Visitors 2016

Magnus Kaslov holds a BA in Comparative Literature and an interdisciplinary MA in Modern Culture fra Copenhagen University. Kaslov is Developer of Public Programme at SMK National Gallery of Denmark, and curates the series of late night museum events SMK Fridays, that fuses performance programme, artist talks, film screenings, drinks, food and music to a social museum experience. Under the headline SMK² Kaslov also curates an ongoing series of collaborations with artist and other professions to make temporary intervention into the SMK’s permanent collections. Kaslov has previously written and reviewed art for a Danish newspaper and continues to write freelance.

Adam Szymczyk is Artistic Director of Documenta 14. He was a co-founder of the Foksal Gallery Foundation in Warsaw, at which he worked as a Curator from 1997 till 2003, when he assumed his new post as Director at Kunsthalle Basel, Switzerland. In Basel, he organised exhibitions including 'Piotr Uklanski: Earth, Wind and Fire' (2004); 'Tomma Abts' (2005); 'Gustav Metzger: In Memoriam' and 'Lee Lozano: Win First Don't Last Win Last Don't Care' (both 2006); 'Micol Assaël: Chizhevsky Lessons' (2007); 'Danh Vo: Where the Lions Are' (2009); 'Moyra Davey: Speaker Receiver' (2010); 'Sung Hwan Kim: Line Wall' (2011); 'Paul Sietsema and Adriana Lara: S.S.O.R.' (both 2012), as well as group shows including 'Strange Comfort (Afforded by the Profession)' (with Salvatore Lacagnina, 2010), 'How to Work/How to Work (More for) Less' (both in 2011); 'Michel Auder: Stories, Myths, Ironies, and Other Songs: Conceived, Directed, Edited, and Produced by M. Auder' (2013) and 'Naeem Mohaiemen: Prisoners of Shothik Itihash' (2014).

In 2008 he co-curated with Elena Filipovic the 5th Berlin Biennial for Contemporary Art under the title 'When Things Cast No Shadow' and in 2012 he curated 'Olinka, or Where Movement Is Created' at Museo Tamayo in Mexico City. He is a Member of the Board of the Museum of Modern Art in Warsaw. In 2011, he was a recipient of the Walter Hopps Award for Curatorial Achievement at the Menil Foundation in Houston.

Szymczyk's visit in August 2016 coincides with the presentation of Documenta 14's journal South in Kárášjohka, Sápmi (Karasjok, Norway), allowing the Documenta 14 team to encounter current artistic practices and conduct research regarding recent history and developments within communities in Sápmi and northern Norway.

Quinn Latimer is a poet, critic, and an editor. She is the author of Rumored Animals (2012); Sarah Lucas: Describe This Distance (2013); and Film as a Form of Writing: Quinn Latimer Talks to Akram Zaatari (2014). A regular contributor to Artforum and a contributing editor to Frieze, her essays and poems appear in many artist monographs and critical anthologies. Her lectures and readings have also been held widely, including at Chisenhale Gallery, London; Whitechapel Gallery, London; Kunsthalle Zurich; and Astrup Fearnley Museet, Oslo; and her work has been featured at the Serpentine Gallery, London; CRAC Alsace, France; the German Pavilion, Venice Architecture Biennale, Italy; and Qalandia International, Ramallah/Jerusalem. She is the co-editor, with Adam Szymczyk, of Stories, Myths, Ironies, and Other Songs: Conceived, Directed, Edited, and Produced by M. Auder (2014); Paul Sietsema: Interviews on Films and Works (2012); and Olinka, or Where Movement Is Created (2013); and the co-editor of No Core: Pamela Rosenkranz (2012). In 2012, she was a Pushcart Prize finalist and an Arts Writers Grant recipient through the Creative Capital | Warhol Foundation programme. Latimer studied at Sarah Lawrence College and Columbia University in New York, and teaches at Haute école d’art et de design (HEAD), Geneva.

Latimer's visit in August 2016 coincides with the presentation of documenta 14's journal South in Kárášjohka, Sápmi (Karasjok, Norway), allowing the documenta 14 team to encounter current artistic practices and conduct research regarding recent history and developments within communities in Sápmi and northern Norway.

Candice Hopkins is a curator, writer, and curato­rial advisor for documenta 14. She has held curatorial positions at the IAIA Museum of Contemporary Native Arts, National Gallery of Canada, the Western Front and the Walter Phillips Gallery at the Banff Centre. Her writings on history, art, and vernacular architecture have been published by MIT Press, BlackDog Publishing, Revolver Press, New York University, the Fillip Review and the National Museum of the American Indian, among others. Hopkins has lectured widely including at the Witte de With, Tate Modern, Dakar Biennale, Tate Britain and the University of British Columbia. In 2012 Hopkins was invited to present a keynote lecture on the topic of the 'sovereign imagination' for Documenta 13. 'Sakahàn: International Indigenous Art', co-curated with Greg Hill and Christine Lalonde, was the National Gallery of Canada’s largest survey of recent Indigenous art. Hopkins was co-curator of the 2014 SITE Santa Fe biennial exhibition, 'Unsettled Landscapes'. In 2014 she received the Joan Lowndes award from the Canada Council for the Arts for excellence in critical and curatorial writing.

Hopkins' visit in August 2016 coincides with the presentation of documenta 14's journal South in Kárášjohka, Sápmi (Karasjok, Norway), allowing the documenta 14 team to encounter current artistic practices and conduct research regarding recent history and developments within communities in Sápmi and northern Norway.

Julia Draganović is a curator for contemporary art whose interest lies in time based arts, collaborative practices and new artistic strategies, as much as she conceives and works with more classically installed exhibitions. Since November 2013 Draganović is Director of Kunsthalle Osnabrück, Germany. Draganović is the President of IKT – International Association of Curators of Contemporary Art since 2014, member of the committee of the Outdoor Gallery in Gdansk, Poland, since 2008 and board member of No Longer Empty, New York since 2009. From 2009 to 2015 she served as member of the Scientific Committee of MUDAM - Musée d’Art Moderne du Grand Duc Jean, Luxembourg.

Draganović has curated exhibitions in Germany, Italy, Poland, Spain, the USA and Taiwan. Her thematic exhibitions include 'The Enterprise of Art' at PAN Palazzo delle Arti Napoli, Italy, 2008; 'Footsteps into the Future' at Kaohsiung Museum of Fine Art, Taiwan, 2008, and 'In What We Trust?' at Art Miami, FL, USA, in 2010.

She has held various institutional positions, including Curator of the European Studio Programme of the ACC Galerie and the City of Weimar, Germany (1999 -2003), Artistic Director of the Chelsea Art Museum New York (2005-2006) and of PAN – Palazzo delle Arti Napoli (2007-2009), Curator of the International Award of Participatory Art for the Region Emilia-Romagna, Italy (2009 -2013), Curator for curatorial projects at Arte Fiera / Art First Bologna (2010 -2012), Curator for the curatorial projects of Art Miami (2009 -2014) and of Context Art Miami (2013 to 2014).

Together with Claudia Löffelholz Draganović is founding member of the collective LaRete Art Projects.

Draganović has lectured widely in Europe, Latin America and the USA.

Amanda Hunt is an Assistant Curator at The Studio Museum in Harlem where she manages the Artist-in-Residence programme. Her exhibitions at the Museum include 'Tenses: Artists in Residence 2015-16', 'Rashaad Newsome: THIS IS WHAT I WANT TO SEE', 'Lorraine O’Grady: Art Is…', 'In Profile: Portraits from the Permanent Collection' and the group exhibition 'A Constellation'. Hunt is the curator of 'inHarlem: Kevin Beasley, Simone Leigh, Kori Newkirk, Rudy Shepherd', a multi-site public art initiative to be in four Historic Harlem Parks. Hunt curated 'Portland2014: A Biennial of Contemporary Art', presented by Disjecta Contemporary Art Center in Oregon, and was a curator at the non-profit art space LA ART from 2011–2014. Hunt helped to produce two major initiatives in Los Angeles, including the Pacific Standard Time Performance and Public Art Festival, co-produced by LA ART and the Getty Research Institute, and Made in LA 2012, the first Los Angeles biennial organised by the Hammer Museum in collaboration with LA ART. Hunt also served as Curatorial Assistant for the Los Angeles City Pavilion for the 9th Shanghai Biennale in 2012. She has worked at various galleries and institutions including Whitechapel Gallery, London, UK; Friedrich Petzel Gallery, New York, NY, USA; the Wattis Institute for Contemporary Arts, San Francisco, CA, USA and the Philadelphia Museum of Art, PA, USA. Hunt holds her MA in Curatorial Practice from California College of the Arts in San Francisco.

Britt Gallpen is a writer, curator and arts administrator. She is co-curator of 'iNuit Blanche', an all-night, city-wide circumpolar art project (St. John's, NL, October 2016) as well as the project coordinator on 'Sakkijâjuk', the first major nationally touring exhibition of fine art from Nunatsiavut. Recent curatorial projects include: 'Titigi' (Toronto) and 'ARCTICNOISE' (Vancouver, Toronto, Saskatoon). Her writing has appeared in Canadian Art, Prefix Photo, esse art + opinions and KAPSULA among others. She is the editor of the Inuit Art Quarterly.

Candice Hopkins is a curator, writer, and curato­rial advisor for documenta 14. She has held curatorial positions at the IAIA Museum of Contemporary Native Arts, National Gallery of Canada, the Western Front and the Walter Phillips Gallery at the Banff Centre. Her writings on history, art, and vernacular architecture have been published by MIT Press, BlackDog Publishing, Revolver Press, New York University, the Fillip Review and the National Museum of the American Indian, among others. Hopkins has lectured widely including at the Witte de With, Tate Modern, Dakar Biennale, Tate Britain and the University of British Columbia. In 2012 Hopkins was invited to present a keynote lecture on the topic of the 'sovereign imagination' for Documenta 13. 'Sakahàn: International Indigenous Art', co-curated with Greg Hill and Christine Lalonde, was the National Gallery of Canada’s largest survey of recent Indigenous art. Hopkins was co-curator of the 2014 SITE Santa Fe biennial exhibition, 'Unsettled Landscapes'. In 2014 she received the Joan Lowndes award from the Canada Council for the Arts for excellence in critical and curatorial writing.

Hopkins' visit in August 2016 coincides with the presentation of documenta 14's journal South in Kárášjohka, Sápmi (Karasjok, Norway), allowing the documenta 14 team to encounter current artistic practices and conduct research regarding recent history and developments within communities in Sápmi and northern Norway.

Fanni Fetzer holds an MA in Political Sciences, History and Ethnology from the University of Zurich, and an MA in Management of Culture from the University of Basel. Fetzer has been the director of Kunstmuseum Luzern since 2011. Prior to that she held positions at the cultural journal Du, Kunstmuseum Thun and Kunsthaus Langenthal. Her publications and exhibitions have focused on the work of Dias & Riedweg, Candida Hoefer, Sharon Lockhart, Jorge Macchi, Thomas Schuette, Katerina Seda, and Rosemarie Trockel, among others. She has received four Swiss Art Awards for her curatorial activities.

Katharine Stout has been Head of Programme at the Institute of Contemporary Arts since 2013. Previously she was Curator of Contemporary Art at Tate Britain from 1999 to 2013, where she curated numerous commissions, exhibitions and collections displays. In 2001, she co-founded the Drawing Room with Mary Doyle and Kate MacFarlane, now internationally recognised as the major European non-profit organisation for contemporary drawing. Prior to Tate she was the contemporary art consultant at the National Maritime Museum, Greenwich, where she inaugurated the contemporary art programme, she was also the Director of The Tannery, London in the late 1990s. She studied at the Courtauld Institute, University of London, and the Royal College of Art, London. She has written numerous texts on contemporary British and international art. Her book, Contemporary Drawing: 1960s to now was published by Tate in Autumn 2014.

Catherine Morris is the Sackler Family Curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum where, since 2009, she has curated numerous exhibitions including 'Materializing Six Years: Lucy R. Lippard and the Emergence of Conceptual Art' (co-curated with Vincent Bonin); and 'Judith Scott-Bound and Unbound' (co-curated with Matthew Higgs). She has worked on curatorial projects with Judy Chicago, Zanele Muholi, Suzanne Lacy, Matthew Buckingham, Lorna Simpson, Kiki Smith and Rachel Kneebone. Previously an independent curator, Morris organised, among other projects, 'Decoys, Complexes and Triggers: Women and Land Art in the 1970s' at SculptureCenter, Long Island City, New York; '9 Evenings Reconsidered: Art, Theatre and Engineering, 1966' for the List Visual Arts Center, MIT, Cambridge, Massachusetts; and two exhibitions, 'Gloria: Another Look at Feminist Art of the 1970s' and 'Food' at White Columns, New York.