII and INHA in Paris. He is curator of Sekerbank Acıkekran New Media Art Center, an art consultant at Akbank Art Centre and founder of the Toplumbilim (Sociology) journal, first published in 1992 and currently being published bi-annually. Recent publications he has contributed to include: Le Postmodernisme et apres? (2010), Unleashed: Contemporary Art from Turkey (2010) and Contemporary Art: An Akbank Art Center Anthology (2009).
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Antmen, Ahu Ahu Antmen graduated from Istanbul University’s faculty of communications. She obtained an MA in 20th Century Art from Goldsmiths College, and completed her PhD on “New Approaches in Turkish Art” at Mimar Sinan University. She lectures on 20th century art, contemporary art practice and contemporary Turkish art at Marmara University Faculty of Fine Arts in Istanbul. Her most recent published texts include the book, Trends in 20th Century Western Art, an edited volume Art History and Feminist Criticism, and monographs on Turkish artists Ali Teoman Germaner and Hale Tenger.
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Ayas, Defne Defne Ayas (b. Istanbul) is Director of Witte de With | Center for Contemporary Art since January 1st, 2012. She heads to Rotterdam from New York, where she has served as a curator of Performa – the visual art performance biennial of New York City – since 2004, and from Shanghai, where she has acted as a co-founding director of Arthub Asia – a contemporary art initiative devoted to art creation and exchange across Asia – since 2007. Ayas was also a faculty member of contemporary art and new media at the New York University in Shanghai for the past five years. Prior to joining Arthub Asia and Performa, she coordinated the New York-based New Museum of Contemporary Art’s public and new media programming. Ayas has recently served as a curatorial advisor to the 8th Shanghai Biennale (China), and as a publication advisor to the 8th Gwangju Biennale (South Korea) in 2010. Defne Ayas completed De Appel Curatorial Programme in Amsterdam and received her Masters degree from ITP – Tisch School of the Arts at New York University.
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Commandeur, Ingrid Ingrid Commandeur is an art critic and researcher. She holds an MA in Art History and Theory from the VU University in Amsterdam. From 2004 to 2010, she was senior editor of Metropolis M. Commandeur has published extensively on contemporary art. Among her publications as co-editor are Now Is the Time: Art & Theory in the 21st Century (Rotterdam, 2010), Museutopia. A Photographic Research Project by Ilya Rabinovich (Amsterdam, 2012) and Robert Smithson: Art in Continual Movement (Amsterdam, 2012).  Commandeur teaches theory at the Gerrit Rietveld Academy in Amsterdam and at the Piet Zwart Institute in Rotterdam. She is board member of Alauda Publications and the Dutch section of AICA (Association Internationale des Critique d’Art). Commandeur is now preparing a book, to be published in 2013, about the positions held in current art criticism, focusing on the reception of globalization, neoliberalism and new models of presentation and research in the art scene after 1989.
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Donker, Birgit Birgit Donker is the director of the new Mondriaan Fund, a state financed cultural funding organization that focuses on visual arts and cultural heritage, which originated from the merging of the BKVB Fund and the Mondriaan Foundation. Donker studied New and Theoretical history with art history at the University of Amsterdam, journalism at the École Superieure de Journalisme in Paris, and the postdoctoral study ‘Analyse du monde actuel', also in Paris. She led the NRC Handelsblad as editor-in-chief between 2006 and 2010, and before her appointment as director of the Mondriaan Fund she was an arts editor at NRC Handelsblad.
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Doorman, Maarten Maarten Doorman is Professor of Criticism of Arts and Culture at the University of Amsterdam, and teaches Philosophy at Maastricht University. He was editor of the literary magazine Hollands Maandblad (1994-2000) and the philosophical journal Krisis and a critic of philosophy, poetry and history of ideas for NRC Handelsblad (1987-2005) and de Volkskrant (1993-1995, 2006-). He has been a contributor to many journals and newspapers with articles about philosophy, art and literature. His last books are Art in Progress. A Philosophical Response to the End of the Avant-Garde (2003), De romantische orde (2004), Paralipomena (2007) and Rousseau en ik (2012).
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Downey, Anthony Anthony Downey is the Director of the Master’s Program in Contemporary Art at Sotheby's Institute of Art. He sits on the Editorial Board of Third Text, is the Editor of Ibraaz (www.ibraaz.org), the latter a research forum for visual culture in the Middle East and North Africa, and is a Consulting Editor for Open Space (Vienna). He is an advisor to the Kamel Lazaar Foundation, a trustee of the Maryam and Edward Eisler Foundation, sits on the Advisory Board of Counterpoints Arts, a forum on migration and the arts, and is a member of the Advisory Board of Pivotal Arts Studio, an organization involved in creative arts projects and social change agendas. Anthony is currently researching a book on politics and aesthetics (Thames and Hudson, forthcoming, 2013), editing a volume on social media and participative practices in the Middle East and North Africa (I.B. Tauris, 2013), and developing a series of books on art practices in the MENA region with a U.S. based publisher. He is also the guest editor for Becoming Communities: Participation, Collaboration and Curatorial Practices for a special issue of Third Text that will be published in October 2013.
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Folkerts, Hendrik Hendrik Folkerts is Curator Public Program at the Stedelijk Museum in Amsterdam since 2010. He studied Art History at the University of Amsterdam, specializing in contemporary art and theory, feminist practices and contemporary curatorial practices. From 2010 to 2012, Folkerts curated the Public Program of The Temporary Stedelijk 1, 2 and 3 at the Stedelijk Museum. Prior to his position at the Stedelijk Museum, Folkerts was co-ordinator of the Curatorial Program at de Appel Arts Centre in Amsterdam.He frequently publishes in journals and on platforms such as Metropolis M, The Journal for Art and Public Space, Afterall Online, Tubelight, and for the Stedelijk Museum (Bureau) Amsterdam. Folkerts is also (co-)editor of The Temporary Stedelijk (forthcoming 2012), Shadowfiles: Curatorial Education (forthcoming 2012) and Facing Forward: Art & Theory from a Future Perspective (forthcoming 2013).
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Gad, Amira Amira Gad is Associate Curator (and Publications) at Witte de With, Rotterdam, where she has worked since 2009 and where she is working closely with current Director Defne Ayas in the development of the institution’s curatorial programs. She received a Masters in Contemporary Art from Sotheby’s Institute of Art, London and a Bachelor of Liberal Arts & Sciences from the University College Utrecht. Curated projects include “I am for an art criticism that”, a 2-day symposium presented at Witte de With and at the Stedelijk Museum Amsterdam; “Short Big Drama” (with Nicolaus Schafhausen), a solo exhibition of Angela Bulloch at Witte de With. Gad has been assistant curator on a number of projects including the year-long multi-faceted project Morality (curated by Juan A. Gaitán & Nicolaus Schafhausen); group exhibitions “The End of Money” (curated by Juan A. Gaitán); “Making is Thinking” (curated by Zoë Gray); a city-wide group exhibition in Rotterdam “Melanchotopia” (curated by Anne-Claire Schmitz & Nicolaus Schafhausen); but also “All About Us” a solo exhibition of Miki Kratsman at Ursula Blickle Foundation in Kraichtal (curated by Nicolaus Schafhausen). Outside of Witte de With, Gad is currently curating (together with Nicolaus Schafhausen) a series of conferences for Fogo Island Arts (Canada) that deal with questions of cultural heritage and taking place on Fogo Island, in Montreal at the CCA, and in Vienna at the MAK. Gad was a jury member for Been Out (vol. 1), an exhibition lab for young contemporary art organised by Bohème Précaire in cooperation with 2010LAB.TV and You All For My Act, an exhibition organised by the Rookies MA at Showroom MAMA, Rotterdam. Gad is the editor and has been involved in the production of several publications on contemporary art including Source Book 10: Angela Bulloch (editor); the artist books Rotterdam – Sensitive Times by Lidwien van de Ven (editor); One Day by Susanne Kriemann; the catalogue All About Us; and contributed to a number of publications including the critical reader by artist Mario Pfeifer A Formal Film in Nine Episodes, Prologue & Epilogue; Source Book 8: Edith Dekyndt. She is also editor of Witte de With’s newly launched online platform WdW Review and a Correspondent Editor for Ibraaz, an online publishing forum dedicated to contemporary visual culture in the Middle-East & North Africa.
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Heiser, Jörg Jörg Heiser, based in Berlin, is co-editor of frieze magazine, co-publisher of frieze d/e, and writes for the national daily Süddeutsche Zeitung. He is a visiting professor at Kunstuniversität Linz, and teaches at the Hochschule für Bildende Künste Hamburg. His book All of a Sudden: Things that Matter in Contemporary Art (Sternberg Press) was published in 2008. Heiser curated the exhibition “Romantic Conceptualism” (2007, Kunsthalle Nürnberg, BAWAG Foundation Vienna).
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Kleinman, Adam Adam Kleinman (New York City) is Chief Editor of Witte de With’s online magazine WdW Reviewwww.wdwreview.org. He has worked at Witte de With since the end of 2012. He is a writer and curator and former dOCUMENTA (13) Agent for Public Programming. Kleinman was curator at Lower Manhattan Cultural Council, where he created the interpretative humanities program “Access Restricted.” Kleinman also developed LentSpace, a cultural venue and garden design by Interboro Partners, which repurposed an entire vacant Manhattan block. There, Kleinman curated “Avenue of the Americas” (2010) and “Points & Lines” (2009). Kleinman is a frequent contributor to multiple exhibition catalogues and magazines including Agenda, Artforum, e-flux journal, Frieze, Mousse and Texte zur Kunst.
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Kuan Wood, Brian Brian Kuan Wood is a writer and editor based in New York. In 2008 he initiated e-flux journal with Anton Vidokle and Julieta Aranda, which publishes ten issues per year online (and on a print-on-demand basis), along with a series of readers in collaboration with Sternberg Press. In 2010, he edited Selected Maria Lind Writing. From 2000-2005 he was based in Cairo, where he produced publications and sound projects in collaboration with artists, also initiating an online journal together with artist Iman Issa featuring artists based in Cairo and Alexandria. His writing has appeared in Bidoun, CAC Interviu, Paletten, e-flux journal, and various artist-initiated platforms and publications.
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Latimer, Quinn Quinn Latimer is an American poet and critic based in Basel, Switzerland. She is the author of Rumored Animals (Dream Horse Press, 2012) and the forthcoming Describe This Distance (Mousse Publishing, 2012), about the work of Sarah Lucas. She is also a regular contributor to Artforum and frieze, and her poetry has appeared in Boston Review, The Paris Review, and has been nominated for a Pushcart Prize. She is the editor of, most recently, Paul Sietsema: Interviews on Films and Works (Sternberg Press, 2012) and co-editor of No Core: Pamela Rosenkranz (JRP-Ringier, 2012).
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Lütticken, Sven Biography Sven Lütticken (Kempen (Germany), 1971) Lives and works in Amsterdam. Artcritic and - historian Sven Lütticken studied art history at the Vrije Universiteit, Amsterdam and the Freie Universität, Berlin. In 2004, he was granted the Prize for Art Criticism of the BKVB fund, Amsterdam. Lütticken teaches at the Vrije Universiteit, Amsterdam and is editor for De Witte Raaf. He publishes regularly in (inter)national art magazines such as Jong Holland, Artforum, New Left Review, Afterimage, Texte zur Kunst, Camera Austria, and contributes to catalogues and exhibitions as writer or guest curator.
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Rehberg, Vivian Sky Vivian Sky Rehberg is an art historian and critic and Course Director of the Master of Fine Art at the Piet Zwart Institute. She obtained her PhD in art history in 2000 from Northwestern University (Evanston, Illinois, U.S.A.). Based in Paris since the late 1990s, Rehberg worked as a curator, writer, translator and educator in France before moving to Rotterdam in February 2012. Rehberg is a contributing editor of frieze magazine and publishes widely on contemporary art and artists.
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Ruiter, Peter de Peter de Ruiter is Assistant Professor Modern and Contemporary Art at the University of Groningen. After completing a degree in Art History and Archeology at Utrecht University, he obtained a PhD at the Vrije Universiteit Amsterdam in 2000, researching the work of the eminent Dutch art critic and museum director A.M. Hammacher. Since 1999 De Ruiter is on the editorial board of the publication series Monografieën van Nederlandse Kunstenaars (Monographs of Dutch Artists). He is currently the project leader and editor in chief of Kunstkritiek in Nederland, 1885-2010, a series of publications examining the development and main topics of art criticism in The Netherlands. The first books in this series will be published next year.
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Ruyters, Domeniek Domeniek Ruyters is editor in chief of Metropolis M since 2003. He is also a freelance critic at de Volkskrant, has edited several books, artist publications as well as art critical writings. Ruyters is co-founder of the art journal Casco Issues and has written extensively on contemporary art.
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Ruyters, Marc Marc Ruyters is a Belgian-based journalist. From 1982 to 1988 he worked for the newspaper De Morgen, between 1989 and 2005 he contributed to Knack magazine and the newspaper De Tijd. At the end of 2005 he founded the magazine H ART, as a response to the attenuation of cultural reporting in the established media.
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Tilroe, Anna Anna Tilroe is an art critic and curator based in Amsterdam, and professor at Radboud University Nijmegen, honorary chair Art & Culture. Since 1980 she has published extensively about contemporary art and culture in Dutch newspapers (de Volkskrant and NRC Handelsblad) and international art magazines. She wrote three books that included essays on art and culture, and recently published a pamphlet on the dominance of the market and the changing power structures in the art world. As a curator she has organized several exhibitions, amongst which “Sonsbeek 2008”, an international sculpture exhibition that takes place once every 7 years in Arnhem, the Netherlands.
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Valk, Sonja van der Sonja van der Valk is the founder of the Domein voor Kunstkritiek (Domain for Art Criticism). She was a journalist and theatre critic for De Groene Amsterdammer, and editor in chief of the journal Toneel Theatraal. She was responsible for numerous publications on art and art criticism, including: Een Nieuwe Generatie Cultuurjournalisten (2004), Stroomopwaarts; De theatercriticus als creatief ondernemer (2010), Corpus Kunstkritiek newspaper (2010 and 2011) and Badgast Slow Journalism @ Scheveningen (2012). Van der Valk taught theatre criticism at the University of Amsterdam and is a teacher at the Amsterdam School of the Arts.
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Vartanian, Hrag Hrag Vartanian is a writer, editor, curator and art critic based in New York. He has written extensively about street art, performance art, the Internet, issues of multiculturalism, and has contributed to numerous online and print publications. Vartanian is also the co-founder and editor-in-chief of the Hyperallergic art blogazine. He has been invited as a guest commentator on Al Jazeera, WNYC and has been quoted in the New York Times, New York Observer, Daily News, El País, amongst others. He regularly lectures on the art world online, and he serves on the board of the Triangle Arts Association.
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Visser, Barbara Barbara Visser is an artist based in Amsterdam. She studied Photography and Audiovisual Arts at the Gerrit Rietveld Academy between 1985 and 1991, with an exchange year at the Cooper Union in New York City, and was educated at the Jan van Eyck Academy in Maastricht from 1998-1999. In the majority of her projects, executed in photography, film, print, text or performance, Barbara Visser has been occupied with the uncertain relationship between registration and dramatization, plays with notions of original and copy, and questions the way history and memory are being shaped by both the individual and society.
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Yinghua Lu, Carol Carol Yinghua Lu received her MA in Critical Studies from Malmö Art Academy at Lund University, Sweden and is a curator and contributing editor for frieze. She was on the jury for the Golden Lion Award in 2011 Venice Biennale. She has co-curated the 2012 Gwangju Biennale and the 7th Shenzhen Sculpture Biennale: “Accidental Message: Art is Not a System, Not a World”. Together with Liu Ding, she will act as the guest curator for Museion, Bolzano, Italy in 2013 to present their ongoing project “Little Movements: Self-practice in Contemporary Art”.
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Yu Lin, Aimee Aimee Yu Lin received her MA in Comparative Literature from Fudan University, and she maintains a complex professional identity, with activities ranging from journalism, editing, writing, and criticism to publication management and the study of visual culture. She was also the founding editor of LEAP Magazine, where she remained until 2012 as the acting editorial director. She currently lives and works in Beijing and Shanghai.
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About the collaborators
Stedelijk Museum Amsterdam The Stedelijk Museum is an international institution in Amsterdam dedicated to modern and contemporary art and design. The Museum aims to provide a home for art, artists and a broad range of publics, where artistic production is actively fostered, presented, protected, reconsidered and renewed. Het Stedelijk Museum is een internationaal instituut in Amsterdam, gewijd aan moderne en hedendaagse kunst en vormgeving. www.stedelijk.nl
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