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Curators & Committee

1 /
Committee
Alejandro Castellote
In 1982 Alejandro began working as a curator of photography. From 1985 through to 1996 he was director of the Photography Department at the Círculo de Bellas Artes (CBA) in Madrid, where he organised five editions of the Festival FOCO (1985-1989) and created the Minerva Photography Gallery, a space devoted to emerging photographers.

He was artistic director and co-founder of the International Photography Festival PHotoEspaña in Madrid from 1998 to 2000. At Lunwerg Publishers he was responsible for Contemporary Photography, publishing, among others, Mapas abiertos: fotografía latinoamericana 1991-2002 (Tour exhibition: Madrid, Barcelona, Brussels, Helsinki, Biarritz, Bratislava, Mexico DF, Monterrey, Guadalajara, Santiago de Chile and other cities). During 2005 and 2006 he was editor for C International Photo Magazine, Ivory Press (London) and curated the exhibition C on Cities at the Padiglione Italia in the 10th Venice Biennale of Architecture (2006). He has been a guest curator at Photoquai for Latin America (2007-2009), the Biennial organised by the Quai Branly Museum in Paris and the Seoul Photo Fair (Korea, 2010). He was also curator for the first three editions of the Getxophoto Festival in Bilbao and guest curator at Picha: The Second Biennale of Photography and Video Art (Lubumbashi, Democratic Republic of the Congo, 2010). In 2012 he was guest curator of the Singapore International Photography Festival and in 2013 he curated the exhibition and book Spain throughout Photography, 1839-2010 at the MAPFRE Foundation (Madrid). In 2014, he was the director of the Daegu Photo Biennale in Korea and the following year he was chief-curator with Wang Qingsong and François Hebel at the First Chang-Jiang International Photography & Video Biennale in Chongqing, China. He was also guest curator for the Guangzhou Image Triennial 2017 at the Guangdong Art Museum (China). In 2019, he was guest curator of the first edition of Imago Lisboa, Portugal.

As teacher, writer, and lecturer on photography, he has collaborated with several Masters in Europe and Latin America and has contributed to many photo magazines in Europe, Latin America and Asia. He participated as guest professor in the Joop Swart Masterclass 2010 at the Foundation World Press Photo in Amsterdam and he was Series Editor of the Biblioteca de Fotógrafos Latinoamericanos, PHotoBolsillo, La Fábrica Editorial, (Madrid, 2010-2012). In 2006 he was awarded the PHotoEspaña Prize Bartolomé Ros for the best professional track record in photography in Spain. From 2014-2016 he lived in Peru where he was director of Latin American Master of Photography and Visual Arts at the Centro de la Imagen in Lima. 
Roger Ballen
One of the most influential photographic artists of the 21st century, Roger Ballen’s photographs span over forty years. His strange and extreme works confront the viewer and challenge them to journey into their minds as he explores the deeper recesses of his own.

Roger Ballen was born in New York in 1950 but for over 30 years he has lived and worked in South Africa. His work as a geologist took him out into the countryside and encouraged him to take his camera and explore the hidden world of small South African towns. 

Over the past thirty-five years his distinctive style of photography has evolved, using stark and beautiful black and white imagery in a simple square format. In his earlier works, his connection to the tradition of documentary photography is clear, however, throughout the 1990s he developed a style he describes as “documentary fiction”. 

Ballen has not only contributed to stills photography, he has also been the creator of a number of acclaimed and exhibited short films that dovetail with his photographic series. The collaborative film I Fink You Freeky, created for the cult band Die Antwoord in 2012, has reached over 125 million views on YouTube. Ballen has also expanded his repertoire into the realm of sculpture and installation, as seen at Paris’ Musée de la Chasse et de la Nature (2017), Australia’s Sydney College of the Arts (2016) and at the Serlachius Museum in Finland (2015), among others. The spectacular installation at Les Rencontres d’Arles 2017, House of the Ballenesque, was voted as one of the best exhibitions of 2017. In 2018 at the Wiesbaden Biennale in Germany, another installation, Roger Ballen's Bazaar/Bizarre, was created in an abandoned shopping centre.

Ballen’s series, The Theatre of Apparitions (2016), is inspired by the sight of hand-drawn carvings on blacked-out windows in an abandoned women’s prison. Ballen started to experiment using different spray paints on glass before “drawing on” or removing the paint with a sharp object to let natural light through. The results have been likened to prehistoric cave-paintings; the black, dimensionless spaces on the glass are canvases onto which Ballen has carved his thoughts and emotions. He also released a related animated film, Theatre of Apparitions, which has been nominated for various awards.

In September 2017 Thames & Hudson published a large volume of Ballen’s collected photography with extended commentary by the artist himself, titled Ballenesque Roger Ballen: A Retrospective. In 2019 Halle Saint Pierre in Paris also opened an exhibition titled The World According to Roger Ballen.  
 
He He Yining
He He Yining (1986), researcher, writer and curator of photographic art and visual culture based in Tianjin, China. Graduate of London College of Communication, University of the Arts London.
 
He he's previous curatorial practise is principally focused on the way in which photography is able to freely straddle the boundaries of fine art, responding to and raising questions about contemporary and historical social issues through effective, diverse, and interdisciplinary means. Yining's exhibitions have been held in museums, art museums, and photography festivals in China and Europe, including: China Imagined (BredaPhoto 2020, Grote Kerk, Breda, Netherland),  Between Mountains, Hills and Lakes (2020, Design Society), The Abode of Anamnesis (2019, OCAT Institute), the 3rd Beijing Photo Biennale (2018, CAFA Art Museum), The Port and The Image: Documenting China's Harbor Cities (2017, China Port Museum), A Fictional Narrative Turn (2016, Jimei Arles International Photo Festival,and The 50 Contemporary Photobooks from China 2009-2014 (2015, FORMAT 15 international Photo Festival, UK).
 
Publications include Photography in the British Classroom, and The Port and the Image, among others. Her 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) and few others. Furthermore, her latest research attempts to discuss 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.
 
Sandra Maunac
Sandra Maunac (Madrid, Spain, 1979) is an independent curator, organizes conferences and meetings, participates as a reviewer of portfolios and she is director of the Trobades Literàries Mediterrànies Albert Camus. She has a BA in History and a MAS in International and African Studies from the UAM, she has worked at the Three Cultures of the Mediterranean Foundation (Seville), the Egyptian Center for Culture and Art (Cairo, Egypt) and at the African Film Festival of Tarifa (2005 – 2010). Until February 2016, she has been co-director with Mónica Santos of Masasam, a platform created in 2007 specialized in curatorial proposals and in the photographic image. For more than ten years, Sandra Maunac has tried to defend and promote, as a mediator, projects that have revolved around issues related to the image.

As a specialist in postcolonial issues and cultural studies, her main objective during the first years of her career was to promote artists from the non-Western orbit, in order to provide other views, change the hegemony of the predominant Western image and enlarge our perceptions of the world.Currently, she is focused from local to international. Always from an international, global, multiple and varied perspective, she is convinced that our responsibility is to erase cultural borders. This means, among other things, to defend creators who are aware that the image is no longer enough, critics of the media and whose languages are transversal and multiple, defending projects that explore the possibilities of telling stories in another way.
 
Moritz Neumüller
Moritz Neumüller, Ph.D. (Linz, Austria, 1972) is a curator, educator and writer in the field of Photography and New Media. He has worked in research and management positions for international institutions such as the Museum of Modern Art in New York, La Fábrica in Madrid and PhotoIreland in Dublin.

He is currently chief curator of the Photo Book Week in Aarhus, Denmark. Recent curatorial projects also include the exhibition Photobook Phenomenon at CCCB Barcelona and The Routledge Companion to Photography and Visual Culture, published by Taylor & Francis, New York. Since 2010, he has run The Curator Ship, an online resource platform for visual arts. Neumüller has also worked on initiatives such as ArteConTacto and the MuseumForAll.eu digital platform which aim to help the creative industry reach a wider audience and facilitate people’s access to culture and knowledge, including those with poor eyesight and understanding.