AICA CONGRESS 2025 - CALL FOR PAPERS

Re-imagining the Global South: Art, Gender and Identity

University of Johannesburg, Johannesburg, South Africa, 27-31 October 2025

In 1973, Mobutu Sese Seko, the former president of Zaire, hosted the only AICA International Congress ever held on African soil. Nearly 50 years later, the tide has turned. The global movement for the reappropriation of African art is now unstoppable, driven by civil society. In this symbolic and powerful moment, AICA International’s 57th Congress will take place in democratic South Africa, marking 30 years since the fall of apartheid.  

We are pleased to invite scholars, artists, and art critics to submit papers that fall within the topic of the Congress: Re-imagining the Global South: Art, Gender and Identity. This event will bring together voices from the Global South to discuss how art, gender, and identity intersect in both historical and contemporary contexts, offering a critical re-thinking of the relationship between art and the processes of colonization, marginalization, and diaspora.

The term ‘Global South’ is understood in this context to refer to any country or territory that has been colonized or marginalized in relation to the ‘centre’, which is predominantly defined by Europe and North America within the field of art history. The goal of this Congress is to foster discussions that challenge Eurocentric frameworks and reconsider the power dynamics within the global art world.

We invite papers that address, but are not limited to, the following themes:

1. Art Contributions to Defining the ‘Global South’
    How can art be used as a medium for discussing and redefining the ‘Global South’ within the context of global art history?

2. Race and Gender in Artistic Careers
    How do race and gender shape artistic careers in the Global South? How do these factors intersect with opportunities, recognition, and visibility?

3. Undoing Historical ‘Othering’ Through Art
    In what ways can art and art criticism undo the historical processes of ‘othering’ and marginalization, particularly in terms of race and gender?

4. Women, Forced Migration, and Diaspora
    How do artists from the Global South engage with the complex effects of forced migration and diaspora, particularly through the lens of gendered experiences?

5. Art as a Response to Gender-Based Violence
    What role does art play in responding to and representing gender-based violence in the Global South?

6. Art as a Response to Race-Based Violence
    How can art serve as both a reaction to and a form of resistance against race-based violence, particularly within the framework of colonial histories and ongoing racial injustices?

7. Indigenous and First Nations Art
    What is the role of Indigenous and First Nations art in the Global South, and how is it received by contemporary art criticism? How can Indigenous art disrupt mainstream narratives in global art discourse?

8. Colonial Extractivism and Gendered Experiences
    How do artists respond to the effects of colonial extractivism, and how do these responses illuminate gendered experiences of exploitation and displacement?

9. Gender and Race in Decolonial Artmaking
    How do artists from the Global South use race and gender to inform decolonial artmaking practices? How does this challenge traditional colonial narratives?

10. Exposing Gendered and Colonial Bias in Art Criticism
     What is the importance of art criticism in revealing gendered and/or colonial biases within both contemporary and historical art practices?

We welcome interdisciplinary approaches that engage with a range of art forms. Papers may focus on specific artists, movements, regions, or theoretical perspectives. Papers will be presented in person, at the University of Johannesburg. The working language of the Congress will be English.

Submission Guidelines:

●      Abstracts for 20 min. presentations should be no longer than 300 words.

●      Please include a short biography (150 words) of the author(s).

●      Submissions should be sent to aica.johannesburg.2025@gmail.com by 30 April 2025

●      Papers will be selected based on their relevance to the themes outlined above, originality, and scholarly contribution. The selection results will be announced by Monday 19 May 2025.

We look forward to receiving your submissions and to a stimulating exchange of ideas at this Congress. See you in Johannesburg!

Text available in PDF format: ENGLISH | FRENCH | SPANISH

AICA protests against the destruction of the works of Greek artist Christoforos Katsadiotis

The art community around the world is appalled and disturbed by the deliberate destruction of the art of Christoforos Katsadiotis at the National Gallery. This crime was committed by Nikos Papadopoulos, a member of parliament, and his accomplice, who claim that the four works of art offend their religious sensibilities.

This act has raised two important questions: can individuals be allowed to carry out arbitrary acts of censorship? Should a national gallery of a country that is considered a safe space, where diverse voices within the country are hosted and protected, treat the perpetrator, who is a powerful politician, any differently?

The inability of the Alexandros Soutsos Museum (the National Gallery) to act swiftly and effectively to punish the perpetrator is a matter of grave concern to art professionals.

AICA International stands in solidarity with the artist and have urged the Director and Board of the National Gallery, The Minister of Culture of the Hellenic Republic and the Representative of UNESCO in a letter of protest respectively,  to intervene and protect the artistic rights of Christoforos.

As a signatory to the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions, the Hellenic Republic is committed to upholding its four core areas of creative diversity: cultural and natural heritage, movable cultural property, intangible cultural heritage and contemporary creativity.

Cultural freedom, as enshrined in this Convention, is the right to express, practise and share one's culture without fear of censorship or persecution.

AICA calls for a suitable punishment for the perpetrators according to the law of the land. A public apology and appropriate compensation should also be provided by the perpetrators to the artist whose works have been vandalized at the Gallery.

On behalf of AICA International
Malgorzata Kazmierczak, President AICA International
Niilofur Farrukh, Chair of the Censorship and Freedom of Expression Committee

AICA Costa Rica Celebrates the III Edition of the Critics’ Award

On February 19, 2025, AICA Costa Rica hosted the III Edition of the AICA Critics’ Award, recognizing outstanding contributions to the visual arts across thirteen categories. This prestigious award highlights the work of artists, curators, critics, managers, patrons, and publications, reinforcing AICA’s commitment to art criticism and cultural dialogue. Held at the National Library of Costa Rica, the event welcomed cultural authorities, artists, and intellectuals, with hundreds tuning in online.

Congratulations to all the awardees! AICA Costa Rica continues to strengthen the arts community and uphold the rigor and integrity of art criticism in the region.

Full press realise including list of all winners : English | Spanish
Watch the full event: Vimeo

AICA Costa Rica Elects New Board of Directors for 2025-2027

During the III Ordinary General Assembly, AICA Costa Rica confirmed the election of its new Board for the 2025-2027 term. The newly appointed leadership will guide the association’s vision and initiatives as it moves forward into 2025.

Elected unanimously on December 6, the new board members are:

• President: Juan Carlos Flores Zúñiga

• Vice President: Alvaro Zamora Castro

• General Secretary: Xenia Ramírez Monge

• Treasurer: Orietta Oreamuno Gómez

• Transparency Officer: Marjorie Ávila Salas

We extend our deepest gratitude to the outgoing Board of Directors for their dedication and contributions over the past term.

Congratulations to the newly elected board—we wish you great success in the years ahead!

Arts and Free Speech Organizations Sound the Alarm

AICA International has joined leading arts and free speech organizations in the United States, including the National Coalition Against Censorship, The Authors Guild, The Dramatists Guild of America, The Dramatists Legal Defense Fund, Artists at Risk Connection, and PEN America, in signing a statement denouncing recent government actions that threaten artistic freedom in the U.S. The administration’s restructuring of NEA and NEH grants now prohibits funding for projects promoting diversity, equity, and inclusion, while the political takeover of the Kennedy Center has led to the dismissal of board members and its longtime president. These actions compromise independent cultural expression and set a dangerous precedent for the arts.

We stand in solidarity with artists and cultural leaders resisting these efforts. Read the full statement here.

Małgorzata Kaźmierczak
President, AICA International

SAVE THE DATE: 57TH AICA INTERNATIONAL CONGRESS

We are pleased to announce that the 57th AICA International Congress will take place at the University of Johannesburg, South Africa, from October 27 to October 31, 2025.

More information coming soon!

AICA Turkey Elects New President: Ekmel Ertan

We are pleased to announce that Ekmel Ertan has been elected as the new President of AICA Turkey.

Ekmel Ertan works as a curator, cultural manager, artist, and educator. Ertan is the founder and artistic director of the İstanbul-based amberPlatform/BIS (Body-Process Arts Association), a research and production platform focused on art and new technologies. He was the director of the international amber Art and Technology Festival in Istanbul from 2007 to 2015. As an independent curator, he curates new media works both in Turkey and abroad.

Ertan has exhibited his new media installations, photography, and collaborative performance works in Turkey, Europe, and the United States. Since 2007, he has served as the site coordinator and director for numerous EU-supported multi-partner international projects on behalf of BIS.

Ertan received his BSc degree in Electronics/Communication Engineering from the Technical University of Istanbuland an MA in Interactive Media Design from Yıldız Technical University. He has worked as a design and test engineer in telecommunication systems in Turkey, Germany, and Belgium.

Since 1999, he has taught visual communication design and new media art at Istanbul Bilgi University, İstanbul Technical University, Sabancı University, and İzmir University of Economics.

Ertan lives and works in Berlin and Istanbul.

Learn more about Ekmel Ertan: www.forumist.com

ANNOUNCING THE WINNER OF THE FIRST RESIDENCY PROGRAM AT THE ARCHIVES IN RENNES

On September 17, 2024, AICA International launched a call for applications in partnership with the Archives de la Critique d’Art (ACA) for a research grant on its history and various national sections. This grant was open to all members of AICA International who wished to travel to Rennes to conduct research at the archives. It is intended to encourage the exploration and development of AICA International’s archives, which include documents related to congresses and general assemblies held in France and abroad from 1948 to 2009 (programs, memorandums, correspondence, participants’ papers, minutes), as well as materials on the work of committees and the organization and management of the association (accounting and administrative documents, budgets, and files from Presidents and Secretary Generals). The call was open until November 17, and we received 13 applications.

The jury—Malgorzata Kazmierczak, President of AICA International; Marie Tchernia Blanchart, Director of the Archives de la Critique d’Art; and Antje Kramer Mallordy, former Director of the Archives de la Critique d’Art—is pleased to announce that Samuel Hernández Dominicis has been selected as the winner of the first edition of the Residency Program at the Archives de la Critique d’Art in Rennes. A distinguished researcher, curator, and art critic, Hernández Dominicis brings a wealth of expertise to this residency, where he will explore the history of AICA’s Cuban chapter and its role in the global art criticism landscape.

About the Research

According to Merino Acosta, the beginnings and development of AICA’s Cuban chapter in the national context could be considered a history of silence. More than 70 years of existence have not produced any relevant research on AICA’s relations with the Cuban art criticism scene or on the accidental life of the chapter and its influence in the Cuban cultural field. Thanks to the important work of the Archives de la critique d’art (ACA), this situation may now change. Using the institution's resources, this project focuses on compiling the history of the Cuban chapter, characterizing Cuba's participation in AICA Congresses, and exploring the cultural relations established with Cuba through events such as the Paris Biennale and the Havana Biennial. The findings aim to produce thematic texts, which may eventually become a book by incorporating a review of other archives in Cuba. Additionally, the project includes the design of a conference to be presented to AICA Cuba members, as well as a reflection on the trajectory of AICA’s Cuban chapter..

About Samuel Hernández Dominicis

Samuel Hernández Dominicis (Havana, Cuba, 1987): Graduated in Art History from the University of Havana (2011) and earned a master’s in Art Studies from the Ibero-American University of Mexico (2019). Researcher, teacher, curator, and art critic. He worked as an ArteSur magazine editor at Sello Arte Cubano Ediciones and was part of the team that established the Institutional Collection of the Consejo Nacional de las Artes Plásticas (CNAP). He also served as Technical Deputy Director at the Centro de Desarrollo de las Artes Visuales (CDAV) and as Visual Arts Advisor in the National Directorate of the Hermanos Saíz Association (AHS).

In recent years, his research has focused on the construction of "the people" and "the enemy" as discursive categories in populist and totalitarian processes. He is a member of the Latin American Studies Association (LASA) and its Cuba Section’s executive staff, as well as the Union of Writers and Artists of Cuba (UNEAC) and the Group of Studies on Public Art in Latin America (GEAP Latin America), where he coordinates the Cuban homologous group.

He is a PhD candidate in the Modern Literature program at the Ibero-American University of Mexico, where he researches male homosexual subjectivity in Cuban literary fiction. At the same time, he teaches at the Instituto de Cultura Superior (ICS) and Centro de Estudios Visuales (CEVI). He was recently elected President of the Cuban Chapter of AICA.

We congratulate Samuel Hernández Dominicis on this achievement and look forward to the insights his research will bring!

AICA LATIN AMERICA AND THE CARIBBEAN REGIONAL PUBLISHES BOOK ON BIENNIALS IN THE REGION

Nine art critics and researchers from eight nations contribute to this volume through their presentations, which emerged from three meetings dedicated to dissecting, discussing, and reflecting on the historical process of biennialization in the dynamic context of Latin America and the Caribbean. This initiative marks the second regional editorial projectfunded by AICA Regional: Latin America and the Caribbean.

This bilingual (Spanish-English) e-book consists of nine chapters, each corresponding to an essay presented by the invited authors at the online seminars organized by the regional body during 2023.

Each contributor to this critical review has examined the repercussions, influences, juxtapositions, borrowings, consequences, and mystifications of biennials, addressing their impact within the broader thematic framework of the subcontinent while considering their specific zones of influence.

This publication is the second of three illustrated digital and print books planned for the period 2023–2025 by AICA Regional: Latin America and the Caribbean. The book’s general editor is Juan Carlos Flores Zúñiga, art critic, researcher, and Vice President of AICA International, who also serves as a co-author. The design and compositionwere carried out by María Eugenia Quesada Montero.

This work is available in digital format on this page and through AICA International's official channels. The publication is registered under ISBN 978-9930-00-017-5.

The official launch will be via an online event on Friday, February 21, at 5 PM (São Paulo time) via Zoom. To register, email aicainternational.webinar@gmail.com.

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Regional AICA América Latina y el Caribe: PUBLICAN LIBRO SOBRE BIENALES EN AMÉRICA LATINA Y EL CARIBE

Nueve críticos de arte e investigadores de ocho naciones contribuyen en esta obra mediante sus ponencias producto de tres encuentros a diseccionar, discutir y ponderar el proceso histórico de bienalización en el contexto dinámico de la América Latina y el Caribe en la segunda iniciativa editorial regional. 

Este libro electrónico en formato bilingüe (español-inglés) financiado por AICA Regional: América Latina y el Caribe consiste en nueve capítulos, uno por cada ensayo presentado por los autores invitados que expusieron sus ponencias en los seminarios en línea organizados por el órgano regional durante el 2023.

Cada responsable en esta revisión y cuestionamiento ha delimitado las repercusiones, influencias, yuxtaposiciones, préstamos, consecuencias, y mistificaciones de las bienales con base en una visión del macrotema de las mismas en el subcontinente con relación a su respectiva zona de influencia.

Este segundo de tres libros digitales e impresos ilustrados planeados para el período 2023-2025 por AICA Regional: América Latina y el Caribe contó como editor general con el crítico de arte e investigador, Juan Carlos Flores Zúñiga - vicepresidente de AICA Internacional - y coautor-, y en el diseño y la composición con María Eugenia Quesada Montero.

La obra es distribuida en formato digital en esta página y por los canales de AICA Internacional. Este título tiene registrado el ISBN 978-9930-00-017-5

El lanzamiento oficial será mediante un evento en línea el viernes 21 de febrero a las 5 pm (hora de Sao Paulo) por zoom. E-mail de registro: aicainternational.webinar@gmail.com.

New Presidency of the Brazilian Association of Art Critics

The new Board of Directors of ABCA (Brazilian Association of Art Critics) assumed office on the first day of this year. The administration, covering the 2025-2027 term, will be led by Alessandra Simões Paiva as President. Alessandra is nationally and internationally recognized for her contributions to the study of decoloniality and the arts. An Associate Professor at the Federal University of Southern Bahia (UFSB), she views this election as a milestone in her career, which has been marked by a commitment to promoting inclusion and plurality in the field of visual arts in Brazil.

In recent years, Alessandra has gained widespread recognition with the publication of her book “A Virada Decolonial na Arte Brasileira” (The Decolonial Turn in Brazilian Art, Mireveja Publishing, 2022). This work received an ABCA award in 2023 for its pioneering contribution to debates on ethnic, racial, and gender issues in art and culture. The book consolidates her postdoctoral research conducted at the University of Leeds, UK, supported by a Brazilian government grant. Alessandra's motivation to explore this theme arose from her concerns about the exponential growth of Black, Indigenous, and gender-dissident artists, curators, and researchers in the Brazilian visual arts scene, aligning with the global process of decolonizing cultural institutions and critically revising the fields of theory, criticism, and art history from new perspectives. 

Her book became the first Brazilian academic reference to provide a comprehensive framework for discussing decoloniality in the arts, which had previously been addressed in a fragmented and insufficiently rigorous manner. This methodological gap often led to superficial controversies without a consistent theoretical foundation, particularly in universities, the press, specialized publications, and social media. Thus, the book has helped mitigate miscommunications surrounding controversial topics often treated in a sectarian, radical, and superficial manner. 

Alessandra has consistently integrated her academic work with socially impactful practices, making art criticism a field deeply engaged with contemporary social, cultural, and political issues. In this sense, she has been actively involved with the ABCA. Recently, she contributed to reviving ABCA's political legacy, which in its early days during the 1950s had emblematic figures like Mario Pedrosa and Sergio Milliet among its founders, under the auspices of the International Association of Art Critics (AICA) and with UNESCO's support in the post-war context. 

The pivotal moment for this political revitalization of ABCA occurred during the “JORNADA ABCA”, the association’s annual congress, organized and chaired by Alessandra in 2020 with financial support from the Brazilian government. The event focused on art and human rights, bringing together numerous prominent figures from the Brazilian art scene. The congress marked a turning point for the artistic circuit and ABCA's operations, which, following the event, established the Commission for Critical Plurality. Created and coordinated by Alessandra, this commission implemented affirmative actions within the organization. These actions included systematic invitations to Black and Indigenous individuals to join the association and the creation of new categories for the ABCA Annual Award: 1) Emanoel Araújo Award for collections, archives, conservation, and historical documentation; 2) Yeda Maria Award for initiatives in art education; 3) Gilda de Mello e Souza Award for early-career critics. 

Alessandra began her career as an art critic in the Brazilian press over 25 years ago, contributing to major newspapers, websites, and specialized magazines nationally and internationally. She currently collaborates with ArtNexus magazine, the leading publication specializing in Latin American visual arts, writing articles in Spanish and English. Her prolific career includes hundreds of texts, a critical legacy that has earned her awards and invitations for various editorial collaborations, notably the Young Critics Award (2012) from the International Association of Art Critics (AICA). Alessandra is also the mother of triplets, Luísa, Carolina, and Isabela, now 17 years old.  

Check out the newly elected Board of Directors, elected during the General Assembly on November 22, 2024: 

• President: Alessandra Simões Paiva  

• 1st Vice President: Hélcio Magalhães

• 2nd Vice President: Carlos Terra 

• 1st Secretary: Cristiélen Ribeiro Marques 

• 2nd Secretary: Gabriela Abraços

• 1st Treasurer: Alexandre Araujo Bispo 

• 2nd Treasurer: Michele Petry  

• Regional Vice Presidents: 

  • North/Northeast Region: Robson Xavier da Costa 

  • Central-West Region: Ana Lúcia Beck

  • Southeast Region: Alecsandra Matias de Oliveira

  • South Region: Luciane Garcez

• Audit Committee:

  • Primary Members: Luis Sandes, Francine Goudel, Emerson César Nascimento  

  • Alternates: José Armando Pereira da Silva, Viviane Baschirotto, Alexandre Sá

Georgia in Crisis: Performers Face Prison

Georgia is in turmoil after the government’s decision to suspend EU accession talks until 2028. What began as protests over the October parliamentary elections has escalated into violent clashes between demonstrators and police. Amnesty International has condemned the “persistent and widespread use of unlawful force,” reporting that over 460 protesters have faced violent crackdowns, arbitrary arrests, and even torture.

The crackdown has increasingly targeted artists, writers, and cultural figures, amplifying fears of authoritarian drift. On 5 December 2024, actor Andro Chichinadze was detained at his home, along with comedian Onise Tskhadadze on the same day. Both face charges under Article 225 of the criminal code (organisation, management, or participation in group violence), which carries a maximum sentence of nine years in prison, and Article 239 (hooliganism), with a maximum sentence of two years. Pretrial hearings are set for 19 January. Freemuse and The International Association of Art Critics (AICA) are deeply concerned that the two artists may be detained in violation of their right to peaceful protest. They urge that Chichinadze and Tskhadadze be released pending a trial conducted in a fair and transparent manner. Their right to peaceful protest, as guaranteed under the UN International Covenant on Civil and Political Rights, must be upheld*.

Artists among protestors attacked by police
It has been reported that scores of other cultural figures have also faced repression. Among them, art historian Nodar Aronishadze was detained, tortured, and hospitalised before being fined and released. Cultural anthropologist and museum worker Irakli Pipia was tortured and hospitalised. Poet Zviad Ratiani was beaten and jailed to serve an eight-day detention order. Dancer Natia Bunturi also suffered beatings. Students were also among those who were attacked.

Georgia’s cultural sector is under mounting pressure from restrictive new laws targeting foreign-funded organisations and stigmatising LGBTQ+ expression. Freemuse and AICA highlight that these measures further erode freedom of expression in a country where cultural and civic spaces are under unprecedented siege. They urge the Georgian government to stand by its commitments under international human rights low to protect the rights to free assembly and expression.

*The ICCPR was ratified by Georgia in 1994

AICA Condemns Censorship and Vandalism of Ruth Flores's Artwork in Paraguay

AICA would like to express solidarity with the artist and register a protest against the censorship and vandalism of the work of Paraguayan artist, Ruth Flores, Tentacles of Power while on public display at Plaza de los Desaparecidos in Asuncion, was torn and stamped upon by Ms Vanessa Vázquez, a state official. This act of destroying the work has been called “political violence” against the artwork by El Nacional, the local newspaper.

The work, according to the artist, aimed to bring into focus, the ongoing political corruption and power abuse since the time of the dictator Alfredo Stroessner, whose family and allies are still in political leadership. The objective of the project was to "make visible the main responsible figures of the Stroessner regime through a mural, a digital platform, and live- printed posters," as explained by the artist to El Nacional. The artist collaborated with communicator and historian Jazmín Duarte and Joaquín Risso to create the mural that was attacked. This case of censorship on November 30, 2024, has led to public outrage particularly because it is seen as an officially supported act of erasure of Paraguay's dark history associated with Stroessner and his painful legacy.

AICA International joins the public and art organizations like AICA Paraguay and Gente de Arte and Artistas Visuales del Paraguay (AVISPA) to condemn this act against artistic freedom.

AICA is a representative body of art critics based in Paris since the 1940s. It is active across the world with around 5 500 members in 95 countries. One of its objectives is to protect the ethical and professional rights of its members and defend impartiality and freedom of artistic expression worldwide. The Censorship and Freedom of Expression Committee of AICA actively monitors cases of censorship and violation of freedom of expression, and artistic rights. It extends support to its members, through advocacy and visibility of their cases.

The fact that the artist's request to display Tentacles of Power at public art museums was declined and the attack on it at Plaza de los Desaparecidos by a government official, who enjoys impunity, is an indicator of the environment that is a threat to freedom of expression. This is a violation of the National Culture Law, No. 3051/08, and the Protection of Heritage Law, No. 5621/17 enshrined in the Paraguay's National Constitution.

The intimidation of artists and art professionals, and policies of censorship at cultural institutions is unacceptable to all organisations that support the UNESCO Charter of Freedom of Expression.

We urge your office to request the Government of Paraguay to grant artistic freedom and protection to artists and art in accordance with its constitution.

Appropriate action is urged against Ms Vanessa Vázquez, she should extend an apology to the artist and have the art work restored and re-installed at Plaza de los Desaparecidos in Asuncion.

This action will not only restore confidence in the government's support of The National Cultural Law and protection of Cultural Heritage in the Constitution but also make artists and their work respected and safe.

On behalf of AICA

Malgorzata Kazmierczak, President of AICA Internationa

Niilofur Farrukh, Chair of the Censorship Committee

AICA podcast with Lisbeth Rebollo Gonçalves

The AICA Podcast, created and hosted by Mihaela Ion, is back with its fifth episode, featuring Lisbeth Rebollo Gonçalves the Honorary President of AICA International and former President of AICA International.

The first part of the discussion focuses on the two mandates Lisbeth served as International President of AICA. During her tenure, she worked to enhance global collaboration among member organizations and underscored the importance of art as a critical element of cultural identity and dialogue. Her efforts included prioritizing cross-border partnerships, sharing best practices, and advocating for the recognition of artists and cultural practitioners as essential contributors to societal development.

In this episode, Lisbeth also delves into the role of art mediators in shaping our understanding of art criticism, highlighting how their insights can elevate the audience's experience during curated events. Drawing from her own curatorial experiences, she demonstrates how effective art mediation bridges the gap between artists and viewers, enriching discussions about artworks and fostering deeper appreciation and engagement.

The final part of the podcast centers on the São Paulo Biennial, which took inspiration from the Venice Biennale and aimed to establish Brazil on the international art stage. By emphasizing contemporary art and showcasing both local and international artists, the Biennial has become a key platform for innovation and exchange, reflecting Brazil's socio-political landscape and cultural identity. Lisbeth shares specific historical moments from the São Paulo Biennial, providing unique insights into its evolution and significance.

About the Moderator: Mihaela Ion
Mihaela Ion holds a Ph.D. in History and is a curator, cultural manager, and art researcher based in Bucharest. Since 2021, she has been an AICA member and has served as an International Board Member since 2022, as well as being part of the Digital Strategies Committee. Over the past 17 years, she has presented papers on Communist Art, Cultural Wars, and contemporary artworks at leading conferences across Europe. Mihaela collaborates with several art galleries and museums throughout the continent. Her Ph.D. thesis focuses on the heritage of communist artworks. She has had the opportunity to work as a cultural manager in London with body>data>space and in Paris, Sélestat, Strasbourg, and Nancy during her Courants du Monde grant from the French Ministry of Culture. In 2010, she co-founded Atelierul Magazine, an active international online and offline platform fostering intercultural dialogue between design creators and the public.

About the Speaker: Lisbeth Rebollo Goncalves
Lisbeth Rebollo Goncalves is the Honorary President of AICA International. She holds a master's and PhD at the Faculty of Philosophy, Letters and Human Sciences of the University of São Paulo, Brazil. With a scholarship from the USP-COFECUB program, she conducted research about Art Exhibition’s Scenography in France and Brazil. She is a professor at the Faculty of Communications and Arts at the University of São Paulo, Brazil, teaching undergraduate and graduate courses, supervising master's, doctoral and postdoctoral students. In the graduate field, professor at PROLAM - Latin American Studies Program and at the Aesthetics and Art History Program. She has been an art researcher since 1980 and curator of exhibitions since 1994.  Between 1994 to 1998 and from 2006 to 2010, she was the Director of the Museum of Contemporary Art at the University of São Paulo.

Lisbeth has published numerous books, essays in exhibition catalogues, and articles in newspapers and specialized magazines. She has received awards for her books as well as for her curatorial work. Additionally, she coordinated the Art Criticism Collection published by the Brazilian Association of Art Critics and has served as an editorial advisor and corresponding editor for ArtNexus magazine (ISSN 0122-1744).

Appel à candidatures

Date limite de dépôt : le 3 janvier 2025

L'Institut français, en partenariat avec le ministère de la Culture - Direction générale de la création artistique et les Archives de la critique d'art s'associent pour promouvoir l'activité critique et théorique française portant sur la création artistique des années 1960 à nos jours et sa diffusion à l'international.

Le dispositif « Traverses » a pour objet de soutenir la production, la publication et la diffusion d'un essai critique portant sur une actualité internationale dans le domaine de l'art contemporain.

Il comprend une aide financière d'un montant de 3 500 euros permettant de couvrir les frais du ou de la lauréate pour un voyage et un séjour d'études à l'étranger en vue de produire un essai critique.

Cet essai, écrit en français, fera l'objet d'une publication bilingue (français/anglais) au sommaire du n°65 de « CRITIQUE D'ART » (automne/hiver 2025).

« Traverses » signifie l'originalité de tous ces sentiers qui appartiennent au domaine du sensible et qui relient l'art visuel à l'écrit. Le dispositif propose un chemin de traverse pour arriver plus vite depuis la création à la publication et à la diffusion de l'écriture critique.

Conditions d’éligibilité

Afin de soutenir la production intellectuelle innovante dans le domaine de la critique d’art, ce dispositif de soutien est proposé à de jeunes auteur·ice·s, français·es ou vivant en France depuis au moins cinq ans, arrivé·es à un stade de première reconnaissance professionnelle, justifié par des publications conséquentes et la tenue de conférences.

Evaluation des candidatures

Un jury de professionnel·le·s du monde de l’art désigné à cette fin évaluera les candidat·e·s sur leur curriculum vitaeet sur leur projet, son originalité et sa pertinence. Le projet d’article devra situer l’approche critique retenue par l’auteur·ice et prendre appui sur l’actualité de la pensée critique et des débats théoriques. Il prendra nécessairement comme point d’ancrage une manifestation majeure de la scène artistique contemporaine à l’étranger (exposition, biennale, etc.). En alliant ces deux axes, le ou la candidate développera une réflexion soutenue sur le sujet choisi.

Comment candidater ?

Constitution du dossier (à rassembler un un seul fichier pdf) :

• Curriculum vitae

• Projet détaillé (4 000 signes) précisant le type de manifestation internationale qui sera analysée, le cadre d’analyse théorique prévu et l’articulation critique proposée

• Budget prévisionnel (frais de voyage et de séjour à hauteur de l'aide financière de 3 500 euros)

Le dossier est à envoyer en un seul fichier pdf à : aca-direction@univ-rennes2.fr

Date limite de dépôt des candidatures :  le 3 janvier 2025

Annonce des résultats : le 5 février 2025

Remise de l’essai à la revue CRITIQUE D’ART au plus tard le 5 septembre 2025

L’essai ne devra pas excéder 30 000 signes et fera l’objet d’une rémunération complémentaire en droits d’auteur.

Autres infos : ici

AICA podcast with Jean Bundy

The AICA Podcast, created and hosted by Mihaela Ion, returns with its fourth episode, featuring Jean Bundy, Editor of AICA/E-MAG, Chair of AICA’s ‘Incentive Prize for Young Art Critics,’ and an AICA Vice President.

In this episode, Jean Bundy explores the AICA E-MAG project, discussing its origins, the vision behind it, and its significance in contemporary art communication. She provides insights into the publication process, including design, content curation, and engaging with the art community.

The episode also highlights AICA’s ‘Incentive Prize for Young Art Critics,’ with Jean sharing fresh and insightful updates. This initiative encourages young and emerging art critics to address underrepresented topics and regions in the arts. By fostering innovative critical perspectives and facilitating the global exchange of contemporary ideas and writing, the prize enriches art discourse and offers a platform for new voices. It not only honors exceptional talent but also fosters dialogue within the art community, increasing the visibility of young critics on an international scale.

About the Moderator: Mihaela Ion
Mihaela Ion holds a Ph.D. in History and is a curator, cultural manager, and art researcher based in Bucharest. Since 2021, she has been an AICA member and has served as an International Board Member since 2022, as well as being part of the Digital Strategies Committee. Over the past 17 years, she has presented papers on Communist Art, Cultural Wars, and contemporary artworks at leading conferences across Europe. Mihaela collaborates with several art galleries and museums throughout the continent. Her Ph.D. thesis focuses on the heritage of communist artworks. She has had the opportunity to work as a cultural manager in London with body>data>space and in Paris, Sélestat, Strasbourg, and Nancy during her Courants du Monde grant from the French Ministry of Culture. In 2010, she co-founded Atelierul Magazine, an active international online and offline platform fostering intercultural dialogue between design creators and the public.

About the Speaker: Jean Bundy
Dr. Jean Bundy is Editor of AICA E-MAG, Chair of AICA’s ‘Incentive Prize for Young Art Critics’ and an AICA-VP. She has a BFA from the University of Alaska, MFA from the University of Chicago, MFAW from the School of the Art Institute of Chicago, and a PhD from the Institute of Doctoral Studies in the Visual Arts.  Bundy has reported on conferences in Alaska and Scandinavia, emphasizing Alaska Natives and Sámi aesthetics. She wrote bi-weekly for Anchorage Press (ceased 12/22). The Society for Professional Journalism (Northwest) awarded her for: December in California: Take Mittens when Searching for Art (2013). Highlighting Climate Change and Socio-Political, Bundy presented papers at College Art Association, and AICA events: Chile/Argentina, S. Korea, Poland, Taiwan and Turkey. Bundy reviews books for Princeton University Press. The Rabkin Foundation requested her help in nominating a 2024 US art critic. Also, an acrylic painter, Bundy’s solo exhibition (Pictor Gallery, NYC March 2023) was: Painting out of Writing--Just A Little Bit Quirky. Painting: Paradox of Productivity in the Age of Climate Change appeared in the Alaska Biennial (October 2020-March 2021). Paintings became props in Off-Broadway’s Puffs (2016-2020). Bundy sleuths overlooked narratives, employing rhythms and color with brushes or verbiage.

Remembering Marja-Terttu Kivirinta

All the artists featured in the book are women. That has been my starting point, even though I think that being female is not a homogenous trait, and I don't see being female as such as a unifying factor for these artists. Each has their own perspective in their work. Still, the thread running through the book is my view that women are finally, after countless years dominated by male artists, now part of the mainstream of Finnish art.

Marja-Terttu Kivirinta: Yhdeksän taiteilijaa, 2007

Critic and art historian Marja-Terttu Kivirinta died on 14 November 2024 after a long illness. As a highly influential person in the Finnish field of art, she left behind an irreplaceable empty space, but also a huge body of work on both Finnish and foreign art. I am writing this obituary as a close friend and a long-time colleague of Marja-Terttu. We worked together in the cultural department of Helsingin Sanomat from 1985-90. Together with Marja-Terttu and Ilppo Pohjola we also produced a book that traced the changes in the Finnish art scene in the 1980s, Koko hajanainen kuva (WSOY, 1991), and together with Marja-Terttu we curated the exhibition of male artists (Un)natural (2009) at Kiasma, which was accompanied by an exhibition book. Our friendship lasted until the end. Our "salon" in recent years also included artists Hannele Rantala and Kari Soinio.

Marja-Terttu started her 27-year career as a cultural journalist at Helsingin Sanomat in 1981. She had already worked as a freelance critic since 1976 and continued to assist Helsingin Sanomat even after her retirement. Her career coincided with decades of many changes and upheavals in the Finnish art scene. The 1980s marked a strong a move into the post-modernist era, an increase in the importance of painting, but also the emergence of new art forms – installations, performance art, video and photography – alongside the traditional painting-sculpture-graphics triad. Marja-Terttu was following, and as a writer was also building on, these phenomena, both domestic and international.

As the recession of the 1990s receded, the gender balance in the field of art continued a process of change that had already begun in the previous decade. As Marja-Terttu noted in her bookNine Artists, quoted above, after countless ‘man-years’, decades and centuries, women’s art was finally being given space in the mainstream. Marja-Terttu was one of the major contributors to this space, and she herself was not spared male criticism. However, her position in the field of Finnish art criticism was unquestionable, and in 2000 she was awarded the E.J. Vehmas Prize for her merits as a critic. She was an honorary member of SARV, a board member and one of the vice-presidents of the International Critics' Association AICA.

The artist goes their own way. So does the art critic. Each of them has their own language. My language is written Finnish. My attitude to art and history is critical.

Marja-Terttu Kivirinta: "The absurdities of life in art that brings us close to people", 2022

Marja-Terttu was a writer. She was a critic at heart, but she was also a vigilant reporter of art phenomena, closely following contemporary art in Finland and abroad. She reported on the many Venice Biennales and Kassel Documentas, Stockholm and Paris exhibitions for her Finnish readers. Paris was a second hometown for the Francophile Marja-Terttu. She spent time there whenever possible and practised her French diligently for decades.

Marja-Terttu was a critic who listened to the artists and was willing to engage in dialogue with them. She also wrote for many artists’ books and exhibition catalogues, examples include Catarina Ryöppy, Mari Rantanen and Marja Kolu. In the 2000s, a return to the field of research became very important for Marja-Terttu. In her 2014 doctoral thesis "Fighting foreign influences: Helene Schjerfbeck and Juho Rissanen: gender, class and the construction of Finnish art in the 1910s and 20s", she took a close look at both the art history of the early 20th century and current research debates. She was on the editorial board of the book series Pinx, maalaustaide Suomessa (2001-03) and was also involved in the ongoing extensive book project on Finnish art history FiKon - Nya perspektiv på Finlands konsthistoria (New perspectives on Finnish art history), which is being conducted from Åbo Akademi. His last book, Kriitikon katse (2023), brought together essays, exhibition reviews and research articles.

Marja-Terttu fought her illness by following as much culture as possible. Her interest was not limited to the visual arts, but she was also often seen at concerts and the theatre. She also tirelessly reported everything she saw and heard on social media. Experiencing art brought her hope to the end. To illustrate this, I give her the last words she wrote about Maaria Wirkkala's art in her book Yhdeksän taiteilijaa (Nine Artists):

The wall first appears sombre and absolute, but after standing in front of it for a while, it becomes infinite, like space. From the pitch-black darkness of the wall, a ladder made of glass rises from the floor (Yhdeksän taiteilijaa, 2007).

My warmest condolences to Marja-Tertu's daughter Karoliina and grandson Nyyti.
Leena-Maija Rossi

Sources:
Kivirinta, Marja-Terttu (2007) Yhdeksän taiteilijaa, WSOY.
Kivirinta, Marja-Terttu (2022) "The absurdities of life in art that brings you close to people." In Marja Kolu: Rethinking Material, 89-94.
Kivirinta, Marja-Terttu (2023) The Eye of the Critic. The many faces of melancholy. Parvs.

Marja-Terttu Kivirinta was an active member of the International Association of Art Critics (AICA). She was member of the Board and served as Vice President (2022-2024) and chair of the Electoral & Membership Committee (2017-2023).

BOARD MEMBERS ELECTIONS 2024

CANDIDATES PRESENTATIONS

VICE-PRESIDENTS

ANA LÚCIA BECK

ESRA YILDIZ

KAREN VON VEH

CHAIRS OF COMMITTEES

LIN CHI-MING

JEAN BUNDY

RICHARD GREGOR

INTERNATIONAL BOARD MEMBERS

BERAL MADRA

Bernhard Schulz

NURI EVRIM ALTUĞ

MATHILDE ROMAN

MIHAELA ION

ROBERT-JAN MULLER

SAMUEL HERNÁNDEZ DOMINICIS

SANDRA HITNER

FAYE TZANETOULAKOU

NATALI RAJCHINOVSKA-PAVLESKA

Application documents for each candidate are available in the Member Access area under the 'Election Documents' section.

Three Seas Art Festival 2025

We are pleased to announce the start of the Three Seas Art Festival in Kraków, beginning today, November 21, in partnership with AICA. The first phase of the festival includes a short residency for curators, which will run until Sunday, with the exhibition openings scheduled for May.

This initiative emerged from the 55th AICA International Congress, held last year in Kraków, in collaboration with the Three Seas Art Foundation, KEN University, the City of Kraków, and the Jagiellonian University. The Congress sparked the creation of a dynamic working group, serving as a model of cross-border cooperation and mutual understanding across political, geographical, ethnic, economic, and religious lines. At AICA International, we are dedicated to supporting projects like this, which align with our mission to foster professional relationships and artistic exchange across all boundaries.

Among the participants in this project are: Kata Balazs-Miklos (AICA Hungary), Elli Leventaki (AICA Hellas), Kristian Handberg (AICA Denmark), Richard Gregor (AICA Slovakia), Melike Bayik (AICA Turkey), and Vera Mlechevska (AICA Bulgaria).

AICA podcast with Alfredo Cramerotti

The AICA Podcast, created and hosted by Mihaela Ion, returns with its third episode, featuring Alfredo Cramerotti, a cultural entrepreneur working at the intersection of contemporary art, media, and technology, as well as the chair of AICA’s Digital Strategies Committee.

This episode explores AICA's initiatives and the pivotal role of the Digital Strategies Committee in enhancing the visibility of these projects. It highlights their efforts to strengthen engagement and outreach within the digital sphere. Additionally, the discussion delves into a transformative shift in the roles of art criticism and curatorial practices, focusing on their growing emphasis on community engagement. This evolution fosters deeper connections between artists, audiences, and cultural narratives, encouraging more inclusive dialogues and diverse perspectives that ultimately enrich the art ecosystem.

Alfredo Cramerotti's curatorial and critical work emphasizes meaningful audience engagement with contemporary art by challenging established narratives and fostering critical dialogue. His projects explore the intersection of art and new media, underscoring the importance of context and perception in interpreting artistic expressions. The episode also spotlights Cramerotti’s latest curatorial and collaborative projects, offering listeners a closer look at his innovative approaches to contemporary art.

About the Moderator: Mihaela Ion
Mihaela Ion holds a Ph.D. in History and is a curator, cultural manager, and art researcher based in Bucharest. Since 2021, she has been an AICA member and has served as an International Board Member since 2022, as well as being part of the Digital Strategies Committee. Over the past 17 years, she has presented papers on Communist Art, Cultural Wars, and contemporary artworks at leading conferences across Europe. Mihaela collaborates with several art galleries and museums throughout the continent. Her Ph.D. thesis focuses on the heritage of communist artworks. She has had the opportunity to work as a cultural manager in London with body>data>space and in Paris, Sélestat, Strasbourg, and Nancy during her Courants du Monde grant from the French Ministry of Culture. In 2010, she co-founded Atelierul Magazine, an active international online and offline platform fostering intercultural dialogue between design creators and the public.

About the Speaker: Alfredo Cramerotti
A cultural entrepreneur working at the intersection of contemporary art, media and technology, Alfredo Cramerotti is Director of mm:museum [Media Majlis] at Northwestern Qatar. He is President of IKT–International Association Curators of Contemporary Art, Chair of the Digital Strategies Committee of AICA–International Association of Art Critics, and Advisor to the KSA Visual Art Commission, UK Government Art Collection, British Council Visual Arts Acquisition Committee, and the Italian Ministry of Culture.  

His main curatorial and advisory projects includes Noor Riyadh, Art Dubai Digital, Lumen Prize and the Maxxi-Bvlgari prize for digital arts (all 2024), four national & collateral pavilions at the Venice Biennale (Wales 2013; Maldives 2013; Mauritius 2015; Pera Fauna Flora–Malaysia 2022); Ideal-Types (Amsterdam 2018, Venice 2019); Sean Scully at the Hong Kong Arts Centre (2018), Shezad Dawood at ISMAR/Querini Stampalia Venice (2017); EXPO VIDEO Chicago (2015); and the biennials Sequences VII Reykjavik, Iceland (2015) and Manifesta 8 Region of Murcia, Spain (2010). He co-directs with Auronda Scalera Multiplicity Art in Digital, a curatorial and publishing initiative fostering the career of artists of underrepresented groups. Alfredo has written extensively on contemporary art and media theory with over 200 texts published on topics such as the intersection of art and technology and the impact of globalization on the art world. He is Editor-in-Chief of the Critical Photography book series by Intellect Books, and the author of five books: The Transparent Layer (forth. 2024), Curating the Image: Notebook for a Visual Journey (2020); Forewords: Hyperimages and Hyperimaging (2018); Unmapping the City: Perspectives of Flatness (2010); and Aesthetic Journalism: How to Inform without Informing (2009).