Born in Maracaibo (Venezuela) in 1972, she is the Director and Founder of Artishock. She has a degree in Social Communication, audiovisual mention, from the Andrés Bello Catholic University (Caracas, Venezuela, 1994), with free training in contemporary art (theory and practice) in schools in New York (1997-2007). In New York, she worked as a senior correspondent for the magazine Arte al Día International (2004-2007) and as a Culture correspondent for the Spanish news agency EFE (2002-2007). In Chile she was in charge of press communications for the Museum of Visual Arts (MAVI), Gabriela Mistral Gallery, Moro Gallery and the Biennial of Video and Media Arts.
Amalia Cross (Chile, 1989) is a Chilean art historian and curator. She researches and writes about art in Chile and Latin America. Among her publications, Álvaro Guevara stands out. The cloth, the paper and the quadrilateral (Mundana, 2019), The Happening of the chickens by Carlos Leppe: documentation and expert opinion (D21 Editores, 2020), Boycott Stories (Peter C. Marzio Awards, ICAA- MFAH, 2021), among other essays. And she has been curator of the exhibitions The museum in times of revolution (MNBA, 2019) and, together with María Berríos, Alberto Cruz: The body of the architect is not that of a single man (MAVI, 2017).
Andrew Russeth is an art critic based in Seoul, South Korea. He has been an editor at ARTnews, Surface, and The New York Observer. He was awarded the Rabkin Prize for visual arts journalism in 2019. His writing has appeared in The New York Times, W, New York, T, Architectural Digest, Paper Monument, Bijutsu Techo, Blau, Parkett, Art+Auction, October (the beer site, not the art journal), ArtReview, Atlas Obscura, Apollo, and Modern Painters, as well as in catalogs for exhibitions at museums and galleries. In 2005 he started 16 Miles of String, a blog about contemporary art and art history in New York that has been supported by the Creative Capital | Warhol Foundation Arts Writers Grant Program. In 2013, he was named Critic of the Year in the Rob Pruitt Awards. He has a B.A. in art history and political science from Columbia University and an M.S.T. in early childhood and special education from Pace University.
Àngels Miralda is a curator and writer currently based in Terrassa and Amsterdam. Her curatorial practice traces a politics of materiality that contain inherent meaning and that connect global chains of extraction, trade, and industry. Her recent exhibitions have drawn on historical research into Arte Povera, new materialisms and the history of installation in contemporary art to draw parallels between artists' materials and planetary phenomena. She has organized exhibitions at Tallinn Art Hall (Estonia), MGLC - International Center of Graphic Arts (Ljubljana), De Appel (Amsterdam), Galerija Miroslav Kraljevic (Zagreb), Museum of Contemporary Art of Chile (Santiago), Museu de Angra do Heroísmo (Terceira - Azores) and the Latvian Center for Contemporary Art (Riga). Miralda regularly publishes her writing for Critics' Picks at Artforum and is the current Mondriaan Curator at airWG (Amsterdam).
Boris Klyushnikov is a curator and contemporary art theorist, lecturer at Rodchenko Art School and BAZA Institute in Moscow. He has worked at the National Centre for Contemporary Art (Moscow), taught at the Department of Cinema and Contemporary Art of the Russian State University for the Humanities (Moscow), and organized a laboratory of art criticism at Winzavod Center of Contemporary Art (Moscow).
Elena Vozmediano (Madrid, 1965) has a degree in Art History from the Complutense University of Madrid. Art critic, writes regularly, since 1998, in the supplement El Cultural (newspaper El Mundo), of whose art section she has been head for some seasons, and in whose pages she has published more than 800 articles, also maintaining, on the website of the magazine, the blog Y tú que lo veas, dedicated to the analysis and criticism of cultural policies.
Enric Farrés Duran
Enric Farrés Duran was born in Barcelona, Spain, in 1983. He lives and works in Barcelona, Spain. Some of his latest individual exhibitions are: 'Res es meu', Bolit Center d'Art Contemporani, Gerona, Spain (2018); 'An exhibition of looking', La Panera Art Center, Lleida, Spain (2017); 'Library without titles', Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain (2017; 'USELESS#2: Enric Farrés Duran. Paper Playing a Part', 56x45x25 and LACA, Los Angeles, United States (2017); 'Three strange things. Story of a disappearance', Antoni Tápies Foundation, Barcelona, Spain (2014); 'A heterodox collection, The T.F. legacy', National Museum of Art of Catalonia, Barcelona, Spain (2014).
Degree in Art History (UB) – Master in Advanced Studies in Art History (UB). Art writer and independent curator. His interests focus on artistic "work", especially in the relationship between artistic production and its placement in "the public" outside the art-institution, a line of research that he carries out as a member of GRAE (Grup de Recreca Artistic), at EINA – University Center for Design and Art of Barcelona. She is currently the content coordinator for the cultural platform Hänsel * i Gretel *. Between 2018 and 2020, she was director of the LOOP Discover Video Art Award, held within the framework of LOOP Barcelona. She regularly writes for various magazines and cultural publications, including Bonart, Hänsel i Gretel, La Maleta de Portbou or A*desk. Since June 2018, she has been a member of the FASE space for creation and thought, located in L'Hospitalet de Llobregat.
Critic, researcher and curator dedicated to Colombian and Latin American art from the 19th to the 21st centuries. He writes regularly for the magazine Arcadia (printed) and has occasionally written for Esfera Pública, Arte al día, Arteria, El Espectador, Lecturas Dominicales (El Tiempo), Frieze (England), Babelia (supplement of El País, Spain), etc. He belonged to the Red de Conceptualismos del Sur (from 2008 to 2014) and to the Critical History of Art Workshop (from 2004 to the present) of the National University of Colombia, a group with which he published (in 2016) a book of interviews with the members of the collective Taller 4 Rojo ('Art and political dissidence: memories of the Taller 4 Rojo'), and with which he carried out various investigations on artists' archives and political art in Colombia. Since 2016, he is the founder of Arkhé: Archivos de Arte Latinoamericano, a Bogotá-based foundation dedicated to rescuing modern and contemporary art archives. He lives and works between Bogotá (Colombia) and Madrid (Spain).
Javier Montes (Madrid, 1976) is a novelist and essayist. His work has received, among other recognitions, the Anagrama Essay Award, the Pereda International Novel Award, the Leonardo Grant from the BBVA Foundation and the inclusion in The Best Young Novelists in Spanish by Granta magazine. Among his recent books are Luz del Fuego (Anagrama, 2020), The mysterious case of the murder of modern art (Wunderkammer, 2020) and Varados en Río (Anagrama, 2016). He writes about contemporary art in Artforum, Art Agenda, Artnews, El País, ABC Cultural, Texte zur Kunst or Revista de Occidente. He has curated exhibitions, directed courses or given lectures at the Museo Reina Sofía, Museo del Prado, IVAM, CAAC or the Institute of Fine Arts at NYU.
Jennifer Higgie is an Australian writer who lives in London. Previously the editor of frieze magazine, she is now editor-at-large. She is the author and illustrator of the children’s book There’s Not One; the editor of The Artist’s Joke and author of the novel Bedlam. Her new book on women’s self-portraits, The Mirror & The Palette, is published by Weidenfeld & Nicolson. She also writes screenplays.
JJ Charlesworth is a writer and art critic. Since 2006 he has worked on the editorial staff of the London-based international art magazine ArtReview, where he one of the editors. JJ studied fine art at Goldsmiths College, London, in the mid-1990s, before turning his hand to criticism. Since 1999, he has written reviews, articles and commentaries for publications such as Art Monthly, Modern Painters, Time Out London, Third Text and the Daily Telegraph, and online platforms such as art-agenda, artnet.news and CNN Style. In 2016 he completed a doctoral thesis at the Royal College of Art, a study of art criticism in Britain during the 1970s.
Josseline Pinto (1996, Guatemala) is an independent curator, educator and poet based in Guatemala City. Co-founder and director of the independent space MANIFESTO-espacio and guest researcher and member of the Global Center for Advanced Studies in Latin America GCAS. She is currently working as Producer for the 22 Bienal de Arte Paiz. She was selected for the program “Programa de Formación Curatorial” at TEOR/éTica, Costa Rica and for the “Curatorial Intensive Mexico City”, Independent Curators International. She was also part of the 3rd edition of “Escuela de Crítica de Arte”, La Tallera, Cuernavaca, México in 2017.
Kate Finkelstein is an artist and independent curator working in the genre of contemporary art based in Tel Aviv (Israel) and Moscow, Saint-Petersburg (Russia). Clinical psychologist at the first degree, she also graduated from the British Higher School of Art and Design and continued her education in the theory of art in the High School "Learning Environment”. She is founder the online platform for independent curatorial projects @art_makes_sens, leads the critical public channel “Curatorial Kitchen” (in Telegramm), member of the expert council of the Zverev Center for Contemporary Art (Moscow), a tutor of the higher school "Learning Environment”, member of curatorial group “Art Makes Sense”, art observer for independent media ARTuzel.ru. Her particular practical and research interest is related to site-specific and community based art, participatory and performative practices, dialogical side of art.
Lauren Gabrielle Fournier is a white settler writer, curator, and filmmaker. A first-generation student and scholar, her research, teaching, and practice cohere around multi-genre writing and hybrid genres of literary nonfiction and fiction, including autofiction, autotheory, bio-fiction, ficto-criticism, and nonfiction novels. Her Autotheory as Feminist Practice in Art, Writing, and Criticism (The MIT Press, 2021) is the first book-length monograph on the burgeoning genre of "autotheory," and has been featured and reviewed in such venues as The Los Angeles Review of Books, High Theory, Hyperallergic, Passage, and Art in America. She has been invited to speak and lead writing workshops at such institutions as the Royal College of Art, Ghent University, Durham University, and Goldsmiths. She teaches courses in critical-creative writing, theory and concepts, art, and the humanities at the University of Toronto. Her debut novella is forthcoming through Fiction Advocate (San Francisco, 2022), and commingles autofiction, civic history, and literary criticism to re-enage Chris Kraus's I Love Dick (1997) in the context of late-2000s East Vancouver. Her short story "The Grateful Dad" was recently published in Soft Punk Magazine (London, 2021).
Her work of fiction includes the stories gathered in two books, Las Infantas and Avidez, and five novels: Póstuma, Cercada, Rotten Fruit, Blood in the Eye and Nervous System. Her non-fiction books include the Viral Trips and Blind Zone essays, as well as the personal essay Becoming Palestine, the lyrical essay Palestine for example, and the diatribe Against Children. She has received the Cálamo (Spain, 2016), Sor Juana Inés de la Cruz (Mexico 2012), Anna Seghers (Berlin 2011) awards and writing grants from the Guggenheim Foundation (USA 2004), the NEA (USA 2010), the DAAD (Berlin 2017), and Casa Cien Años de Soledad (Mexico 2021), among others. She currently teaches Latin American culture and creative writing at New York University.
Mitch Speed is Momus's contributing editor, Berlin. His writing has appeared in Frieze, Camera Austria, Turps, and Canadian Art. Speed has an MFA from Mason Gross School of the Arts, at Rutgers University, and a BFA from Emily Carr University, in Vancouver. While at Rutgers, he was a part-time lecturer at the undergraduate level, and founder of a reading group called The Obsolete Juror, focusing on the relationship between contemporary art and writing. From 2011 until 2014, he was founder and co-editor of Setup, a journal of contemporary art and writing published by Publication Studio.
Nathalie Goffard is an essayist and researcher. She has a Master 2 in Plastic Arts U. Paris 1 Panthéon- La Sorbonne and a PhD Candidate in Philosophy with a major in Aesthetics and Art Theory from the U. de Chile. Her research areas focus on visual culture, contemporary art and landscape. To date, she has published around thirty essays for exhibition catalogs, artists' books, curatorial texts and articles, both nationally and internationally, and is the author of the books Creole image, photographic practices in the visual arts of Chile (Metales Pesados, 2013) and Intramuros. Palimpsestos on art and landscape (Metales Pesados, 2019).
He is a New York based artist and educator. He has worked since 1991 in a variety of contemporary art museums, most recently as head of public programs at the education department of the Guggenheim Museum in New York (1998-2005). Since 2007, he is Director of Adult and Academic Programs at the Museum of Modern Art. He is the author of, among others, the following books: The Pablo Helguera Manual of Contemporary Art Style (2005, Spanish edition; 2007, English edition), Artoons 1, 2, and 3 (2009-10), and Education for Socially Engaged Art (2011). In 2021 he is launching a new publication titled Beautiful Eccentrics.
Pablo Larios was born in San Pedro Sula, Honduras and raised in the US. Trained in Comparative Literature, he currently lives in Berlin. He is senior editor of Frieze, alongside his criticism he writes fiction and plays and collaborates frequently with artists. For Berlin's New Theater, he co-authored the plays Farming in Europe (2013) and Hotel Moon (2015), and in 2015 translated the fictive celebrity interviews of Tom Kummer for an exhibition at Tanya Leighton Gallery, Berlin. In 2016 he organized the symposium The Corporate Alternative at Mumok, Vienna, with contributions by Huw Lemmey, Jesse Darling, Emily Segal, Max Pitegoff and Calla Henkel. He has also given a talk at the Staedelschule, Frankfurt. His work has appeared internationally in various publications, including Frieze d/e, Frieze.com, Sleek, and Kaleidoscope, and he has catalog essays on the works of Simon Denny and Aleksandra Domanovic. He edited the occasional publishing series If A Then B, under the aegis of which he curated the group exhibition “If A then B: Translation as a Principle of Form” (2010) at Gentili Apri in Berlin.
Paddy Johnson is the founder of VVrkshop, an online platform offering high-level professional training to artists through coaching and classes. With William Powhida she co-hosts Explain Me, a podcast on the intersection of art, money, and politics. She is the editor of the forthcoming book Impractical Spaces and the co-founder of the collaborative national publishing project Impractical Spaces (2017-present.) She is the founding editor of the contemporary art blog Art F City (2005-2018). Johnson was the first recipient of the Arts Writers Grant for blogging in 2008. In 2014, she was the subject of a VICE profile. Johnson has contributed to The New York Times, New York Magazine, The Economist, CNN, VICE, Gizmodo, Observer, Frieze Magazine, The Christian Science Monitor, The Art Newspaper, and Hyperallergic. She lives in New York with her partner.
Patricio Pron is the author of six books of stories, among which are Trayéndolo todo de regreso a casa (2021), La vida interior de las plantas de interior (2013) and Lo que está y no se usa nos fulminará (2018), as well as seven novels, including El comienzo de la primavera (2008, winner of the Jaén Novel Prize and distinguished by the José Manuel Lara Foundation as one of the five best works published in Spain that year), No derrames tus lágrimas por nadie que viva en estas calles (2016) and Mañana tendremos otros nombres (2019); also the essay El libro tachado: Prácticas de la negación y del silencio en la crisis de la literatura (2014). His work has been awarded on numerous occasions (among others, with the 2004 Juan Rulfo Prize for Relato), regularly anthologized and translated into Norwegian, French, Italian, English, Dutch, German, Portuguese and Chinese. In 2010, the English magazine Granta chose him as one of the twenty-two best young writers in Spanish of the moment. More recently, he received the 2016 Cálamo Extraordinario Prize for the set of his work and the 2019 Alfaguara Novel Prize. Photo by Lisbeth Salas.
Curator, writer and researcher specialized in art and new media. Doctor in Information and Knowledge Society from the Open University of Catalonia (UOC). Collaborating professor at the UOC, as well as in curatorial courses and postgraduate courses at ESDi and NODE Center for Curatorial Studies. His work explores the different aspects of the interaction between art, technology and society, as well as the relationships between digital art and the art market. He is the author of the book on contemporary and digital art collecting You Can Be A Wealthy / Cash-Strapped Art Collector In The Digital Age (Printer Fault Press, 2020).
Rosario García Martínez
Rosario García Martínez (Buenos Aires, Argentina) has a degree in Arts from the University of Buenos Aires and completed postgraduate studies on pedagogy and education at FLACSO Argentina. Since 2008 she has worked in the area of Education and Public Programs at Fundación Proa. She is the author of the book For a Hybrid Institution. Experiences of interaction between Museum and University, published by Fundación Proa in 2020. Based on this publication, she created the Escribir al Hilo. Clínica de escritura sobre prácticas educativas en museos program, in collaboration with the Education and Public Programs team of the UNAM University Museum of Contemporary Art, Mexico.
Sky Goodden is the founding Publisher and Editor of Momus, and co-producer and co-host of Momus: The Podcast, one of The New York Times top art podcasts of 2020. She has published in multiple catalogues and art books, as well as in Frieze, Art in America, Modern Painters, Canadian Art, C Magazine, The National Post, and Art21. She currently hosts the Momus Emerging Critics Residencies in collaboration with Concordia University (Montreal), OCAD University (Toronto), and the School of the Art Institute of Chicago.
La Habana, 1977. Graduated in Art History from the Facultad de Artes y Letras of the University of Havana (2000). Master in History of Contemporary Art and Visual Culture at the Autonomous University of Madrid, Complutense University of Madrid and Museo Nacional Centro de Arte Reina Sofía (2013). She has been a collaborator in the studios of the artists Carlos Garaicoa (2014-2016) and Tania Bruguera, and coordinated the Art of Conduct Chair founded by the artist at the Instituto Superior de Arte of Cuba (2003-2004). Since 2012 she has been part of the research group Peninsula: colonial processes and artistic and curatorial practices promoted by the Autonomous University of Madrid and the MNCARS. In 2016 she was the winner of the TEOR / éTica y Lado V Critical Text Research and Production Grant, Costa Rica; She obtained a Scholarship from the Royal Academy of Spain in Rome (2016-2017) and she has a Research Scholarship at the MNCARS Exhibitions Department (2017-2021).
Tamara Díaz Bringas
She is a Cuban independent researcher and curator. She was general curator of the X Central American Biennial, San José y Limón, Costa Rica, 2016. Between 1999 and 2009 she served as adjunct curator and editorial coordinator at TEOR / éTica, San José. She has collaborated with publications such as the Art Journal, Artefacto, Tercer Texto, ArteContexto, Atlántica, Art Nexus, and Bomb Magazine. TEOR / éTica recently published a selection of her essays in the book titled Crítica Nearby, the first volume of the series Local Writings: Critical Positions from Central America, the Caribbean and their Diasporas.
Yishai Jusidman’s (b. Mexico City, 1963) work deploys traditional painterly concerns in contemporary frameworks. Solo exhibitions include Prussian Blue (The Americas Society, New York 2013; MUAC, Mexico City 2016-17; YBCA, San Francisco 2017-18; MARCO, Monterrey 2018; TANK, Shanghai 2018;, Mishkan Museum of Art, Israel 2021), Paintworks (Museo Amparo, Puebla 2009; MAM, Mexico City 2010), The Economist Shuffle (Yvon Lambert Gallery, New York 2007), mutatis mutandis/Working Painters (SMAK, Belgium; MEIAC, Badajoz; MARCO, Monterrey, 2002-03). His paintings have been featured in important international exhibitions, such as the 2018 Shanghai Biennial, 2014 SITE Santa Fe Biennial, the 2001 Venice Biennale, Ultrabaroque—Aspects of Post-Latin American Art (MOCA San Diego, SF MOMA; Walker Art Center, Mineapolis; MAM Miami 2000-03) and ARS 01(KIASMA, Helsinki, 2001). His work is published in Landscape Painting Now (DAP, 2019), Vitamin P, New Perspectives in Painting (Phaidon Press, 2003) and 100 Latin American Artists (Exit Press, 2007). He lives and works in Los Angeles.
Co-founder and editorial adviser
He has worked as a gallerist, art fair director, art critic and curator since 1994. He co-founded The Brooklyn Rail in 1999; between 2008 and 2016 he wrote art criticism for the Village Voice. Presently, serves as the Chief Critic for Artland and writes regularly for The Art Newspaper. Is the author of several books; his most recent, “Social Forms: A Short History of Political Art”, was published by David Zwirner Books in 2018.
Juan José Santos Mateo
Founder and chief editor
Art critic, researcher and independent curator. He is a contributor of Momus, Berlin Art Link, or ArtNexus, and on the Spanish newspaper El País. He has been contributing-editor of Momus and editor-in-chief of "Arte al Límite". He's the author of “Juicio al postjuicio. ¿Para qué sirve la crítica de arte hoy?” (2018), and “Curaduría de Latinoamérica”, vol. I and II (2018, 2020).