Cecilia Fajardo-Hill is a British/Venezuelan art historian and curator in modern and contemporary art, specialising on Latin American art, currently based between Southern California and New York.  Fajardo-Hill holds a PhD in Art History from the University of Essex, England, and an MA in 20th Century Art History from the Courtauld Institute of Art, London, England. Fajardo-Hill was co-curator of ‘Radical Women: Latin American Art, 1960-1985’ (2017-18), Hammer Museum: Los Angeles, Brooklyn Museum,: NY, Pinacoteca: Saõ Paulo. She is editor of the upcoming book Remains Tomorrow: Themes in Contemporary Latin American Abstraction, on post 90s abstraction in Latin America, and co-editor of a book on 20th and 21st century Guatemalan art, an initiative of Arte GT, Guatemala. She is a visiting scholar at the Chicano Studies Research Centre de UCLA, Los Angeles and the co-curator of ‘Xican-a.o.x.Body’(2023), a touring exhibition organised by the American Federation of Arts.  For the first term of this academic year, she is a Clark Fellow in residence at the Clark Art Institute, Williamstown. She is also a Central American Visiting Scholar of the David Rockefeller Centre for Latin American Studies (DRCLAS) at Harvard University where she will work on a book on Decolonial Latin American and Latinx art history in the 20th and 21st centuries.

Lilia Moritz Schwarcz is a Professor in Anthropology at the University of São Paulo and a Global Scholar and Visiting Professor at Princeton. She won grants and fellowships from the Guggenheim Foundation (2006/2007), the John Carter Brown Library (2007), and the Alexander von Humboldt Foundation (2021-2022), and was a Visiting Professor at the universities of Oxford, Leiden, École des Hautes Études Paris, and Brown. She was the Tinker Professor at Columbia University (2008) and is a member of the Harvard Brazilian Office (until 2021). She was commended for the Brazilian Order of Scientific Merit by the president of the republic and takes part on the American Board of Human Rights Watch. She regularly writes for Brazilian newspapers such as Folha de S Paulo, Estado de S. Paulo and Nexo. Amongst her many books in Portuguese and English are: Retrato em branco e negro (1987) , A longa viagem da biblioteca dos reis (2002), O sol do Brasil (2008); Dicionário da escravidão e da Liberdade (with Flavio Gomes, 2018), Spectacle of Races: Scientists, Institutions and Racial Theories in Brazil at the End of the XIXth Century (Farrar Strauss and Giroux, 1999), The Brazil Reader (with James Green and Victoria Langland, Duke University Press, 2018), About authoritarianism (Princeton University Press, 2021), and Black Encyclopaedia (2021). 

Amongst her multiple curated exhibitions are: ‘The Great Travel of the King’s Library’ (Rio de Janeiro, 2006), ‘Nicolas-Antoine Taunay: a French translation of the tropics’ (São Paulo and Rio de Janeiro, 2008), ‘A history of Brazil an interpretation by photographs’, (with Boris Kossoy, São Paulo, Rio de Janeiro, Brasília, Curitiba, Belo Horizonte, 2013), ‘Black Encyclopaedia’ (Pinacoteca de São Paulo, 2021). As of 2015, she works as a co-curator at MASP (the Museum of Modern Art of São Paulo).

‘Inanimate’ bodies and the soil in the art of Isabel Ruiz and Edgar Calel

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Sebastián Eduardo Dávila studied art history and film studies in Jena, Berlin, and Ciudad de México. The working title of his PhD-project is ‘The Decolonial Turn in Contemporary Art Practices and Terminology in Postwar Guatemala. An Art History of Delinking’ (Lüneburg). He has published articles, reviews, and interviews for Miradas (forthcoming), Re:Visions, Academia XXII, Revista Poiésis, insurgencias.net, Lateinamerika Nachrichten; the readerMuseums, Transculturality and the Nation State; and for the exhibitions ‘UP IN ARMS’ and ‘This might be a place for humming birds’. He was a speaker at the ‘Interdisziplinärer Niedersächsischer Doktorand_innentag Gender Studies’ (Lüneburg, 2020), the conference ‘Seeing more Queerly in 21st Century’ (Miami, 2020), and the ‘Kunsthistorischer Studienkongress’ (Leipzig, 2016). He is part of the collective ‘VOCES de Guatemala en Berlín’.

Warmi Quejakui: The Body, Female Sexuality, and Feminism from the Perspective of Two Sarhuino Women Artists

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Gabriela Germana is a visiting lecturer in Contemporary Art History at the University of South Florida. She specialises in contemporary Andean art with an emphasis on the relationship between Indigenous aesthetics and the context of global contemporary art. Her research addresses issues such as Indigenous agency, decoloniality, identity politics, and theories of circulation and regimes of value. She received her PhD in Art History from the Florida State University. She has also held positions at museums in Lima. Recent curatorial projects of hers include ‘Resistance and Change: Tablas de Sarhua, Contemporary Paintings of the Peruvian Andes’ (Pensacola Museum of Art, 2019), and ‘Metal Bodies: Contemporary Peruvian Women Artists’ (Embassy of Perú in the USA, 2018). Gabriela has published in academic journals, and edited volumes and exhibition catalogues.

Corpus Politicum, 2021

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Dora Longo Bahia is a multimedia artist, born in São Paulo, Brazil, in 1961. Since 1984, she has been working with painting, photography, video, sound, set design, installation, and performance art. She has also played the bass guitar in several experimental music bands. In 2010, she completed her PhD in Visual Arts at the Escola de Comunicação e Artes of the University of São Paulo, where she currently teaches. In 2016, she completed her Postdoctoral studies at the Faculdade de Filosofia Letras e Ciências Humanas at the University of São Paulo, that led to the creation of her first feature film, The Dora Case. Since the 1980’s, she has taken part in several exhibitions: ‘We Never Sleep’, Schirn Kunsthalle, (Frankfurt, 2020); ‘Bienal Sur’ (Argentina, 2019); ‘9th Busan Biennale: Divided We Stand’ (South Korea, 2018); ‘35o Panorama da Arte Brasileira – Brasil por multiplicidade’ (Brazil, 2017). 

Giuseppe Campuzano: El Museo Travesti de Perú

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Miguel A. López (Lima, 1983) is a writer, researcher, and curator. His work investigates collaborative dynamics and feminist re-articulations of art and culture in recent decades. Between 2015-2020 he worked at TEOR/éTica, Costa Rica, first as Chief Curator, and since 2018 as Co-director. He has published in periodicals such as Artforum, Afterall, ramona, E-flux journal, Art in America, Art Journal, Manifesta Journal, among others. He is the author of Ficciones disidentes en la tierra de la misoginia (Pesopluma, 2019) and Robar la historia. Contrarrelatos y prácticas artísticas de oposición (Metales Pesados, 2017). He has recently curated ‘and if I devoted my life to one of its feathers?’ at the Kunsthalle Wien, Vienna, 2021; ‘Hard to Swallow. Anti-Patriarchal Poetics and the New Scene in the Nineties’ at the ICPNA, Lima, 2021; ‘Cecilia Vicuña, a retrospective exhibition’ at Witte de With, Rotterdam, 2019, and MUAC-UNAM, Mexico City, 2020; and ‘Victoria Cabezas and Priscilla Monge: Give Me What You Ask For’ at Americas Society, New York, 2019. In 2016, he was the recipient of the Independent Vision Curatorial Award from ICI (Independent Curators International), New York.

The black body in Brazilian art: from portrayed landscape to retracting resistance

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Guilherme Marcondes is a Postdoctoral Fellow in Sociology at the State University of Ceará, following his MA and PhD in Sociology and Anthropology at the Federal University of Rio de Janeiro. His research interests bring into dialogue the sociology of art, the sociology of culture and the theories of ethnic-racial relations. He has been researching the processes of legitimation in the field of Brazilian contemporary art in relation to gender and race. 

Detention Centre: Teens

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Guadalupe Maravilla is a transdisciplinary visual artist, choreographer, and healer. At the age of eight, Maravilla was part of the first wave of unaccompanied, undocumented children to arrive at the United States border in the 1980s, as a result of the Salvadoran Civil War. In 2016, Maravilla became a U.S. citizen and adopted the name Guadalupe Maravilla in solidarity with his undocumented father, who uses Maravilla as his last name. As an acknowledgement of his own migratory past, Maravilla grounds his practice in the historical and contemporary contexts of immigrant culture, particularly those belonging to Latinx communities. Maravilla currently lives in Brooklyn, New York. His work is in the permanent collections of the Museum of Modern Art, the Whitney Museum of American Art, Museo Nacional Centro de Arte Reina Sofía, (Madrid), and the Institute of Contemporary Art in Miami. Additionally, Maravilla has performed and presented his work at the Whitney Museum of American Art, MoMA, Metropolitan Museum of Art, Institute of Contemporary Art Miami, Queens Museum, Bronx Museum of the Arts and many more places.

Poems

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Artist-poet Cecilia Vicuña created the concept of ‘Precarious Art’ in Chile in 1966, an early response to the ecological crisis. Her improvisatory, participatory performances emphasise indigenous cultural memory and the collective nature of action and creativity to bring forth justice, balance and world transformation. In 2017, Vicuña’s exhibited atDocumenta 14 in Athens and Kassel. Cecilia Vicuña’s ‘About to Happen’ was presented at five museums in the U.S., 2017–20. Her retrospective ‘Seehearing the Enlightened Failure’ opened at the Centro de Artes Dos de Mayo in Madrid, Spain in February, 2021. It subsequently travelled to Colección de Arte del Banco de la República in Bogota, Colombia, where it is scheduled to open in February, 2022. Vicuña is the author of 27 books.