CONSULTANCIES AND REVIEWS
Find out about the options for long-term consultancy on your projects or sessions with national and international specialists.
We offer you different types of personalized consulting for your photographic projects, from project reviews with international guests in presencial or virtual mode, to a long-term plan to support you in the development of your work with various specialists, depending on your needs.
CUSTOMISED CONSULTANCY FOR LONG-TERM PROJECTS
We offer you a personalised consultancy plan for your project, the duration of which will be adapted to the needs of each author. The projects can be for production, finding their final form during the process, or they can be specifically to be developed as an exhibition, photobook, digital media, among others,
According to the personalised work plan, we offer you a work plan with one of Hydra's members, as well as including sessions with one or more national and international tutors. The selection of advisors, the duration and frequency of meetings will be made according to the specific needs of each project.
Long-term consultancy with one of Hydra's external partners may also be considered. Upon receipt and pre-selection of the project, Hydra would consult with the requested consultant for availability of time and costs.
The consultancies can be face-to-face or virtual, depending on both the location of the participant and the different guest lecturers.
PROJECT CONSULTANCY SESSIONS
Send your project to enlace@hydra.lat to seek advice from one of the specialists who collaborate with Hydra and receive feedback on your work from some of the most renowned national and international curators, theorists, editors, teachers and artists.
Appointments with local advisors may be face-to-face; in the case of international guests, they will take place online, with a minimum duration of 40 minutes and a variable cost depending on the advisor. Contact us at enlace@hydra.lat
MEET SOME OF THE ADVISORS
You can also consult our partners page and request a consultation with one of them. Write to us at enlace@hydra.lat and we will check the availability of the different partners.
ANNA FOX
(UK b.1961) She is one of Britain's most acclaimed photographers of the last thirty years and is a lecturer in photography at the University of the Creative Arts. Working in colour, Fox first gained attention for Workstations: Office Life in London (1988), a study of office culture in Thatcher's Britain. She is best known for Zwarte Piet (1993-8), a series of portraits made over a five-year period exploring the folk traditions of the black-faced Dutch associated with Christmas. Her collaborative projects Country Girls (1996-2001) and Pictures of Linda (1983-2015) challenge our views of rural life in England, while her more intimate works My Mother's Cupboards and My Father's Words (1999) and Cockroach Diary (1996-1999) expose dysfunctional relationships at work in the family home in a raw and often surprising way. Anna Fox Photographs 1983 - 2007, was published by Photoworks in 2007. Fox's solo exhibitions have been seen at the Photographer's Gallery in London and the Museum of Contemporary Photography in Chicago, among other venues, and her work has been included in international group exhibitions, including the Centre for the Creative Universe: Liverpool and the Avant Garde at Tate Liverpool and How We Are: Photographing Britain at Tate Britain. She was shortlisted for the Deutsche Borse Photography Prize 2010. Fox is currently working on the research project Fast Forward; women in photography for which she has been awarded a Leverhulme International Networks Fellowship. www.fastforward.photography.com
ANSHIKA VARMA
Anshika Varma is a photographer and curator with an interest in personal, collective and mythical histories. Combining her curiosity to study cultural and social evolution with storytelling, her work often looks at the emotional connection between the individual and their environment. With photography and book-making, she is interested in exploring the intricate relationship between memory and object as markers of one’s identity. She is the Founder of Offset Projects, an initiative that works to create channels of engagement with photography and book-making through talks, workshops, a travelling library and residencies.Anshika’s works and curations have been shown at Goa Photo (2019 and 2017), Photo Kathmandu (2018), Chennai Photo Biennale (2016, 2019), Angkor Photo Festival (2018), Tbilsi Night of Photography (2018), Kochi Biennale (2014), New York Biennale for Contemporary Art (2013), India Art Fair (2012, 2013) and the Florence Biennial (2009) and published by various national and international media. Anshika is a strong believer in the power behind inclusive education and has conducted art therapy programs for children from challenging social and economic strata, as a mentor for children of Anjali House, Cambodia (2013-Present) , Clicking Together (Punjab and Chennai, 2017) and the Delhi Photo Festival (2013-2015).
BEATRIZ NOVARO
(MEXICO) PhD in History, MA in Art History and BA in Sociology from the UNAM. She is a professor-researcher at the National Photographic Library of the National Institute of Anthropology and History. The photographic collections of the 19th century held by the same institution have been one of her main areas of work, unravelling their cultural value and contributing methodological strategies to historicise and read photography. She is the academic head of the Seminar: Study of Mexico's Photographic Heritage, promoted in collaboration between INAH and UNAM's Institute of Aesthetic Research, and is a member of the advisory board of Alquimia.
BENJAMIN FÜGLISTER
(SWITZERLAND) Benjamin Füglister is an artist and cultural entrepreneur born in Switzerland in 1978. He has lived in Berlin, Germany, since completing his studies at the Basel College of Art in Switzerland, and at the Utrecht College of Art in the Netherlands. In his artistic practice he questions social conventions and explores their visual transformations. His particular interest is photography as a medium for visualising changes in the human image. Füglister is co-director of the IAF Basel - Festival of Contemporary Art. Benjamin Füglister has been a member of the editorial board of the magazine European Photography since 2006, and in 2009 he established Piclet, a platform for hand-selected photographic portfolios and a directory for photography festivals, magazines and institutions. He is the founder of the CAP Prize, the Contemporary African Photography Prize, which will be awarded for the first time in 2012. Füglister is one of the nominators of the renowned Prix Pictet, and sits on the artistic advisory board of Photo Basel. He regularly works as a critic at international photography festivals, such as the European Month of Photography in Vienna or the Uganda Festival.
CALIN KRUSE
(GERMANY) Calin Kruse studied graphic design. He is the founder and creator of the photography magazine dienacht and the publishing house dienacht, and is himself a photographer. Calin also curates photography, gives talks, lectures, conducts workshops (Vienna, Berlin, Lagos, Georgetown, Istanbul, Moscow, Mexico City, Rangoon, Copenhagen, Bucharest, Barcelona, ...) on photobook design and portfolio reviews. EDITORIAL dienachtPublishing house Dienacht is an independent publisher of photobooks. Our aim is to showcase carefully selected photographers through a limited circulation of unique, beautifully produced and highly collectible books.Dienacht and Dienacht Publishing have received several awards for their publications: Awards for Best German Photo Book, Best Book of the Year, Shortlist at the Paris Photo - Aperture Award, and a number of LeadAwards.
DARIA TUMINAS
(NETHERLANDS, b. St. Petersburg / Russia - based in Rotterdam) is a curator at FOTODOK. From 2017 until 2020, Tuminas has been working as director of the Unseen Book Market at Unseen Amsterdam. She earned a master's degree in Film and Photography Studies at Leiden University. Daria regularly contributes texts to various media. In 2017, she was the guest editor of The Photobook Review #12 published by Aperture; or in 2018, she contributed a chapter to the book How We See: Photobooks by Women by 10 x 10 Photobooks.Daria Tuminas (St. Petersburg / Russia - based in Rotterdam / the Netherlands) is a curator at FOTODOK. Starting from 2017 and until 2020, Tuminas has been working as the head of Unseen Book Market at Unseen Amsterdam. She obtained an MA in Film and Photographic Studies at Leiden University. Daria regularly contributes texts to various media. In 2017, she was the guest editor of The Photobook Review #12 published by Aperture; or in 2018, she contributed a chapter to the book How We See: Photobooks by Women by 10 x 10 Photobooks.
GERARDO MONTIEL KLINT
(MEXICO, 1968). Photographer, teacher and columnist especially interested in confronting the photographic image as a phenomenon of ideological transition and its repercussions on the public imagination. His work can be found in museums in the USA, Japan, China, Brazil, Spain, Denmark, Hungary and Mexico. Member of the Sistema Nacional de Creadores del Arte, Acquisition Prize at the XIII and XI Biennials of Photography Mexico, Silver Medal Bellas Artes 2008. Co-founder of Hydra platform. Advisor to EXIT magazine (Spain), advisor to Getty Foundation and San Diego Museum of Photographic Arts MOPA SD 2013-2017 (USA), member of the advisory board of Alquimia magazine (Sistema Nacional de Fototecas, Mexico). His professional activity, always around photography and image, oscillates between exhibitions of his work, curatorship, consultancies to museums - publishing houses and theoretical production.
GISELA VOLÁ
(ARGENTINA, Buenos Aires) Photographer, teacher, curator and cultural manager. Member of Cooperativa Sub, Vist project, Women Photograph, Foto Féminas. Nominated 6x6 Global Talent Program of the World Press Photo. Currently co-directs the Laboratory of research and visual creation at Sub, Educational platform. Buenos Aires. 2012/2020, she teaches in the Master of Photography at Efti (Centro Internacional de fotografía y Cine) Madrid, Spain, she is an Activator of MUFF, study program and Photography Festival of the CDF (Centro de fotografía de Montevideo, Uruguay) 2020/2021 and Mentor of the Women Photograph Mentorship Program 2021. First prize POYLATAM Picture of the year Latin America (2019/ 2011/ 2012) , First prize Bienal de Arte de Cuenca, Ecuador 2009, First prize No es igual, no da igual organized by La Defensoría General de la Ciudad through the Programa de Género de la Secretaría General de Derechos Humanos (2013) among others. She has participated in numerous exhibitions in countries such as Ecuador (2019), Buenos Aires, Argentina (2018). J. Paul Getty Museum Los Angeles, USA. Centro de Fotografía de Montevideo, Uruguay (2018, 2011). C.C Recoleta Buenos Aires, Argentina (2015), Centro Cultural kirchner Buenos Aires, Argentina (2015), Galería Hydra, DF Mexico (2017), Musée du Quai Branly Paris, France (2014),Galería ArtexArte, Buenos Aires, Argentina (2014, 2012, 2011), Centro Cultural Haroldo Conti- Ex Esma Buenos Aires, Argentina (2012), Bienal Argentina de Fotografía de Tucumán, Argentina (2012). Centro Tabacalera, Madrid (2010), Festival de la Luz, Argentina (2010), Museo del Barro Asunción, Paraguay (2010), CCE, Santiago de Chile (2009), Palais de Glace, Buenos Aires, Argentina. In the last 15 years he has participated in numerous photography meetings, festivals, colloquiums and talks in Latin America and Europe.
DAVIDE QUADRIO
(ITALY) From 1998 to 2010 Davide Quadrio founded and directed the BizArt Art Center, the first non-profit art-creative workshop in Shanghai, where he lived from 1991 to 2017. In 2007 he established Arthub Asia, a platform for the production and promotion of contemporary art in and from Asia. To this end, he organised numerous exhibitions, educational and cultural exchange projects with institutions around the world. His most recent projects include, among others, Zhang Enli's solo exhibition at the Borghese Gallery, Rome; Around Ai Weiwei at Camera - Centro Italiano di Fotografia, Turin; Zhang Enli and Christopher Doyle's exhibition at the Aurora Museum, Shanghai (curated with Shaway Yeh); the Qiu Zhijie exhibition at the Fondazione Querini Stampalia on the occasion of the 2013 Venice Biennale, but also at the Vanabbe Museum, Netherlands 2016; the Yang Fudong retrospective at the 2013 Toronto Film Festival (curated with Noah Cowan) and the City Pavilion project for the Shanghai Biennale, 2012. He was the editor-in-chief of Kaleidoscope Asia (2016-2018), lecturer-at-large at the Shanghai Institute of Visual Arts (2007-2017) and was the curator of the Shanghai Aurora Museum from 2013-2016. He is currently lecturing at IUAV, Venice, on curatorial studies (autumn 2020) and is the producer of the 13th Gwangju Biennale, Korea, which will open in February 2021.
JIAXING CHAO
(CHINA) She has been involved in curatorial practice since 2010. Between 2011-2015, she served as curator and managing director at V ART CENTER, founded by the Shanghai Institute of Visual Arts, a non-profit space. Producing more than 50 exhibitions and projects with emerging artists, the institution became one of the most important incubators of Shanghai's art scene. Major exhibition projects focus on participatory art, interdisciplinary art practices and discussions on art theory and practice in the past five years, including "Goethe Open Space 2016: Institutions in Motion" (Goethe Institute), "Community of Celibates", in collaboration with philosopher Lu Xinghua (Bund Three, Shanghai Gallery), "Take Me Out", co-curated with Davide Quadrio (K11 Museum), "A Whole Encompassing All Sounds", in collaboration with philosopher Jiang Yuhui (CAFA Art Museum). And in 2017, she officially joined the Start Museum, as a senior curator, located in the West Bund district of Shanghai. She launched and curated an ongoing research project entitled "Being Information". Her current research and curatorial interests are interdisciplinary art practices and the role of rituals in historical and contemporary latitudes. Recently the curatorial project "Rituals in the Rituals of the Future", which is a collective creation, depends on research. The first round was a project within the exhibition "Reesculpir" by Thomas Hirschhorn（McaM,2018）and the book has been released, 2019. Won the ACC Residency Fellow 2019 from Asia Culture Center, Gwangju, South Korea, August 5 to November 5, 2019. She also awarded the travel grant to attend CIMAM 2019 Annual Conference, 2019 Sydney, Australia. At the end of this year, she will finish and launch my base book on the past years' research "2010 - 2020: The heterogeneity of institutional practice based in Shanghai".
JUAN PERAZA GUERRERO
(CARACAS, 1987) Lives in Buenos Aires since 2011. He is a member of La ONG Buenos Aires, a photographic collective founded in 2014. He is an author, researcher and teacher. He studied a master's degree in Aesthetics and Theory of the Arts at the Universidad Nacional de La Plata. He teaches the courses ArtesComparadas and Fotografía y Políticas de la Verdad at the Universidad del Salvador. She is a teacher of . común, a distance education project in photography. She carries out the research project Marginal Histories of Photography, which addresses the history of the medium from the contributions of women, queer authors, of varied ethnic origins and from peripheral geographies.
JUAN VALBUENA
KAREN CORDERO
(UNITED STATES / MEXICO) Karen Cordero Reiman is an art historian, curator and writer. Born in the USA, she has lived and worked in Mexico since 1982. She has taught in the Art Department of the Universidad Iberoamericana and the Postgraduate in Art History at the Universidad Nacional Autónoma de México, and is a founding member of Curare, Espacio Crítico para las Artes. She is the author of many publications on 20th and 21st century art, especially on the relations between so-called cult art and popular art in Mexico; art historiography and criticism; the body, gender and sexual identity in Mexican art; and museum and curatorial policies. Her recent publications include: Anita Brenner: Luz de la modernidad (with Pablo Ortiz Monasterio), Mexico: MUNAL and Arte&Cultura Grupo Salinas, 2020; "Between the Intimate and the Social: Body, Affect, Trauma and Resistance" in María Elvira Escallón: El estado de las cosas, Bogotá: Flora y Seguros Bolivar, 2018; "A Situated Gaze: Lola Álvarez Bravo" in Lola Álvarez Bravo: Picturing Mexico. New Haven and London: Yale University Press, 2018; "Cuerpo, género, afecto: alusiones y enunciaciones de lo in(re)presentado en la escritura de historia del arte" in Diego Salcedo Fidalgo, ed. He has also had a constant involvement in the museum field, with curatorial, advisory and research activities. Her recent curatorial work includes Anita Brenner. Luz de la Modernidad (Museo Nacional de Arte, Mexico City, 2019-2020); We Draw the Line: Works on War, Memory and Affection. Mónica Mayer and Víctor Lerma. (London, Chalton Gallery, 2019); Jusqu'a la fin des temps: Carmen Mariscal/Mercedes Gertz (Instituto Cultural de México, Paris, 2018). She currently works as an independent researcher and curator, as well as on personal creative projects that intertwine art, literature and history.
KAREN IRVINE
(USA) Chief Curator and Deputy Director of the Museum of Contemporary Photography at Columbia College Chicago. She has organised over fifty exhibitions of contemporary photography at MoCP and other venues including the Hyde Park Art Center; the Rockford Art Museum; the Lishui International Photography Festival, China; the Daegu Photography Biennial, South Korea; and the New York Photography Festival. Irvine has contributed texts to many publications, including FOAM, Art on Paper, and contemporary magazines and monographs, including Paula McCartney: Non-flights of Fancy (Princeton Architectural Press); Barbara Probst: Exposures (Steidl); Christian Patterson's Redheaded Peckerwood (MACK), and Stefan Heyne Speak to Me (Hatje Cantz), among many others. She holds a BA in French and international relations from Tufts University, Medford, MA, an MFA in photography from FAMU, Prague, Czech Republic, and an MA in art history from the University of Illinois at Chicago.
ERIK KESSELS
LIZ WELLS
(UK) Liz Wells, writer, curator and teacher of photographic practices, edited The Photography Reader and The Photography Culture Reader (2019; 2003 1st ed.) and Photography: A Critical Introduction (2015, 5th ed.; new ed. 2021) and is co-editor of photographs for Routledge magazines. Her publications on landscape include Land Matters, Landscape Photography, Culture and Identity (2011) and she has contributed many essays to artists' books, exhibition catalogues, magazines and other edited collections. She is editor of the Photography, Place, Environment series, www.routledge.com/Photography-Place-Environment/book-series/BLPHOPPE. Curatorial exhibitions include: Seed Landscapes: Future-proofing Nature (Impressions Gallery, Bradford, Yorks, Sept. to Dec. 2020; tour 2021); Layers of Visibility, Nicosia Municipal Arts Centre, 2018/9 (co-curator, Yiannis Toumazis); Light Touch, Baltimore Washington International Airport (Feb-June 2014); Futureland Now - John Kippin, Chris Wainwright (Laing Gallery, Newcastle, Sept. 2012 - Jan. 2013); Sense of Place, European Landscape Photography (BOZAR, Brussels, June - September 2012); and Landscapes of Exploration, British art from Antarctica (Plymouth, February/March 2012; Cambridge, October/November 2013; Bournemouth, January/February 2015). She is Emeritus Professor of Photographic Culture in the Faculty of Arts, Humanities and Business at the University of Plymouth (UK) and a member of the Land/Water and the Visual Arts research group. www.landwater-research.co.uk. He is a former elected Trustee of the Society for Photographic Education (2011-18). She was awarded an Honorary Doctorate from the University of Gothenburg, Sweden, in 2017. She is British and lives in the UK.
LUCY SOUTTER
(UK) Dr Lucy Soutter is an artist, art historian and critic. She is director of the photography course at the University of Westminster. Her work focuses on questions of value and meaning in art and photography. She has written reviews for publications such as Afterimage, Aperture, Source, Frieze and 1,000 Words and is the author of Why Art Photography? (Routledge, 2nd ed. 2018). Lucy is currently researching the expansion of contemporary photography into other art forms and activities, including installation, performance and sculpture.
LUKAS BIRK
(AUSTRIA) Lukas Birk is a photographer. A storyteller. A curator. And a publisher. His work has been exhibited on 4 continents and has taken many different forms. His multidisciplinary projects have been turned into films, chronicles and books. A large part of Lukas' work deals with archival material that he collects while travelling or while delving into his own background. These archives are neither ambiguous nor are they found images. Lukas investigates his images through research and explorations very often in areas that have been affected by conflict and have not yet had the opportunity to present existing material in an artistic form. His narratives address recorded history by creating alternative stories and fictional elements alongside commonly accepted facts. Lukas founded artist exhibition programmes in China with the program Austro Sino Arts, a program artist-in-residence in Indonesia (SewonArtSpace), co-founded the Afghan Box Camera Project and most recently the Myanmar Photo Archive, an effort to reinterpret and tell the story of Myanmar through photographs collected over the past 6 decades. The collection now contains 20,000 images. Fraglich Publishing, his own publishing house, publishes Lukas' projects and selected works focusing mainly on the history of photography.
MRIDU RAI
(DARJEELING, INDIA, CONFLUENCE COLLECTIVE) She is an independent writer, curator and researcher based in Sikkim, India. She is the curator of Through Her Lens, a visual research program in collaboration with Zubaan Publishers Pvt Ltd and the Sasakawa Peace Foundation, which aims to expand women's photographic practices in the eight states of North East India and the Darjeeling Hills. Mridu is an alumnus of the University of the Arts London and has worked for several publications, including India Today and ARTEM. She is a member of the Confluence Collective, a collaboration of photographers and researchers from Sikkim and the Darjeeling Hills.
NAYANTARA GURUNG
(NEPAL, ASIA) NayanTara Gurung Kakshapati lives in Kathmandu, Nepal, and works at the intersections of visual storytelling, research, pedagogy and collective action. In 2007, she co-founded photo.circle, an independent artist-run platform that facilitates learning, exhibition making, publishing and a variety of other transdisciplinary collaborative projects for Nepali visual practitioners. In 2011, she co-founded Nepal Picture Library, a digital archiving initiative working to diversify Nepal's social and cultural history. NayanTara is also co-founder and director of the Kathmandu Photography Festival, an international festival held in Kathmandu every two years.
NAIEF YEHYA
(MEXICO / UNITED STATES) Engineer, storyteller, cultural critic and pornographer. He has published the novels Obras sanitarias (Grijalbo, 1992), Camino a casa (Planeta, 1994), La verdad de la vida en Marte (Planeta, 1995) and Las cenizas, y las cosas (Random House, 2017), the short story books Historias de mujeres malas (Plaza y Janés, 2002) and Rebanadas (Conaculta, 2012), the essay books: The Transformed Body, Cyborgs and Our Technological Offspring in Reality and Science Fiction (Paidós, 2001), War and Propaganda, Mass Media and the Myth of War in America (Paidós, 2003), Pornography. Sexo mediatizado y panánico moral (Plaza y Janés, 2004), Tecnocultura. El espacio íntimo transformado en tiempos de paz y guerra (Tusquets, 2009), Pornography. Sexual and Technological Obsession (Tusquets, 2012), Pornocultura. The Specter of Sexualized Violence in the Media (Tusquets, 2013) and Drone Visions (Hyperbole Books, 2020). Yehya collaborates in the supplement El Cultural, of the newspaper La Razón, in the magazines Letras Libres, Literal and Zócalo. His work focuses on the impact of technology and the pornographic phenomenon on the media and culture. Yehya has lived in Brooklyn since 1992.@nyehya Blog: http://naiefyehya.blogsome.com/
NELSON GARRIDO
(CARACAS, VENEZUELA) Nelson Garrido 1952, Caracas, Venezuela, is not dead yet, he studied primary and secondary school in Italy, France and Chile and photography in the workshop of the artist Carlos Cruz Diez, in Paris, in 1966-67. La ONG (Organización Nelson Garrido) Espacios para la Creación, brings together his experiences and his own methodology as a photography teacher. La ONG, photography school, alternative cultural centre, has become an obligatory point of reference in the current Venezuelan artistic practice, expanding more and more throughout Latin America.Garrido has created in his artistic work an iconographic language that mixes religion, sex, humour and popular imagery. Violent and irreverent, his work is based on a constant experimentation of expressive means and a profound questioning of the socially accepted system of norms and beliefs. The photographic mise-en-scène is his starting point; the aesthetics of the ugly, eroticism revised in terms of religious sacrifice and violence as a trigger for reactions, are some of the constants in his work. He is the first Venezuelan photographer to be awarded the Premio Nacional de Artes Plásticas.
PEDRO VICENTE
(SPAIN) holds a BA Hons in Photography from The Surrey Institute of Art & Design (Farnham, UK) and an MA in Art Theory from Goldsmiths College, London. He is currently director and lecturer of the MA in Photography and Design at ELISAVA-Universitat Pompeu Fabra, Barcelona; external director and lecturer of the MA in Photography, Art and Technique at the Universidad Politécnica de Valencia, director and lecturer of the online MA in Photography and Design at Shifta, and visiting lecturer in History and Theory of Photography at the University for the Creative Arts (Farnham, UK). He has edited the academic journal of photographic theory 'Philosophy of Photography' (Intellect Books, London); edited the books 'Snapshots of Photographic Theory' (Arola, 2009), 'Family Album' (The Office, 2013) and 'Family Album and Artistic Practices' (2018). He has curated multiple exhibitions, has directed numerous photography conferences and seminars, and has published articles in numerous specialised media. He is currently director of ViSiONA, Programa de la Imagen de Huesca, a cultural project organised by the Diputación Provincial de Huesca with the aim of promoting, supporting and disseminating contemporary artistic creation and thought related to the Image.
RAHAAB ALLANA
(INDIA) She is a curator at the Alkazi Foundation for the Arts, New Delhi; a Fellow of the Royal Asiatic Society (London) and an Honorary Research Associate at University College London. She has curated, contributed to and edited several publications and exhibitions on South Asian photography and its transnational histories, collaborating with museums, universities, festivals and other art institutions such as the Brunei Gallery (London), Rencontres d'Arles (Espace Van Gogh), the Folkwang Museum (Essen), the Museum of Photography (Berlin) and the Rubin Museum (NY), among others; and serves on the Advisory/Jury Committee of various cultural forums, including the India-Europe Foundation for New Dialogue (FIND, Rome); the Prix Pictet Award (London/Switzerland/Paris); the Gabriele Basilico Prize for Architectural and Landscape Photography, etc. He is also the Founding/Managing Editor of PIX, a thematic photography initiative - an exhibition and online platform for South Asian professionals in its tenth year; and is currently Guest Editor of a volume for Aperture magazine.
RODRIGO ALONSO
(BUENOS AIRES, ARGENTINA) Bachelor of Arts specialising in contemporary art and new media. Researcher and theoretician in the field of technological art, he is a reference in the history and present of this production in Latin America. He has published numerous essays and books on the subject. His publications include: No sabe/No contesta. Prácticas fotográficas contemporáneas desde América Latina, 2008; Calibrando/ Diseñando contextos. Curatorial Practices for the Technological Arts, 2009; In Praise of Low-Tech. Historia y estética de las artes tecnológicas en América Latina, 2015. He participated in the selection of the most promising young photographers on the international scene for the book Vitamin PH (Phaidon). He is an undergraduate and postgraduate university lecturer and advisor to international art foundations.
RUSELL LORD
(USA) is the Freeman Family Curator of Photographs at the New Orleans Museum of Art (NOMA). His deepest area of expertise is the origins of photography, but Lord has written and lectured on almost every moment in the history of photography. His publications include: Looking Again: Photography at the New Orleans Museum of Art (2018), Gordon Parks: The Making of an Argument (2013), Edward Burtynsky: Water (2013), "The Betrayal of Images: Photo-Unrealism" in Photorealism: Beginnings to Today (2014). Lord's recent exhibitions include: Photography, Sequence and Time (2012-13); Ten Missing Years (2015); and Something in the Way: A Brief History of Photography and Obstruction (2016-2017). Much of his research focuses on the relationships between photography and other visual media.
SHI HANTAO
(SHANGHAI, CHINA) Curator and writer. He was the Chief Coordinator of the 12th Shanghai Biennale, and used to work at EPSON Image Space, Rockbund Art Museum, Chronus Art Center, Ray Art Center and Shanghai Project. He has curated and organised exhibitions and public programmes at various art organisations over the past two decades. His writing and translation work covers the fields of photography, contemporary art and institutional studies.
SUSAN BRIGHT
(UK) Dr Susan Bright is an Australian/British curator and writer currently based in London. She specialises in lens-based arts and contemporary visual culture, with an emphasis on interdisciplinary and international programming. She was a curator at the National Portrait Gallery in London before deciding to work independently in the early 2000s. Her professional life has taken her to live in London, New York and Paris, where she has worked with many institutions on a wide range of projects. These include the following: Tate, Barbican, the Royal Academy, the Museum of Contemporary Photography Chicago, the St. Louis Art Museum, the Phoenix Art Museum and the New York Public Library.Bright is regularly invited to be a guest speaker, critic and scholar at universities around the world. For fifteen years she taught curatorial practice and visual culture to both art and art history students at institutions such as Parsons and the School of Visual Arts in New York and Sotheby's Institute and the University of the Arts London. He writes frequently for international media, museum publications and artist monographs.
YINING HE
(CHINA) Writer and curator of photographic art and visual culture. Graduated from the London College of Communication, University of the Arts London. Her work focuses primarily on how photography can freely cross the boundaries of fine art, answering and raising questions about contemporary and historical social issues through effective, diverse and interdisciplinary media. His current academic research focuses on art history, cultural studies and other interdisciplinary frameworks. His latest research seeks to examine the construction, application and development of image algorithms in the creation of photographs at the intersection of photography, media ecology and technical philosophy in China. His publications include "Photography in the British Classroom" and "The Port and the Image", among others. His translations include "Photography and Travel", "Perspectives on Place: Theory and Practice in Landscape Photography" (forthcoming), "Art and Photography" (forthcoming) and "Artists Who Make Books" (forthcoming). In early 2014, He Yining launched the Go East Project, which aims to promote contemporary Chinese photography in the West through blogs, exhibitions and publications, seeks to support young photographers by establishing an international platform that explores the endless possibilities of photography.
SUB COOPERATIVA
YVON LANGUÉ
(CAMEROON / MOROCCO) Independent curator and graphic designer based in Marrakech. He is currently co-founder (with Soukaina Aboulaoula) of Untitled, a multidisciplinary duo of editorial design, art direction and curatorship launched in 2017. He is also a teaching assistant at the School of Visual Arts in Marrakech. Langué has worked as an exhibition assistant at the (former) Museum of Photography and Visual Arts in Marrakech, and as curatorial/editorial assistant at Kulte Gallery and Editions, Rabat. Passionate about connecting ideas and themes at the crossroads of art, theory and social science, Langué also explores ways of conveying knowledge using infographic visualisation as a tool to explore the history of photography in Africa. His recent projects include themes of social photography ("DABAPHOTO 5: Burnout", 2019, LE 18); the representation of migration ("Migrations, narratives, movements", Keele University, 2019); and ideographies of knowledge ("Rêves de Colonies", Dar Bellarj, 2019).
