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What does it take to operate as an independent curator and to work effectively and creatively within established arts organisations?
Curators Bárbara Rodríguez Muñoz and Anna Gritz bring their expertise and advice, exploring:
The Art Fund supports this ‘How to: Inside the Gallery’ series by offering a number of fully funded places per course for curators and museum and gallery professionals. The deadline is 18 December 2015, to apply, head to the Art Fund Website.
Bárbara Rodríguez Muñoz is a curator and writer based in London. She is currently Curator of Temporary Exhibitions at the Wellcome Collection, where she is developing a major exhibition on the complex psychological and physiological origins of the human voice.
With an emphasis on interdisciplinary practices, she has curated projects in the UK and internationally including ‘Bonnie Camplin: The Military Industrial Complex’, South London Gallery, co-curated with Anna Gritz; ‘Latifa Laâbissi, Écran Somnambule’, Freud Museum, London; ‘Inanimate Beings’, Casa Encendida, Madrid; ‘Nervous systems’, Kunsthal, Aarhus; and ‘The Cipher and the Frame’, Cubitt, London, co-curated with Fatima Hellberg.
As a writer, she has contributed to Afterall, Concreta, Les Laboratoires d’Aubervilliers and various independent publications. She holds a master’s degree in Curating Contemporary Art from the Royal College of Art, London.
Anna Gritz is Curator for Film & Performance at the South London Gallery (SLG). She worked previously as the Associate Curator at the Institute of Contemporary Arts (ICA), London; Assistant Curator at the Hayward Gallery, London; and Programs Director at apexart, New York.
Recent curatorial projects include ‘Duh? Art and Stupidity’, Focal Point Gallery, Southend on Sea, co-curated with Paul Clinton; ‘Sand in the Vaseline’, Material Art Fair, Mexico City (2015); ‘My Vocabulary Did This To Me’, SLG (2014); ‘Last Seen Entering the Biltmore’, SLG (2014); ‘Bonnie Camplin: The Military Industrial Complex’, SLG, co-curated with Bárbara Rodríguez Muñoz (2014); ‘Soundworks’, ICA (2012); ‘Lis Rhodes: Dissonance and Disturbance’, ICA (2012).
Her writing has been included in Art Monthly; Art Agenda; frieze; frieze d/e; Mousse and Cura, exhibition catalogues and books. She is an Attaché for the 20th Biennale of Sydney.
