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Baker is a Romani Gypsy artist, researcher, and curator. Originally from Kent, and currently based in London, his work is exhibited internationally and can be found in collections across the globe. Baker earned a PhD in 2011 from the Royal College of Art, with his dissertation, “Gypsy Visuality: Gell’s Art Nexus and its Potential for Artists”, after previously earning an MA in Sociology/Gender and Ethnic Studies from Greenwich University, and a BA (Hons) in Fine Art from Ravensbourne College of Art and Design. Baker has contributed to numerous exhibitions, held various residencies, and curated several commissions. He previously worked as an exhibitor and consultant for the first and second Roma events at the International Art Exhibition of La Biennale di Venezia – “Paradise Lost” and “Call the Witness”, which took place during the 52nd and 54th International Art Exhibitions of La Biennale di Venezia, respectively. In 2018, hosting an open call for curators, an international jury consisting of Professor Dr Ethel Brooks, Tony Gatlif, Miguel Ángel Vargas, and ERIAC management selected Baker to curate the Roma Collateral Event at the 58th La Biennale di Venezia. Baker’s work examines the role of art in the enactment of social agency, through an eclectic practice that interrogates contemporary art discourse and its social implications via the reconfiguration of elements of the Roma aesthetic.
Bihari studied Cultural History and Theory in Berlin. She was responsible for the third Roma Pavilion at the 58th La Biennale di Venezia as assistant curator and project coordinator of ERIAC. She is currently working in the field of non-formal historical education.
Bitu has been active in the field of human rights and women’s rights for over 30 years, at the forefront of the European mobilisation of Romani women activists, and of advocacy for the rights of Roma. A recognised and published expert in her field, she is the founder of Romani CRISS, served as Director of Romano ButiQ, and offered consultancy to the Open Society Foundations, the Council of Europe, the European Commission, made a major contribution to the establishment of ERIAC: European Roma Institute for Arts and Culture, and served as Chair of the Roma Archive. Her work has provoked the Romani and feminist movements to think and act based on the universality of human rights when it comes to Romani women. The foundation of her training and development is the work she has done in the early years of her activism, in local communities affected by inter-ethnic conflicts, and her encouragement and formation of new generations of Romani activists of all genders is widely recognised.
Actress and playwright who lives in Bucharest (RO) and works in several European countries. In 2014, she founded Giuvlipen Theatre Company, for which she is both actress and playwright, together with other Roma actresses. Over the past few years, she has been working in Berlin as an actress for Maxim Gorki Theatre, Heimathafen Neukölln, and Theatre Aufbau Kreuzberg. She was one of six finalists for the 2017 Gilder/Coigney International Theatre Award in New York, and a 2020 nominee, an award which acknowledges the exceptional work of 20 theatre women around the world. In 2018, Drăgan was a resident artist in Hong Kong at Para Site Contemporary Art Centre, where she developed Roma Futurism, which lies at the intersection of Roma culture with technology and witchcraft. She was acknowledged by PEN World Voices: International Play Festival 2018 in New York as one of the ten most respected dramatists of the world. In 2019, she was one of the playwrights selected for the acclaimed Royal Court Theatre International Summer Residency in London, where she wrote a science-fiction play about a future utopian society of Roma witches who control technology and fight neo-fascist politics in Europe.
French curator and specialist in the art and societies of Oceania. She taught this discipline at Ecole du Louvre in Paris, and published several popular books and articles on the history of the discovery of the Pacific. She also initiated the reopening of the anthropology gallery of the Museum of Natural History in Rouen, and was curator of its section devoted to Oceania with Te Papa Tongarewa, National Museum of New Zealand (2011). From 2011 to 2014, Julia Ferloni headed the scientific hub of the Interdisciplinary Centre for Conservation and Restoration of Heritage (CICRP), based in Marseille. She then joined the Museum of Civilisations of Europe and the Mediterranean (Mucem) as head of the Craft, Commerce and industry Collection, and curator of L’Amour de A à Z (Love from A to Z, 2018) and Barvalo (2023). She specialises in accompanying participatory projects in museums.
Postdoctoral Fellow in the Leonard A. Lauder Research Center for Modern Art at the Metropolitan Museum of Art in New York. Previously, she was the C-MAP Fellow for Central and Eastern Europe at MoMA. Meghan’s writings have appeared widely, in both scholarly and popular publications, such as ArtMargins, Umění/Art, Hyperallergic and post: notes on art in a global context. She has also contributed to monographs and exhibition catalogues on the artists Alice Trumbull Mason, Toyen and Władysław Strzemiński. Meghan is the sole editor of International Perspectives on Publishing Platforms: Image, Object, Text (Routledge, 2019) and co-curator of BAUHAUS↔VKhUTEMAS: Intersecting Parallels (Museum of Modern Art Library, 2018). She is the founder and co-editor of harlequin creature, a not-for-profit arts and literary imprint of handmade books and magazines established in 2011.
Kata E. Fris
Fris worked at Amaro Drom – Ember az emberért [Human for Human] Roma Foundation in Budapest from 1997-2001, realising human rights and arts programmes. In parallel, she worked on the Amaro Drom cultural and public life magazine, first as an editorial coordinator and manager, then as editor, from 2003 until the magazine’s forced termination in 2010. In 2002, she was invited to work at the municipal Cigány Ház [Gypsy House] – Romano Kher by director Jenő Zsigó, following their collaborative civil work. As Cultural Manager and events organiser, she worked on countless arts and professional programmes, contributing to the extremely rich, diverse and productive period for both the institution and the Roma community in Budapest. From the institution’s reorganisation in 2010 until 2014, Fris was communications coordinator for the EU project: Equal Treatment Authority. Since 2012, she is a community sociological researcher at the Jakab Gláser Memorial Foundation in Josephstadt (Budapest’s 8th District), also working to produce projects based upon this research. Within that framework, her short film, Félelem a falakra volt írva [Fear was Written on the Walls] premiered 6 April 2021.
Multimedia visual artist, who focuses on ecology, immigration and the impact of globalisation on the environment. Hudec graduated from the Academy of Fine Arts and Design in Bratislava.
Art historian, contemporary art curator, and Executive Director of the Berlin-based ERIAC: European Roma Institute for Arts and Culture. She has researched and published extensively on the conjunctions of modern and contemporary art with critical theory, with particular reference to issues of cultural difference, colonialism, and minority representation.
Curator and lecturer based in Budapest. She holds a PhD in cultural studies from the Doctoral School of Literary Studies, University of Pécs. In addition to teaching at the Department of Art Theory and Curatorial Studies in the Hungarian University of Fine Arts in Budapest, she curates exhibitions and collaborates on projects (e.g., OFF-Biennale Budapest 2015, 2017; curated by, 2018 in Vienna with Edina Nagy; Residency Under Investigation at tranzit.sk, Bratislava 2017; The Blue Room, with artist duo Tehnica Schweiz, 2019). Between 2016–2019 she was a researcher of the Film Section in the international RomArchive project. She is a member of an ongoing collaborative project with the Semmelweis Medical History Museum in Budapest: Waiting Room – Women Healers and Patients on the Periphery of Medicine. She joined the curatorial team of the OFF-Biennale Budapest in 2019.
Delaine Le Bas
Artist. She is currently one of the artists in The Crack Begins, within the 11th Berlin Biennale for Contemporary Art (2020), and Guest Professor at UdK – University of the Arts Berlin.
Curator, critic and curator, currently based in Moscow, where she is Councillor of Culture at the Embassy of Sweden.
Achille Mbembe is a Cameroonian philosopher and political theorist based at the University of the Witwatersrand in South Africa. He has written extensively in African history and politics and critical theory, including On the Postcolony (2001); Critique of Black Reason (2017); Necropolitics (2019); and Out of the Dark Night: Essays on Decolonization (2019). His books have been translated into numerous languages. A member of the American Academy of Arts and Sciences, he is the winner of the 2018 Gerda Henkel Award and the 2018 Ernst Bloch Award.
Suzana Milevska is a curator and theorist of visual art and culture, based in Skopje, North Macedonia. She was Principal Investigator at Politecnico di Milano for the project, TRACES – Horizon 2020 (2016-2019), and was appointed the first Endowed Professor for Central and South Eastern European Art Histories at the Academy of Fine Art Vienna (2013-2015). She holds a PhD in visual culture from Goldsmiths College London. She curated the exhibitions: The Renaming Machine, Roma Protocol (Austrian Parliament, Vienna), and Call the Witness (BAK, Utrecht), and initiated Call the Witness–Roma Pavilion at Venice Biennale (2011). More recently, she curated the exhibitions: Paying Attention (Akademie Graz), Contentious Objects/Ashamed Subjects (Politecnico di Milano, Milan) and Rewriting the Protocols: Naming, Renaming and Profiling, RomArchive (https://www.romarchive.eu/en/visual-arts/subsection-rewriting-protocols/). She published the book, Gender Difference in the Balkans (2010), and edited The Renaming Machine: The Book (2010), and On Productive Shame, Reconciliation, and Agency (2016). In 2012, she won the Igor Zabel Award for Culture and Theory.
Małgorzata Mirga-Tas was born 1978 in Zakopane (PL). She graduated from the Sculpture Department at the Academy of Fine Arts in Krakow in 2004. She participated in the International Sculpture Symposium in Brno (CZ, 2012), and was co-creator of the exhibition Zalikierdo Drom in Warsaw (2014). She was awarded a scholarship of the US Government International Visitor Leadership Program in the USA on the subject of Promoting Social Good Through the Arts (2015). Mirga-Tas received awards at the 42nd and 44th Biennale of Painting Bielska Jesień (2015, 2019), and participated in the International Art Symposium at the Moravian Gallery in Brno (2011, 2017). She also participated in the 3rd Art Biennale in Timisoara (RO, 2019), the 11th Berlin Biennale (2020), and the Warsaw Gallery Weekend (2020). Mirga-Tas was awarded a scholarship of Poland’s Minister of Culture (2018). Mirga-Tas is engaged in many social art projects aimed at counteracting exclusion and racial discrimination and xenophobia.
Németh is an alumna of the Romani Studies Program, and of the School of Public Policy Program at the Central European University in Budapest. She led ERIAC’s Cultural Institutions Network Initiative (CINI) project.
Norbert Oláh (Hatvan, 1990) is a painter, and holder of the Béla Gruber Prize. He studied animation in high school in Eger, and in 2010 he continued his studies in painting at the Hungarian University of Fine Arts, where he received his diploma in 2016. He lives in the 8th District of Budapest, from where he draws upon a large part of his subject matter.
(*1972 Yugoslavia) is Berlin-based performance and interdisciplinary artist, researcher and educator. She is internationally renowned as a pioneer of institutional gendered critique, and for her work in the field of socially and politically engaged and public art, particularly with regard to migration politics. She uses diverse media in her artistic research, examining feminist issues, power relationships, social configurations, racism, economy, and bio-politics between others. Ostojić includes herself as a character in performances and works predominantly from the migrant woman’s perspective, while political positioning and ethical participation define the approaches of her work. Since 1994, she has presented her work in a large number of solo and group exhibitions and festivals worldwide, including the Brooklyn Museum in New York, the Venice Biennale in 2001 and 2011, and MUMOK in Vienna. She has given lectures, seminars and workshops at academic conferences and art universities throughout Europe and in the Americas. Ostojić’s work maintains a high level of theoretical reference and has been analysed and reviewed globally, and included in numerous books, periodicals and anthologies, while The Guardian has chosen her, with her project, “Looking for a Husband with EU Passport” (2000-05), as one of the 25 best artists of the twenty-first century.
Born 1948 in Belgrade (Yugoslavia, now Serbia), is an art historian and curator. She studied History of Art at the University of Belgrade, and in 2005 she defended her PhD: “The Communist Body – An Archeology of Images: Politics of Representation and Spatialization of Power in the SFR Yugoslavia (1945-1991)” at the Karl von Ossietzky University in Oldenburg, Germany. From 1977 to 1991, she was curator at the Student Cultural Centre of Belgrade University, and organised numerous exhibitions of Yugoslav and international art. She has written criticism since 1971, and was editor of the art theory journal Moment (Belgrade, 1984-91). In 1995 she organised the international symposium, The Body in Communism, at the Literaturhaus in Berlin. Pejić was chief curator of the exhibition, After the Wall – Art and Culture in Post-Communist Europe, organised by Moderna Museet Stockholm (1999), and shown at the Ludwig Museum – Museum of Contemporary Art Budapest (2000), and at Hamburger Bahnhof Berlin (2000-2001). In 1999, Pejić was a co-curator of the exhibition, Aspects/Positions, at the Museum für Moderne Kunst Stiftung Ludwig (MUMOK) in Vienna. She was artistic director of the international exhibition, Artist-Citizen, 49th October Salon in Belgrade in 2008, and chief curator of Gender Check: Femininity and Masculinity in the Art of Eastern Europe, shown at MUMOK and Zachęta National Gallery of Art in Warsaw. She edited Gender Check: A Reader – Art and Theory in Eastern Europe in 2010. She co-curated the international exhibition, Good Girls – Memory, Desire, Power, at the Museum of Contemporary Art (MNAC) in Bucharest (RO, 2013), and HERO MOTHER – Contemporary Art by post-Communist Women Rethinking Heroism (Berlin, 2016). She is guest lecturer at Bauhaus University in Weimar with the course “Public Art and New Strategies” since 2014. She is also currently a Senior Non-Resident Fellow at New Europe College (NEC) in Bucharest (RO, Getty Program), 2018-2021. Pejić has lived and worked in Berlin since 1991.
Pócsik is a film historian and cultural researcher, and senior lecturer at Pázmány Péter Catholic University in Budapest. Her pedagogical activity is devoted to engaged scholarship and methodological developments combining theory and practice. Her most important projects are based on critical film education: founding the Roma Visual Lab at ELTE University (Budapest), and the KineDok Pázmány Filmclub, as well as participating in the international European University Film Award, and recently in collaboration with tranzit.hu founding a community space for informal learning and self-educational opportunities for students of lesser means. Apart from teaching, she is often involved in contemporary artistic and cultural projects, as a curator, organiser and expert. She publishes reviews, articles and book chapters on contemporary art and film, primarily in Hungarian, but also in German and English. She has conducted research on Roma representation within ELTE University’s Film, Media and Cultural Theory Doctoral Programme. A decade of her research resulted in a book published in 2017: Átkelések. A romaképkészítés (an)archeológiája [Passages: An (An)archaeology of Roma Image-Making] (Gondolat Kiadó). She contributed to the founding of the first international digital archive of the Roma, the RomArchive. Her recent research is based on memory and archival studies, currently as a Goethe-Institut fellow at the documenta Archive in Kassel, Germany.
Nihad Nino Pušija
Born 1965 in Sarajevo, Bosnia and Hercegovina, is a fine art photographer. His work (since 1992), focused primarily on documentary and portrait photography, aims to capture Roma identity in Berlin, where he has been based for the past 27 years, and elsewhere in Europe. Important themes in his work include: the politics of recognition, minority positions in contemporary artistic and curatorial practice, south-east Europe, refugees, conflict resolution, integration and the Roma in Europe. His work has received support from nGbK Berlin (New Society for Visual Arts), Museum of European Cultures, and Allianz Cultural Foundation. He was included in both the 1st and 2nd Roma Pavilions at the Venice Biennale 2007 and 2011. Pušija lives and works in Berlin.
Révész (1967), art historian, completed her PhD in 2008 from the Art History Institute at the Faculty of Arts and Sciences of Eötvös Loránd University (ELTE). Areas of her research include Early Modern Hungarian painting, 19th-20th century graphic art history, the history of book illustration, and the history of higher education in the arts. Bibliography: Firkaforradalom (Grafikatörténeti tanulmányok) [Scribble Revolution (Graphic Art History Studies)], 2019; A művészet kertje. Gross Arnold művészete [Art Garden: The Art of Arnold Gross], 2019; Kép, sajtó, történelem. Illusztrált sajtó Magyarországon 1870-1870 [Picture, Press, History: Illustrated Press in Hungary], Bp., 2015; Fényes Adolf [Adolf Fényes], Bp., 2014; Csók István [István Csók], Bp., 2010; A magyar historizmus [Hungarian Historicism], Bp., 2005. Selected curatorial work: Szigorúan ellenőrzött nyomatok. Magyar sokszorosított grafika 1945-1961 között [Hungarian Graphic Art Multiples 1945-1961]. Miskolc Gallery, 2018; Nyomtatás – nyomhagyás. Maurer Dóra grafikai munkássága [Printing – Leaving a Mark: The Graphic Art Oeuvre of Dóra Maurer]. Hungarian University of Fine Arts (MKE), Barcsay Hall, Budapest, 2017; Gyermek/Kor/Kép. Gyermek a magyar képzőművészetben [Child/Age/Image: Children in Hungarian Fine Art]. Budapest History Museum (BTM), 2016; Forradalom előtt. Képzőművészeti Főiskola 1945-1956 [Before the Revolution: The Academy of Fine Arts 1945-1956]. Hungarian University of Fine Arts (MKE); Bálványok és démonok. Csók István (1865-1961) életmű-kiállítása [Idols and Demons: Life-Work Exhibition of István Csók (1865-1961)]. István Csók Gallery – Municipal Gallery, Székesfehérvár, 2011
Visual artist of Roma origin. She is also a university lecturer at Matej Bel University in Banská Bystrica, where she teaches art courses. Her work focuses on the internal and external construction of the Roma identity, and the acquisition of the Roma body into the long history of European culture.
(b. 1991) is from Bosnia and Herzegovina and is of Romani origin. She earned her BFA in 2014 from Banja Luka University’s Department of Painting. In 2018, she graduated from Syracuse University with an MFA in Transmedia, Visual and Performing Arts. In her artwork, the ultimate aim is to protect and enable female bodies and enact a cross-scalar approach to the collective self-emancipation of oppressed women. Selman’s search for functional, contemporary political resistance stems from her personal experience of oppression from multiple directions and scale. Selman founded the organisation “Get the Heck to School”, which aims to empower Roma girls worldwide who have faced poverty and ostracization from society. Selman currently lives and works in Bihac (BIH) and New York. Selman participated in Tania Bruguera’s International Summer Academy in Salzburg, “Arte Util” in 2013. In 2014, Selman was the recipient of the Zvono Award, given to young artists in Bosnia, and in 2017 Selman was awarded the Trieste Contemporanea Award. In 2018, she was nominated for Forbes 30 under 30, Art and Style, and in 2019 she was the winner of the White Aphroid Award, Maribor (SLO), as well as winning the Power of Excellence Award from the Association of Business Women in BiH and Magazine Grazia, Sarajevo. Selman’s works have been shown, among others, at Kunsthalle Wien (2020); L’Onde Center for Art, Paris (2020); 58th Venice Biennale (2019); Queens Museum (2019); Villa Romana, Florence (2019); The Creative Time Summit, Miami (2018); 3. Berlin Herbstsalon, Maxim Gorki Theatre (2017); acb Gallery, Budapest (2017); agnès b. Galerie Boutique, New York (2017); Good Children Gallery, New Orleans (2016); Kunstquartier Bethanien, Berlin (2016); Museum of Contemporary Art, Banja Luka (BIH, 2014).
is Director of the Rautenstrauch-Joest Museum: Kulturen der Welt in Cologne since 2019, where she has introduced a decolonial strategy. With RESIST! The Art of Resistance (http://rjm-resist.de), about 500 years of anti-colonial resistance in the Global South, she has curated her first large-scale exhibition in Cologne. Between 2015 and 2018, she was Director of the Grassi Museum für Völkerkunde in Leipzig, the Museum für Völkerkunde in Dresden, and the Völkerkunde Museum in Herrnhut. In Dresden, she curated an experimental expanding exhibition in ten steps, Prolog #1-10: Stories of People, Things and Places (2016-2018), which explored the ethnographic museum and its colonial legacies in an ongoing process. This curatorial concept was then taken up at the Grassi Museum in Leipzig under the name Werkstatt Prolog in 2018. For Leipzig, Snoep initiated a series of exhibitions, Grassi invites #, inviting external curators, artists, theatre makers, refugees, communities and students to draw out new perspectives on the museum’s collection and permanent exhibition. The final exhibition she organised in Saxony, Megalopolis – Voices from Kinshasa (2018), gave carte blanche to a collective of artists from Kinshasa (DRC).
Prior to her appointment in Germany in 2015, Snoep spent 16 years at the Paris Quai Branly Museum as Head of the “Historical and Contemporary Globalisation Collection”. In France, she curated 1931: Les étrangers au temps de l’Exposition coloniale (Cité Nationale de l’Histoire de l’Immigration, Paris, 2008), Vodou: L’Art de Voir l’Invisible (Musée du Vodou, Strasbourg, 2013), and for the Quai Branly Museum, Recettes des Dieux: L’Invention du Fétiche (2009), Exhibitions: L’Invention du Sauvage (2011), and Les Maîtres du Désordre (2012), with additional venues at the Kunsthalle Bonn in 2012 (Narren. Künstler. Heilige. Lob der Torheit), and at the Fundacio La Caixa in Madrid in 2013 (Los Maestros del Caos).
Between 2004 and 2014, she also taught African Art History at l’École du Louvre in Paris and at the Université Nanterre.
curator based in Budapest. Since 2014, she has worked as leader and co-curator of OFF-Biennale Budapest, the largest state-free international art project in Central Europe, which she initiated. After two editions in 2015 and 2017, the third edition of the biennale is scheduled for May 2021. In 2013–2014, she was editor of artmagazin.hu. Between 2009–2012 she served as curator at Ludwig Museum of Contemporary Art, Budapest, and between 2001–2006 at Trafo House of Contemporary Arts, Budapest. She co-founded two independent art spaces, Dinamo (2002–2006) and Impex (2006–2008), both in Budapest. She holds a degree in Art History from ELTE Budapest, and an MA from the Center for Curatorial Studies, Bard College. Recent curated exhibitions include Hide and Seek, (various venues in Budapest, as part of OFF-Biennale 2017), Art Has No Alternative (tranzit.sk, Bratislava, 2015); Les statues meurent aussi (with artist István Csákány, Bonnefanten Museum, Maastricht, 2014); and Yona Friedman: Architecture without building (with Nikolett Erőss, Ludwig Museum of Contemporary Art, Budapest, 2011–2012).
Gayatri Chakravorty Spivak
Literary theorist, feminist critic, postcolonial theorist, and professor of comparative literature. She is professor at Columbia University, where she is a founding member of the Institute for Comparative Literature and Society. Considered one of the most influential postcolonial intellectuals, Prof. Dr. Spivak is best known for her seminal essay, “Can the subaltern speak?”, and has eleven honorary doctorates form universities across the world.
Anna Lujza Szász
Sociologist, who currently teaches at Budapest Corvinus University. She is also project manager of the OFF-Biennale Budapest’s RomaMoMA section.
curator and art historian based in Budapest. She is a doctoral candidate in the Doctoral Program in Film, Media and Contemporary Culture at Eötvös Loránd University (ELTE), Budapest. In 2006, she was co-editor of the volume, Meet Your Neighbours with Tímea Junghaus, and in 2007 she was assistant curator alongside Tímea Junghaus of the First Roma Pavilion at the Venice Biennale. She was a curator at Ludwig Museum – Museum of Contemporary Art between 2008–2013. Since 2014, she has been a member of the curatorial team of OFF-Biennale Budapest. Since 2015, as Creative Program Officer at Blinken OSA, she curates and coordinates exhibitions and other public programmes. Recent curated exhibitions include Collective Dreams and Bourgeois Villas (with Miklós Zsámboki, 2019 at OSA), Farewell to Spring (with József Mélyi, 2018 at OSA), Somewhere in Europe – Gaudiopolis (2017, at OSA, in the framework of OFF-Biennale Budapest).
Artist and educator from London, a Romani born in Kent. Turner trained at Saint Martin’s School of Art, where he completed a BA Honours Degree in Fine Art (Sculpture). He works across media, including sculpture, video and painting. Turner’s practice explores the interaction between Romani and mainstream culture through themes of commercial interchange in Romani life. He is interested in how human life can be defined and archived through made objects, and how these objects communicate across timelines through a shared material culture, articulating that culture to a wider audience. Using transactional objects which have significance across both cultures, Turner examines how Gypsy, Roma and Traveller cultures meet and interact with the dominant culture. Working with migration maps of Roma diasporas, and using traditional crafts and occupations, such as herbalism, wooden peg and flower making, and fortune-telling, Turner re-imagines the Roma past, present and future to challenge mainstream culture’s view of Roma identities. His work, Seeds of Healing, was shown in FUTUROMA at the Venice Biennale 2019. His work is currently on view in Wales, in the Gypsy Maker Project, supported by the Romani Cultural and Arts Company, and in Berlin at the Kaidikhas Gallery.
PhD student at ELTE (Budapest), in the Film, Media and Cultural Studies programme, and researcher at Minor Media / Culture Research Centre. Graduated from the Art Theory Department of the Hungarian University of Fine Arts as an Expert in Contemporary Art Theory and Curatorial Studies. In her studies, she examined questions of contemporary Roma art institutions (Institutional History of Roma Culture in Hungary, 2014; National Roma Museum in Hungary, 2016). The focus of her PhD research is on the cultural representation of minorities and the question of the Roma museum.
Miguel Ángel Vargas
Miguel Ángel Vargas (1978, Spain) is an art historian and theatre director living and working in Spain. As an independent researcher and artist, Vargas combines Flamenco, theatre and Romani history as experienced-based themes of his artistic and academic enquiry. He has worked internationally as an actor, director, set designer, production manager and even opera technician, among other roles in the performing arts. He has collaborated with many academic institutions, including Central Saint Martin’s College of Arts of London, within their Performing Arts MA programme, the University of Seville, and Central European University in Budapest.
Assistant Professor and Head of the Department of Journalism and Social Communication SAN Warsaw (collaborating with the university since 2015). Since 2016, she has also cooperated with the Institute of Public Space Research of the Academy of Fine Arts in Warsaw. In Torun she ran, among others, “independent flying gallery” and “a gallery for…”; she was associated with the Foksal Gallery and the Xawery Dunikowski Museum of Sculpture in Królikarnia – a branch of the National Museum in Warsaw. She has curated several dozen exhibitions. Long-time collaborator of TVP Kultura; author of articles published in several scientific and critical magazines and exhibition catalogues, book editor, member of AICA.