Ana Gonçalves Magalhães is associate professor of History, Theory and Criticism of Art at the Museum of Contemporary Art of the University of São Paulo (MAC USP), in Brazil. Today, she is MAC USP director. She graduated in History at the University of Campinas (UNICAMP) and earned her PhD from the University of São Paulo (USP). She was the editorial coordinator and a curatorial assistant at the São Paulo Biennial Foundation (2001-2008), and since her tenure at MAC USP, has been invited back as guest scholar and visiting professor for universities and research institutes in the United States and in Europe. In 2019, she was a curatorial fellow at the Bibliotheca Hertziana – Max Planck Institute for Art History in Rome. Her research at MAC USP focuses on international collections of modern art such as Italian modern artworks and their influence and meaning for the Brazilian artistic milieu in the 1930s, 1940s and 1950s. 

Rafael Cardoso is an art historian and writer, with a PhD from the Courtauld Institute of Art. He is a member of the Postgraduate Faculty in Art History at the Universidade do Estado do Rio de Janeiro (Brazil) and a research associate at the Lateinamerika-Institut, Freie Universität Berlin (Germany). He has engaged in teaching or research at the Getty Research Institute (Los Angeles), Hamburg Universität (Germany), Institut National d’Histoire de l’Art (Paris), Pontifícia Universidade Católica (Rio de Janeiro) and Yale University (New Haven). He is the author of many books on the history of art and design in Brazil during the 19th and 20th centuries, the most recent of which is Modernity in Black and White: Art and Image, Race and Identity in Brazil, 1890-1945 (Cambridge University Press, 2021), forthcoming in Brazil in 2022. He has published numerous articles and essays in books, journals and periodicals, internationally, and worked as co-writer and supervisor on the television series ‘Arte Brasileira Quadro a Quadro’ (Arte1, 2018). He has also authored four works of fiction. As a curator, he staged the exhibitions: ‘Eliseu Visconti – a modernidade antecipada’(Pinacoteca do Estado de São Paulo, 2011/2012); ‘From the Margin to the Edge: Brazilian Art and Design in the 21st Century’(Somerset House, 2012); ‘Rio de imagens: Uma paisagem em construção’ (Museu de Arte do Rio, 2013/2014); ‘Do Valongo à Favela: Imaginário e periferia’(Museu de Arte do Rio, 2014/2015); and is currently preparing ‘O olhar germânico na gênese do Brasil’(Museu Imperial, 2022).

Global art – global canon – global genocide

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Jens Baumgarten studied Art History and History in Hamburg and Florence. After his postdoctoral fellowships in Dresden, Germany, Mexico City, and Campinas, Brazil, he established one of the first autonomous departments of Art History in Brazil. In 2010, he was a Visiting Scholar at the Getty Research Institute and the Kunsthistorisches Institut in Florence in 2016/2017. He is a member of the Brazilian Committee of Art History (CBHA). He specialises in early modern art history of Latin America and Europe and historiography of art, visual culture, and its theoretical and methodological contexts. Baumgarten has authored the book Image, Confession, and Power (in German, 2004), and is preparing a book on visual systems in Colonial Brazil, and another about comparisons between Brazilian and Filipino art history.

Methodological entanglements and the role of mediation in the process of aestheticization of the indigenous (in Venezuela)

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Alessandra Caputo Jaffé is a professor and researcher at the Universidad Adolfo Ibáñez, Chile. She obtained her doctorate in Humanities with a specialisation in aesthetics and anthropology, from the Pompeu Fabra University of Barcelona, Spain (2014) and did a post-doctorate on the survival of Amerindian myths in Venezuela since the Colony, at the University of Chile. Currently, her research focus is on the aesthetic practices of indigenous societies in Venezuela and the methodological problems facing these cultures from a postcolonial perspective, from an interdisciplinary approach that weaves the field of art history and aesthetics with anthropology and archaeology. She currently leads a research project subsidised by the Chilean State entitled: ‘Confluences between indigenous cosmogony and aesthetic practices in Latin America: the case study of the Venezuelan Amazon’.

The Modern Paradigm, the Exhibitionary Form and Our Epistemological Crisis

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Catalina Imizcoz is a researcher and editor. An exhibition studies specialist, she is a visiting lecturer in the Exhibition Studies Research Masters at Central Saint Martins, London. Her work has been published by Third Text, OnCurating, Kunstlicht, Caiana, Revista de História da Arte, Journal de la Bibliothèque Kandinsky and PARSE. The title of her current research, supervised by Dr Isobel Whitelegg, is ‘The Modern Paradigm and the Exhibitionary Form’ (PhD, University of Leicester, M4C/AHRC). Her latest editorial work includes a monograph on the work of Adrián Villar Rojas and a survey of contemporary Korean art.

The Brief History of Art: paradoxes of Indigenous art as the canonical origins of Latin American Art.

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Fernanda Pitta (Ph.D. University of São Paulo, Brazil) is a Senior Curator at Pinacoteca de São Paulo. She has carried out fellowships at FAPESP, the AAMC and AAMC Foundation, the Clark Art Institute, and was a Visiting Scholar at Fakultet for kunst, musikk og design, Norway. She was awarded the Getty Library Grant. She worked as an editor of various periodicals, and she is currently the curatorial coordinator of the exhibition ‘Véxoa: we know’, of contemporary indigenous Brazilian art, curated by Naine Terena, which will travel to the US and Canada. She is the curator, alongside Thierry Freitas, of ‘John Graz: Tropical and Modern idyll’, and of ‘Alvim Correa: No one would have believed’, alongside Laurens Dhaenens, at Netwerk Aalst, Belgium, which will be shown at Pinacoteca next December.