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Contributors The Constituent Museum Contributors CONTRIBUTORS and Programs at SALT, Istanbul and Ankara, from founding until December 2016. She has held the positions of Curator, Platform Garanti, Istanbul; EDITORS AND AUTHORS Assistant Curator, 9th International Istanbul Biennial; with freelance curatorial work including projects for Grazer Kunstverein, Graz; JOHN BYRNE (born 1964) is a reader Tate Modern, London; Philadelphia in ‘The Uses of Art’ and director Museum, Philadelphia; Artists of ‘The Uses of Art Lab’ at Liverpool Space, New York and the Asia School of Art and Design (Liverpool Pacific Triennial, Brisbane. John Moores University). Byrne is also currently manager and AIDA SÁNCHEZ DE SERDIO is an educa- coordinator of ‘The Uses of Art: tor, researcher and cultural worker The Legacy of 1848 and 1984’ for in the fields of visual culture, Liverpool John Moores University pedagogy and collaborative arts and project manager/lead editor practices. She is assistant professor of ‘The Constituencies’ strand of of the BA in Arts of the Universitat L’Internationale Research. Byrne also Oberta de Catalunya, and previously collaborates with The Association she was advisor for the departments of Arte Útil and is a member of The of Education and Publics at the Museo Autonomy Project editorial board, Nacional Centro de Arte Reina Sofía a long-term research project initi- in Spain, and lecturer at the Faculty ated in 2010. He writes regularly for of Fine Arts of the University of various magazines and journals such Barcelona. She also has collaborated as Third Text, Afterall, and Open! with or been a member of a number of Byrne lives and works in Liverpool. educational and cultural projects such as Friction Pedagogies at the ELINOR MORGAN (born 1987) is a cura- Fundació Joan Miró and Contact Zones tor and writer. She is currently at La Virreina Centre de la Imatge. Senior Curator at Middlesbrough Institute of Modern Art/MIMA, ADELA ŽELEZNIK (born 1962) holds an Middlesbrough (UK), where she has MA in Art History from the University developed a programme and institu- of Ljubljana and was a visiting stu- tion that is led by its context and dent at the University of London, publics. She has previously worked at Goldsmiths College, London. She Eastside Projects, Birmingham; Wysing curated two exhibitions of Tacita Art Centre, Cambridgeshire, and Dean (Mala galerija, Ljubljana, OUTPOST, Norwich, and on public art 2004; ŠKUC Gallery, 1994) and took commissions and freelance projects. part at the Private View exhibi- Recent exhibitions include: ‘Idea tion, curated by Paul O’Neil at the Home Show’, 2017; ‘Wilderness Way’, London Print Studio Gallery and Kent 2017; ‘Middlesbrough Collection’, Institute of Art and Design, 2002. 2017; ‘Teesside World Exposition of Since 1993 she has been working at Art and Technology’, 2016; ‘Localism’, the Moderna galerija, Ljubljana, from 2015. All at Middlesbrough Institute 2011 as a senior curator for edu- of Modern Art. All co-curated cation and public programmes. She with colleagues at Middlesbrough writes about art education and par- Institute of Modern Art. ticipation within the museum context. Participative projects in col- NOVEMBER PAYNTER is director laboration with artists include of programmes at the Museum of ‘Dreamers’, 2016 (Maja Hodošček); Contemporary Art Toronto Canada. Reading seminar with Jože Barši, She joined the museum in early 2012–2013; ‘Showroom/Meeting Room, 2017 to work on the programme and Backroom: Ultimate Audience’, vision as MOCA commenced a distinct Mestna galerija/City Gallery, phase in its evolution, readying Ljubljana, 2010 (Apolonija itself for relaunch in a new venue Šušteršič); ‘You and the City. in spring 2018. Prior to this she Diaries of a Future Avant-garde’, 362 was associate director of Research 2008–2009 (Jeanne van Heeswijk). AUTHORS dance and love, to inform a sen- sitive and responsible approach to ‘worlding’ practices and peda- gogy. He has been a guest lecturer AZRA AKŠAMIJA (born 1976) is an art- at Konstfack, University College of ist and architectural historian, Arts, Crafts and Design in Stockholm director of the MIT Future Heritage and at the Academy of Landscape and Lab and an Associate Professor at Territorial Studies in Tromsø (NO). the MIT Program in Art, Culture and From 2011 to 2017 he was assist- Technology. In her multidisciplinary ant professor at the Umeå School of work, Akšamija investigates transcul- Architecture, where he co-founded tural aesthetics, cultural mobility, and co-directed the Laboratory of and ways in which art and archi- Immediate Architectural Intervention; tecture can form a bridge between and from 2006 to 2011 he taught at cultures. Her recent academic the ETSAV School of Architecture research investigates the relation- in Sant Cugat (Barcelona). In his ship between culture and conflict, PhD dissertation ‘Delaying the with the focus on cultural memory Image: Towards an Aesthetics of and war in the Balkans since the Encounter’, he approaches film as a nineties. Her book Mosque Manifesto form that thinks and as an appara- (2015) offers a repertoire of tus of spatial critique, exploring ways in which Islamic religious ‘the encounter’ as a slow, caring art and architecture may foster and open form of practice. He has a better understanding between coedited Intravention, Durations, cultures, and provide a critical Effects: Notes of Expansive Sites response to stereo types about and Relational Architectures (2013) Islam in the non-Islamic socie- and The Power of Experiment (2016, ties. Akšamija holds master degrees Artéria and the Lisbon Architecture from the Technical University Graz Triennale), and he is co-founder and and Princeton University, and a PhD partner of LandLab Arkitektur AB. from MIT (History Theory Criticism of Art and Architecture/Aga Khan BURAK ARIKAN (born 1976) is an art- Program for Islamic Architecture). ist and founder of the Graph Commons Her work has been shown in lead- platform for mapping, analyzing, ing international venues including and publishing data-networks. the Generali Foundation Vienna, Arıkan’s work deals with complex Valencia Biennial, Liverpool networks through software, prints, Biennial, Museum of Contemporary Art installations, and performances. Zagreb, Sculpture Center New York, Recent exhibitions include: ‘Data Secession Vienna, Manifesta 7, the Asymmetry’, Winchester Gallery, Royal Academy of Arts London, Queens Southampton, 2016; 31st São Paulo Museum New York, and the Fondazione Biennial, 2014; 11th Sharjah Giorgio Cini as a part of the 54th Biennial, 2013; 7th Berlin Biennale, Art Biennale in Venice. She received 2012; and the exhibition for the the prestigious Aga Khan Award for Nam June Paik Award, Kunstmuseum Architecture in 2013 for her design Bochum, 2012. Arıkan lives and of the prayer space interior in the works in New York and Istanbul. Islamic Cemetery Altach, Austria. JAMES BEIGHTON (born 1975) is a ALBERTO ALTÉS ARLANDIS is an archi- curator, writer and researcher. tect and researcher. He studied He studied English Literature architecture and urban planning in and Critical Theory at Leicester Valladolid, Barcelona and Delft, and University and is currently com- critical theory at the Independent pleting a Cultural History PhD Studies Program in Barcelona at Teesside University as part (MACBA). He now holds a Post-Doctoral of the AHRC Heritage Consortium. Research Fellowship at the Faculty He is Executive Director of the of Architecture, Technical University North East based arts develop- Delft, where he is exploring the ment charity Tees Valley Arts and notions of fragility, affinity and was previously Senior Curator at care, and the power of choreo graphy, the Middlesbrough Institute of 363 The Constituent Museum Contributors Modern Art. He has a long-stand- curatorship and education in con- ing interest in the social and temporary art, in collaboration with artistic history of clay. Beighton different institutions. In 2014 and lives and works in Teesside (UK). 2015, they were part of the Museo Recent exhibition include: ‘William Reina Sofía’s Public Activities Tillyer: Against the Grain’, MIMA, Department, jointly coordinat- Middlesbrough, 2013–2014; ‘Jannis ing the programme of public actions Kounellis’, MIMA, Middlesbrough. for ‘Really Useful Knowledge’. 2012–2013; ‘Julian Stair: Quietus’, MIMA, Middlesbrough 2012; ‘A cer- JESÚS CARRILLO (born 1966) is a pro- tain distance, endless light: Felix fessor of Art History and Theory at Gonzalez-Torres & William McKeown’ the Autonomous University of Madrid. (co-curated with Gavin Delahunty), He was previously general director MIMA/AV Festival, Middlesbrough, of Cultural Programmes and Activities 2010; Recent publications include: at Madrid City Council (2015–2016) ‘Twenty Years of the Old Becoming and head of Cultural Programmes at New: British Craft 1997–2017’, Korean the Museo Reina Sofía (2008–2015). Craft & Design Magazine (2 0 17); Two Between 2013 and 2015 he was a Tales of a City (co-authored with member of L’Internationale online’s Emily Hesse), Verge Galley, Sydney editorial board, and co-curated (2017); ‘Why Clay’ (co-authored with the Glossary of Common Knowledge Emily Hesse), The Ceramics Reader project. Furthermore, he has con- (2017); ‘The Cultural Turn in History: ducted a historical and critical The Historical Turn in Ceramics’, analysis of contemporary cultural Korean International Ceramics institutions and has worked as the Biennale (2015). editor of publications for the project Desacuerdos: Sobre arte, MANUEL
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  • 1 Katja Praznik Associate Professor 241A Center for the Arts University
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